Arriaga - Symphony in D Major

Juan Crisostomo Arriaga (1806 - 1826) was a Spanish musical prodigy who without any regular musical studies composed an opera in 1821 when he was 15 years old.  An opera that was being performed in public no less. He finally went to the Paris Conservatory due to the generosity of some wealthy patrons in his home town that had seen his opera and recognized his talent.

Arriaga completed his studies at the Conservatory after only three years and immediately wrote three string quartets for publication. He also became an associate professor under the guidance of his teacher at the Conservatory. He wrote the Symphony in D major in 1825 while still in Paris.  It was the only symphony he wrote, and the work reflects the stylistic trends he learned about in his studies.

The symphony is said to be in D major, but in the first movement the composer uses D minor as much as the major. The final movement also doesn't establish the dominance of the principle key of D major, a unique thing for a symphony written at the time.

Arriaga died of a lung ailment, exhaustion, or both in Paris when he was 19 years old.

Bruckner - Symphony No. 3

When Anton Bruckner (1824 - 1896) paid a visit to Richard Wagner in 1873, he brought along his 2nd and 3rd Symphonies.  He wanted to dedicate one or the other to Wagner, his musical idol, and he wanted to give the master his choice.

Wagner welcomed Bruckner, whereon Bruckner began to shower him with praises and idol worship. Wagner's ego was at least as large as his genius for composition, so he took the praise as usual, like he deserved it. He poured a glass of beer for Bruckner and himself (an act that sent Bruckner into rhapsodies of "Imagine the master pouring a beer for me!" in a later letter) and began to read through the symphonies. They drank beer and talked, or at least Wagner talked. He usually did all the talking. Bruckner was most likely too awe-struck to say much.

Wagner made his choice, and Bruckner left.  But Bruckner being Bruckner, after he got back to his room he couldn't remember which symphony Wagner chose for the dedication, either because of the excitement of the occasion (or the beer).  So Bruckner had to write him and ask, "Symphony in D minor, where the trumpet begins the theme?"  Wagner wrote back and answered, "Yes! Best wishes! Richard Wagner." Wagner always referred to  "Bruckner the Trumpet" after the incident.  Wagner did seem to be impressed with symphony, especially the opening. He later said that Bruckner was the only symphonist that came close to Beethoven.  And the silhouette of Wagner offering a pinch of snuff to Bruckner is misleading. Bruckner was a tall, large-framed man who would have dwarfed Wagner's 5'5" frame. As for Bruckner's dedication, he called Wagner "the unreachable world-famous noble master of poetry and music."

The 3rd Symphony was premiered in 1877. The conductor who was to lead the orchestra died at the last minute so Bruckner lead the orchestra. Bruckner was not a very good orchestral conductor and by the time the symphony was over most of the audience and even some of the orchestra had left.  This depressed him so much he immediately began to revise the score. After many different editions, the original manuscript was found and it is the original version of the symphony edited in 1877 that is generally played.

Bruckner's  Symphony No. 3 in D minor is in 4 movements:

I. Gemäßigt, mehr bewegt, misterioso - In typical Bruckner fashion, the first movement is in his own style of sonata form. Bruckner's use of groups of themes begins with the trumpet playing the opening over a constant string accompaniment. This opening is continued until it reaches a huge climax with the orchestra playing in unison. The next part of this theme group is calmer and leads to another loud outburst from the orchestra. This first theme group is repeated, with slight variations and leads into the second theme group. The second group of themes is more lyrical and begins in the strings. The so-called Bruckner rhythm (two beats followed by three beats is contained within this second group. The second group develops into a climax for full orchestra, after which a third theme group is ushered in by the brass. The brass play a variant of the very opening trumpet theme. The exposition ends with a climax dominated by the brass. The development begins mysteriously and soon concentrates on the opening trumpet theme. The theme is varied, and some of the other parts of the first theme group are commented on. Bruckner uses bits of themes, offers themes in counterpoint, and the development section slowly grows to a tremendous climax as the brass utilizes the trumpet theme. Parts of themes appear after the brass climax and lead directly to the recapitulation where all the theme groups are repeated, with some parts varied and modulated to keys different than the opening. The first movement ends in a coda that contains a repeat of the trumpet theme in a from the brass with thundering. This alternates with a gentle repeat of other material until the brass takes control and blares out the opening trumpet theme in a faster tempo with the strings churning out an accompaniment along with the roaring timpani.

II. Adagio, Bewegt, quasi Andante - This movement is built upon three themes. The serene opening theme is carried by the violins and slowly expands chromatically and in volume until it reaches yet more chromatic shifting. It suddenly grows soft, then returns to intensity in the violins with underpinnings by the horns. Again it grows softer, the music expands once again until the woodwinds make a comment followed by the strings and the brass. The second theme is first carried by the violas and expands to other instruments. The second theme ends with a pause, and the third theme begins softly in the violins. This theme is expanded and developed at length. The second theme returns and undulates in tension and volume until it reaches a huge climax. The first theme has to make several attempts to gain a foothold as the brass keep trying to shoo it away. But it finally prevails and reaches its own high point. The movement ends with gentle strings, woodwinds and horns.

III. Scherzo - Ziemlich schnell - The music begins softly with not so much as a theme as a rhythm, and rapidly builds in volume. It reaches the top of the crescendo falls back slightly, reaches the top of another crescendo and pauses. The soft beginning starts the second section of the scherzo and the music dies down for a repeat of the opening.  The trio is an Austrian ländler in a major key. The scherzo is repeated verbatim, and in the edition played in the accompanying video there is a short coda that sums up the scherzo.

IV. Finale, Allegro - This movement is also in Bruckner's version of sonata form. The first theme begins with strings playing a rapid figure while the brass put forth a fanfare similar to the trumpet theme in the first movement. There is an abrupt halt and the second more casual theme is played in the strings.  Another halt and a loud third theme is brought forth from the orchestra. The music works up to a huge climax with some mellow after thoughts by the horns and the exposition section is complete. The development concerns itself mostly with the opening brass fanfare but some snippets of other themes are sprinkled throughout it. There is a repeat of the second theme, then the third. The music flows to the end, repeating parts of themes along the way until the trumpets play the theme of the very opening of the symphony. The full orchestra plays  a tremendous accompaniment as the trumpet theme ends the symphony.

Mozart - Symphony No. 25 In G Minor K. 183/173dB

Wolfgang Mozart was only seventeen years old when he wrote his 25th Symphony in G minor. Not only had he written 25 symphonies by then, he had written about 175 other compositions as well.

Mozart and his father Leopold had traveled to Vienna in the summer of 1773 and while there the young composer heard many works from contemporary composers. While he was influenced by many, he was especially influenced by the works of Joseph Haydn and the now almost forgotten Czech composer Johann Wanhal. The 25th Symphony In G Minor is in the Sturm und Drang style of Haydn's symphonies of the time, and is one of only tw osymphonies in minor keys written by Mozart, with the other being Symphony No. 40, also written in G minor. To differentiate between the two works Symphony No. 25 is sometimes referred to a the Little G Minor Symphony.

Mozart composed the work in the fall of 1773 in Salzburg

It is Mozart's earliest symphony that found a place in the active concert repertoire. It is scored for two oboes, two bassoons, four horns, and the usual strings. It is in four movements:

I. Allegro con brio -  The movement begins with a short 4-bar section that appears to be an introduction but is actually part of the first theme. The violins and violas play a syncopated figure across the bar lines while the basses play on the beat which creates tension while the oboes play the outline of the beginning of the theme in whole notes. The first theme continues with an upward arpeggiated G minor chord in the style of a Mannheim Rocket:

The theme is repeated and slightly varied as a solo oboe plays the whole note outline while the strings play an accompaniment that is not syncopated. After a short transition, a second theme is played by the violins in the key of B-flat major:

A transition section of arpeggiated chords in tremolo strings leads to a third theme in the strings and also in B-flat major:

Another transition section of arpeggiated chords in tremolo is played by the strings and the exposition is repeated. The short development section continues the arpeggiated chords and tremolos until the opening outline of the theme in whole notes played by the oboe alternate with outbursts from the orchestra. The horns signal the end of the development as the recapitulation begins with the first theme. The second theme modulates to the home key of G minor, as does the third theme. A short coda brings back the first theme and expands the syncopated section until the viol;ins play a figure in running 16th notes as the horns lead to the end.

II. Andante -  A simple theme in E-flat major is heard in the strings and echoed in the bassoons.  The music is relatively tension free and is a a short respite from the tension and stress of the other three movements.

III. Menuetto & Trio -  Mozart goes back to the home key with a minuet that has a subtle hint of tension brought about by dymanic attacks of forte-piano (loud then suddenly soft). The trio is in G major and is written for the woodwinds and horns.

IV. Allegro -  Written in sonata form, the tension of the first movement returns with all four horns, syncopations and a first theme firmly in G minor. A second theme flirts with B-flat major. A short development section creates further tension and leads to the recapitulation. All the themes are repeated in the home key of G minor. The horns play a prominent part, a dramatic string part is added upon the repeat of the first theme by the horns. A short coda brings the symphony to a close.

Balakirev - Piano Concerto No.2

Mily Balakirev (1837 - 1910) was a Russian pianist, conductor and composer. He was instrumental in creating a sense of musical nationalism in Russia in the 19th century.  He promoted the music of Tchaikovsky and was the leader of the Russian group of musicians known as The Five.

As a composer he had the habit of beginning a composition but not finishing it until years later. He began his first symphony in 1864 but did not complete it until 1897.  His influence on Russian composers is not as obvious because of this. One piece that he did start and complete in  1869 was  Islamey ,an oriental fantasy for solo piano that was highly advanced technically. 

Balakirev was exposed to much music in his youth, but had no formal training in composition, harmony, or counterpoint. His musical talents were recognized early on and he had opportunity to study piano and attend many concerts. his natural musicality and keen mind allowed him to begin composing early on.
Balakirev urged the composers he knew to learn the art of composition by composing without wasting a lot of time on formal study of music theory. Rimsky-Koraskov, one of  The Five, came to thses conclusions about his former mentor:

"Balakirev, who had never had any systematic course in harmony and counterpoint and had not even superficially applied himself to them, evidently thought such studies quite unnecessary.... An excellent pianist, a superior sight reader of music, a splendid improvisor, endowed by nature with a sense of correct harmony and part-writing, he possessed a technique partly native and partly acquired through a vast musical erudition, with the help of an extraordinary memory, keen and retentive, which means so much in steering a critical course in musical literature. Then, too, he was a marvelous critic, especially a technical critic. He instantly felt every technical imperfection or error, he grasped a defect in form at once."

Balakirev suffered what has been called a nervous breakdown in 1871. After a few years of practically no music activity, he began to recover and slowly return to musical life in Russia. But he was never quite the same, and he demanded that his close associates be in complete artistic agreement with him or he would sever the relationship.  He reverted to a strict following of Russian Orthodoxy and became a rabid antisemite.

Balakirev's 1st Piano concerto was written when he was a teenager in 1856. It is in only one movement and it is a composition Balakirev never returned to. He preformed the one movement with orchestra in 1856.  The 2nd Piano concerto was begun in 1861 and is in the key of E flat. His influences for this concerto were Liszt's First Concerto in the same key, Rubinstein's Second Concerto and Litolff's Fourth Concerto.  By the end of 1862 he had completed the first movement and played through the second movement for his colleagues.  After that, Balakirev didn't resume work on the concerto until 1906 and by the time of his death in 1910 he still hadn't finished it.  His close associate Sergei Liapunov knew as well as anyone how Balakirev wanted the concerto to be finished so he completed the work.

The Concerto is full of spirit, dynamism and artistry and deserves to be heard more often than it is .

Balakirev Piano Concertos

Rossini - Overture To ' La Gazza Ladra'

Gioachino Rossini (1792 - 1868) was an Italian composer most well known for his operas and their overtures.  He was a child prodigy and composed his first works, six sonatas for strings, when he was twelve years old.  His father was a horn player in the orchestra while his mother was an opera singer. He wrote his first opera at the age of fourteen.

He could play the horn, harpsichord and organ, and cello. The first performance of an opera he composed happened when he was eighteen, and by the age of twenty he was an internationally known composer.  By the time of his retirement in 1829 he had written 38 operas and was 38 years old. He wrote very little music after 1829 except for a set of pieces he called 'Sins of my old age' that were pieces for solo piano, a few songs and pieces for chamber ensemble. Attempts to explain Rossini's retirement from writing opera and practically all other music have mentioned physical and mental illness, which he did have both. But it could have simply been a case that he peaked very early in his career and simply was 'written out'.

The Overture to La Gazza Ladra (The Thieving Magpie)  is one of Rossini's most popular. After the middle of the 19th century the opera wasn't staged again until its revival in 1941.  The overture is a good example of the 'Rossini Crescendo', a trait of many of Rossini's overtures. The orchestra plays a tune or theme over and over, each time the music gets louder and louder until it reaches a climax.  A Rossini crescendo is most difficult to do. To keep the orchestra together, beginning quietly and gradually leading it up to full volume without increasing the tempo and having enough force left in the orchestra to reach the climax is a test of the players and the conductor. When done as it should be, it leaves an indelible impression on the ear. It is a force of nature.

Legend has it that the day before the premiere of this opera the producer had Rossini locked into a room with music paper and pen and told him he wouldn't let him out until he wrote the overture! Rossini would pass each completed sheet out the window for the copyists. What a first performance that must have been with practically no rehearsal, even no rehearsal at all1 Things have changed in the opera house and concert hall over the years.

Overture To La Gazza Ladra (The Thieving Magpie):

J. C. Bach - Keyboard Sonata Opus 5 No. 2

Johann Christian Bach (1735 - 1782) was the last child born to Johann Sebastian Bach. He studied with his father until his father's death in 1750. He then studied with his older brother C.P.E. Bach who was at the time considered one of the most influential composers in Europe. 

J.C. Bach spent some time in Italy studying and playing the organ. He went to England for the premiere of three of his operas there and secured his reputation so well he became Musicmaster to the Queen and spent the rest of his life in London. He is known as the English or London Bach because of this. He composed operas, orchestral works, concertos and works for keyboard. When Mozart was still a child he met J.C. Bach who influenced Mozart's concerto style.

He wrote many sonatas for keyboard, and the sonata Opus 5 Number 2 is in D major. It is written in the galant style,  simpler music in the style of melody with accompaniment with less ornamentation and counterpoint.  In Bach's day the piano had not yet taken over from the harpsichord so his sonatas can be played on either instrument, and have even been played on the clavichord.  the sonata is in three movements.

Salieri - Variations On 'La Follia'

Antonio Salieri (1750 - 1825) was an Italian composer most known for his operas. His 50+ operas played a large part in the development of late 18th century opera along with his hundreds of religious works. Although born in Italy near Venice, he was taken to Vienna at a young age after the death of his parents.  He was a very cosmopolitan composer as he wrote operas in three languages.

When he retired from writing and staging opera he remained a large influence on contemporary composers through his teaching.  He taught vocal composition to Beethoven, Liszt, Schubert and others. He also worked with many prominent singers. all but the most wealthiest of students got their lessons for free, Salieri's way of repaying kindnesses shown to him when he was a young student.

Salieri composed very little instrumental music. A few concertos, three symphonies and a handful of other compositions. One of this handful was also one of his last compositions, the Variations on La Follia.  It is for orchestra and is a culmination of everything Salieri had learned about orchestration over the years.  Why he wrote it is not known, as it was written in 1815 long after he retired. Perhaps he just liked the Follia tune,  maybe he was just inspired to do so. In any case, the music remains in the minor mode practically throughout and is rather somber.  The Follia tune is always very recognizable in each of the 24 variations. It is the instrumental coloration of the orchestra and soloists that provides the variety.  This piece remained the most monumental set of variations for orchestra until Brahms wrote his Variations On A Theme By Haydn in 1873.

As for the often repeated rumors that Salieri murdered Mozart (dramatized in the play and movie Amadeus) allow me to quote Chad Hille from his blog entry Antonio Salieri : Truth or Fiction on his blog Classy Classical:

"There is indeed no evidence to support the idea that Salieri killed Mozart. In Salieri’s last years, he suffered a physical and mental breakdown. He was admitted to the Vienna general hospital and the rumor spread that Salieri accused himself of killing Mozart. However, there was no concrete evidence of this. It would have been very unreasonable to think that Salieri killed Mozart. For during the times that the two great composers were both alive they were, for the most part, friends. Of course, there were times when the two did not see eye to eye. This was only natural as Salieri and Mozart came from different musical traditions and wrote in very different styles. On the whole, they got along with one another fine. It was even reported that Salieri came to visit Mozart on his deathbed. It is also reported that Salieri was one of the few who attended Mozart’s funeral. It is now widely accepted that Mozart’s cause of death was rheumatic inflammatory fever."

And that settles that, as far as I'm concerned.

Salieri's Variations on La Follia :

Dvořák - Symphony No. 6

Antonín Dvořák (1841- 1904) wrote nine symphonies, and it was with the 6th Symphony that he started to get international attention. It was written for the Vienna Philharmonic Orchestra under the direction of Hans Richter, but they did not play the symphony for 2 seasons because of the orchestra's prejudice against Czech composers.

Dvořák had contact with many of the composers of that time. He played viola in the orchestra that played under Wagner as conductor in Prague. He applied for a stipend from the Austrian State and he came to the attention of Johannes Brahms who was on the panel. Brahms and Dvořák became friends and Brahms helped him get his first compositions published.  He was influenced by the trends of the day, but developed his own style as all true geniuses do.

He finished the symphony in 1880 and the premiere was in 1881 by the Czech Philharmonic Orchestra.  The symphony has 4 movements:

I. Allegro non tanto - The first movement is in sonata form with the first theme slowly expanding with dance-like rhythms. The cellos and horns begin the second theme, a more expressive tune than the first. The development starts after the exposition repeat and Dvořák explores some of the possibilites of his two themes and brings the end of the section with a climax on a part of the first theme that fades into the recapitulation. The movement ends with a short coda.

II. Adagio - Gentle music in the beginning that grows more turbulent as the main theme is repeated in different instrument configurations. The movement ends gently, as it began.

III. Scherzo - Furiant, Presto - This movement is a Furiant, a Czech dance. Cross rhythms (2 notesd against 3 notes) gives a syncopated feeling to the scherzo. This was the type of nationalistic music that Dvořák had published in his Slavocian Dances for piano, later transcribed for orchestra. The slower, more laid-back trio contrasts the scherzo. At the end of the trio the scherzo is repeated.

IV. Finale - Allegro con spirito -  This movement is also in sonata form. The first theme of this movement is somewhat similair to the first theme of the first movement. The end of the recapitulation section is notable for a coda that treats  the first theme of the movement fugally. The symphony ends in in a triumphant mood with the brass contributing depth and weight.

Rimsky-Korsakov - Piano Concerto In C-sharp Minor

Nicolai Rimsky - Korsakov  was a master of orchestration and was recognized as such early in his career. Despite his lack of formal education in music theory and harmony, he was appointed professor of Composition and Orchestration at the St. Petersburg Conservatory of Music in 1871.   To prepare himself and stay one step ahead of his pupils he ceased to compose for three years, studied textbooks at home and followed a strict regimen of writing exercises in counterpoint and fugue. Rimsky-Koraskov wrote that while teaching he became "possibly the best pupil of the conservatory judging by the quality of the information it gave me!"

He wrote his only piano concerto in 1883-1884 at the urging of Balakirev.  Despite not being a pianist, Rimsky-Korsakov wrote:

 It must be said that it sounded beautiful and proved entirely satisfactory in the sense of piano technique and style; this greatly astonished Balakirev, who found my concerto to his liking. He had by no means expected that I ... should know how to compose anything entirely pianistic.

The piece is much better known in Russia and influenced other composers such as Rachmaninoff.  Rimsky-Korsakov used the concertos of Franz Liszt as his model  and acknowledged this by dedicating the work to Liszt. The concerto is very short, only about 15 minutes in duration, and is in three contrasting sections played without pause:

Moderato - Allegretto quasi polacca -  An introduction starts off the concerto that introduces the Russian folksong that the composer used in the work. It is the only theme of the concerto and Rimsky-Korsakov uses the Lisztian technique of thematic metamorphosis on it throughout, which makes the concerto a type of theme and variation movement. This introduction is followed by a polonaise treatment given to the theme. The next section is marked:
Andante mosso -  The accompaniment played by the piano is based on the first part of the folksong while the treble is based on the second part. The solo part gets more complex and erupts directly into the final section:
Allegro - The theme continues its metamorphosis as the piano part grows more brilliant with bravura passages. The concerto ends with a final flourish.

Bruckner - Symphony In D Minor

In the somewhat confusing world of Anton Bruckner (1824 - 1896) and the numbering of his symphonies, this Symphony  in D Minor is actually the third symphony he wrote.  The first symphony he wrote was as an assignment for his composition teacher in 1863.  Bruckner rejected this work by calling it 'school work', but he did not destroy it. It is in F minor.

The next symphony Bruckner wrote was the 'official' Symphony No.1, called by Bruckner 'the saucy maid' (whatever that may mean). Then it was the Symphony in D minor that was written in 1869.  Bruckner rejected this symphony after some harsh criticism'.

After all that, why bother with an early symphony that the composer himself rejected when he wrote so many more? Bruckner was known to be influenced a great deal by the opinions of others, especially early on. To my mind, if Bruckner would've wanted the world to never hear of this symphony he would have destroyed it. And it's a good thing he did not destroy it, for the symphony already shows his mature style and the music is very good.  A composer's earlier works are always interesting, if for no other reason than it shows where they came from and how they evolved when compared to later works.  Bruckner almost from the beginning had different ideas that grew into his mature style. Deryck Cooke writes about the Bruckner Symphony:

"Despite its general debt to Beethoven and Wagner, the "Bruckner Symphony" is a unique conception, not only because of the individuality of its spirit and its materials, but even more because of the absolute originality of its formal processes. At first, these processes seemed so strange and unprecedented that they were taken as evidence of sheer incompetence.... Now it is recognized that Bruckner's unorthodox structural methods were inevitable.... Bruckner created a new and monumental type of symphonic organism, which abjured the tense, dynamic continuity of Beethoven, and the broad, fluid continuity of Wagner, in order to express something profoundly different from either composer, something elemental and metaphysical."

Clara Rockmore/Saint Saens - The Swan

Clara Rockmore (1911 - 1998) was a virtuoso player of the theremin, an electronic instrument. The theremin was invented and named by a Russian, Leon Theremin. The instrument was patented in 1928 and consists of two antennas connected to oscillators, a horizontal antenna used to control volume and a vertical antenna used to control pitch. The closer or farther away a hand was placed to these antenna determined the pitch and volume.  The antennas are not actually touched at all.  The widest use of the theremin has been for science fiction movies of the 1950's and 1960's, but there has been a resurgence of the instrument in rock music and avant garde music.

Clara Rockmore was a child prodigy on the violin and began studying at the St. Petersburg conservatory  at the age of five.  But due to malnutrition, she developed serious bone problems that prevented her from continuing her studies and playing the violin.
She discovered the theremin and worked with the inventor to make it a more precise instrument.  She developed an entire technique for the instrument, using her fingers to 'finger' the notes in the air.

Camille Saint-Saëns (1835 - 1921) was a French composer. he composed Carnival Of The Animals, a suite of pieces originally for a chamber group of instruments (a full orchestra version also exists) that musically depicts an assortment of creatures. It was composed in 1886 but Saint Saëns thought it might be too trivial and hurt his reputation as a serious composer.  He allowed only one of the vignettes to be published in his lifetime, The Swan.  The entire collection was published in 1922 after his death and remains a very popular composition.  The Swan is a melancholy song originally written for cello that depicts the legend that when a swan dies  it sings its sweetest song.  Clara Rockmore shows that the theremin can be an instrument of great expression and nuance, but it's a mystery to me how in the world she coaxes such sweet, ethereal music out if thin air.  It's magical.

Saint Saëns The Swan played by Clara Rockmore

Ketèlbey - In A Persian Market

Albert Ketèlbey (1875 - 1959) wrote many popular songs and instrumental numbers, some of them miniature tone poems.  He specialized in musical representations of differing cultures,  highly idealized representations as they fell well within the realm of western music harmony and forms. Ketèlbey could crank out a pretty good tune and he was an imaginative orchestrator, no doubt aided by the tremendous working knowledge he had through his talent for being able to play all the instruments of the orchestra.

In A Persian Market is one of those idealized miniature tone poems. It was written in 1920 and has been played by many orchestras and arranged for many different ensembles. The music speaks through the 'ears' of a English musician known for his works that were written in an intentionally popular style. Authentic Persian  (modern day Iran) music it is not, but it has a certain period charm to it.

Ketèlbey's In A Persian Market:

Rubinstein - Piano Concerto No. 4 in D minor

Anton Rubinstein (1829 - 1894) was a Russian pianist, conductor and composer. He was part of the tradition of the 19th century virtuoso performer/composers such as Franz Liszt. Although his compositions are seldom heard now, at one time he was equally valued as a composer as a performer.

He toured Europe as a virtuoso pianist and even toured the United States during the 1872-73 concert season. He gave over 200 concerts in 239 days. The Steinway piano company financed this tour, and he received $200 per concert plus expenses. Rubinstein said of this tour: "May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost.... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank..."  The fact that he earned enough from this tour alone to never have to worry about money  no doubt helped him make the decision to not do it again.

In appearance, Rubinstein favored Beethoven so much that rumors had him as Beethoven's illegitimate son. Liszt called him 'Van II'. He had hands that were more like paws with a broad palm,  short, thick fingers that were broad and square at the finger tip. He could make the piano roar, or have it speak in a whisper. He was a master of the pedal, and said of it that, "The pedal is the soul of the piano."

Rubinstein's life was music and he contributed greatly to music education in Russia by founding the St. Petersburg Conservatory of Music in 1862.  He continued to compose, conduct, and give recitals all of his life until his death from heart disease.

His Piano Concerto No. 4 was  once highly esteemed and was part of the repertoire of such virtuoso pianists as Rachmaninoff and Paderewski.  It was composed in 1864, revised twice and the final version was published in 1872. It follows the typical Romantic piano concerto structure and is in 3 movements:

I. Moderato assai - The main theme is stated by orchestra alone, the piano enters alone then joins with the orchestra in the main theme. The movement is in sonata form with a cadenza added towards the end. The movement ends with another statement of the main theme and a coda.
II. Andante -  Serene music that begins in D minor and progresses to F major. Some of the most beautiful music Rubinstein ever composed.
III. Allegro- An exuberant rondo in the style of a Russian peasant dance. After the orchestra and piano take turns yelling and stamping, the movement ends with piano pyrotechnics.

Brüll - Konzertstuck For Piano and Orchestra

Ignaz Brüll (1846 - 1907) was an Austrian pianist and composer that was born into a Jewish merchant family. The family moved to Vienna in 1850 with Brüll destined to take over the family business. When he showed amazing musical aptitude and after a glowing assessment from Anton Rubinstein the family embraced his decision to become a musician.

He began composing early on. He began to compose his first piano concerto in 1860 when he was 15 years old. It was premiered in 1861 in Vienna by his teacher Julius Epstein.  He also wrote for solo piano, chamber music, opera and lieder. He bacame a friend to many of the musicians in Vienna of the time, most notably Johannes Brahms and Gustav Mahler.

Brüll wrote two piano concertos, both works of his youth. The Konzertstück was written later in his life, in 1902.  Brüll remained a conservative composer and never embraced any of the experimentation of the turn of the 20th century.  Some of what a critic that attended the premiere of the piece had to say about the work:

"In the beautiful Andante, full of gentle orchestra color, we wander among the German pine forests, several times hearing the ominous rustle of cedars of Lebanon from distant times. The composer celebrates his morning worship alone until the cheerful Allegro leads him back to the bustle of happy people."

Brüll - Kozertstück For Piano and Orchestra

G.H. Matos Rodríguez - Tango 'La Cumparsita'

Gerardo Matos Rodríguez (1897 - 1948) was an Uruguayan musician and composer. He studied architecture but the lure of music was too strong. His father owned a cabaret in Montevideo. He wrote many tangos plus music for theatrical plays that opened in Buenos Aires, and  he also led his own tango orchestra for a time.

The tango as a dance evolved from different dances brought to Argentina and Uruguay from European and African immigrants.  Early tangos were played by immigrants in Buenos Aires which is considered the birth place of the tango.  The tango was originally associated with the lower classes, and could be heard in bordellos and other seamy places, very similar to the history of American ragtime.  It eventually became a main-stream entertainment and attained world-wide popularity after WW I.  Read more about the history of the tango here.

Rodríguez composed La Cumparsita when he was 18 years old, in 1916.  It is the most recognized tango ever written. The title translates to 'little parade' and it was originally written as an instrumental for solo piano as a Uruguayan carnival march. Different sets of words were written for the music later, with the most popular set beginning, "The little parade of endless miseries..."

Liszt - Symphonic Poem 'Les Préludes'

Franz Liszt (1811 - 1886)  wrote Les Préludes,  his third symphonic poem in 1856. It was derived from pieces he wrote as early as 1844 for chorus and piano.  although it was the third of his symphonic poems, it was the first to be heard and the first to be called a symphonic poem.

The full title of the work is Les Préludes (d'aprés Lamartine) references a poem written by the French poet Alphonse de Lamartine.  The first printing of the score also had a short essay printed with it, although this was not by the poet:

"What else is our life but a series of preludes to that unknown Hymn, the first and solemn note of which is intoned by Death?—Love is the glowing dawn of all existence; but what is the fate where the first delights of happiness are not interrupted by some storm, the mortal blast of which dissipates its fine illusions, the fatal lightning of which consumes its altar; and where is the cruelly wounded soul which, on issuing from one of these tempests, does not endeavour to rest his recollection in the calm serenity of life in the fields? Nevertheless man hardly gives himself up for long to the enjoyment of the beneficent stillness which at first he has shared in Nature's bosom, and when "the trumpet sounds the alarm", he hastens, to the dangerous post, whatever the war may be, which calls him to its ranks, in order at last to recover in the combat full consciousness of himself and entire possession of his energy."

There is also evidence in a letter written by Liszt that explained the work was only a prelude to his method of composing.  There has been quite a lot of research done on the naming of this symphonic poem that can be read here.


Les Préludes by Franz Liszt:

Chopin - Scherzo No. 2 In B-flat Minor

Frederic Chopin was a virtuoso of the instrument, and the vast majority of his compositions were for the piano. He brought the Mazurka, the national dance of Poland, into the concert hall and helped establish the form of the piano Nocturne.

Chopin has been called the poet of the piano, and many consider him to be the greatest of all the composers for the instrument.  He brought to his piano works a type of technical quality that is by no means easy, but at the same time it is not an empty display of rapid finger work. Everything in Chopin comes from the heart, from emotion, and serves musical expression.

Scherzo is an Italian word that means 'joke', but the Scherzo No. 2 In B-flat Minor is hardly a laughing matter.  There is something ominous from the very beginning of the piece. One of Chopin's students said of the opening of the Scherzo,  "For Chopin it was never questioning enough, never soft enough, never vaulted enough. It must be a charnel-house."  When the Scherzo comes to a thundering close in D flat Major some nine-odd minutes later,  (some say a triumphant close) in the same rhythm as the opening, the 'bad' joke has been transformed.

Chopin's Scherzo No. 2 in B flat minor, Opus 31:

Albert Ketèlby - Dance Of The Merry Mascots

Albert Ketèlby - (1875 - 1959) was an English composer, pianist and conductor. He attended the Trinity College Of Music in London and his early piano sonata was praised by Edward Elgar. He had a knack for being able to play all the instruments of the orchestra,  practical knowledge he used when he composed for orchestra.

He was musical director of London's Vaudeville Theater and wrote many vocal and instrumental pieces while there. He was also music editor to some publishing houses and was Musical director for the Columbia Gramophone company and conducted on more than 600 recordings issued by the company.

He is most well known for his light popular music that was used at dances and sometimes for silent movies. Some of his most well-known compositions are In A Persian Market, In A Monastery Garden,  and Dance Of The Merry Mascots. Many of these pieces had a short program attached to them. The program for Dance Of The Merry Mascots is as follows:

"The Mascots go to a Fancy-dress Ball dressed as Pierrots, Pierrettes, Japanese and Spanish dancers.  They start with a Waltz for the Pierrots and Pierrettes, (during which Weber's "Invitation to the dance" is played as a counter-melody), then follow two movements for the Japanese and Spanish dancers; the Waltz is now resumed, and towards the end some of the Mascots who have got a little bit too "merry", find it rather difficult to keep in time, but they manage to finish all together!  The chimes now indicate that it is near midnight and the Mascots are heard taking their departure."   

Dance Of The Merry Mascots by Ketèlby:

Beethoven - Choral Fantasia

Ludwig van Beethoven   first made his mark in the musical world as a virtuoso pianist. His skill as an improvisor was well known. The art of improvisation has had something of a rebirth, especially with jazz musicians. Of course, there was no sound recording in Beethoven's day, so how he actually sounded is a matter of conjecture. There are contemporary descriptions of his improvisations, but we will never know how great he really was.

Be that as it may, we do have a few instances of music that Beethoven improvised and later wrote down. Such is the piano solo beginning the Choral Fantasia. This work had its first hearing at a benefit concert in December of 1808.  It was the Finale of a concert that also had the premieres of Symphonies 5 and 6, the 4th Piano concerto, an Aria, and half of the Mass In C Major. The thought of such a long concert, at least 3 1/2 hours long in an unheated concert hall in Vienna, Austria in December boggles the mind.  Beethoven wrote the piece to be a culmination of the concert that integrated solo piano, orchestra and voice.

Beethoven was the soloist in the first performance. He was so hurried and busy in preparation for it (the ink was still wet at concert time on the vocal parts)  he had no time to write down the piano solo, so he improvised it at the concert.  After the 26 bars of virtuosic piano, a theme is introduced by the deep strings, the piano enters in a dialogue with the orchestra for a few measures, then the main theme of the piece is stated by the solo piano and a set of variations on the choral theme begins.  After the variations, the initial theme is restated by the deep strings that are punctuated by flourishes from the piano. Then the chorus enters with a piano accompaniment. The chorus continues with the next verse as the piano continues accompanying until the full orchestra and chorus join in together, until the piece ends with the full orchestra and piano alternating with chords and flourishes until all end together.

The Choral Fantasia has been likened to an experiment that was the precursor of the 9th Symphony. And there is similarity in the main choral tune and the Ode To Joy of the 9th, as well as some of the structure of the two being similar. But the Choral Fantasia is a masterpiece in its own right, one of those pieces of music that Beethoven wrote that needs to be judged on its own merits.

Beethoven's Choral Fantasia and  English translation of the chorus:

With grace, charm and sweet sounds The harmonies of our life, And the sense of beauty engenders The flowers which eternally bloom. Peace and joy advancing in perfect accord, Like the alternating play of the waves; All harsh and hostile elements Render to a sublime sentiment. When the magic sounds reign And the sacred word is spoken, That strongly engender the wonderful, The night and the tempest divert light, Calm without, profound joy within, Awaiting the great hour. Meanwhile, the spring sun and art Bathe in the light. Something great, into the heart Blooms anew when in all its beauty, Which spirit taken flight, And all a choir of spirits resounds in response. Accept then, oh you beautiful spirits Joyously of the gifts of art. When love and strength are united, The favor of God rewards Man.

Bizet - Symphony in C Major

Georges Bizet had an outstanding career as a student at the Paris Conservatoire, and was known to be a brilliant pianist, but he seldom played in public. He graduated with honors and won the Prix de Rome.  After spending three years in Italy, Bizet returned to France and found very little interest in his compositions. He earned his living by arranging other composers music until he began to have moderate success writing operas.  His last composition was his masterpiece, the opera Carmen, which he (and some critics) considered a failure.

The Symphony in C Major was written apparently as an assignment from his teacher Charles Gounod. Bizet had just turned 17 four days before he began the work in 1855. The symphony follows Gounod's Symphony No. 1 in style if not exactly in content, although there are hints of actual music quotes from Gounod's symphony used by Bizet.  Bizet evidently was not keen on having the symphony performed or published, perhaps because the musical life of France at the time was centered around opera with very little instrumental music being performed. After being considered lost for many years, a copy of the symphony was found and first performed in 1935. The symphony is in four movements and is in the style of the classical symphonies of Mozart and Haydn:

I. Allegro vivo -  The movement begins with a fortissimo C major chord and then the strings take up the first theme, a simple tune that is extended and developed as it goes. The first theme plays for a considerable time until the second theme in the solo oboe appears. The first theme returns and leads to the repeat of the exposition. The development begins with a short variant of the first theme followed by the second theme. This pattern of alternating themes lasts throughout the development until the recapitulation arrives. The first theme again dominates, the second theme is played by the flute, and a beginning fragment of the first theme brings about the end of the movement.

II. Adagio - An introduction leads up to the exotic first theme played by the oboe.  A second lyrical theme is played by the violins as the pizzicato accompaniment from the lower strings continues. A fragment from the first theme spins into a subject for a fugue in the middle section until the introduction reappears as a lead in for the exotic theme once again played by the oboe. The second theme appears again briefly before the movement slowly ends with a partial repeat of the oboe solo.

III. Scherzo- Allegro vivace - The theme of the scherzo is a variant of the first theme that began the symphony. The trio also contains references to the first theme of the first movement.

IV. Allegro vivace - The finale begins with the first  theme that runs through the violins. A second theme is played by the woodwinds. The first theme makes another appearance, and then a third theme is played primarily in the strings with comments from the woodwinds. Transition material leads to the repeat of the exposition. The development section bounces from theme to theme until it arrives at the recapitulation. The same general pattern of themes is followed from the exposition until Bizet winds things up neatly in C major.

Bach - Harpsichord Concerto No.1 in D Minor

Johann Sebastian Bach (1685 - 1750) wrote some of the first concertos for keyboard and strings. He wrote seven for solo keyboard and strings and wrote others for 2, 3 and 4 harpsichords. All of the solo concertos are transcriptions of Bach's own concertos for solo melody instrument such as violin. In many cases it is only the harpsichord transcription that survives complete.

Bach was the director of the Collegium musicum in Leipzig, a student musical society that gave concerts.  He led this group from 1729 to 1741, and it is believed Bach wrote these concertos for performance at these concerts.The D minor concerto sees Bach use the same music for strings as in the original violin concerto while the solo part is filled out harmonically from the solo violin part of the original. Bach obviously strove to make the keyboard version as virtuosic as the violin version. Bach was familiar with his contemporary Vivaldi's concertos and they exerted a large influence on Bach's concerto style.

The concerto is in three movements:

1. Allegro - Written in ritornello form, which simply put, has the orchestra play a recurring passage after which the solo instrument develops fragments of the passage. This dialogue between orchestra and soloist continues, with each repetition of the original passage whole or in part being in a different key and the soloist expanding the passage  until the piece ends with orchestra and soloist playing the original passage in the home key.
2. Adagio - A very expressive movement, the right hand of the soloist plays the melody of the original violin version that Bach has masterfully transformed to the full harmony and texture of the harpsichord while the left hand plays with the string accompaniment.
3. Allegro - This movement is also in ritornello form and is thematically related to the first movement. 

Bach's Harpsichord Concerto #1 in D Minor:

Liszt - Symphonic Poem 'Mazeppa'

Franz Liszt (1811 - 1886) was the originator of the Symphonic Poem, a piece of music inspired by literature, art or other non- musical source.  He wrote thirteen of these pieces using various subjects as inspiration.

Liszt's Symphonic Poem No. 6 was inspired by the legend of Ivan Mazeppa, who was born in Lithuania in 1639.  He was of noble birth, and as the legend goes he had a love affair with a Polish princess who was married to a much older man. When the husband found out about the affair as punishment he had Mazeppa stripped of his clothes and tied to a horse and set free to run in the wilderness.  The horse ended up in Ukraine, Mazeppa survived the ordeal, and was found by Cossasks, who eventually made him their Hetman, the person of highest military rank in the country.

Although just a legend, it inspired many Romantic era writers, painters and musicians. Lord Byron, Alexander Pushkin and Victor Hugo wrote poems about it,  Liszt and Tchaikovsky wrote music based on it, and there are many paintings inspired by it.

Liszt first wrote a piano piece based on the legend, part of his set of Transcendental Etudes , first published in 1837 then revised with the revisions printed in 1852.  Mazeppa is the 4th Etude in the set and remains one of the most technically difficult pieces in the repertoire for piano.  Liszt's orchestral version differs from the piano version as it is longer and  expands on some of the musical ideas of the original.

The poem has musical representations of the ride through the wilderness, the beating of the horses hoofs, the terror of the rider and after Mazeppa is found by the Cossacks a triumphant military march.

Mazeppa by Franz Liszt, followed by a performance of the original piano piece:

Sibelius - Symphony No. 5 In E-flat Major Opus 82

Jean Sibelius (1865 - 1957)  was a Finnish composer most known for his symphonies. He wrote seven symphonies all together, and after his 7th Symphony, Sibelius composed very little for the rest of his life. There were rumors and hints from the composer himself about an 8th symphony, but it was never composed.

Sibelius' first love was the violin, and he worked towards being a virtuoso, but relented when he decided he had started too late. He became a conductor as well as composer. His first great compositional influence was Wagner, but with time Sibelius rejected much of Wagner's esthetic and was then influenced by Anton Bruckner and Pyotr Tchaikovsky.  He was a master of orchestration, and despite composing his symphonies in a time of great experimentation with atonality, Sibelius continued to write tonal music. But he developed a highly refined and unique style of orchestration and composition that give his music a certain kind of  sound that is like no other. No doubt his love of nature and the terrain of his native Finland inspired much of his music, whether directly with the tone poems or indirectly with the symphonies.

Sibelius received a commission from the Finnish government in honor of his 50th birthday. He filled the commission with the 5th Symphony. He finished the score and led the premiere in 1915.  It was revised in 1916 and also in 1919, and it is the 1919 version that is usually performed.  The symphony is in three movements:

1. Tempo molto moderato - Allegro moderato (ma poco a poco stretto) - Vivace molto - Presto - Più Presto.  This movement is actually a combination of the original 1st movement and 2nd movement from the first version of the symphony .
2. Andante mosso, quasi allegretto - Poco a poco stretto - Tranquillo - Poco a poco stretto - Ritenuto al tempo I.  This movement is a set of variations.
3. Allegro molto - Misterioso - Un pochettino largamente - Largamente assai - Un pochettino stretto.  The tune for horns shortly after the beginning of this movement is thought to be the sound of swan calls, as well as a representation of 16 swans taking off all at once, an event witnessed by Sibelius.

The structure of the symphony is unique. There is much debate among musicologists about the first movement especially. Add the structural uniqueness to the many tempo designations and modulations within the music, and we have one of the most original symphonies composed by Sibelius.

Mendelssohn - Piano Trio No. 1 in D minor Opus 49

In a review in 1840 of Mendelssohn's Piano Trio No. 1, Robert Schumann wrote:

The storm of recent years is finally beginning to abate, and we must admit that it has washed several pearls ashore. Mendelssohn, as one of the many sons of this age, must have had to struggle with and often listen to the insipid declaration of some ignorant critics that ‘the true golden age of music is behind us’ – although it probably affected him less – and has so distinguished himself that we may well say: He is the Mozart of the 19th century, the most brilliant of musicians, the one who most clearly perceives the contradictions of the age, and the first to reconcile them.

Despite Schumann's praise, the very qualities that caused Schumann to praise the music were later looked upon as faults. Mendelssohn's mastery of sonata form was looked upon as old-fashioned and conservative, the nimbleness of his scherzos were deemed emotionally lacking, the lyrical turn of his tunes were regarded as too unemotional. Richard Wagner was one of the main players in the smear campaign when he wrote his pamphlet Jewishness In Music in which his disgusting antisemitism sneers and takes cheap shots at Jewish composers, namely Meyerbeer and Mendelssohn (a pamphlet by the way, that Wagner used a pseudonym for).  And as if all this was not enough, the filth of the Nazi regime in Germany  labeled Mendelssohn's music as degenerate Jewish music.

Watercolor by Mendelssohn

No doubt some of the invective against Mendelssohn was due to his staggering talent as well as his being born into a family that was very well off financially. By some contemporary accounts, Mendelssohn had some of the trappings of personality that economic and social privilege can bring, such as aloofness and class consciousness. He was also afflicted with a terrible temper when he did not get his way.

But Mendelssohn's music has gone through a rehabilitation of sorts. He is now acknowledged as an inspired composer, conductor, pianist, and one of the greatest musical prodigies of any era.

The Piano Trio No. 1 in D Minor is written for the standard grouping of cello, violin and piano. The Piano Trio is one of his most popular chamber music pieces,  along with his Octet for Strings.  The Trio is in 4 movements:

I. Molto allegro ed agitato - The cello begins the movement with the first theme, a lyrical tune that Mendelssohn changes as he repeats it as it leads to the second theme in A major that also begins with the cello. The movement is in sonata form, but the skill of Mendelssohn makes the music seem like one long flowing melody. After the development and recapitulation, the music gains in drama (mostly from the florid piano part) as the first theme makes one last appearance as the movement rushes to a close.

II. Andante con moto tranquillo - The music of the second movement begins with a solo for piano of the main theme. All the instruments join for a repeat and expansion of the theme. A slightly agitated middle section is in contrast to the preceding. The main theme returns and the music slows to a quiet close.

III. Scherzo: Leggiero e vivace -  A light, agile scherzo, music that Mendelssohn was known for. 

IV. Finale: Allegro assai appassionato -  A return to D minor, the main theme is in the same general mood as the first movement. The piano especially has a lot to do in this movement. Contrasting material interrupts the main theme's progress a few times, but the main theme is persistent and keeps returning until it is transformed to the key of D major as the movement speeds towards the end.