XXIX. BEETHOVEN, Ludwig van: Symphony #3 in E-Flat Major ("Eroica"), Op. 55

XXIX. BEETHOVEN, Ludwig van (1770-1827)

Symphony #3 in E-Flat Major ("Eroica"), Op. 55 (1803-04)
1. Allegro con brio
2. Marcia funebre. Adagio assai
3. Scherzo. Allegro vivace -- Trio
4. Finale. Allegro molto -- Poco Andante -- Presto
Frankfurt Radio Symphony
Andrés Orozco-Estrada, cond.
(53:43)

Note the excised dedication to Napoleon.

Ferdinand Ries -- Beethoven's pupil -- writes:

"In writing this symphony, Beethoven had been thinking of Bonaparte, but Bonaparte while he was First Consul. At that time Beethoven had the highest esteem for him, and compared him to the greatest consuls of Ancient Rome. Not only I, but many of Beethoven's closer friends, saw this symphony on his table, beautifully copied in manuscript, with the word 'Bonaparte' inscribed at the very top of the title-page and 'Ludwig van Beethoven' at the very bottom ... I was the first to tell him the news that Bonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, 'So he is no more than a common mortal! Now, too, he will tread underfoot all the rights of Man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!' Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor. The page had to be recopied, and it was only now that the symphony received the title Sinfonia eroica."

This performance is one of the finest.

For details on this important symphony, this Wikipedia page has excellent information.

Many musicologists tag this symphony as the start of the "Romantic movement."

One funny incident is also described by Ries:

At 12:00 in the First Movement, just at the end of the development section, the strings are insinuating a Bb7 dominant and the horn plays an Eb triad -- a total clash!

At the first rehearsal, Ries erupted with outrage, assuming it was a mistake, while Beethoven insisted it was correct and threatened to "box his ears."

Not to be missed is Eroica -- the fantastic BBC made-for-TV movie about the very first rehearsal of the symphony -- starring Ian Hart as Beethoven and the Orchestre Révolutionnaire et Romantique. This is both a film and a performance. Hart makes a fantastic Beethoven, and it is a thrill to watch both musicians, noble audience, and even the servants react to this revolutionary music! An astonished Haydn shows up towards the end!

XXVIII. BACH, J.S.: Mass in B Minor, BWV 232

XXVIII. BACH, J.S. (1685-1750)

Mass in B Minor, BWV 232 (1749)
Netherlands Bach Society
(1:48:42)

The NBS follow Joshua Rifkin's idea of using just one or two voices per part, rather than a full chorus.

Sublime, extreme and all-embracing ... Bach dedicated all of his music to God. Surely, the Lord has this piece on heavy rotation.

Bach gathered music from earlier periods of his life and put it all together in this "grand" Mass, which he completed just a year before his death.

Musicologist Alberto Basso:

"The Mass in B Minor is the consecration of a whole life: started in 1733 for 'diplomatic' reasons, it was finished in the very last years of Bach's life, when he had already gone blind. This monumental work is a synthesis of every stylistic and technical contribution the Cantor of Leipzig made to music."

XXVII. HAYDN, Franz Joseph: Symphony #4 in D Major, Hob. 1/4

XXVII. HAYDN, Franz Joseph (1732-1809)

Symphony #4 in D Major, Hob. 1/4
1. Presto
2. Andante
3. Tempo di menuetto
Downtown Sinfonietta
Vincent Lionti, cond.
(18:00)

Approximately 40 years separate these early symphonies from the later ones (he wrote 106!) ... one can literally trace the arc of the symphony through Haydn's output.

This delightful performance showcases how a 13-piece orchestra was sufficient for these early works, greatly influenced by C.P.E. Bach.

The Second Movement features muted 2nd violins playing a syncopated rhythm throughout.

The Third Movement is a minuet which lacks a trio.

XXVI. BEETHOVEN, Ludwig van: Violin Sonata #5, Op. 24 ("Spring")

XXVI. BEETHOVEN, Ludwig van (1770-1827)

Violin Sonata #5, Op. 24 ("Spring") (1801)
1. Allegro
2. Adagio molto espressivo
3. Scherzo: Allegro molto
4. Rondo: Allegro ma non troppo
Leonidas Kavakos, violin
Enrico Pace, piano
(28:03)

Written around the same time as the First Symphony, this music still solidly belongs to Beethoven's "Classical" period.

Thus, despite its subtitle (given to the work posthumously), this is not yet the lush, "romantic" music which Beethoven will start to write a few years from this date.

This is still Haydn-esque music -- gorgeous, but restrained. Beethoven is such a conversationalist -- the back and forth between the two instruments is consistently captivating and is seen from the start:

Kavakos and Pace hit it right on the nose.

XXV. DES PREZ, Josquin: Huc me sydereo/Plangent cum à 5

XXV. DES PREZ, Josquin (1450/55-1521)

Huc me sydereo/Plangent cum à 5 (?)
The Orlando Consort
(7:06)

Before my Senior Year at Interlochen, I had never heard any music written before Bach's time.

Thus, it was quite a thrill to be introduced to earlier music like Josquin in Music History class.

Imagine! He died 500 years ago, and we can still hear this magnificent music today.

He wrote all kinds of music -- masses of all sorts, motets, and popular and instrumental songs.

Often -- as in this chanson-motet -- he uses a "sacred" cantus firmus in the lowest voice, which the higher voices accompany and imitate. Frequently, the secular texts upon which the cantus was based were particularly bawdy.

XXIV. BARTÓK, Béla: Music for Strings, Percussion and Celesta

XXIV. BARTÓK, Béla (1881-1945)

Music for Strings, Percussion and Celesta (1936)
1. Andante tranquillo
2. Allegro
3. Adagio
4. Allegro molto
The Orchestre Philharmonique de Radio France
Alan Gilbert, cond.
(31:18)

Wikipedia.

Bartók's imaginative orchestration enhances this profound work of genius.

As noted in the Wikipedia article, you can hear parts of this piece in Being John Malkovich and The Shining.

Note this complex fugue which opens the piece -- it begins in A, each entry moving up a Perfect Fifth until the the tritone from A (E-Flat) is reached and then it all reverses:

XXIII. BACH, J.S.: Cantata #209: "Non sa che sia dolore" ("He knows not what sorrow is"), BWV 209

XXIII. BACH, J.S. (1685-1750)

Cantata #209: "Non sa che sia dolore" ("He knows not what sorrow is"), BWV 209 (1747)
1. Sinfonia
2. Recitative: Non sa che sia dolore
3. Aria: Parti pur e con dolore
4. Recitative: Tuo saver al tempo e l'età contrasta
5. Aria: Ricetti gramezza e pavento
Katharine Fuge, soprano
Esti Rofe, flute
Israel Camerata Orchestra Jerusalem
Shalev Ad-El, cond.
(23:02)

A secular cantata usually implies a vocal work written for Christmas, or other liturgical occasions.

This cantata is one of only two that Bach set to an Italian text.

Bach's usual polyphonic genius is evident throughout.

XXII. MOZART, Wolfgang Amadeus: Divertimento #13 in F Major, K. 253

XXII. MOZART, Wolfgang Amadeus (1756-1791)

Divertimento #13 in F Major, K. 253 (1776)
1. Thema mit 6 Variationen (Andante-Adagio-Allegretto)
2. Menuetto with Trio
3. Allegro assai
A pandemic recording by Double Entendre
(13:46)

Divertimenti (Mozart wrote many) are just what the word sounds like. These were "tafelmusik" -- or, dinner music -- for the Archbishop of Salzburg.

Whether or not they improved his digestion is uncertain; what is clear is that these were all high-quality works -- this one written for six woodwinds.

Mozart was 20 when he composed this.

XXI. MAHLER, Gustav: Symphony #1 in D Major

XXI. MAHLER, Gustav (1860-1911)

Symphony #1 in D Major (1887-88)
1. Langsam, schleppend (Slowly, dragging), Immer sehr gemächlich (very restrained throughout)
2. Kräftig bewegt, doch nicht zu schnell (Moving strongly, but not too quickly), Recht gemächlich (restrained), a Trio
3. Feierlich und gemessen, ohne zu schleppen (Solemnly and measured, without dragging), Sehr einfach und schlicht wie eine Volksweise (very simple, like a folk-tune), and Wieder etwas bewegter, wie im Anfang (once again somewhat more agitated, as at the start) -- a funeral march based on the children's song "Frère Jacques" (or "Bruder Jacob")
4. Stürmisch bewegt --- Energisch (Stormily agitated -- Energetic)
Frankfurt Radio Symphony
Andrés Orozco-Estrada, cond.
(59:57)

Compare the opening phrase:

with the opening of Beethoven's Fourth (see Post CLXXXIV):

[from Wikipedia]: In the third movement of the symphony, the quotation of the lied "Die zwei blauen Augen" demonstrates the subtlety with which Mahler combined the two genres. Within this funeral march, we can see the composer's union of form and meaning, and also elements of a programme. In the last verse of the song cycle, the speaker acknowledges the painlessness of death, saying, "[under the linden tree] I knew not how life fared, [there] all was good again!" This melody is employed as a countermelody to the "Frère Jacques" theme's Catholic implications and the Jewish klezmer qualities of the "Die zwei blauen Augen" theme, thus alluding to a social conflict of which Mahler was very aware.

Wikipedia.

XX. BEETHOVEN, Ludwig van: Adelaide, Op. 46

XX. BEETHOVEN, Ludwig van (1770-1827)

Adelaide, Op. 46 (1795)

Two Versions:

1. Peter Schreier and Walter Olbertz, with scrolling score (6:39)

2. The great Dietrich Fischer-Dieskau and Wolfgang Sawallisch (1974) (6:15)

The 25-year-old Beethoven had recently completed his studies with Haydn, and set this beautiful poem by Friedrich von Matthisson to music.

In the initial section, as he accompanies the words "Einsam wandelt dein Freund" ("Your friend wanders alone"), the music modulates (wanders) several times into beautifully remote flat keys, before moving back to B-Flat Major for the final verses.

Einsam wandelt dein Fruend im Frühlingsgarten,
Mild vom lieblichen Zauberlicht umflossen,
Das durch wankende Blüthenzweige zittert,
Adelaide!

Your friend wanders alone in the garden of spring,
Gently bathed in lovely magical light,
Which shimmers through the swaying branches of flowers:
Adelaide!

In der spiegelnden Flut, im Schnee der Alpen,
In des sinkenden Tages Goldgewölke,
In Gefilde der Sterne strahit dein Bildnis,
Adelaide!

In the reflection of the river, in the snows of the Alps,
In the golden clouds of sinking day,
In the fields of stars thy face beams forth,
Adelaide!

Abendlüftche im zarten Laube flüstern,
Silberglöckchen des Mais im Grase säuseln,
Wellen rauschen und Nachtigallen flöten,
Adalaide!

Evening breezes whisper through the tender leaves,
The silver bells at Maytime rustle in the grass,
Waves roar and nightingales sing,
Adelaide!

Einst, o Wunder! entblüht auf meinem Grabe,
Eine Blume der Asche meines Herzens,
Deutlich schimmert auf jedem Purpurblättchen:
Adelaide!

Some day, o miracle! a flower will blossom,
Upon my grave from the ashes of my heart;
And clearly on every violet petal will shine:
Adelaide!

XIX. PENDERECKI, Krzysztof: Threnody to the Victims of Hiroshima

XIX. PENDERECKI, Krzysztof (1933-2020)

Threnody to the Victims of Hiroshima (1960)
Finnish Radio Symphony Orchestra
Krzysztof Urbański, cond.
(9:15)

Penderecki did not discover the title until he heard his music played back to him. It was then that he decided to dedicate it to the Hiroshima victims.

The work is written for 52 strings. Penderecki uses many novel techniques, including tone clusters (the final chord is a cluster of 52 notes!), varying types of vibrato, slapped instruments, and playing on the tailpiece and behind the bridge.

One of the most important compositions of the 20th century ...

Scrolling score ...

XVIII. MILHAUD, Darius: Suite Provençale, Op. 152B

XVIII. MILHAUD, Darius (1892-1974)

Suite Provençale, Op. 152B (1936)
1. Animé
2. Très modéré
3. Modéré
4. Vif
5. Modéré
6. Vif
7. Lent
8. Vif
Spanish Radio and Television Orchestra
Juanjo Mena, cond.
(15:53)

Milhaud, who was born in Aix-en-Provence, uses themes from 18th century Provence, giving them a twist with his unique use of polytonality.

The work is in eight continuous movements.

Movement VIII (12:19):

XVII. BACH, J.S.: Cantata #69: "Lobe den Herrn, meine Seele" ("Praise the Lord, my soul"), BWV 69

XVII. BACH, J.S. (1685-1750)

Cantata #69: "Lobe den Herrn, meine Seele" ("Praise the Lord, my soul"), BWV 69 (1748)
1. Chorus: Lobe den Herrn, meine Seele
2. Recitative (soprano): Wie groß ist Gottes Güte doch
3. Aria (alto): Meine Seele, auf, erzähle
4. Recitative (tenor): Der Herr hat große Ding an uns getan
5. Aria (bass): Mein Erlöser und Erhalter
6. Chorale: Es danke, Gott, und lobe dich
Netherlands Bach Society
(20:20)

Originally written in 1723, the cantata was revised several times, with the final version being rewritten for the inauguration of a new town council in 1748 -- two years before Bach's death.

The text for the opening chorus is from Psalm 103. In D Major, 3/4 time, all four voices engage in a beautiful polyphonic sound, with lots of melisma.

There follows an aria for the alto and bass; and a concluding chorus.

Every Bach cantata is different. As usual, the NBS is magnificent.

XVI. BARTÓK, Béla: For Children

XVI. BARTÓK, Béla (1881-1945)

For Children (1908-09)
Géza Anda, piano
(1:19:28)

This remastered recording from 1954-55 sounds wonderful.

These 79 short pieces -- all based on Hungarian or Slovakian folk songs -- resound for both adults and children.

Younger piano students should be exposed to this type of music as early as possible.

Explore the score to No. 25 with András Schiff.

XV. BACH, J.S.: Cantata #83: "Erfreute Zeit im neue Bunde" ("Joyful time in the new covenant"), BWV 83

XV. BACH, J.S. (1685-1750)

Cantata #83: "Erfreute Zeit im neuen Bunde" ("Joyful time in the new covenant"), BWV 83 (1724)
1. Aria (alto): Erfreute Zeit im neuen Bunde
2. Aria (Chorale and recitative, bass): Herr, nun lässest du deinen Diener in Friede fahren, wie du gesaget hast -- Was uns als Menschen schrecklich scheint
3. Aria (tenor): Eile, Herz, voll Freudigkeit
4. Recitative (alto): Ja, merkt dein Glaube noch viel Finsternis
5. Chorale: Es ist das Heil und selig Licht
Netherlands Bach Society
(17:55)

Movement 2 is singular in Bach's cantatas. It contains the canticle of Simeon, sung by the bass on the eighth psalm tone of Gregorian chant, while a canon is played by all the strings and continuo in unison. After the first verse, three sections of secco recitative are interrupted by the canonic music, and finally the other two verses of the canticle are treated as the first. The use of psalm tones was already considered an archaism in Bach's time.

The ensemble performs Bach so beautifully. The alto aria is sung by a male:

XIV. BEETHOVEN, Ludwig van: Symphony #7 in A Major, Op. 92

XIV. BEETHOVEN, Ludwig van (1770-1827)

Symphony #7 in A Major, Op. 92 (1811-12)
1. Poco sostenuto
2. Allegretto
3. Presto -- Assai meno presto
4. Allegro con brio
Royal Concertgebouw Orchestra (Amsterdam)
Bernard Haitink, cond.
(41:51)

One of the finest Sevenths you'll ever experience. Fiery and distinguished; sweet and intense -- never overbearing.

The famous Second Movement is taken at a true allegretto ("a little lively") and not bogged down in the mud, as certain conductors insist upon -- a gravitas not intended by Beethoven.

The video is exceptional. The camera always seems to be in the right place. A treat for the eyes and ears.

Contemporary reviews were mixed:

Wagner: "the apotheosis of the dance."

Others: "he must have composed the symphony in a drunken state."

First Movement

Second Movement

Fourth Movment

XIII. BERIO, Luciano: Folk Songs

XIII. BERIO, Luciano (1925-2003)

Folk Songs (1964)
1. Black is the color (United States)
2. I wonder as I wander (United States)
3. Loosin yelav (Armenia)
4. Rossignolet du bois (France)
5. A la femminisca (Sicily)
6. La donna ideale (Italy)
7. Ballo (Italy)
8. Motettu de tristura (Sardinia)
9. Malurous qu'o uno fenno (Auvergne)
10. Lo fiolaire (Auvergne)
11. Azerbaijan love song (Azerbaijan)
Sarah Maria Sun, voice
KNM-Ensemble, Berlin
(24:10)

Berio wrote this for his wife, Cathy Berberian, for voice and seven players. The Preface to the score:

I have always sensed a profound uneasiness while listening to popular songs performed with piano accompaniment. This is one of the reasons why, in 1964, I wrote Folk Songs -- a tribute to the artistry and the vocal intelligence of Cathy Berberian ...

1. Black is the colour (USA)

2. I wonder as I wander (USA)

3. Loosin yelav (Armenia)

4. Rossignolet du bois (France)

5. A la femminisca (Sicily)

6. La donna ideale (Italy)

7. Ballo (Italy)

8. Motettu de tristura (Sardinia)

9. Malurous qu'o uno fenno (Auvergne/France)

10. Lo fiolaire (Auvergne/France)

11. Azerbaijan love song (Azerbaijan)

XII. HAYDN, Franz Joseph: Symphony #30 in C Major ("Allelujah")

XII. HAYDN, Franz Joseph (1732-1809)

Symphony #30 in C Major ("Allelujah") (1765)
1. Allegro
2. Andante
3. Tempo di Minuet
Kammerorchester Basel
Giovanni Antonini, cond.
(15:37)

Named because of the repeated Gregorian Chant motif, which is the basis for most of the themes:

This historical-instruments ensemble stands up while they play (except the celli) ... this is Haydn at its best -- crips, lucid and meaningful.