CLXXX. BACH, J.S.: Sonata #2 in A Minor for Solo Violin, BWV 1003

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

Sonata #2 in A Minor for Solo Violin, BWV 1003 (1720)
1. Grave
2. Fuga
3. Andante
4. Allegro
Shunske Sato, violin
(24:35)

The Sonatas and Partitas for solo violin (BWV 1001-1006) are neatly divided into separate pieces -- a sonata in the style of the sonata de chiesa and a partita, with dance movement forms (allemande, courante, sarabande, etc.) …

This sonatas all follow the form: a slow, melismic first movement; followed by a fugue (usually the most technically difficult part); a slow movement; and a fast movement.

All four movements are delightful, exciting and -- in the case of the third movement here (in the relative major key of C Major) -- particularly wonderfully melodious music!

Sato plays a Baroque violin made in 1684.

CLXXIX. MUSSORGSKY, Modest: Boris Godunov

CLXXIX. MUSSORGSKY, Modest (1839-1881)

Boris Godunov (1868-73)
Boris Godunov: Evgeny Nesterenko
Grigory Otrepyev (False Dimitrii): Vladislav Piavko
Marina Mnishek: Irina Arkhipova
Pimen: Valery Yaroslavtsev
Prince Shuiskii: Andrey Sokolov
Innkeeper: Larisa Nikitina
Tsarevich Fyodor: Glafira Koroleva
Tsarevna Xenia: Galina Kalinina
Nurse: Nina Grigorieva
Father Varlaam: Artur Eizen
The Holy Fool: Alexey Maslennikov
Bolshoi
Leonid Baratov, cond.
(2:41:05)

My notebook was perched on the ledge of Nadia Boulanger's piano. I was trying to concentrate on my figured bass realizations, while my hands tried to reproduce what I had written.

I felt a slap on my wrist.

"Are you unzer di tabla?"

"I beg your pardon, Madamoiselle?"

"Are you unzer di table, or what?"

I usually had no problems understanding her English, which she insisted on using with all her American pupils. But now I was at a loss.

"Unzer di tabla?

She pointed to the emptiness of the intricate 19th-century carpet that lay beneath the piano.

"Under the table?" I gasped, finally understanding.

"Yes, just so." She relaxed and pulled on my beard so that she could see my face a little (she was almost completely blind) ...

"I tell you story," she began. "My mother (Raissa Myshetskaya, a Russian princess) used to have the big dinner parties, and once she invited Mussorgsky. By dessert, he was unzer di tabla. He was such a drunkard."

Are you drunk?

She had returned to her previous stern pedagogical posture, and was pointing at my notebook propped up on the piano ledge, as if it were a diseased carcass.

I immediately saw my mistake. Parallel fifths. About the worst sin one could commit in chorale realizations. I grabbed my pencil and quickly rewrote the alto and tenor parts.

"Ah, that's better," she smiled.

Everything was always better once you had learned something.

**

Wikipedia.

The history behind the writing, performance and re-orchestration of this opera -- and its many "versions" is beyond complicated. Rimsky-Korsakov, Ippolitov-Ivanov and Shostakovich all worked on it, as some point.

"Mussorgsky has marvelously orchestrated moments, but I see no sin in my work. I didn't touch the successful parts, but there are many unsuccessful parts because he lacked mastery of the craft, which comes only through time spent on your backside, no other way." -- Shostakovich

This appears to be the 1908 version, worked on by Rimsky-Korsakov.

The Coronation Scene (15:05)

Later:

Sounds a little like the Promenade from Pictures:

This is the only Russian/English libretto I could find online.

CLXXVIII. DVOŘÁK, Antonin: Symphony #2 in B-Flat Major, Op. 4

CLXXVIII. DVOŘÁK, Antonin (1841-1904)

Symphony #2 in B-Flat Major, Op. 4 (1865)
1. Allegro con moto
2. Poco adagio
3. Scherzo: Allegro con brio
4. Finale: Allegro con fuoco
London Symphony Orchestra
István Kertész, cond.
[scrolling score]
(54:23)

Dvořák and Tchaikovsky are two composers who come to mind when one considers their symphonic output and the subsequent critical and/or commercial popularity of same.

Both composers' earliest symphonies are rarely performed (1-7 for Dvořák, with 8-9 being huge successes; and 1-3 for Tchaikovsky, with 4-6 being constantly programmed).

**

Here we take a peek at one of Dvořák's early efforts (he was 24) at the symphonic form --- greatly imitative of both Brahms and Wagner -- but yet, definitely with that unique Czech feeling, and glimmers of true originality ...

Anxious to get a performance, Dvořák sent the score to be bound, only to realize he was unable to pay for it. The binder kept the score.

A sympathetic friend lent him the money to retrieve the score -- but Dvořák was equally unable to pay back the friend.

The matter was finally settled when Dvořák threatened to destroy the score and the friend returned it to him in a matter of one of musical history's most altruistic acts!

**

First Movement

One is tempted to say there is a touch of influence of Beethoven's Pastoral (Post CXV) -- the repeated four-bar phrases, with the same three-against-two rhythm -- however, Dvořák's music becomes much more tempetuous and darker.

A lovely moment occurs near the end of the movement when he slows everything down (15:00) for a few moments.

The orchestration is delicious; he smartly hands off phrases between the strings, winds and brass.

Second Movement

Although the music is completely dissimilar, the 12/8 meter reminds us of the Pastoral's second movement!

At 23:20, a huge dm6/4 chord, followed by a G.P. introduces an intimate fugal interplay between the violins and high winds ... the final G major chord brings cheer to an otherwise fairly dark slow movement.

Third Movement

Labeled a scherzo, Dvořák seems overly serious. A nice touch is the half-step downwards modulation to A Major for the trio (34:57).

Fourth Movement

A beautiful moment of rich, burnished orchestration (44:19) with the melody allocated to solo horn, violas and celli ...

Despite generally unimaginative thematic material, this early symphony reminds us that composers grow as they age -- and without youthful experimentation, we wouldn't have their great later works (like his Eighth [Post XCVI] or Ninth) ...

The symphony is worth inspection due to its wonderful orchestration, alone.

CLXXVII. NANCARROW, Conlon: Study #9 for Player Piano (Ensemble Modern)

CLXXVII. NANCARROW, Conlon (1912-1997)

Study #9 for Player Piano
Ensemble Modern
(4:10)

The Ensemble Modern is one of the finest contemporary music groups. Their transcriptions of Nancarrow's Studies are spectacular.

This one (like most of the earliest ones) is quite jazzy and features a ratio of 3:4:5 ...

CLXXVI. MOZART, Wolfgang Amadeus: Fugue in G Minor, K. 154

CLXXVI. MOZART, Wolfgang Amadeus (1756-1791)

Fugue in G Minor, K. 154 (1782)
Martin Haselböck, organ
(2:48)

Who knows why Mozart didn't complete this fugue?

Above the second bar on page two is the notation Sechter. This would be Simon Sechter -- a composer and theorist who wrote over 5,000 fugues (he tried to write one a day).

He completed the fugue Mozart was too busy to finish, and -- voilá -- a beautiful short fugue for organ!

CLXXV. SHOSTAKOVICH, Dmitri: Symphony #11 in G Minor, Op. 103 ("The Year of 1905")

CLXXV. SHOSTAKOVICH, Dmitri (1906-1975)

Symphony #11 in G Minor, Op. 103 ("The Year of 1905") (1957)
1. Adagio (The Palace Square)
2. Allegro (The 9th of January)
3. Adagio (Memory Eternal)
4. Allegro non troppo (Tocsin)
BBC National Orchestra of Wales
Thomas Søndergård, cond.
(1:01:00)

The Tenth -- written in the same year as Stalin's death -- failed to completely rehabilitate Shostakovich's reputation following the 1948 denunciation (the Zhadanov Doctrine); so he composed this lengthy orchestral hymn about the 1905 Revolution, and was awarded the Lenin Prize.

Although it may seem propagandistic, there is much to like about the work, including the extensive use of transformative folk-songs incorporated into the orchestral palette.

The symphony is played without pauses between movements ...

First Movement

On Sunday, January 22, 1905, a huge contingent of striking workers tried to deliver a petition to the Tsar. This opening reflects the eerie quiet of the morning before the disaster. The timpani and trumpet tell of a foreboding feeling ...

Things remain tense. Trumpets and drums heralds the coming disaster:

Second Movement

"The 9th of January" title refers to the Old Style calendar (O.S.) ...

The tempo picks up, but the music remains troubled; a unison clarinet/bassoon line floats over the rapid string passages:

The texture thickens, but the melancholy theme remains. He modulates to the parallel minor (B-Flat Minor); the timpani provides ghostly accompaniment ...

The movement accelerates into several crashing climaxes with the drums punctuating the full orchestra in tutti fortissimo. Only after a long working out does Shostakovich return to the mournful timpani triplets, which takes us into the third movement:

Third Movement

with this mournful theme in the violas:

Fourth Movement

A tocsin is an alarm bell. The brass announce a staccato theme with urgency, followed by low strings. Soon the whole orchestra is involved ...

The symphony concludes with an all-out assault on G Minor!

CLXXIV. BACH, J.S.: Cantata #98: Was Gott tut, das ist wohlgetan, BWV 98

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

Cantata #98: Was Gott tut, das ist wohlgetan, BWV 98 (1726)
1. Chorus: Was Gott tut, das ist wohlgetan
2. Recitative (tenor): Ach Gott! wenn wirst du mich einmal
3. Aria (soprano): Hört, ihr Augen, auf zu weinen
4. Recitative (alto): Gott hat ein Herz, das des Erbarmens Überfluß
5. Aria (bass): Meinen Jesum laß ich nicht
Claus Lengert, soprano (Knabenchor Hannover)
Paul Esswood, alto
Kurt Equiluz, tenor
Max van Egmond, bass
Knabenchor Hannover
Collegium Vocale Gent
Leonhardt-Consort
Gustav Leonhardt, cond.
(14:26)

A very short cantata, lacking a final Chorale for some reason -- BWV 98 is nevertheless a fine piece of vocal chamber music.

A beautiful obbligato violin part accompanies the voices (the chorale melody is in the sopranos), which are continually interrupted by instrumental sections:

Note the melisma in all voices on the word walten ("rule/govern") ...

Beautiful boy soprano aria with oboe obbligato:

and finally, a really nice bass aria, with violin accompaniment. Check out the atypically active continuo line ...

CLXXIII. BACH, J.S.: Das walt' Gott Vater und Gott Sohn, BWV 290

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

Das walt' Gott Vater und Gott Sohn, BWV 290 (?)
Chamber Choir and Ensemble of Europe
Nicol Matt, cond.
(0:35)

Wikipedia.

CLXXII. STRAVINSKY, Igor: Perséphone

CLXXII. STRAVINSKY, Igor (1882-1971)

Perséphone, a Melodrama in three parts (1934)
1. Perséphone ravie (Persephone Abducted)
2. Perséphone aux enfers (Persephone in the Underworld)
3. Perséphone renaissante (Persephone Restored)
Text by André Gide
Nicolai Gedda, tenor
Claude Nollier, narrator
Chorale de l'Université de Paris
Paris Conservatory Orchestra
André Cluytens, cond.
[scrolling score]
(52:14)

Of course, the term melodrama -- meaning a dramatic work with sensationalized and highly emotional characteristics -- is here meant as a specific type of musical composition -- in this case, a choral work with tenor soloist and narrator; a "recitative with instruments."

The tenor is Eumolpus, the Eleusinian Priest; the narrator is Persephone, the Goddess.

Gide's inspiration was the Homeric Hymn to Demeter. According to this ancient hymn:

"Persephone, daughter of the Earth-Mother Demeter, was by Hades snatched away ... she was playing with the deep-bosomed maidens of Oceanus, was gathering flowers -- roses, and crocuses, and fair violets in the soft meadow, and lilies and hyacinths, and the narcissus which the earth brought forth as a snare to the fair-faced maiden ... Wondrously bloomed the flower, a marvel for all to see, whether deathless gods or deathly men ... the maiden marveled and stretched forth both her hands to seize the fair plaything, but the wide-wayed earth gaped and up rushed the Prince ... against her will he seized her, and drove off her weeping in his golden chariot, but she shrilled aloud, calling on Father Cronides, the highest of gods and the best."

Robert Craft:

"The whole work -- to quote from its text -- is as fresh as 'the world's first morning, and all our hearts are filled with joy.'"

This is not the Stravinsky of the ballet period -- his writing is much more neoclassical, but constantly endowed and renewed with his energetic spirit.

CLXXI. PREVIN, André: Concerto for Violin and Orchestra ("Anne-Sophie")

CLXXI. PREVIN, André (1929-2019)

Concerto for Violin and Orchestra ("Anne-Sophie") (2001)
1. Moderato
2. Cadenza -- Slowly
3. Andante ("from a train in Germany")
Anne-Sophie Mutter, violin
Boston Symphony Orchestra
André Previn,cond.
(39:45)

What a life!

At six, he entered the Berlin Conservatory. A few years later, he was no longer welcome, being Jewish.

With stopovers in Paris and New York, the family eventually ended up in Los Angeles in 1938. He learned English (his third language) from reading comic books, using a dictionary and watching films ...

Hmm, film ... he began working for MGM while still in high school, later studying with Pierre Monteux. He has over 50 films credits as a composer, conductor, arranger and/or performer.

He was a tremendous jazz pianist, usually preferring to play in a trio setting.

He became a very good conductor:

• Houston Symphony (1967-69)
  
• London Symphony (1968-79)
• Pittsburgh Symphony (1976-84)
• Los Angeles Philharmonic (1985-89)
• Royal Philharmonic (1985-1992)
• Oslo Philharmonic (1985-1992)

**

Mutter was his fifth wife. They married in 2002 and divorced in 2006, but remained friends.

This delightful, very romantic concerto is a perfect fit for Mutter, whose tone can be described as rich and buttery. Naturally, it is beautifully orchestrated with many sections of lush harmonies accompanying the flowing lines he wrote for her.

The music intensifies with each movement, and ends with a bravura cadenza and a calm dissonance in the woodwinds -- and finally dissolves with Anne-Sophie way up high and the orchestra subsiding, throbbing into nothingness.

A great concerto for the 21st century!

CLXX. SHOSTAKOVICH, Dmitri: Symphony #9 in E-Flat Major, Op. 70

CLXX. SHOSTAKOVICH, Dmitri (1906-1975)

Symphony #9 in E-Flat Major, Op. 70 (1945)
1. Allegro
2. Moderato
3. Presto
4. Largo
5. Allegretto -- Allegro
Mariinsky Orchestra
Valery Gergiev, cond.
(29:10)

Sandwiched between the mighty Eighth (1943) and Tenth (1953), this symphony feels like Prokofiev's First ("Classical") Symphony; it is short (around 25 minutes) and, like the Prokofiev, almost Haydn- or Mozart-esque.

**

One has to wonder whether Shostakovich was actually trying to piss off Stalin! After announcing plans for a great symphony with huge forces, including a chorus, and working on it for awhile, he completely abandoned the work, and instead came up with this light, frothy piece of orchestral fluff.

The Party was enraged and this -- along with the Violin Concerto #1 (1947-48) and From Jewish Folk Poetry (1948) -- were all banned from performance. Shostakovich was fired from the Leningrad Conservatory.

Even the American reviews were harsh:

"The Russian composer should not have expressed his feelings about the defeat of Nazism in such a childish manner." [New York World-Telegram, July 27, 1946]

Such were the events at the time just before the Second Denunciation.

**

First Movement

Note how he cleverly inverts the theme (bar 5) ...

He moves to the dominant (B-Flat) in a few moments, introduced by a two-note lick on a trombone (which will reoccur many times), and decorated with a simple theme on the piccolo:

Second Movement

From E-Flat Major to B Minor, an almost inexplicable key change. Shostakovich sets a gloomy mood here with a solo clarinet; perhaps a reflection of the recent horrors of war. The intensity builds throughout the movement ...

Third Movement

... and now G Major! A vivacious, slightly grotesque clarinet, immediately thickened with more winds, setting up a driving staccato rhythm in the strings:

Fourth Movement

The third movement winds down, and attaccas to B-Flat Minor; solemn trombones, followed by an obligato, mourning basson cadenza:

Fifth Movement

The mournful bassoon attaccas right into the final movement, with a jolly little theme in a lightly-paced Allegretto:

Eventually, all this becomes Presto and ends with an oom-pah trade off between the strings and winds, triumphantly ...

Yes, Gergiev does conduct with a toothpick!