CCCII. BACH, J.S.: Suite #4 in E-Flat Major for Cello, BWV 1010

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

Suite #4 in E-Flat Major for Cello, BWV 1010 (1717-23)
Preludium
Allemande
Courante
Sarabande
Bourée I
Bourée II
Gigue
Yo-Yo Ma, cello
(26:21)

The open strings of a cello:

The Circle of Fifths:

Notice that when we start from C Major and go the right -- into the sharp keys -- there are many notes in common with the cellos' open strings, within the triads of the key:

1. C Major: C and G;
2. G Major: G and D;
3. D Major: D and A;
4. A Major: A

When go to the left -- into the flat keys, the number of open strings quickly decreases:

1. F Major: A and C;
2. B-Flat Major: D
3. E-Flat Major: G

Thus, the cellist in this key is almost never playing an open string. This gives the music a deeper, more burnished timbre, than say, G or D Major ...

Preludium

Compare this to the Prelude of the First Suite in G Major -- a constant flow of notes with the same rhythmic value. And here, Bach uses the first note of each bar as a pedal point for changing harmony ...

The first two bars contain all the notes of a pure E-Flat Major triad.

In this third and fourth bar, he introduces a D-Flat, making it into a E-Flat dominant seventh.

In bars five and six he resolves the dominant chord to A-Flat Major, in its second inversion -- the E-Flat in the root.

This pattern continues, as Bach gradually moves into far-reaching harmonic territory. The whole thing comes to a halt on a held low C-Sharp (black arrow) and moves into a cadenza-like section (blue arrow) which alternates between the pedal point stuff. It all ends on a lovely no-open-strings quadruple stop!

Allemande

Things calm down for this lovely dance, again with imaginative harmonic movement.

Courante

How lovely is Ma's delicate touch in this triple-meter dance? He skips over the notes like an ice skater on a glistening pond.

Sarabande

The Sarabande is always the high point in these suites, as far as emotional content ... there are plenty of double- and triple-stops and ends in a satisfying E-Flat major arpeggio ...

Bourée I

Bourée II

Although different in character, the second Bourée returns to the first ...

Gigue

From the Irish jig, of course -- evolving into the loveliest and briskest movement of the suites. Ma plays it with exquisite sensitivity.

CCCI. SCHÜTZ, Heinrich: Psalmen Davids, Psalm #128: Wohl dem, der den Herren fürchtet

 CCCI. SCHÜTZ, Heinrich (1585-1672)

Psalmen Davids, Psalm #128: Wohl dem, der den Herren fürchtet (1619)
Regensburger Domspatzen
Hanns-Martin Schneidt, cond.
(3:38)

We can imagine the antiphony (call-and-response) inherent in these works. Trumpets and trombones double the voices, and -- like Giovanni Gabrieli -- with whom Schütz had studied, the music was meant to echo and resound throughout the huge cathedrals in which they were performed.

This one is written in eight parts:

Happy are all who fear the LORD,
Who follow His ways.
You shall enjoy the fruit of your labors;
You shall be happy and you shall prosper,
Your wife shall be like a fruitful vine within your house;
Your sons, like olive saplings around your table.
So shall the man who fears the LORD be blessed.

May the LORD bless you from Zion;
May you share in the prosperity of Jerusalem
All the days of your life
And live to see your children's children.
May all be well with Israel!

CCC. BACH, J.S.: Cantata #42: Am Abend aber desselbigen Sabbats, BWV 42

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

Cantata #42: Am Abend aber desselbigen Sabbats, BWV 42 (1725)
1. Sinfonia
2. Recitativo (Tenore): Am Abend aber desselbigen Sabbats
3. Aria (Alto): Wo zwei und drei versammelt sind
4. Duetto (Soprano, Tenore): Verzage nicht, o Häuflein klein
5. Recitativo (Bass): Man kann hiervon ein schön Exempel sehen
6. Aria (Bass): Jesus ist ein Schild der Seinen
7. Chorale: Verleih uns Frieden gnädiglich
Netherlands Bach Society
(28:30)

1. Sinfonia

Continuous-16th-note phrases in the strings swirl around a woodwind choir of two oboes and bassoon. They trade phrases, complement each other, and -- in the middle section -- Bach himself wrote the term cantabile, which is indeed lyrical.

2. Recitativo (Tenore): Am Abend aber desselbigen Sabbats

And on the ev'ning of that very Sabbath

When the doors were bolted
The disciples within assembled

The continuo pounds out 16ths like a beating heart.

3. Aria (Alto): We zwei und drei versammelt sind

Under pedal points of G and D, the oboes curl around the melody, and the alto soloist enters with huge intervallic leaps:

4. Duetto (Soprano, Tenore): Verzage nicht, o Häuflein klein

A jumpy continuo accompanies a gorgeous duet, with long melismas on the word verzage (despair) ...

5. Recitativo (Bass): Man kann hiervon ein schön Exempel sehen

Methinks we can all learn a goodly lesson

6. Aria (Bass): Jesus ist ein Schild der Seinen

Jesus will protect His people
Guard them from oppressions well

Lots of A Major arpeggios ... and when the bass enters, he too sings one:

long melisma on the word verfolgung (oppressions):

7. Chorale: Verleih uns Frieden gnädigich

In gracious mercy grant us peace
Lord God, for life's duration
We've none to help us shouldst Thou cease
To strive for our salvation. Thou art our sole Protector
Assure us thru the Rules of our land
Peace and good government
That under their command
Free from war and from turmoil, we may live and prosper
Upright, pious, reverent
Fearing the Lord. Amen.

CCXCIX. LUTOSŁAWSKI, Witold: Symphony #1

CCXCIX. LUTOSŁAWSKI, Witold (1913-1994)

Symphony #1 (1941-47)
1. Allegro giusto
2. Poco adagio
3. Allegretto misterioso
4. Allegro vivace
Polish National Radio Symphony Orchestra
Antoni Wit, cond.
(25:19)

Like Shostakovich and many other composers who had the misfortune of having to write music to please Communist Party bosses, Lutosławski's First Symphony was performed and then quickly withdrawn from public performance.

It was later -- in the 50s -- when relaxed attitudes permitted a performance.

First Movement

Traces of Shostakovich and Bartók can be discerned -- but yet, there is something quite new and original in this music. With a massive orchestra, the piece starts brilliantly, with a rhythmic, fanfare-like trumpet motif. A second subject -- lyrical, in the lower strings -- provides a contrast. This is all developed and recapitulated.

Second Movement

Beginning with an unwinding figure in the lower strings, a French Horn sings above, poignantly. The texture thickens and thins; Over twisting strings, an oboe soars; a solo violin, and the movement closes with the dark sonority of a solo viola.

Third Movement

A bizarre off-beat scherzo, using a twelve-tone row and a contrasting trio.

Fourth Movement

Energetic and propelled forward, the music continually surprises. Written in '47, again one hears traces of Bartók's Concerto for Orchestra (1945) [see Post CV], with swirling strings and piled-up brass.

A rousing work, too infrequently performed.

CCXCVIII. LIGETI, György: String Quartet #1 ("Métamorphoses nocturnes")

CCXCVIII. LIGETI, György (1923-2006)

String Quartet #1 ("Métamorphoses nocturnes") (1953-54)
1. Allegro grazioso
2. Vivace, capriccioso
3. Adagio, mesto
4. Presto
5. Andante tranquillo
6. Tempo di Valse, moderato, con eleganza, unpoco capriccioso
7. Allegretto, un poco gioviale
8. Prestissimo
Verona Quartet
(19:53)

The term "prehistoric Ligeti" is used to describe the works he composed in Hungary before he fled the Communist regime in 1956.

It was written for the "bottom drawer" -- too modernist for the staid Party officials who controlled what was and was not acceptable for public consumption.

His principal influences were the Third (see Post LVII) and Fourth (see Post V) Bartók quartets -- which he had never heard performed and only knew from the scores!

"Melodically and harmonically, the piece rests on total chromaticism, whereas, from a point of view of form, it follows the criteria of Viennese Classicism, that is, periodic structure, imitation, the spinning out of the motivic material, the development section and the technique of breaking up the melody into short phrases, which are then distributed among the different voices."

CCXCVII. MOZART, Wolfgang Amadeus: String Quartet #13 in D Minor, K. 173

CCXCVII. MOZART, Wolfgang Amadeus (1756-1791)

String Quartet #13 in D Minor, K. 173 (1773)
1. Allegro moderato
2. Andante Grazioso
3. Menuetto
4. Allegro moderato
Festetics Quartet
(16:52)

The product of a young seventeen-year-old:

First Movement

These trill figures are predominant throughout.

Second Movement

The 16th-note triplets are a nice touch. Especially, when he sets them against the duple rhythm:

Third Movement

Mozart was studying Haydn quartets, particularly Opus 9, published a few years prior. Note the borrowing of the first five notes of the Haydn:

Haydn, Op. 9, No. 4

Fourth Movement

Here is something really special -- a fugato with a descending chromatic line. This was a favorite Bach trick [see The Musical Offering, BWV 1079 {Post CXXXVI}] ... 

and Mozart pulls it off with astonishing skill.