DCXXXVII. MAHLER, Gustav: Symphony #8 in E-Flat Major

DCXXXVII. MAHLER, Gustav (1860-1911)

Symphony #8 in E-Flat Major (1906)
1. Part I: Hymnus: Veni, creator spiritus
2. Part II: Schlußszene aus "Faust"
Camilla Nylund, soprano
Ailish Tynan, soprano
Regula Mühlemann, soprano
Janina Baechle, alto
Helena Rasker, alto
Klaus Florian Vogt, tenor
Tommi Hakala, baritone
Shenyang, bass
WDR Rundfunkchor Köln
London Symphony Chorus
MDR Rundfunkchor Leipzig
Knabenchor Hannover
Koorschool St. Bavo Haarlem
Netherlands Philharmonic Orchestra
Marc Albrecht, cond.
(1:29:11)

"Symphony of a Thousand" -- a sobriquet that it is still popular -- was not one that Mahler necessarily approved of. Though the number of performers is in the hundreds, certainly, as far as the composer was concerned, it is the exact number of musicians and singers necessary to perform this massive, large-scale work.

A ticket to the first performance:

**

After three purely instrumental symphonies in a row (5, 6 & 7), Mahler returned to the orchestra/chorus/soloist combination of 2, 3, and 4. [1 & 9 as bookends, also purely instrumental.]

The 9th century hymn and the final scene of Goethe's "Faust" both preach redemption through love.

Part I

These six notes form the primary theme for the entire symphony:

Part II

Constantine Floros's excellent breakdown is helpful for a more detailed study (referenced by time codes in the YouTube comments) ...

DCXXXVI. EINAUDI, Ludovico: Life

DCXXXVI. EINAUDI, Ludovico (1955-       )

Life (2013)
LE, everything except
Daniel Hope, violin
I Virtuosi Italiani
(4:22)

DCXXXV. BOULEZ, Pierre: Sur Incises

DCXXXV. BOULEZ, Pierre (1925-2016)

Sur Incises (1996-98)
1. Moment I
2. Moment II
Hidéki Nagano, piano
Dimitri Vassilakis, piano
Sébastien Vichard, piano
Ségolène Brutin, harp
Frédérique Cambreling, harp
Bleuenn Le Friec, harp
Gilles Durot, percussion
Samuel Favre, percussion
Victor Hanna, percussion
Matthias Pintscher, cond.
(39:25)

The Swiss conductor and contemporary music champion Paul Sacher was also reputed to be the richest man in Europe (he married well; the heiress to the Hoffmann-La Roche pharmaceutical company [had any Valium lately?].

For his 70th birthday, the great Russian cellist/conductor Mstislav Rostropovich asked twelve composers* to write pieces based on a hexachord which spelled out SACHER:

S is German notation for E-Flat; H for B-Natural and R for Re (D in Solfège).

* Conrad Beck, Luciano Berio, Boulez, Benjamin Britten, Henri Dutilleux, Wolfgang Fortner, Alberto Ginastera, Cristóbal Halffter, Hans Werner Henze, Heinz Holliger, Klaus Huber and Witold Lutosławski.

**

Boulez dedicated this to Sacher for his 90th birthday.

Organized delirium. Important music.

DCXXXIV. BEETHOVEN, Ludwig van: Sonata #7 in C Minor for Violin and Piano, Op. 30, No. 2

DCXXXIV. BEETHOVEN, Ludwig van (1770-1827)

Sonata #7 in C Minor for Violin and Piano, Op. 30, No. 2 (1801-02)
1. Allegro con brio
2. Adagio cantabile
3. Scherzo: Allegro
4. Finale: Allegro; Presto
Leonidas Kavakos, violin
Enrico Pace, piano
(24:45)

First movement

C Minor always meant serious business to Beethoven. This quartet is no exception. A simple triadic figure is spun out by the piano on the tonic, followed by the dominant. He then crawls down the scale to the dominant before the violin enters, imitating the theme.

A second theme -- stately -- is introduced:

This theme reoccurs in A-Flat Major, a convenient sixth-degree chord which can so nicely slip down to the dominant (G Major):



This will also become the key of the next movement:

Second movement

This B-Flat Minor Ninth chord sounds so modern and tender:

Like some great lumbering beast, the piano begins a sweeping of 32nd-notes:

The movement ends with such delicacy:

Third movement

According to the unreliable Schindler, Beethoven apparently regretted this movement "because of its incompatibility with the character of the work as a whole."

However, its charm is undeniable:

Fourth movement

Beethoven injects some sunshine when he briefly turns the theme to C Major:

Like a locomotive picking up steam, Beethoven moves towards the finish with Presto:

DCXXXIII. GLAZUNOV, Alexander: From the Middle Ages, Op. 79

DCXXXIII. GLAZUNOV, Alexander (1865-1936)

From the Middle Ages, Op. 79 (1902)
1. Prelude
2. Scherzo
3. The Troubadour's Serenade
4. Finale: The Crusaders
Moscow Radio Symphony Orchestra
Vladimir Fedoseyev, cond.
[scrolling score]
(26:06)

If there's something other than the actual music -- which is quite good and rooted in its time -- it's the magnificent orchestration, so typical of the great Russian composers.

1. Prelude

Ominous, moving to lyrical and romantic.

2. Scherzo

A marvel of technique, a Dance of Death. [listen for the Dies irae chant!]

3. The Troubadour's Serenade

Accompanied by the harp, the orchestra spins out a yearning melody that dies away to nothing.

4. Finale: The Crusaders

Filled with brass fanfares, naturally, as the Crusaders march on. Glazunov's most famous pupil, Dmitri Shostakovich, was fond of this marching motif -- a 1/4-note followed by an 1/8th/16th rest/16th ...

DCXXXII. STOCKHAUSEN, Karlheinz: Montag aus Licht

DCXXXII. STOCKHAUSEN, Karlheinz (1928-2007)

Montag aus Licht (beginning) (1984-88)
Annette Meriweather, soprano
Donna Sarley, soprano
Jana Mrazova, soprano
Nicholas Isherwood, bass
Alain Louafi, actor
Helmut Clemens, tenor
Julian Pike, tenor
Alastair Thompson, tenor
Michael Obst, electric keyboards
Simon Stockhausen, electric keyboards
Michael Svoboda, electric keyboards, trombone
Choir of the West German Radio Cologne
Children of the Radio Budapest Children's Choir
Suzanne Stephens, multiple basset-horns
Karlheinz Stockhausen, cond.
(1:02:00)

See also Samstag aus Licht.

**

MONDAY GREETING (EVE'S GREETING)

for multiple basset-horns and electric keyboards instruments.

On entering the theatre foyer, one has the impression of being underwater. Everything is bathed in greenish waves in which the rays of the sun are refracted, bent and mirrored. Basset horn music is heard -- muted, many-layered, unbelievably stretched-out, reaching the lowest depths -- and from time to time the splashing and rushing of water. In the waves, a life-size woman's figure with basset horn can be discerned, and around the perimeter there are eleven more photographs of this basset horn player in various playing positions: 12 playing poses, like the 12 pitches of the mirrored EVE formula.

ACT I -- EVE'S FIRST BIRTH-GIVING

EXPECTING

We are in a multi-storied house with inner courtyard. In front of us is a terrace ending at a huge venetian blind. The inner courtyard is dimly lit by small green lamps. The basset horn music previously heard in the foyer becomes gradually louder. Night falls -- only two small lamps remain.

With a low accent, the venetian blind opens upwards. A woman's voice is humming -- bedded in a strange sound. It is night. Indistinctly, one can make out that a flat sandy beach begins behind the portal. The sea smells strongly of salty sea water. At the half-left one senses something like a tower as high as the portal. High in the tower burns a dim, greenish light in a pulpit, which looks like the transparent throat of a huge female head, with hair bound up, seen from the rear. In the pulpit one can see the backs of three naked women - from head to hips -- standing next to each other.

Beyond the strip of sand, the sea foam calmly breathes back and forth. The nocturnal sea very faintly shimmers as far as the horizon. The heavens are starlit.

Softly laughing women approach, individually and in groups. They can be seen only faintly. With them, they bring containers, pails, cloths, sponges, baskets, ladders on beach carts. They lean the ladders against the woman statue, and fetch water from the sea.

At the left on the horizon, the thin crescent of the waxing moon rises. Suddenly, a red-green searchlight slowly rotates to the right, and the three women on a platform in the pulpit turn with it. At the same time, the moon behind the tower rises towards the right. When the searchlight and the women are facing to the right, the moon stands half-right at its summit.

All the women beging to sing. The moon sinks. At the moment when the searchlight and the three sopranos turn past us, the moon sinks below the horizon at the right. When the searchlight and the sopranos are facing to the left, a slightly larger crescent moon again rises on the horizon at the left of the tower. Through the rotating searchlight, one senses that the lighthouse has the contours of a naked woman's figure, seated in the sand with her back to the terrace. She is leaning back on her arms, and is looking out to the sea.

From the moment the searchlight was switched on, the gathered women have begun to treat the statue from head to foot -- starting at the forehead: pouring water over it -- washing-rinsing, drying-rubbing-oiling, creaming-making up-perfuming. Aromas of herbs and perfumes interchange and mingle. From the singing it becomes clear that an EVE statue is being prepared for a celebration of birth, a ceremony for the veneration of the mother.

At the moment when the searchlight is pointing to the right and the moon is at its summit, the womb of the statue as well as the sky begin to glow. An embryo in its first month of life can be seen inside the womb -- and much larger in the nocturnal sky.

The moon rises and sets nine times, slightly waxing each time until full moon. At the same time -- in the womb and as heavenly apparition -- one sees a growing foetus in its second, third, fourth, fifth, sixth, seventh, eighth, and ninth months of life, and in a few intermediary stages.

Just before the beginning of the second month, the women quickly climb down from the ladders. A few of them pull back the ladders and hold them. The others run to the arms and legs of the statue and turn it slightly to the right, in a few jerks.

This is repeated before the beginning of each successive month. At the ninth month the statue sits with its right profile to the terrace. Its legs are slightly pulled up. In the course of the gradual turning, one can make out the forms and features of a beautiful, noble woman. She is looking towards her womb.

In the music of these 9 periods, 9 cycles can be heard, in which a musical formula grows and becomes increasingly alive.

DCXXXI. ARNALD, Ólafur: Re:member

DCXXXI. ARNALD, Ólafur (1986-        )

Re:member (2018)
OA, everything
(6:11)

This young Icelandic composer writes beautiful music.

The understated video is captivating. Slightly disturbing is the recreation of a scene from Matteo Garrone's 2008 film, Gomorrah.

DCXXX. RAUTAVAARA, Einojuhani: Symphony #7 ("Angel of Light")

DCXXX. RAUTAVAARA, Einojuhani (1928-2016)

Symphony #7 ("Angel of Light") (1994)
1. Tranquillo
2. Molto allegro
3. Come un sogno
4. Pesanta -- cantabile
Helsinki Philharmonic Orchestra
Leif Segerstam, cond. (Movements 1-3)
Lahti Symphony Orchestra
Osmo Vänskä, cond. (Movement 4)
[scrolling score]
(36:30)

Inspired by childhood dreams and revelations, this symphony (he wrote eight) won wide popularity for its ethereal, spiritual nature. The Segerstam recording was nominated for a Grammy ("Best Classical Contemporary Composition"; losing to John Corigliano's String Quartet) ...

First movement

Glockenspiel and vibraphone above the strings. Brilliant orchestration!

The movement -- which begins slowly, then picks up with shorter note values -- is haunting and serene. Imagine a celestial cherub showering the sonic texture with a heavenly light!

Second movement

Whirlwind of strings and trumpets ... the glock/vibe/marimba parts -- like the first movement -- hover above the chaotic, controlled movement of the swiftly moving 16th-notes.

Third movement

Stillness. Violas divided into six parts keep a subtle deepness to the slow-moving violins. Soon clarinet trills softly accompany a solo violin -- everything is just creeping along with occasional plucks from the harp and ghostly woodwind crawls. Gorgeous music.

Fourth movement

A hymn-like theme runs throughout, accompanied by fast movements of 16ths and 32nds which seem to glide in and out of the solemn theme.

A great symphony. Thanks to Cmaj7 for the scrolling score.

DCXXIX. BACH, J.S. Brandenburg Concerto #3 in G Major, BWV 1048

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

Brandenburg Concerto #3 in G Major, BWV 1048 (1721)
1. [no tempo indication]
2. Adagio
3. Allegro
Netherlands Bach Society
(11:00)

The shortest of the six, but in no way the least.

First movement

In ritornello form, and reused by Bach in the sinfonia of the cantata Ich liebe den Höchsten von ganzem Gemüte, BWV 174.

After a unison exclamation, Bach sets up this call-and-response going from high to low:

Pedal-point magic:

The motif now rises from bottom to top.

Second movement

Just two chords. In this recording, Shunske Sato plays a little figuration to the B Major chord, which drops not to the expected E Major, but G Major:

Third movement

And a joyful, canonic gigue-like 12/8:

DCXXVIII. BARTÓK, Béla: Choosing a Girl

DCXXVIII. BARTÓK, Béla (1881-1945)

Choosing a Girl (1935)
from Two- and Three-part Choruses, for children's and female voices, Volume 2
Győr Girls' Choir
Miklós Szabó, cond.
(1:12)

Don't you ever take a girl
For gold and silver, for fancy dresses
But rather love her for her mildness
And her becoming gait before your eyes

Never look at her dancing feet
Don't give in to her honied words
Heed the moods of her heart
Try and learn the secrets of her heart

DCXXVII. BERLIOZ, Hector: Harold in Italy, Op. 16

DCXXVII. BERLIOZ, Hector (1803-1869)

Harold in Italy, Op. 16 (1834)
1. Harold in the Mountains
2. March of the pilgrims
3. Serenade of an Abruzzo mountaineer
4. Orgy of bandits
Antoine Tamestit, viola
Frankfurt Radio Symphony
Eliahu Inbal, cond.
(43:56)

The great violinist virtuoso/composer Niccolò Paganini wanted to show off his 1731 Stradivarius viola to the world.

"Would you like to write a solo for viola? You are the only one I can trust for this task."

When Paganini saw all the rests in the viola part, he rejected the piece, disappointed. However, a few years later -- when he finally heard the piece in concert, he told Berlioz that he had never been as touched by such music. He knelt and kissed Berlioz's hand.

**

Lord Byron's poem Childe Harold's Pilgrimage inspired the mood for Berlioz's "symphony with obbligato viola."

1. Harold in the Mountains

Berlioz's subtitles aptly describe the musical moment -- we begin with melancholy -- grumbling basses and a forlorn bassoon:

The viola enters with a simple theme, accompanied by harp, clarinets and light strings:

The tempo picks up; the soloist given a quick figurative passage (one can imagine Paganini looking at this and thinking ... WTF?)

With tentative steps, the viola finally assume a prominent role in this repeated section:

The soloist has a few more moments, before joining in with the tutti orchestra ending with a pronounced G Major bang ...

2. March of the pilgrims

And no loud, clomping clodhoppers, if you please ... note Berlioz's careful instructions to the conductor:

The viola enters with some syncopation, and the theme of the Adagio returns (which will reoccur frequently, which Berlioz will unfailingly notate in the score.

The viola plays sul ponticello from here to the end in bariolage.

3. Serenade of an Abruzzo mountaineer

"to his sweetheart"

Again the viola enters with the initial Adagio theme:

The viola plays the serenade above an insistent 6/8 rhythm, which is actually 12/8!

ending gently:

4. Orgy of bandits

Despite the D Minor key sig, the bravado opening is in D Major, ending on the subdominant G Major, as Berlioz then returns to the opening music:

A few moments later, he returns to the second movement theme:

and then the third movement:

recapping the original Allegro theme:

a lovely recap of the Adagio:

Absent for a long time, the solo viola returns with off-stage strings!

A full tutti orchestra brings the work to a close in G Major: