DCCCXX. MONTSALVATGE, Xavier: Calidoscopi Simfònic, Op. 61

DCCCXX. MONTSALVATGE, Xavier (1912-2002)

Calidoscopi Simfònic, Op. 61 (1954)
1, Introducció. Moderato
2. Ronda i Pantomima. Allegro mosso -- Meno mosso -- Poco più (come prima)
3. Cànon i Havanera. Allegretto deciso -- Meno mosso -- Semplice -- Tempo d'havanera
4. Final "a la Indiana" -- Andante ritmico -- Poco meno -- Tempo I
BBC Philharmonic
Juanjo Mena, cond.
(16:08)

DCCCXIX. HAYDN, Franz Joseph: Symphony #83 in G Minor

DCCCXIX. HAYDN, Franz Joseph (1732-1809)

Symphony #83 in G Minor (1785)
1. Allegro spiritoso
2. Andante
3. Menuet: Allegretto -- Trio
4. Finale; Vivace
Frankfurt Radio Symphony Orchestra
Andrés Orozco-Estrada, cond.
(22:47)

La Poule

The Chicken.

Most sobriquets aren't given to the piece by the composer, (which is why I rarely include them in the titles) ... some listener heard the "chicken" motif described below, and then someone one else hears it and soon the symphony has a nickname.

First movement

The powerful theme encapsulates one of Haydn's many magic tricks, present throughout the symphony ...

• The leading tone interrupting a triad;
• The other direction -- an appoggiatura on the F-Sharp Diminished (B-Flat to A)
• After a tonic cadence, Haydn creates a beautiful secondary dominant moving to D Minor -- the first two bars are E-Flat Major, 1st inversion (VI⁶) -- then that weird C-Sharp appears and the cello descends from a B-Flat to an A, and the basses are sawing away on G -- this is the secondary document -- an A dominant seventh chord, in third inversion (V of V) leading to D Minor.
  
• The dotted 1/8th-16th riff becomes prominent. The pecking fowl is imagined ...

• The acciaccatura -- a fancy word for a quick grace note -- is the magic trick that makes the chicken really happen (do you think it's really possible Haydn wasn't thinking of a chicken here?) -- here at the introduction of the second theme.
• But when the oboe enters with the 1/8th-1/16th riff against those quicky grace notes -- we now have what I dare say is the indisputable sound of a pecking chicken.

 

• When Haydn switches the oboe riff to a flute, the chicken-image is perhaps at its clearest.
  
  

Haydn became adept (copied by Beethoven) at halting the proceedings for a bar of rest and a change of dynamics.

Here, he recaps the first theme in two-bar phrases -- outlining chords in D Minor/D dominant seventh/G Minor/D dominant seventh/ and finally, a D dominant seventh with a flatted-ninth!

Second movement

A delicate melody starting with repeated notes ...

Later, the seconds and violas play that opening F quietly for a few bars and then -- a ff explosion. If the symphony didn't already have a nickname it might have been called "Surprise."

Third movement

A tuneful menuet

with a lovely Trio:

Fourth movement

A traditional 12/8 gigue, with lots of interesting key changes.

A really great symphony!

DCCCXVIII. STOCKHAUSEN, Karlheinz: Act Two from Donnerstag aus Licht

DCCCXVIII. STOCKHAUSEN, Karlheinz (1928-2007)

Act Two from Donnerstag aus Licht (1977-78)
Marco Blaauw, trumpet
MusikFabrik
Peter Rundel, cond.
(51:46)

Basically a trumpet concerto, Act Two of Donnerstag (Thursday) concerns Michael's journey around the earth.

"The 'journey around the earth' is interpreted in a purely musical way. MICHAEL's instrument is the trumpet. The orchestra is 'the earth.'" -- KS

DCCCXVII. BEETHOVEN, Ludwig van: Der glorreiche Augenblick, Op. 136

DCCCXVII. BEETHOVEN, Ludwig van (1770-1827)

Der glorreiche Augenblick, Op. 136 (1814)
1. Chor: Europa steht! (3:49)
2. Rezitativ: O seht sie nah und näher treten! / Chor: Vienna, Vienna, Vienna! (3:32)
3. Rezitativ: O Himmel, welch' Entzücken! / Aria mit Chor: Alle die Herrscher darf ich grüssen (9:20)
4. Rezitativ: Das Auge schaut / Kavatine mit Chor: Dem die erste Zähre (7:10)
5. Rezitativ: Der den Bund im Sturme festgehalten / Quartett: In meinen Mauern bauen sich neue Zeiten auf (6:21)
6. Chor: Es treten vor die Scharen der Frauen (3:59)
Luba Orgonasova, soprano
Iris Vermillion, mezzo soprano
Timothy Robinson, tenor
Franz Hawlata, bass
Coro di voci bianche dell'Arcum
Coro e Orchestra dell'Accademia Nazionale di Santa Cecilia
Myung-whun Chung, cond.

The Congress of Vienna (1814-15) convened when Napoleon was defeated. Led by Metternich, the European powers chopped up the continent as they saw fit.

Surely, Beethoven was happy to see the man he had once admired so much, get his comeuppance. Nevertheless, this cantata is no masterpiece, and bears the mark of a composer writing for his contemporary audience -- as opposed for posterity.

It was not a commission, but Beethoven -- contrary to his previous behavior -- really kissed up to Metternich & Co. It was a success with the public -- witness the tremendous ovation from the first audience after Vienna (the soprano) sang Was nur die Erde hoch and hehres hat, in meinen Mauern hat es sich versammelt (All that is lofty and sublime on earth is assembled here within my walls) [No. 3]

1. Chor: Europa steht!

2. Rezitativ: O seht sie nah und näher treten! / Chor: Vienna, Vienna, Vienna!

3. Rezitativ: O Himmel, welch' Entzücken! / Aria mit Chor: Alle die Herrscher darf ich grüssen

4. Rezitativ: Das Auge schaut / Kavatine mit Chor: Dem die erste Zähre

5. Rezitativ: Der den Bund im Sturme festgehalten / Quartett: In meinen Mauern bauen sich neue Zeiten auf

6. Chor: Es treten vor die Scharen der Frauen

DCCCXVI. HAYDN, Franz Joseph: My Nanny O

DCCCXVI. HAYDN, Franz Joseph (1732-1809)

My Nanny O
Jamie MacDougall, tenor
Haydn Trio Eisenstadt
(3:46)

DCCCXV. FIELD, Brian T.: Three Passions for Our Tortured Planet

DCCCXV. FIELD, Brian T. (1967-       )

Three Passions for Our Tortured Planet (2022)
1. ... Fire
2. ... Glaciers
3. ... Winds
Kay Kyung Eun Kim, piano
(13:28)

DCCCXIV. WILLIAMS, Gareth: Fields of Light

DCCCXIV. WILLIAMS, Gareth (1977-       )

Fields of Light (2015)
BBC Symphony Orchestra
[scrolling score]
(10:40)

A bit reminiscent of John Adams; but there's plenty of originality here. The piano seems to interrupt something sacred. Beautifully orchestrated.

DCCCXIII. HAYDN, Franz Joseph: Missa Sancta Caeciliae

DCCCXIII. HAYDN, Franz Joseph (1732-1809)

Missa Sancta Caeciliae (1766)
1. Kyrie
2. Gloria
3. Credo
4. Sanctus
5. Agnus Dei
Krisztina Laki, soprano
Hilke Helling, alto
Aldo Baldin, tenor
Hans-Georg Ahrens, bass
Kammerchor Stuttgart
Württemberg Kammerorchester Heilbronn
Frieder Bernius, cond.
(1:11:12)

Haydn had just been promoted to Kapellmeister. A Mass would have been expected. Whether it was actually performed on St. Cecilia's Day (November 22) is speculative. Cecilia was the patron saint of music.

1. Kyrie

2. Gloria

3. Credo

4. Sanctus

5. Agnus Dei

DCCCXII. BARTÓK, Béla: Out of Doors

DCCCXII. BARTÓK, Béla (1881-1945)

Out of Doors (1926)
1. With Drums and Pipes -- Pesante
2. Barcarolla -- Andante
3. Musettes -- Moderato
4. The Night's Music -- Lento -- (Un poco) più andante
5. The Chase -- Presto
Mark Taratushkin, piano
(13:57)

Bartók's compositions from the mid-20s comprise some of the most adventurous and exciting works of that era -- the middle three string quartets (#3 1927, 4 1928, and 5 1934); the Piano Sonata; and the first Piano Concerto.

Having heard Stravinsky's Concerto for Piano and Wind Instruments (1923-24), Bartók began to think of the piano as more of a percussion instrument.

The work calls for a talented pianist. This is difficult music. Taratushkin plays from memory.

1. With Drums and Pipes -- Pesante

This astonishing music is the only movement based on a specific folk song -- Gólya, gólya, gilice:

 

Stork, stork, what made your leg bloody?
A Turkish child cut it, a Hungarian child cured it.
With a whistle, with a drum, and with a reed violin.

Bartok named the movement Sippal, dobbal -- literally with a whistle and a drum, froms bars 9 and 10.

The movement begins with the "drums and pipes" motif -- in the piano's lowest register -- and gradually introduces a less percussive, legato section.

2. Barcarolla -- Andante

A soft rolling motion and a continuous flow of 1/8th-notes in the left hand while the right plays high rhythmically-disjointed notes ...

3. Musettes -- Moderato

Bartók had been studying Baroque music. He must have come across Couperin's famous keyboard piece, Fastes de la grande, et Ancienne-Mxnxstrxndxsx. [The unpronounceable last word is actually Ménétriers. The story is fascinating!]

A musette is a weird bagpipe:

4. The Night's Music -- Lento -- (Un poco) più andante

An omnipresent clever cluster chord (E-Sharp, F-Sharp, G, G-Sharp and A) serves as a springboard for Bartók's imitation of the sounds of a Hungarian summer night.

This idea of "night music" (qv Mahler) would fascinate him from here on forward.

5. The Chase -- Presto

Related to the chase scene in The Miraculous Mandarin (1918-24) and very similar to the second movement of the Fourth Quartet.

DCCCXI. BERG, Alban: Altenberg-Lieder, Op. 4

DCCCXI. BERG, Alban (1885-1935)

Altenberg-Lieder, Op. 4 (1912)
1. Seele, wie bist du schöner (Soul, how much more beautiful are you) (2:47)
2. Sahst du nach dem Gewitterregen den Wald? (Did you see the forest after the rainstorm? (1:10)
3. Über die Grenzen des All (Beyond the boundaries of the universe) (1:33)
4. Nichts ist gekommen (Nothing has come) (1:29)
5. Hier ist Friede (Here is peace) (4:10)
Juliane Banse, soprano
Wiener Philharmoniker
Claudio Abbado, cond.

DCCCX. BACH, J.S.: Cantata #9: Es ist das Heil uns kommen her, BWV 9

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

Cantata #9: Es ist das Heil uns kommen her, BWV 9 (1734)
1. [Coro]: Es ist das Heil uns kommen her
2. Recitativo (Basso): Gott gab uns ein Gesetz
3. Aria (Tenore): Wir waren schon zu tief gesunken
4. Recitativo (Basso): Doch mußte des Gesetz erfüllet werden
5. Aria (Duetto: Soprano, Alto): Herr, du siehst statt guter Werke
6. Recitativo (Basso): Wenn wir die Sünd aus dem Gesetz erkennen
7. Choral (Coro): Ob sichs anließ, als wollt er nicht
Gächinger Kantorei
Württembergisches Kammerorchester Heilbronn
Helmuth Rilling, cond.
(20:42)

This one's all about faith.

The readings for day are from Romans 6:3-11 and Matthew 5:20-26.

The three bass recitatives are all about God's Laws -- their bestowal, their fulfillment (or lack of it) and out attitudes towards them.

The arias and chorale reflect upon all this and extend the ideas.

1. [Coro]: Es ist das Heil uns kommen her

A chorale fantasia, the vocals embedded in a concerto of the orchestral instruments. The cantus firmus from the hymn is in the soprani -- as usual -- and the flute and oboe d'amore are important in Bach's forming of the sound texture.

Salvation has come to us
Through goodness and grace
Works help no longer
They cannot protect us
Faith looks to Jesus Christ
He has done propitiation for us all
He has become our mediator

2. Recitativo (Basso): Gott gab uns ein Gesetz

God gave us a law, but we were too weak
To be able to keep it
We pursued only sin
No man could be called devout
The spirit stuck to the flesh
And did not dare to resist
We were supposed to follow the way of the law
And see there, reflected as a glass
How our natures were wicked
Yet we stayed as we were
No one was able, by his own power
To leave his sinful wickedness behind him
Even though He summoned up all his strength

3. Aria (Tenore): Wir waren schon zu tief gesunken

Dürr: "an image of a giddy descent into the abyss of sin."

We had already sunk too deep
The abyss swallowed us completely
The depths already threatened death
And still, even in such distress
No hand could help us

4. Recitativo (Basso): Doch mußte des Gesetz erfüllet werden

But the law had to be fulfilled
And so the Saviour of the world came
The Son of the Highest himself fulfilled the law
And appeased his Father's wrath
Through His innocent death
He obtained help for us
He who trusts in Him therefore
He who puts his faith in his suffering
Will not be lost
Heaven is reserved
For Him that brings true faith with Him
And clasps Jesus firmly in his arms

5. Aria (Duetto: Soprano, Alto): Herr, du siehst statt guter Werke

This da capo aria is set in five parts of equal weight: the soprano and alto, the flute, oboe and continuo -- all in intricate canonic counterpoint ...

Lord, instead of regarding good works
You regard the strength of the faith
In our hearts
It is only faith that You accept
Only faith justifies
Everything else would seem too bad
To be able to help us

6. Recitativo (Basso): Wenn wir die Sünd aus dem Gesetz erkennen

When we realise from the law that we have sinned
We are smitten by conscience
But we may consider it a comfort
That, in the gospel
We may again become glad
And joyful
This reinforces our faith again
Therefore we can look forward to that time
Which God in his goodness
Has promised us
However, in His wisdom
The exact hour of which has kept from us
Nevertheless, we shall be content
He knows when it is necessary
And needs to practise no deceit
On us; we can put our faith in Him
And trust Him alone

7. Choral (Coro): Ob sichs anließ, als wollt er nicht

If it seems as though He does not want to
Do not be afraid
For where He is most concerned
That is where He wishes not to be discovered
You may depend on His word
And even if your heart says only "No"
Do not fear