With the Classic 100 Dance countdown this weekend, I thought it was time to reveal my votes, for those who care about such things. It's at least a good chance to share some great music. As usual, the decision of which 10 pieces to vote for was horrendously difficult. Luckily, I left it till there were only two hours left to vote and I desperately needed to get to bed anyway, so my tiredness helped me make the difficult choices.
In the end, I had to ask myself, does that piece really make me move? And with some hard fought honesty I managed to cull such favourites as Ippolitov-Ivanov's Caucasian Sketches. What did make the cut then? Two I discussed in a recent post, Bizet's Farandole and Saint-Saens' Bacchanale. In a break from my usual rule of only one vote per composer I also voted for Saint-Saens' Danse Macabre, because, it's the freaking Danse Macabre okay and it really makes the bones dance.
Still specifically dance music, there was Borodin's Prince Igor for the Polovstian Dances which have been moving me since my early teens, particularly after I learnt one on the clarinet; Copland's Rodeo, which has dances like Hoedown and Buckaroo Holiday; and of course Dvorak's Slavonic Dances which are simply brilliant.
My other choices are not dances, but they do make me move when I hear them. Orff's Carmina Burana and Mussorgsky's Night on Bald Mountain are two of my all-time favourite works and they really do go off, as I do with some frenetic air-conducting.
The last two pieces I realised as I voted have particular significance to this blog, being the two capriccios which indirectly led me to the name: Tchaikovsky's Capriccio Itallien and Rimsky-Korsakov's Capriccio Espagnol. Both written by Romantic Russians thinking about Mediterranean countries, and both exciting romps that never fail to stir the feet to tap and the arms to swing, between softer moods of head swaying.
It was because of these two pieces that I one day decided to figure out what a capriccio was; in short it's a fantasy on a theme, not so much a musical theme but an idea, like Italy or Spain seen through Romantic Russian eyes. If not for these two works then, this blog may not exist. Here's hoping they do well in the countdown. And here's hoping it's a rollicking good selection of works sure to keep the blood flowing and the body moving.
Don't forget to listen, it's a great way to explore new music and enjoy old favourites.
Reviews and thoughts from the music appreciation tentacle of Giant Squid Creations.
Showing posts with label Classic 100. Show all posts
Showing posts with label Classic 100. Show all posts
Tuesday, 5 June 2018
Tuesday, 1 May 2018
New Home and New Classic 100
So the Giant Squid has relocated to the Southern Ocean and I have moved to Tasmania to keep in touch - climate change affects us all and it's a good move. If you haven't heard by the way, Wandering Capriccio is now the musical appreciation tentacle of Giant Squid Creations.
Of course, there are others I am nominating, some of which are obvious and others not so much, but I won't tie you down with the whole list here. What I might do is create a Spotify list with not just my nominations but pieces I like to move to that I know won't be in the countdown for one reason or another and I'll share that soon.
Until then, keep exploring, and dancing, in the world of music.
Last year was a busy one for me personally, so this blog was very quiet as you may have noticed. What there was, was in relation to the wonderful Sydney Youth Orchestra which kindly invited me to attend the main concerts to review them here. I will miss that orchestra, and not much else about Sydney. If you are in the area, get to their concerts!
Now I'm here I look forward to music from the TSO and Hobart Chamber Orchestra, and hopefully the Tasmanian Youth Orchestra too, which I'm sure rivals the Sydney one. All that is to come, when opportunity and finances allow.
For now, there's another Classic 100 beginning via ABC Classic FM. The topic this year is Dance - music that makes you move - and for the first time in a few years I'm actually excited about it. It's in the nomination stage at the moment and I'm working on my list as I write (Dvorak's 5 Prague Waltzes are playing and I'm erring on whether to put them in).
My first thought was the Bacchanale from Saint-Saens' Samson and Delilah, although I confess I couldn't remember what it was called at the time. I know it from an ABC Classics release from years ago called The Dance of the Hours, and here's a fine performance of it for you by the Berliner Philharmoniker conducted by Gustavo Dudamel.
Next I had to nominate Bizet's Farandole from L'Arlesienne. That piece was on a Reader's Digest compilation I had in my teens and it's always stirred me to movement and inspired me generally. Here it is with Paavo Jarvi conducting the Paris Orchestra.
Of course, there are others I am nominating, some of which are obvious and others not so much, but I won't tie you down with the whole list here. What I might do is create a Spotify list with not just my nominations but pieces I like to move to that I know won't be in the countdown for one reason or another and I'll share that soon.
Until then, keep exploring, and dancing, in the world of music.
Wednesday, 1 July 2015
Catch Up
It's been too long since I posted in here so I thought a quick entry to catch up then I'll try to return to my listening project.
Not much to catch up on of course, but there was the Classic 100 Swoon. As expected most of my nominations didn't make the voting list and only one made the countdown - Eliza's Aria by Elena Kats-Chernin. The upshot of the nominees missing out was I could vote for other things.
Swoons are very personal of course and it seems this year I sided with less popular pieces than usual. Selections from Grieg's Peer Gynt made it in to the top 50 which was good and not unexpected. I had to vote for them as they are probably my earliest swoons, particularly Solveig's Song which I was swooning too as a young teen just discovering music's real power.
My only other successful vote was for Faure's Pavane, another early love of mine, but it came in much lower than I expected. In fact, many of what I thought would be obvious choices only scraped into the countdown or ranked much lower than I imagined.
I had more luck in the second hundred but even there some absences seem quite glaring. Such is the nature of swoon, it's very divisive no matter how beautiful.
As I write this I'm listening to Shostakovich's String Quartet No 15 played by the Eder Quartet. It never entered my mind for the countdown, but there is no doubt if I stop typing and just listen I am transported. It takes me to a sad place, sometimes violent but generally it feels like the cold ruins of a city torn apart. Or, to quote the Smashing Pumpkins, "where the willow weeps and the whirlpool sleeps'.
Swoons are everywhere, beauty is lurking, waiting to be found. We only need to look.
Not much to catch up on of course, but there was the Classic 100 Swoon. As expected most of my nominations didn't make the voting list and only one made the countdown - Eliza's Aria by Elena Kats-Chernin. The upshot of the nominees missing out was I could vote for other things.
Swoons are very personal of course and it seems this year I sided with less popular pieces than usual. Selections from Grieg's Peer Gynt made it in to the top 50 which was good and not unexpected. I had to vote for them as they are probably my earliest swoons, particularly Solveig's Song which I was swooning too as a young teen just discovering music's real power.
My only other successful vote was for Faure's Pavane, another early love of mine, but it came in much lower than I expected. In fact, many of what I thought would be obvious choices only scraped into the countdown or ranked much lower than I imagined.
I had more luck in the second hundred but even there some absences seem quite glaring. Such is the nature of swoon, it's very divisive no matter how beautiful.
As I write this I'm listening to Shostakovich's String Quartet No 15 played by the Eder Quartet. It never entered my mind for the countdown, but there is no doubt if I stop typing and just listen I am transported. It takes me to a sad place, sometimes violent but generally it feels like the cold ruins of a city torn apart. Or, to quote the Smashing Pumpkins, "where the willow weeps and the whirlpool sleeps'.
Swoons are everywhere, beauty is lurking, waiting to be found. We only need to look.
Tuesday, 14 April 2015
Swoon - A New Classic 100 Countdown
So ABC Classic FM has announced its next Classic 100 and it's Swoon! Now there's an exciting and potentially divisive theme for a countdown.
The only definition hinted at in the About page (found here) is 'a little parcel of rapture' and really there's not much more that can be said about it. It's music that carries you away for a while, let's you sit in quiet contemplation outside the hustle and bustle of the world around and within.
And that's going to change from person to person. I have many swoons in the 'pop' music world for instance that many voters in this countdown would consider horrific noise.
That said, I think over the years of Swooning on the ABC a certain nebulous 'feel' can be applied to the theme, but I still expect some way out choices. But there's some obvious favourites too. If Debussy's Clair de lune isn't in the top 10 for instance I'll post a video of me attempting to pirouette on YouTube. I also expect the adagio from Rodrigo's Concerto de Aranjuez, Faure's Pavane, Massenet's Meditation from Thais and of course Canteloube's darn Bailero (which I can't stand) to do well.
I'm hoping for some Australian entries. Koehne's Selfish Giant features in part in the old Swoon box set and is one of my favourites on there. I also think Kats-Chernin's Wild Swans, Edwards' Dawn Mantra and Sculthorpe's Left Bank Waltz (another from the old set) should be in there.
The more immediate question is what to nominate for the list ... watch this space. Expect Ippolitov-Ivanov and some Russians. And Mozart. Bach, Beethoven, Chopin ... dang it they all wrote good swoons.
The grey matter is twitching and the heart is looking forward to drifting in peace.
The only definition hinted at in the About page (found here) is 'a little parcel of rapture' and really there's not much more that can be said about it. It's music that carries you away for a while, let's you sit in quiet contemplation outside the hustle and bustle of the world around and within.
And that's going to change from person to person. I have many swoons in the 'pop' music world for instance that many voters in this countdown would consider horrific noise.
That said, I think over the years of Swooning on the ABC a certain nebulous 'feel' can be applied to the theme, but I still expect some way out choices. But there's some obvious favourites too. If Debussy's Clair de lune isn't in the top 10 for instance I'll post a video of me attempting to pirouette on YouTube. I also expect the adagio from Rodrigo's Concerto de Aranjuez, Faure's Pavane, Massenet's Meditation from Thais and of course Canteloube's darn Bailero (which I can't stand) to do well.
I'm hoping for some Australian entries. Koehne's Selfish Giant features in part in the old Swoon box set and is one of my favourites on there. I also think Kats-Chernin's Wild Swans, Edwards' Dawn Mantra and Sculthorpe's Left Bank Waltz (another from the old set) should be in there.
The more immediate question is what to nominate for the list ... watch this space. Expect Ippolitov-Ivanov and some Russians. And Mozart. Bach, Beethoven, Chopin ... dang it they all wrote good swoons.
The grey matter is twitching and the heart is looking forward to drifting in peace.
Monday, 12 January 2015
New Year, New Listening Project
I'm back. Thankfully the music never left.
I'm doing a new listening project and thought I'd write about it here. It's called Pieces I Must Heat at Least Once a Year. Describes itself really.
The first piece I listened to for it was Elgar's Cello Concerto because I heard a little bit of it on the radio and just wanted to listen to it in full. It's a piece I discovered on a whim. I was looking at a sales page on the ABC Shop online and there it was on an album by the Adelaide Symphony Orchestra. I knew I liked cello concertos and I didn't have much Elgar at the time so I thought, 'why not?'
The disc arrived, I ripped it (I wasn't listening to many CDs at the time) and put it on my mp3 player to listen to at work. So I was sitting at my desk, earphones in, and I hit play. Those first notes knocked me off my perch, then there was that falling phrase ... I was hooked.
The rest of the concerto, to me, is a journey away from and returning to that opening section. I couldn't say much about it to be honest. It's good, very good in fact, but that opening ... blows me away every time.
I think I bought the album the same year as the Classic 100 Music of the 20th Century on ABC Classic FM, so naturally I voted for the concerto among other things. At the time I thought I'd be helping push it up the rankings a bit - my ignorance apparently. It was a clear winner of the whole countdown and hardly in need of my help. I shouldn't have been surprised, it is a remarkable piece of work and that opening phrase does speak loudly of some of the pathos and melancholy of last century.
If you've not heard it, here is what many consider the best rendition of it (first movement anyway) by Jacqueline du Pre. It's amazing just to watch her.
I'm doing a new listening project and thought I'd write about it here. It's called Pieces I Must Heat at Least Once a Year. Describes itself really.
The first piece I listened to for it was Elgar's Cello Concerto because I heard a little bit of it on the radio and just wanted to listen to it in full. It's a piece I discovered on a whim. I was looking at a sales page on the ABC Shop online and there it was on an album by the Adelaide Symphony Orchestra. I knew I liked cello concertos and I didn't have much Elgar at the time so I thought, 'why not?'
The disc arrived, I ripped it (I wasn't listening to many CDs at the time) and put it on my mp3 player to listen to at work. So I was sitting at my desk, earphones in, and I hit play. Those first notes knocked me off my perch, then there was that falling phrase ... I was hooked.
The rest of the concerto, to me, is a journey away from and returning to that opening section. I couldn't say much about it to be honest. It's good, very good in fact, but that opening ... blows me away every time.
I think I bought the album the same year as the Classic 100 Music of the 20th Century on ABC Classic FM, so naturally I voted for the concerto among other things. At the time I thought I'd be helping push it up the rankings a bit - my ignorance apparently. It was a clear winner of the whole countdown and hardly in need of my help. I shouldn't have been surprised, it is a remarkable piece of work and that opening phrase does speak loudly of some of the pathos and melancholy of last century.
If you've not heard it, here is what many consider the best rendition of it (first movement anyway) by Jacqueline du Pre. It's amazing just to watch her.
Tuesday, 17 June 2014
A Look Back at the Classic 100 Baroque and Before
The Classic 100 Baroque and Before has come and gone, but what an enjoyable ride it was. It probably didn’t present too many surprises; JS Bach dominated the countdown, Handel followed and his Messiah came in at No 1; Vivaldi and Purcell did well and there were generally more Baroque pieces than Before. But, despite such broad things that were always going to happen, the countdown did reveal the sheer depth and breadth of early and Baroque music.
It could be argued the music was mostly the same but that’s said about every type of music by people who don’t appreciate it. In truth we had polyphony, plain chant, early opera and sacred and secular choral works; plus sonatas and concertos in several instruments in styles that showed more variety than might be assumed. How can you compare the power of an organ toccata with the gentle beauty of Biber’s Rosary Sonatas?
Which brings me to the discoveries of the countdown! No matter how well known many of the pieces in countdowns like this are, there are always some surprises and new encounters – at least for me. Biber’s Rosary Sonatas were one of the most exciting for me, they were amazingly evocative and got just as much, if not more, out of the violin than the flashier sonatas like Tartini’s ‘Devil’s Trill’.
Another curious encounter was JS Bach’s ‘other’ Toccata and Fugue in D minor, the one called ‘Dorian’. It lacked the dramatic and powerful opening and wouldn’t have the same impact when being played by a mad genius or evil mastermind, but it made up for that with its rolling pace and friendlier melody. In some ways I would argue it’s the more accessible of the two works as the fugue is less complex, something some people find off-putting about organ music.
But what of the Before? There was some complaint on social media that it didn’t get a good enough look in because the Baroque overwhelmed it. And it certainly didn’t do as well overall. There was some, including two in the top 10, but Baroque music was much, much more prominent. Was this a failing of the countdown? Of the voting public? Or just the ABC for not programming it enough?
All those arguments got trotted out on social media as the countdown reached the end. Not just about early music either; the presence of Pachabel’s Canon and Vivaldi’s Four Seasons in the top 10 caused an inconsiderate amount of moaning on Twitter and apparently showed how ignorant people are and how ABC Classic FM needs to program “insert the complainant’s favourite composer here”. I found it quite ironic that the same people complaining that The Four Seasons are overplayed were very happy about the Messiah being No 1 – surely it’s hard to be more hackneyed than the Hallelujah Chorus.
Of course, in the end I believe it’s a combination of things. The programming informs what listeners know and like and what listeners know and like informs programming – it’s a circle just like all commercialised processes. And it’s beside the point. So the top spots were largely predictable, big deal, the event of the countdown attracts a lot of listeners who may not know much music beyond those ‘monumental’ pieces. It gives them a chance to hear the lesser known works like the ‘Dorian’ and Biber. And from there perhaps they’ll find the love of the music and seek out more. Only then will the ‘what the listeners like’ grow and that will help the programming grow in turn.
And that’s why I love Classic 100 countdowns. That and I get obsessive over lists and this gives me a chance to make a heap of them.
In conclusion, this was a splendid collection of music that celebrated some true ‘classics’ and introduced me to some beautiful works I hadn’t encountered before – and, as always, encouraged me to keep exploring this wonderful sound world. Get listening!
It could be argued the music was mostly the same but that’s said about every type of music by people who don’t appreciate it. In truth we had polyphony, plain chant, early opera and sacred and secular choral works; plus sonatas and concertos in several instruments in styles that showed more variety than might be assumed. How can you compare the power of an organ toccata with the gentle beauty of Biber’s Rosary Sonatas?
Which brings me to the discoveries of the countdown! No matter how well known many of the pieces in countdowns like this are, there are always some surprises and new encounters – at least for me. Biber’s Rosary Sonatas were one of the most exciting for me, they were amazingly evocative and got just as much, if not more, out of the violin than the flashier sonatas like Tartini’s ‘Devil’s Trill’.
Another curious encounter was JS Bach’s ‘other’ Toccata and Fugue in D minor, the one called ‘Dorian’. It lacked the dramatic and powerful opening and wouldn’t have the same impact when being played by a mad genius or evil mastermind, but it made up for that with its rolling pace and friendlier melody. In some ways I would argue it’s the more accessible of the two works as the fugue is less complex, something some people find off-putting about organ music.
But what of the Before? There was some complaint on social media that it didn’t get a good enough look in because the Baroque overwhelmed it. And it certainly didn’t do as well overall. There was some, including two in the top 10, but Baroque music was much, much more prominent. Was this a failing of the countdown? Of the voting public? Or just the ABC for not programming it enough?
All those arguments got trotted out on social media as the countdown reached the end. Not just about early music either; the presence of Pachabel’s Canon and Vivaldi’s Four Seasons in the top 10 caused an inconsiderate amount of moaning on Twitter and apparently showed how ignorant people are and how ABC Classic FM needs to program “insert the complainant’s favourite composer here”. I found it quite ironic that the same people complaining that The Four Seasons are overplayed were very happy about the Messiah being No 1 – surely it’s hard to be more hackneyed than the Hallelujah Chorus.
Of course, in the end I believe it’s a combination of things. The programming informs what listeners know and like and what listeners know and like informs programming – it’s a circle just like all commercialised processes. And it’s beside the point. So the top spots were largely predictable, big deal, the event of the countdown attracts a lot of listeners who may not know much music beyond those ‘monumental’ pieces. It gives them a chance to hear the lesser known works like the ‘Dorian’ and Biber. And from there perhaps they’ll find the love of the music and seek out more. Only then will the ‘what the listeners like’ grow and that will help the programming grow in turn.
And that’s why I love Classic 100 countdowns. That and I get obsessive over lists and this gives me a chance to make a heap of them.
In conclusion, this was a splendid collection of music that celebrated some true ‘classics’ and introduced me to some beautiful works I hadn’t encountered before – and, as always, encouraged me to keep exploring this wonderful sound world. Get listening!
Monday, 2 June 2014
Baroque Composers IV - Corelli and Locatelli
Arcangelo Corelli (1653-1713) was an Italian composer and violinist whose style of playing greatly influenced the performance of the instrument for years to come. He was born into a wealthy family and raised by his mother – since his father died a few weeks before he was born. Much of his life is confused by legend and anecdotes that have no evidence to back them up. We know he was in Rome by 1675 and there built an impressive career as a highly respected violinist. Interestingly however he didn’t like the high register and refused to play it.
Finding that out explains a fair bit about his Violin Sonatas, Op 5 which I recently bought the second half thereof from Classicsonline (it’s a set of 12 so there are two volumes). While demonstrating virtuosic elements throughout, they are much lower in tone than most violin pieces, which I find quite refreshing to be honest. The most famous part of them is No 12, which is known as La Folia, it is a one movement but as long as the others and it explores as much ground – if not more. It is a truly remarkable piece.
The lower register of the works also makes the slow movements that much more beautiful to my mind. He works the violin gently over the accompanying continuo or harpsichord to create a real sense of swoon (if you take my meaning). He even has a Sarabanda Largo; sarabandes are usually dances so this slow version is quite remarkable. It sounds at times like the violin part is being broken over the knee of the harpsichord, only gently.
His most famous composition however is his Concerto Grossi, a set of 12 concerto grossi which influenced a number of composers including Handel who wrote his own set instead of following the more modern (at the time) Venetian concerto popularised by Vivaldi. They’re best known because of the so-called Christmas concerto which is brilliant but the rest of them work equally as well. Here’s No 1 from the set. It opens with all the regal pomp you could expect of the age but soon goes into a questioning yet spritely phase that loses nothing of the ornamental beauty but is rich in feeling, if not deep emotion.
Pietro Locatelli (1695-1764) was another Italian violinist and composer who possibly studied under Corelli for a very short time just before Corelli’s death. He spent his early career in Rome , then spent five years travelling Italy and Germany before settling in Amsterdam for the last 30 odd years of his life. Strangely most of his compositions are from his travelling years; in Amsterdam he worked mostly as a teacher and performed publically and privately. In a nice quirk, he never allowed professional musicians into his performances lest they learn too much from him.
There aren’t a whole lot of works by Locatelli and they’re certainly not widely known these days. His Violin Sonatas and Concertos were virtuosic standards in Europe at the time however and he was quite famous as a consequence. I haven't heard much of them to be honest. This concerto (Op 3, No 12) is certainly very nice to begin with, then a couple of minutes in the violin begins some very interesting playing, quite unlike anything else I can think of in the Baroque/Classical repertoire. If that's typical of his works there's much to be explored here.
The first work I knew of his was actually his Opus 1, 12 Concerti Grossi. Of course, this was based on Corelli’s Concerto Grosso but there is a difference. Locatelli makes great use of the violin and string section, usually underpinned by harpsichord. There’s at least one movement where the organ and violin swim together through some beautiful refrains.
Both these composers are very Baroque, with precise playing and rich ornamentation. Corelli does evoke some emotions, particularly in his slower movements, but don’t have the depth shown in later periods. But the music is undeniably beautiful and rich. Well worth taking the time to explore, they also inspire me to find out more about similar composer/violinists of their day like Geminani, Torelli and Tartini who’s my next profile.
Finding that out explains a fair bit about his Violin Sonatas, Op 5 which I recently bought the second half thereof from Classicsonline (it’s a set of 12 so there are two volumes). While demonstrating virtuosic elements throughout, they are much lower in tone than most violin pieces, which I find quite refreshing to be honest. The most famous part of them is No 12, which is known as La Folia, it is a one movement but as long as the others and it explores as much ground – if not more. It is a truly remarkable piece.
The lower register of the works also makes the slow movements that much more beautiful to my mind. He works the violin gently over the accompanying continuo or harpsichord to create a real sense of swoon (if you take my meaning). He even has a Sarabanda Largo; sarabandes are usually dances so this slow version is quite remarkable. It sounds at times like the violin part is being broken over the knee of the harpsichord, only gently.
His most famous composition however is his Concerto Grossi, a set of 12 concerto grossi which influenced a number of composers including Handel who wrote his own set instead of following the more modern (at the time) Venetian concerto popularised by Vivaldi. They’re best known because of the so-called Christmas concerto which is brilliant but the rest of them work equally as well. Here’s No 1 from the set. It opens with all the regal pomp you could expect of the age but soon goes into a questioning yet spritely phase that loses nothing of the ornamental beauty but is rich in feeling, if not deep emotion.
Pietro Locatelli (1695-1764) was another Italian violinist and composer who possibly studied under Corelli for a very short time just before Corelli’s death. He spent his early career in Rome , then spent five years travelling Italy and Germany before settling in Amsterdam for the last 30 odd years of his life. Strangely most of his compositions are from his travelling years; in Amsterdam he worked mostly as a teacher and performed publically and privately. In a nice quirk, he never allowed professional musicians into his performances lest they learn too much from him.
There aren’t a whole lot of works by Locatelli and they’re certainly not widely known these days. His Violin Sonatas and Concertos were virtuosic standards in Europe at the time however and he was quite famous as a consequence. I haven't heard much of them to be honest. This concerto (Op 3, No 12) is certainly very nice to begin with, then a couple of minutes in the violin begins some very interesting playing, quite unlike anything else I can think of in the Baroque/Classical repertoire. If that's typical of his works there's much to be explored here.
The first work I knew of his was actually his Opus 1, 12 Concerti Grossi. Of course, this was based on Corelli’s Concerto Grosso but there is a difference. Locatelli makes great use of the violin and string section, usually underpinned by harpsichord. There’s at least one movement where the organ and violin swim together through some beautiful refrains.
Both these composers are very Baroque, with precise playing and rich ornamentation. Corelli does evoke some emotions, particularly in his slower movements, but don’t have the depth shown in later periods. But the music is undeniably beautiful and rich. Well worth taking the time to explore, they also inspire me to find out more about similar composer/violinists of their day like Geminani, Torelli and Tartini who’s my next profile.
Tuesday, 13 May 2014
Baroque Composers III - Pergolesi
Giovanni Battista Pergolesi (1710-36) was an organist like my first two surveyed composers but also a celebrated violinist. Also unlike those two he didn’t work as an organist but mostly at the behest of aristocratic patrons. More tragically, he didn’t live very long, his ill-health led to an early death at only 26.
Despite that, Pergolesi is considered by some to be the ‘father of comic opera’, which may be a stretch but he was very successful with them and brought them further into the public domain to contend with opera seria. But his most famous work is his setting of the Stabat Mater, which is one of the best known, loved and influential versions of the work.
Listening to it is a special experience and if you haven't you should set some time aside to really let it carry you away. This performance by the Ricercar Consort is just under 40 minutes. From the opening chords it sets a not quite melancholic tone which transported me to a quiet river where willows weep. When the voices start I was catapulted into the exquisite sorrow of Mary. It really is a powerful work and it isn't all slow and melancholic, which only deepens the effect. Check the lyrics, this is a depressing hymn and Pergolesi captures the mood without throwing us down the well with it.
Of course he wrote much more than that. Being a violinist himself it's little wonder he wrote a fine violin concerto but perhaps a little surprising he wrote this lilting flute concerto which reminds me somewhat of Mozart's.
I'll finish this brief survey with a live performance of his Salve Regina by Accademia degli Astrusi with contralto Sara Mingardo. It's another powerful and moving piece, so give yourself a quarter of an hour to really enjoy it.
For someone who died so young, Pergolesi gave us some rich musical works, let's embrace them so his legacy continues to live centuries after him.
Despite that, Pergolesi is considered by some to be the ‘father of comic opera’, which may be a stretch but he was very successful with them and brought them further into the public domain to contend with opera seria. But his most famous work is his setting of the Stabat Mater, which is one of the best known, loved and influential versions of the work.
Listening to it is a special experience and if you haven't you should set some time aside to really let it carry you away. This performance by the Ricercar Consort is just under 40 minutes. From the opening chords it sets a not quite melancholic tone which transported me to a quiet river where willows weep. When the voices start I was catapulted into the exquisite sorrow of Mary. It really is a powerful work and it isn't all slow and melancholic, which only deepens the effect. Check the lyrics, this is a depressing hymn and Pergolesi captures the mood without throwing us down the well with it.
Of course he wrote much more than that. Being a violinist himself it's little wonder he wrote a fine violin concerto but perhaps a little surprising he wrote this lilting flute concerto which reminds me somewhat of Mozart's.
I'll finish this brief survey with a live performance of his Salve Regina by Accademia degli Astrusi with contralto Sara Mingardo. It's another powerful and moving piece, so give yourself a quarter of an hour to really enjoy it.
For someone who died so young, Pergolesi gave us some rich musical works, let's embrace them so his legacy continues to live centuries after him.
Thursday, 8 May 2014
Voting is Open
Well, the final voting list is up and voting has commenced. I totally missed the nomination period so I can’t complain about any absences I would have liked to see on there but it’s a big selection, quite varied and presents some areas for me to explore, which is always exciting.
I have to admit, as a pedant who obsesses over lists I do have some issues with the list. Some of them are true pedantry as some entries are in different formats than others. One puzzling entry is Louis Couperin’s Pieces de Clavecine…. The subeditor in me (that’s my paying job) reviles the fourth dot in the ellipsis, the rest of me just wonders what the ellipsis means. A quick look on Wikipedia tells me his works weren’t published in his lifetime but he wrote a lot of music for the harpsichord. It appears that perhaps the ellipsis means the entry is for the sum total of his keyboard compositions, which seems somewhat strange.
In a roundabout way that brings me to my main issue with the list, some entries are for huge swathes of composition while others are for succinct pieces. If for example we can vote for Louis Couperin’s entire solo harpsichord output as one thing, why must we vote for specific Keyboard Sonatas by Scarlatti, none of which is longer than three minutes? Of course, there is no grouping of Scarlatti’s sonatas like Francois Couperin’s ‘Books’, but there isn’t for Louis’ either beyond collecting them all under one title.
Perhaps the most obvious example for me is that the Brandenburg Concertos are all listed separately yet everywhere else such groups are listed as one piece. Handel’s Concerto Grossi Op 6 No 1-12 for instance and his three Water Music Suites which are simply listed as Water Music (that’s the pedant in me I know). Even worse would be Rameau’s Pieces de clavecin en concert, which are unrelated works written over a number of years that just happen to be, essentially, harpsichord concertos. Why would such distinct works be listed as one when the Brandenburgs are six?
On another point of pure pedantry, the Pieces de clavecin en concert are listed as ‘Solo instrument’ despite being concertos.
Pedantic asides aside, I do find some of those listings annoyingly inconsistent. It’s not going to hugely detract from the experience and I’m definitely enjoying exploring the music and pondering my voting options. And I look forward to the final countdown with proverbial bate all over my breath. But the consistency would be nice.
As to what I’ll be voting for, the shortlist is still forming but there are some early favourites. I’m somewhat torn when it comes to JS Bach; I want to spread the love among composers again and only vote for one piece each, but that leaves me with deciding between his Cello Suite No 1 and Toccata and Fugue in D minor. The latter has been with me since before I can remember, but the former is breathtakingly beautiful.
Handel is somewhat easier for me. There are parts of two of his oratorios I’d possibly vote for by themselves, but I don’t want to vote for the whole works so they’re out. Which leaves me with his Concerto Grossi Op 6 and Music for Royal Fireworks to decide between.
Vivaldi is another problem; I love The Four Seasons but they’re surely going to do fine as they are – although I predict his Gloria will be his top ranked piece. That leaves me with choosing one of his other pieces, almost certainly a concerto but which one?
Other frontrunners are Corelli’s Concerto Grossi, although I’ve recently discovered his Violin Sonatas and they’re wonderful so there’s another choice. Tartini’s Violin Concerto in G is another recent discovery I’m enjoying immensely.
Hmm. There’s a lot more to be considered. I’ll keep you informed.
Keep exploring!
I have to admit, as a pedant who obsesses over lists I do have some issues with the list. Some of them are true pedantry as some entries are in different formats than others. One puzzling entry is Louis Couperin’s Pieces de Clavecine…. The subeditor in me (that’s my paying job) reviles the fourth dot in the ellipsis, the rest of me just wonders what the ellipsis means. A quick look on Wikipedia tells me his works weren’t published in his lifetime but he wrote a lot of music for the harpsichord. It appears that perhaps the ellipsis means the entry is for the sum total of his keyboard compositions, which seems somewhat strange.
In a roundabout way that brings me to my main issue with the list, some entries are for huge swathes of composition while others are for succinct pieces. If for example we can vote for Louis Couperin’s entire solo harpsichord output as one thing, why must we vote for specific Keyboard Sonatas by Scarlatti, none of which is longer than three minutes? Of course, there is no grouping of Scarlatti’s sonatas like Francois Couperin’s ‘Books’, but there isn’t for Louis’ either beyond collecting them all under one title.
Perhaps the most obvious example for me is that the Brandenburg Concertos are all listed separately yet everywhere else such groups are listed as one piece. Handel’s Concerto Grossi Op 6 No 1-12 for instance and his three Water Music Suites which are simply listed as Water Music (that’s the pedant in me I know). Even worse would be Rameau’s Pieces de clavecin en concert, which are unrelated works written over a number of years that just happen to be, essentially, harpsichord concertos. Why would such distinct works be listed as one when the Brandenburgs are six?
On another point of pure pedantry, the Pieces de clavecin en concert are listed as ‘Solo instrument’ despite being concertos.
Pedantic asides aside, I do find some of those listings annoyingly inconsistent. It’s not going to hugely detract from the experience and I’m definitely enjoying exploring the music and pondering my voting options. And I look forward to the final countdown with proverbial bate all over my breath. But the consistency would be nice.
As to what I’ll be voting for, the shortlist is still forming but there are some early favourites. I’m somewhat torn when it comes to JS Bach; I want to spread the love among composers again and only vote for one piece each, but that leaves me with deciding between his Cello Suite No 1 and Toccata and Fugue in D minor. The latter has been with me since before I can remember, but the former is breathtakingly beautiful.
Handel is somewhat easier for me. There are parts of two of his oratorios I’d possibly vote for by themselves, but I don’t want to vote for the whole works so they’re out. Which leaves me with his Concerto Grossi Op 6 and Music for Royal Fireworks to decide between.
Vivaldi is another problem; I love The Four Seasons but they’re surely going to do fine as they are – although I predict his Gloria will be his top ranked piece. That leaves me with choosing one of his other pieces, almost certainly a concerto but which one?
Other frontrunners are Corelli’s Concerto Grossi, although I’ve recently discovered his Violin Sonatas and they’re wonderful so there’s another choice. Tartini’s Violin Concerto in G is another recent discovery I’m enjoying immensely.
Hmm. There’s a lot more to be considered. I’ll keep you informed.
Keep exploring!
Monday, 5 May 2014
Baroque Composers II - Buxtehude
Now to look at Dietrich Buxtehude. Like Frescobaldi, I first heard of Buxtehude while reading 1001 Classical Recordings to Hear Before you Die – and again I still haven’t heard said recording, or much of his stuff at all. Coincidentally, I did hear part of his Trio Sonata in C minor on the radio recently and it was a beautiful piece. Then today I heard his setting of the Magnificat which was quite a nice choral piece.
Buxtehude was born in Denmark , where exactly is a contentious subject, but lived most of his life in Germany . Also like Frescobaldi, he was primarily an organist and held the post at Lubeck in northern Germany . Unlike Frescobaldi, most of his keyboard works are specifically for the organ. His organ music was highly influential, having a particular sway over the young Johann Sebastian Bach. In fact, Bach took leave from his job and went on a long journey of several months just to hear Buxtehude play.
He also wrote a lot of choral music but much of this is now lost including many oratorios which are thought to have been models for later works by Bach and Telemann. Some shorter works survive and these have had a bit of a revival in modern times. I guess the Magnificat is one of those; there are a number of versions of it on YouTube, here is one by the St Matthias Church Choir, Montreal which seems a good recording. To my ears I guess I can see how it's a proto-Bach but don't ask me to explain that.
I have a similar reaction to some of his organ music. Take this Toccata in D minor (played here on a modern organ by A Schnitger in Norden), it has something of the drama of JS Bach's Toccata in D minor but isn't on the same level. Not that it's attempting the same thing, but while it is a nice piece of music it sounds to me quite basic (I don't mean easy) compared to Bach's work. What I mean is, Buxtehude has the foundations but Bach has built upon them to perfect the form. Perhaps Buxtehude is the giant upon whose shoulders Bach sat but that would be a titan on a giant and liable to squash him. Which may be why Buxtehude is not so well known these days.
A more notable work is his Passacaglia in D minor, which is considered one of his most important. When I hear this I don't think so much of proto-Bach, this is a work of brilliance in its own right. It seems probable it influenced Bach (especially his Passacaglia and Fugue in C minor) but its beauty as a piece outweighs any simple role in the evolution of another's music.
I'll finish however with this Trio Sonata in A minor performed by the Boston Museum Trio. It starts out with a melancholic beauty quite remarkable in its emotional intensity for its time then heads into a lively interchange of the three instruments. Chamber music is a wonder and this is a brilliant example of it. Alas, it's from his Opus 1 which can't be voted for in the Classic 100 but his Opus 2 set can. I missed the nomination period so I can't complain on any absences. I'll have to check the Opus 2 set out, if it's as good as this it will definitely be on my shortlist.
Buxtehude was born in Denmark , where exactly is a contentious subject, but lived most of his life in Germany . Also like Frescobaldi, he was primarily an organist and held the post at Lubeck in northern Germany . Unlike Frescobaldi, most of his keyboard works are specifically for the organ. His organ music was highly influential, having a particular sway over the young Johann Sebastian Bach. In fact, Bach took leave from his job and went on a long journey of several months just to hear Buxtehude play.
He also wrote a lot of choral music but much of this is now lost including many oratorios which are thought to have been models for later works by Bach and Telemann. Some shorter works survive and these have had a bit of a revival in modern times. I guess the Magnificat is one of those; there are a number of versions of it on YouTube, here is one by the St Matthias Church Choir, Montreal which seems a good recording. To my ears I guess I can see how it's a proto-Bach but don't ask me to explain that.
I have a similar reaction to some of his organ music. Take this Toccata in D minor (played here on a modern organ by A Schnitger in Norden), it has something of the drama of JS Bach's Toccata in D minor but isn't on the same level. Not that it's attempting the same thing, but while it is a nice piece of music it sounds to me quite basic (I don't mean easy) compared to Bach's work. What I mean is, Buxtehude has the foundations but Bach has built upon them to perfect the form. Perhaps Buxtehude is the giant upon whose shoulders Bach sat but that would be a titan on a giant and liable to squash him. Which may be why Buxtehude is not so well known these days.
A more notable work is his Passacaglia in D minor, which is considered one of his most important. When I hear this I don't think so much of proto-Bach, this is a work of brilliance in its own right. It seems probable it influenced Bach (especially his Passacaglia and Fugue in C minor) but its beauty as a piece outweighs any simple role in the evolution of another's music.
I'll finish however with this Trio Sonata in A minor performed by the Boston Museum Trio. It starts out with a melancholic beauty quite remarkable in its emotional intensity for its time then heads into a lively interchange of the three instruments. Chamber music is a wonder and this is a brilliant example of it. Alas, it's from his Opus 1 which can't be voted for in the Classic 100 but his Opus 2 set can. I missed the nomination period so I can't complain on any absences. I'll have to check the Opus 2 set out, if it's as good as this it will definitely be on my shortlist.
Wednesday, 23 April 2014
Baroque Composers I - Frescobaldi
I’m going to start my survey of Baroque and earlier composers with Frescobaldi for no particular reason. I know the name because of 1001 Classical Recordings to Listen to Before You Die, but, while I’ve found the recording mentioned on Classicsonline, I’ve never listened to it because it’s two hours of harpsichord music and I have trouble listening to that particular keyboard for that long; I may have to work on my tolerance.
Girolamo Frescobaldi was an Italian composer of the late Renaissance and early Baroque and it seems an important figure in the transition from one to the other, at least in terms of keyboard music. His main job was actually as an organist and he held prominent positions during his lifetime, most notably at St Peter’s Basilica in Rome, but he also worked for an Archbishop and a Cardinal or two. Surprisingly he didn’t publish much church music however.
His major works are collections of keyboard pieces like Ricercars and Canzones, which were older forms that eventually evolved into Fugues and Sonatas respectively, and a book of liturgical organ music, Fiori musicali. It was highly influential and pieces from it were used in the teaching of counterpoint for at least a century.
He was quite innovative in terms of tempo as well, bringing more colour to instrumental music which had previously been much in the shadow of vocal music. His influence lasted long after his death in 1643 and can be seen in the works of no less than Pachabel, Purcell and JS Bach, who copied the Fiori musicali for his own use – as in he wrote it out note by note so he had his own copy of the score.
Particular note should be made of his two books of Toccatas (1615 and 1627). They follow the same structure but the development in his use of rhythm is indicative of the broadening of instrumental music in the period.
So clearly he was an influential composer, but what is his stuff like to listen too? Looking to YouTube once again I've found a lot of long entries of complete sets rather than individual canzones or toccatas.
I started with his first book of Toccatas performed by Roberto Loreggian, it appears to be disc one of a Brilliant Classics release. Most of the toccatas are played on the harpsichord but the last couple are on the organ and I have to say I really do appreciate the former better now. I can't imagine these pieces being as good on a modern piano either, I think they'd lose a certain amount of warmth and colour. The pieces are highly virtuosic in parts but shift suddenly in tempo quite regularly, it's something of a feature that keeps the listener from becoming bored. The organ pieces didn't really do it for me and sounded somewhat off.
To be honest that's all I've managed to listen to so far and I've been sitting on this blog for over a week. There's more out there though and I'll be getting into it for sure. For now, it's time to move on. Enjoy - and keep exploring!
Girolamo Frescobaldi was an Italian composer of the late Renaissance and early Baroque and it seems an important figure in the transition from one to the other, at least in terms of keyboard music. His main job was actually as an organist and he held prominent positions during his lifetime, most notably at St Peter’s Basilica in Rome, but he also worked for an Archbishop and a Cardinal or two. Surprisingly he didn’t publish much church music however.
His major works are collections of keyboard pieces like Ricercars and Canzones, which were older forms that eventually evolved into Fugues and Sonatas respectively, and a book of liturgical organ music, Fiori musicali. It was highly influential and pieces from it were used in the teaching of counterpoint for at least a century.
He was quite innovative in terms of tempo as well, bringing more colour to instrumental music which had previously been much in the shadow of vocal music. His influence lasted long after his death in 1643 and can be seen in the works of no less than Pachabel, Purcell and JS Bach, who copied the Fiori musicali for his own use – as in he wrote it out note by note so he had his own copy of the score.
Particular note should be made of his two books of Toccatas (1615 and 1627). They follow the same structure but the development in his use of rhythm is indicative of the broadening of instrumental music in the period.
So clearly he was an influential composer, but what is his stuff like to listen too? Looking to YouTube once again I've found a lot of long entries of complete sets rather than individual canzones or toccatas.
I started with his first book of Toccatas performed by Roberto Loreggian, it appears to be disc one of a Brilliant Classics release. Most of the toccatas are played on the harpsichord but the last couple are on the organ and I have to say I really do appreciate the former better now. I can't imagine these pieces being as good on a modern piano either, I think they'd lose a certain amount of warmth and colour. The pieces are highly virtuosic in parts but shift suddenly in tempo quite regularly, it's something of a feature that keeps the listener from becoming bored. The organ pieces didn't really do it for me and sounded somewhat off.
To be honest that's all I've managed to listen to so far and I've been sitting on this blog for over a week. There's more out there though and I'll be getting into it for sure. For now, it's time to move on. Enjoy - and keep exploring!
Saturday, 5 April 2014
Initial Thoughts on New Classic 100
I’m back – well, sort of, I expect entries will be more sporadic than before – and so is the Classic 100. This year the theme is Baroque and Before, essentially covering everything written prior to 1750. Which is obviously very broad but I think there are some assumptions we can make.
Despite the huge array of music covered and number of composers, I think it fair to say JS Bach, Handel and Vivaldi will dominate (in that order I predict). The problem being, while other composers’ music is played it isn’t played a lot and it’s tricky to know which piece to vote for.
For example, Telemann is a brilliant composer and well loved. He will no doubt feature several times in the countdown; but I couldn’t tell you what pieces. I’d like to vote for him because I love his music but I have no idea what I’ll pick. I don’t even really know what my options are – besides vast. Or take Dowland, which of his motets or other songs will people vote for – and which piece of Gregorian chant is your favourite?
No doubt many people can answer those questions and they will help determine where some pieces feature but I suspect a lot of people will be in the same position as me and will resort to voting for what they know the names of, hence the likely domination of the big three.
I’m going to do my darndest not to vote for the same composer twice though; as always, I want to spread the love. For JS Bach my big question is which Brandenburg concerto to vote for so I’ll be listening to the Orchestra of the Antipodes recordings again soon. If I’m up to it I may blog about it, we’ll see. The problem with Handel is my favourites of his are movements from oratorios and I don’t want to vote for the whole of Solomon or Xerxes; but there’s always the Royal Fireworks.
Vivaldi is another matter altogether. Beyond his Gloria – which I predict will be in the top 10 – and his Four Seasons, which I predict will suffer from an assumption that everyone else will vote for it and from people wanting to appear ‘sophisticated’ and therefore not voting for such a ‘cliché’, his works suffer the same problem as Telemann’s. We’ve all heard a number of them but can we remember which ones were our favourites? I may just vote for The Four Seasons anyway.
There’s still lots of time to decide of course. Meanwhile I’ll try to do some composer surveys like I did for the French and Movie countdowns.
Despite the huge array of music covered and number of composers, I think it fair to say JS Bach, Handel and Vivaldi will dominate (in that order I predict). The problem being, while other composers’ music is played it isn’t played a lot and it’s tricky to know which piece to vote for.
For example, Telemann is a brilliant composer and well loved. He will no doubt feature several times in the countdown; but I couldn’t tell you what pieces. I’d like to vote for him because I love his music but I have no idea what I’ll pick. I don’t even really know what my options are – besides vast. Or take Dowland, which of his motets or other songs will people vote for – and which piece of Gregorian chant is your favourite?
No doubt many people can answer those questions and they will help determine where some pieces feature but I suspect a lot of people will be in the same position as me and will resort to voting for what they know the names of, hence the likely domination of the big three.
I’m going to do my darndest not to vote for the same composer twice though; as always, I want to spread the love. For JS Bach my big question is which Brandenburg concerto to vote for so I’ll be listening to the Orchestra of the Antipodes recordings again soon. If I’m up to it I may blog about it, we’ll see. The problem with Handel is my favourites of his are movements from oratorios and I don’t want to vote for the whole of Solomon or Xerxes; but there’s always the Royal Fireworks.
Vivaldi is another matter altogether. Beyond his Gloria – which I predict will be in the top 10 – and his Four Seasons, which I predict will suffer from an assumption that everyone else will vote for it and from people wanting to appear ‘sophisticated’ and therefore not voting for such a ‘cliché’, his works suffer the same problem as Telemann’s. We’ve all heard a number of them but can we remember which ones were our favourites? I may just vote for The Four Seasons anyway.
There’s still lots of time to decide of course. Meanwhile I’ll try to do some composer surveys like I did for the French and Movie countdowns.
Tuesday, 28 May 2013
Man behind the rock - Graeme Revell
Graeme Revell was one of the first movie composers I could name other than John Williams, mostly because of The Craft. I bought the soundtrack, not the score, and it included a track from the score and so his name was on the track listing. Around the same time I learnt he wrote the score for Spawn, another soundtrack I bought and listened to excessively. So the name stuck but until now I didn’t know much else about him.
Turns out he’s a kiwi who worked in Australia for a while – in a psychiatric hospital. His first film score was actually the Australian thriller Dead Calm, for which he won an AFI. Here's a selection from it, it features some operatic singing and even rhythmic breathing all with drum machine and electronic sounds which are quite evocative.
His music is often electronic and quite dark but he’s got some orchestral scores in there too. A quick look at his film credits shows mostly action films and horrors, which works with the darker side of things. A good example of all that is this music from Aeon Flux. Also see the opening music to - The Crow, Spawn and Tomb Raider
He certainly demonstrates great versatility and a willingness to experiment with instrumentation. The first piece I knew of his – Bells, Books and Candles from The Craft – is quite esoteric. Then there's the theme for Elektra as a character in Daredevil (as in not the theme to the movie Elektra) which is stripped back, no electronic stuff, just piano and acoustic guitar until synth and voice section comes in with a string section. It is utterly haunting and captivating.
As both those examples and the stuff from Dead Calm shows, the use of voice as instrument is something Revell is interested in and he took this further in the score for Red Planet which made extensive use of the voice of Emma Shapplin. The opening of the movie doesn't but here's a bit anyway because it's piano and strings and truly beautiful. I can't actually find a good example of the use of her voice under the score sadly but here's a song she sings for the movie - The Fifth Heaven.
So while he seems stuck in a particular oeuvre, his music is emotionally rich and explores many ways of making music itself. So Revell is well and truly worth checking out. The trick is most of his best work is hidden behind the rock soundtracks it works with.
Turns out he’s a kiwi who worked in Australia for a while – in a psychiatric hospital. His first film score was actually the Australian thriller Dead Calm, for which he won an AFI. Here's a selection from it, it features some operatic singing and even rhythmic breathing all with drum machine and electronic sounds which are quite evocative.
His music is often electronic and quite dark but he’s got some orchestral scores in there too. A quick look at his film credits shows mostly action films and horrors, which works with the darker side of things. A good example of all that is this music from Aeon Flux. Also see the opening music to - The Crow, Spawn and Tomb Raider
He certainly demonstrates great versatility and a willingness to experiment with instrumentation. The first piece I knew of his – Bells, Books and Candles from The Craft – is quite esoteric. Then there's the theme for Elektra as a character in Daredevil (as in not the theme to the movie Elektra) which is stripped back, no electronic stuff, just piano and acoustic guitar until synth and voice section comes in with a string section. It is utterly haunting and captivating.
As both those examples and the stuff from Dead Calm shows, the use of voice as instrument is something Revell is interested in and he took this further in the score for Red Planet which made extensive use of the voice of Emma Shapplin. The opening of the movie doesn't but here's a bit anyway because it's piano and strings and truly beautiful. I can't actually find a good example of the use of her voice under the score sadly but here's a song she sings for the movie - The Fifth Heaven.
So while he seems stuck in a particular oeuvre, his music is emotionally rich and explores many ways of making music itself. So Revell is well and truly worth checking out. The trick is most of his best work is hidden behind the rock soundtracks it works with.
Friday, 3 May 2013
Under-rated Epic Composer, Basil Poledouris
With voting now open for the Music in the Movies countdown I figure it’s time to look at some composers. I won’t worry about John Williams, his genius is well known and widely discussed.
Who I will worry about and start with is Basil Poledouris. He was conspicuously absent from the initial list but I was happy to see he’d been added before I made my additions. Poledouris was a Greek-American composer highly regarded for his epic scores and intimate themes.
My first two samples for you should show that, the opening of Conan the Barbarian and the closest thing Conan gets to a love theme, known on the soundtrack as Wifeing. I will point out the love theme is very gentle and a sweeping romantic variation on a theme, with gorgeous instrumentation. If you're thinking 'it's for a mindless action film it can't be any good' listen to this and you'll soon change your tune, but not this one.
Conan the Barbarian is probably his best known work and it will be getting one of my votes for sure. But he did more than that of course. His other major works were The Hunt for Red October, which has some awesomely moody Russian-style music (like this) and Robocop, which sees the epic grandeur of Conan given a modern kick. Here's the main theme.
In the interest of discovering new music I’ve looked into some of his other soundtracks care of YouTube. I hadn't realised he did the score to Starship Troopers, giving it more drama than it probably deserved but living up to his name. This piece is called Klendathu Drop and it has the militaristic themes matched with heroism and a tinge of humanity and sadness - not an easy mix.
In a completely different mood, here's a suite from his score for The Blue Lagoon. It has what I'm starting to see as characteristic strings and brass, but here they are soft and welcoming, although it shifts easily into threatening mode for the dangerous parts. I've not seen the movie so I don't know what. There's also a charming piano piece partway through.
I think there's much more great music to find by Poledouris, including from many films that probably aren't worth worrying about so it's a bit more of an effort but well worth it.
Who I will worry about and start with is Basil Poledouris. He was conspicuously absent from the initial list but I was happy to see he’d been added before I made my additions. Poledouris was a Greek-American composer highly regarded for his epic scores and intimate themes.
My first two samples for you should show that, the opening of Conan the Barbarian and the closest thing Conan gets to a love theme, known on the soundtrack as Wifeing. I will point out the love theme is very gentle and a sweeping romantic variation on a theme, with gorgeous instrumentation. If you're thinking 'it's for a mindless action film it can't be any good' listen to this and you'll soon change your tune, but not this one.
Conan the Barbarian is probably his best known work and it will be getting one of my votes for sure. But he did more than that of course. His other major works were The Hunt for Red October, which has some awesomely moody Russian-style music (like this) and Robocop, which sees the epic grandeur of Conan given a modern kick. Here's the main theme.
In the interest of discovering new music I’ve looked into some of his other soundtracks care of YouTube. I hadn't realised he did the score to Starship Troopers, giving it more drama than it probably deserved but living up to his name. This piece is called Klendathu Drop and it has the militaristic themes matched with heroism and a tinge of humanity and sadness - not an easy mix.
In a completely different mood, here's a suite from his score for The Blue Lagoon. It has what I'm starting to see as characteristic strings and brass, but here they are soft and welcoming, although it shifts easily into threatening mode for the dangerous parts. I've not seen the movie so I don't know what. There's also a charming piano piece partway through.
I think there's much more great music to find by Poledouris, including from many films that probably aren't worth worrying about so it's a bit more of an effort but well worth it.
Monday, 8 April 2013
First Thoughts on Classic 100: Music from the Movies
I just want to record some of my initial thoughts about the next Classic 100 on ABC Classic FM which is Music from the Movies. There was a sense of inevitability about the announcement to be honest, ever since the debate which raged over Howard Shores’ score for The Lord of the Rings making it into the Classic 100 20th century two years back it seemed film music was going to get its own countdown.
Of course, it’s also an exciting theme with lots of wonderful options. I do however have some concerns about it. The first is the inclusion of music not written for but used in films. So O Fortuna, Ride of the Valkyries and heaps of other pieces are open for consideration. Which is okay but the other choice is the score itself, so we can vote for Thus Spake Zarathustra for 2001: A Space Odyssey or the score to Ben Hur – but not the opening credits for Ben Hur. To me there’s a conflict here and the two should probably be treated as separate countdowns – classical music used in films and film scores.
My other issue is in many ways the same problem that arises in any of these countdowns but is accentuated by the nature of the theme. People will vote primarily for what they know and a lot of very good music misses out from not being aired often enough or simply well-known enough. That happens; it’s the nature of countdowns. But in this instance there’s more than just music preferences in play, there are film preferences and some of these will certainly affect the way people vote.
There is in some circles a view that blockbusters for instance have no real artistic merit, which is untrue but will deter people from voting for a lot of them. The one I feel most unfairly suffers here is actually Twilight. Outside the fans of the franchise there is a strong dismissal of anything associated with it, but if Classic FM listeners heard any of Burwell's score for the movies without knowing where it came from there is no doubt in my mind they would love it. Say what you will about the movies and books, the score behind the movie is sublime.
I also fear Basil Poledouris is going to be sadly overlooked. His score to Conan the Barbarian is fantastic, but it’s for Conan the Barbarian … which I love but I’m that kind of a guy, I don’t think many voters in the countdown will even pause to wonder if the music for it is any good at all. I could be horribly wrong and being a snob against myself, I hope so as it is definitely worthy of being included.
To be honest as I think about it, there are so many movies out there and so much good music is written for them. Maybe the blockbusters will win out for sheer shared knowledge. I guess we'll find out and I hope the journey is as fun as last year. Expect a series on composers soon.
Of course, it’s also an exciting theme with lots of wonderful options. I do however have some concerns about it. The first is the inclusion of music not written for but used in films. So O Fortuna, Ride of the Valkyries and heaps of other pieces are open for consideration. Which is okay but the other choice is the score itself, so we can vote for Thus Spake Zarathustra for 2001: A Space Odyssey or the score to Ben Hur – but not the opening credits for Ben Hur. To me there’s a conflict here and the two should probably be treated as separate countdowns – classical music used in films and film scores.
My other issue is in many ways the same problem that arises in any of these countdowns but is accentuated by the nature of the theme. People will vote primarily for what they know and a lot of very good music misses out from not being aired often enough or simply well-known enough. That happens; it’s the nature of countdowns. But in this instance there’s more than just music preferences in play, there are film preferences and some of these will certainly affect the way people vote.
There is in some circles a view that blockbusters for instance have no real artistic merit, which is untrue but will deter people from voting for a lot of them. The one I feel most unfairly suffers here is actually Twilight. Outside the fans of the franchise there is a strong dismissal of anything associated with it, but if Classic FM listeners heard any of Burwell's score for the movies without knowing where it came from there is no doubt in my mind they would love it. Say what you will about the movies and books, the score behind the movie is sublime.
I also fear Basil Poledouris is going to be sadly overlooked. His score to Conan the Barbarian is fantastic, but it’s for Conan the Barbarian … which I love but I’m that kind of a guy, I don’t think many voters in the countdown will even pause to wonder if the music for it is any good at all. I could be horribly wrong and being a snob against myself, I hope so as it is definitely worthy of being included.
To be honest as I think about it, there are so many movies out there and so much good music is written for them. Maybe the blockbusters will win out for sheer shared knowledge. I guess we'll find out and I hope the journey is as fun as last year. Expect a series on composers soon.
Friday, 12 October 2012
Classic 100 Music of France - Day 6
Happy to say most of the pieces in today's countdown were in my predictions of yesterday. I didn't pick Adam's carol O Holy Night or Widor's Organ Symphony No 5. I also had two Debussy Preludes where the countdown put the lot together as one entry. Bit annoyed about that actually, I agree they should be one entry like they were last year but on the voting page there was only about half of them and they were all listed as separate votes. So some fiddle-faddling has taken place there.
So not much in the way of discovery today. Coppelia was new for me and I enjoyed it a lot. Knowing the story it came from, ETA Hoffman's The Sandman, I felt it could have been a bit darker but it was certainly dramatic enough and anyone who reads this blog much will probably have noticed I do like dramatic music.
It was also great to hear the rest of the Suite Bergamasques. I know Clair de Lune deserves its place as a masterpiece and quintessential swoon, but the rest of the pieces in this work deserve to be heard more often too. Differing moods, all strongly represented and offering the pianist a wonderful experience I'm sure.
In my predictions I did forget Canteloube's Songs of the Auvergne, somewhat foolish or maybe just wishful thinking. I'm sorry but I just don't dig it. Probably just lacking in drama or something but I find it saccharine and dull. However, I expect they will come in fairly high. Which means I must accept the demise of Faure's Bereceuse and Poulenc's Sextet, which were both stretches I admit for personal favouritism. Actually, thinking about I don't think Ravel's Tzigane is a likely top 10 piece, not over his String Quartet and Piano Concerto ... so there's something else coming too.
A quick apology too - I meant Saint-Saens Organ Symphony not Concerto ... I voted for it so I do know that. Whoops.
So not much in the way of discovery today. Coppelia was new for me and I enjoyed it a lot. Knowing the story it came from, ETA Hoffman's The Sandman, I felt it could have been a bit darker but it was certainly dramatic enough and anyone who reads this blog much will probably have noticed I do like dramatic music.
It was also great to hear the rest of the Suite Bergamasques. I know Clair de Lune deserves its place as a masterpiece and quintessential swoon, but the rest of the pieces in this work deserve to be heard more often too. Differing moods, all strongly represented and offering the pianist a wonderful experience I'm sure.
In my predictions I did forget Canteloube's Songs of the Auvergne, somewhat foolish or maybe just wishful thinking. I'm sorry but I just don't dig it. Probably just lacking in drama or something but I find it saccharine and dull. However, I expect they will come in fairly high. Which means I must accept the demise of Faure's Bereceuse and Poulenc's Sextet, which were both stretches I admit for personal favouritism. Actually, thinking about I don't think Ravel's Tzigane is a likely top 10 piece, not over his String Quartet and Piano Concerto ... so there's something else coming too.
A quick apology too - I meant Saint-Saens Organ Symphony not Concerto ... I voted for it so I do know that. Whoops.
Thursday, 11 October 2012
Classic 100 Music of France - Day 5
Two great symphonies in today's countdown. Franck's opened proceedings this morning and it was quite a journey I must say. From the brooding opening chords to the celebration of light at the conclusion. A real journey and good fun. And from that straight into Saint-Saens' second piano concerto which is simply brilliant in its shifts from light poetry to strong declamation then back to dancing instruments and all seamlessly. The second symphony was Bizet's which is a sheer joy to listen to.
Keeping with new pieces (for me), Chabrier's Espagna was a jolly jaunt with Spanish flair. Interesting just how many pieces were written by non-Spanish people inspired by the country. I love that Franck wrote his violin sonata as a wedding present for a violinist who managed to take the score and play it at the wedding. The slow movement seemed strangely sorrowful and I don't think the rest of the piece is entirely lovey-dovey but it's mostly celebratory, at least of violin playing. Overall I prefer the cello version but I prefer cello in general so that's to be expected.
Despite comments from the announcers about Faure being boring, I found his Cantique de Jean Racine to be one of those tranquil pieces you can really just stop the world and listen to.
And my wish from yesterday came true! Giselle came in, what a treat that was. Great story behind it, and the music really rocks along. Then a second ballet with Ravel's Daphnis and Chloe. I'd only heard the second suite before today which doesn't do the whole work justice. As a whole it weaves a spell that can't function as well when it's broken into pieces.
A few more operas made it in today. Interesting to note Offenbach used the can-can in his Orpheus in the Underworld as well as in Gaite Parisiene. Gounod's Faust was a bit different and quite nice. I love the Bacchanale from Samson et Delilah too, it's fantastic. But I'm still not an opera fan overall despite the beautiful music between the main singing. Sorry opera buffs.
From here it's tempting to start predicting the rest of the pieces to come in. So here it is - in no particular order - my predictions. Happy to be wrong.
1. Debussy – Suite de Bergamasque
2. Debussy – Pavane ... Faun
3. Debussy – Submerged Cathedral
4. Debussy – Girl with the Flaxen Hair
5. Debussy – La Mer
6. Ravel – Pavane for a Dead Princess
7. Ravel – Bolero
8. Ravel – String Quartet
9. Ravel – Piano Concerto
10. Faure – Pavane
11. Faure – Requiem
12. Delibes – Lakme
13. Delibes – Coppelia
14. Satie – Gymnopedies
15. Satie – Gnossiennes
16. Saint-Saens – Danse Macabre
17. Saint-Saens – Carnival of the Animals
18. Saint-Saens – Organ Concerto
19. Dukas – Sorcerer’s Apprentice
20. Bizet – Carmen
21. Bizet – Pearl Fishers
22. Bizet – L’Arlsienne
23. Berlioz – Symphonie Fantastique
24. Massenet – Thais
25. Poulenc – Sextet
26. Offenbach – Tales of Hoffmann
27. Faure – Bereceuse, Op 16
28. Ravel – Tzigane
Keeping with new pieces (for me), Chabrier's Espagna was a jolly jaunt with Spanish flair. Interesting just how many pieces were written by non-Spanish people inspired by the country. I love that Franck wrote his violin sonata as a wedding present for a violinist who managed to take the score and play it at the wedding. The slow movement seemed strangely sorrowful and I don't think the rest of the piece is entirely lovey-dovey but it's mostly celebratory, at least of violin playing. Overall I prefer the cello version but I prefer cello in general so that's to be expected.
Despite comments from the announcers about Faure being boring, I found his Cantique de Jean Racine to be one of those tranquil pieces you can really just stop the world and listen to.
And my wish from yesterday came true! Giselle came in, what a treat that was. Great story behind it, and the music really rocks along. Then a second ballet with Ravel's Daphnis and Chloe. I'd only heard the second suite before today which doesn't do the whole work justice. As a whole it weaves a spell that can't function as well when it's broken into pieces.
A few more operas made it in today. Interesting to note Offenbach used the can-can in his Orpheus in the Underworld as well as in Gaite Parisiene. Gounod's Faust was a bit different and quite nice. I love the Bacchanale from Samson et Delilah too, it's fantastic. But I'm still not an opera fan overall despite the beautiful music between the main singing. Sorry opera buffs.
From here it's tempting to start predicting the rest of the pieces to come in. So here it is - in no particular order - my predictions. Happy to be wrong.
1. Debussy – Suite de Bergamasque
2. Debussy – Pavane ... Faun
3. Debussy – Submerged Cathedral
4. Debussy – Girl with the Flaxen Hair
5. Debussy – La Mer
6. Ravel – Pavane for a Dead Princess
7. Ravel – Bolero
8. Ravel – String Quartet
9. Ravel – Piano Concerto
10. Faure – Pavane
11. Faure – Requiem
12. Delibes – Lakme
13. Delibes – Coppelia
14. Satie – Gymnopedies
15. Satie – Gnossiennes
16. Saint-Saens – Danse Macabre
17. Saint-Saens – Carnival of the Animals
18. Saint-Saens – Organ Concerto
19. Dukas – Sorcerer’s Apprentice
20. Bizet – Carmen
21. Bizet – Pearl Fishers
22. Bizet – L’Arlsienne
23. Berlioz – Symphonie Fantastique
24. Massenet – Thais
25. Poulenc – Sextet
26. Offenbach – Tales of Hoffmann
27. Faure – Bereceuse, Op 16
28. Ravel – Tzigane
Wednesday, 10 October 2012
Classic 100 Music of France - Day 4
Second day in a row the countdown has opened with a choral work of Hector Berlioz I hadn’t heard before. The Requiem is huge and glorious in parts, although it lacks much of the emotional landscape of Durufle’s; maybe not the Gloria or the angelic reflections of the conclusion. In all I probably prefer the Te Deum from yesterday but hey. It was followed by a bit of his oratorio about the Childhood of Christ which was quite serene in general.
I hadn’t, and still haven’t apparently, heard the entire Turangalila symphony of Messian. It’s a strange work to be honest and I’m afraid I have to admit it really does sound like a ’50s B-grade SF/horror soundtrack. The alien monster, attacked by the marines but falls in love with the hero’s fiancée whose father is the scientist who first noticed the strange spacecraft …
I may have heard Marais’ The Bells of St Genevieve before but this was my first time really listening to it. The sense of rhythm and the rocking of the bells back and forth is very strong and quite enthralling in its way.
First time hearing Harolde in Italy all the way through too, that's a fun piece sort of a concerto with a plot. Only the second time I'd heard Saint-Saens' fifth piano concerto but it was on my favourite list from the first time. What a magical piece! It's not like any other concerto I can think of, evocative and mysterious.
Interestingly no operas today, although a few choral works and songs. No ballets in the countdown yet, so hope Adam's Giselle gets in and Delibes' Coppellia - I want to hear them in full. One of the expert guests today suggested Faure's Requiem and Pavane would both probably miss out ... I think he might be wrong about that somehow but we'll see.
I hadn’t, and still haven’t apparently, heard the entire Turangalila symphony of Messian. It’s a strange work to be honest and I’m afraid I have to admit it really does sound like a ’50s B-grade SF/horror soundtrack. The alien monster, attacked by the marines but falls in love with the hero’s fiancée whose father is the scientist who first noticed the strange spacecraft …
I may have heard Marais’ The Bells of St Genevieve before but this was my first time really listening to it. The sense of rhythm and the rocking of the bells back and forth is very strong and quite enthralling in its way.
First time hearing Harolde in Italy all the way through too, that's a fun piece sort of a concerto with a plot. Only the second time I'd heard Saint-Saens' fifth piano concerto but it was on my favourite list from the first time. What a magical piece! It's not like any other concerto I can think of, evocative and mysterious.
Interestingly no operas today, although a few choral works and songs. No ballets in the countdown yet, so hope Adam's Giselle gets in and Delibes' Coppellia - I want to hear them in full. One of the expert guests today suggested Faure's Requiem and Pavane would both probably miss out ... I think he might be wrong about that somehow but we'll see.
Tuesday, 9 October 2012
Classic 100 Music of France - Day 3
Today was light on opera, no complaints from me but there's some that will definitely still appear. Actually I expect Carmen to be a top 10, and Pearl Fishers and Lakme to be at least top 25. Interesting a couple of film scores got in too, both by Jarre. I remember the horror some musical snobs had when some soundtracks made it in last year. But hey, there's some awesome music written for movies and it deserves to be recognised.
Baroque made a few more appearances today which was good to hear. Interesting coincidence was the day opened with back to back Te Deums - Berlioz's and Charpentier's. The former I hadn't heard at all before and it was interesting to hear the way the organ and choir could achieve such a soft touch in the reflective passages. No surprises on the grand nature of the triumphant ones though.
Probably the most fun discovery for me was Offenbach's Gaite Parisiene which was a jolly romp for the most. A little bit last night of the Proms at times perhaps, but good to hear where the Can-Can came from in full. Also interesting to hear the barcarolle in context too, very different to most of the work as a whole but a pleasant respite, like a grand sunset after a busy day in Paris - or should that be a grand sunrise after a night of festivities?
Ravel's Piano Concerto for the Left Hand is a dramatic one, very different to his jazzier concerto in G. There's a gentle passage toward the end which is utterly beautiful, took my breath away. Some lovely use of other instruments too. Debussy's Cello Concerto No 1 was an intriguing one too, not quite as smooth as some of his earlier works but still a strong composition, obviously. His String Quartet on the other hand was quite astounding, a strong and innovative take on the form.
I saw a few people were waiting for Durufle's Requiem, for me it was another first. Such a dark landscape is conjured by it, desolate yet beautiful, then the Sanctus brings some sort of light and hope. And the Agnes Dei lifts us up from the shattered ground and offers solace and rest. No wonder people were waiting.
Poulenc's Organ Concerto was dramatic certainly but I can't say it was entirely to my tastes. I didn't dislike it but didn't do anything for me.
Baroque made a few more appearances today which was good to hear. Interesting coincidence was the day opened with back to back Te Deums - Berlioz's and Charpentier's. The former I hadn't heard at all before and it was interesting to hear the way the organ and choir could achieve such a soft touch in the reflective passages. No surprises on the grand nature of the triumphant ones though.
Probably the most fun discovery for me was Offenbach's Gaite Parisiene which was a jolly romp for the most. A little bit last night of the Proms at times perhaps, but good to hear where the Can-Can came from in full. Also interesting to hear the barcarolle in context too, very different to most of the work as a whole but a pleasant respite, like a grand sunset after a busy day in Paris - or should that be a grand sunrise after a night of festivities?
Ravel's Piano Concerto for the Left Hand is a dramatic one, very different to his jazzier concerto in G. There's a gentle passage toward the end which is utterly beautiful, took my breath away. Some lovely use of other instruments too. Debussy's Cello Concerto No 1 was an intriguing one too, not quite as smooth as some of his earlier works but still a strong composition, obviously. His String Quartet on the other hand was quite astounding, a strong and innovative take on the form.
I saw a few people were waiting for Durufle's Requiem, for me it was another first. Such a dark landscape is conjured by it, desolate yet beautiful, then the Sanctus brings some sort of light and hope. And the Agnes Dei lifts us up from the shattered ground and offers solace and rest. No wonder people were waiting.
Poulenc's Organ Concerto was dramatic certainly but I can't say it was entirely to my tastes. I didn't dislike it but didn't do anything for me.
Monday, 8 October 2012
Classic 100 Music of France - Day 2
Day two saw a few more operas and the happy inclusion of some Baroque pieces. Berlioz maintained his lead but the others are catching up.
The important thing for this blog of course is the new pieces I discovered. There were quite a few, but special mention to Lalo’s Symphonie espagnole. It was apparently written with a violin virtuoso in mind so there’s a concerto aspect and the violin does fly along with the orchestra. Some really lovely symphonic sounds in it too, definitely one I’ll want to hear again.
Another discovery was Gounod’s St Cecilia Mass. I missed some of the beginning of this one but caught most of it. The quieter passages are sublime, but I found some of the more, triumphant shall we say, parts a bit meh. Nice but I wasn’t blown away, very austere I feel. Saint-Saens' Cello Concerto No 1 however was another great work. I love cello music and it really gets to dance in that one.
Poulenc’s Sonata for Flute and Piano was a delightful piece with some wonderful flights of the flute and piano, with some sudden contrasts too. I’m hearing Poulenc in bursts and whenever I do I like him more. Even his choral Gloria, which I first heard in yesterday’s countdown, was an exciting work, but I prefer his chamber works so far.
So glad to hear Faure’s Sicilienne and to learn about its history. I had thought it was part of his Peleas and Melisande suite so when I saw the separate opus in the voting list I was a bit confused. Hearing that it actually started life as incidental music for a different play, was then resuscitated in a cello and piano arrangement before finally being used for the Maeterlinck play has cleared up my confusion. And the arrangement for cello and piano is beyond a doubt magnificent. As a side note my wife voted for that, she has good taste in music.
Addendum - So there's a wiki page about the countdown which is exciting. It also pointed out I miscounted and Debussy has pulled level with Berlioz. I expect he will have the most in the end.
The important thing for this blog of course is the new pieces I discovered. There were quite a few, but special mention to Lalo’s Symphonie espagnole. It was apparently written with a violin virtuoso in mind so there’s a concerto aspect and the violin does fly along with the orchestra. Some really lovely symphonic sounds in it too, definitely one I’ll want to hear again.
Another discovery was Gounod’s St Cecilia Mass. I missed some of the beginning of this one but caught most of it. The quieter passages are sublime, but I found some of the more, triumphant shall we say, parts a bit meh. Nice but I wasn’t blown away, very austere I feel. Saint-Saens' Cello Concerto No 1 however was another great work. I love cello music and it really gets to dance in that one.
Poulenc’s Sonata for Flute and Piano was a delightful piece with some wonderful flights of the flute and piano, with some sudden contrasts too. I’m hearing Poulenc in bursts and whenever I do I like him more. Even his choral Gloria, which I first heard in yesterday’s countdown, was an exciting work, but I prefer his chamber works so far.
So glad to hear Faure’s Sicilienne and to learn about its history. I had thought it was part of his Peleas and Melisande suite so when I saw the separate opus in the voting list I was a bit confused. Hearing that it actually started life as incidental music for a different play, was then resuscitated in a cello and piano arrangement before finally being used for the Maeterlinck play has cleared up my confusion. And the arrangement for cello and piano is beyond a doubt magnificent. As a side note my wife voted for that, she has good taste in music.
Addendum - So there's a wiki page about the countdown which is exciting. It also pointed out I miscounted and Debussy has pulled level with Berlioz. I expect he will have the most in the end.
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