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.

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!

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.

My Halloween Playlist - 2013

Just a small selection of tunes for Halloween.

Dvorak's The Water Goblin

Mussorgsky's Night on Bare Mountain (via Rimsky-Korsakov)

Grieg's March of the Trolls

Schubert's The Erl King

Berlioz's March to the Scaffold

Saint-Saens' Danse Macabre

There are many, many more of course. This is just a taste! Enjoy and explore!

Beethoven Sonata Course in Reflection

The course on Beethoven’s Piano Sonatas finished up recently. It was a fun and insightful series of lectures and if it runs again I recommend doing it. Aside from learning about Beethoven and his music you get to listen to snippets of works played by Jonathon Biss and that’s well worth it too (here's a sample).

So what did I learn? Quite a bit to be honest and I’m not going to go into all the detail and everything here. What I want to talk about is how the course helped shape something of my idea of the history of music because I’ve come to see Beethoven as a pivotal figure in ways I didn’t understand previously.

I studied a course on the Ancient Greeks at the same time as this one and in it was discussed that history works out in big forces and movements – migrations, economic upheavals etc, etc – but there are also certain individuals who manage to alter the course of history through sheer force of will or some similar manifestation of their brilliance. Alexander the Great was one standout example.

From what I learned in the Sonata course this is also very much the case. There were big movements taking place during Beethoven’s lifetime, but his talent and his unrelenting personality played their own role in shaping music’s path heading into the 19th century.

At the beginning of his lifetime music was still largely a court affair. Joseph Haydn spent most of his career in the employ of one such court; he wrote what his employer wanted, he managed the court’s musicians etc. Late in his life his employer did give him incredible freedom and allowed him to write what he wanted instead. Mozart, unable to cope with the strictures of being a court composer tried his hand as a freelancer but with variable success.

The way was becoming clear however and courts were no longer the bastions of classical music. If we consider the social and political upheavals that were happening at this time, it’s little wonder Beethoven never had to consider being employed as a court musician. He was free from the beginning to do his own thing. The individual was free.

And free from such constraints, Beethoven’s talent and strong personality led him to explore musical forms in all new ways. He took the sonata form, perfected it, toyed with it to test its limits, then tore it apart and reshaped it in his own way. He broke all the rules and paved the way for further experimentation down the track. And he allowed music to truly ambitious and completely about self-expression. He could paint emotional landscapes freely in ways previous composers could not and in so doing he set the Romantics up to do what they did.

So while history’s big movements were most certainly in play – it’s one of the most dramatic shifts in Western history in all fields of endeavour – Beethoven’s individuality and precocious talent shifted the history music very much to follow his footsteps and no-one else’s.

Beethoven Piano Sonata Course First Two Weeks

I’m now two weeks into the course on Beethoven’s Piano Sonatas being run by the Curtis Institute of Music through Coursera and it is really interesting. In essence it’s spending about an hour watching a series of short videos where Jonathon Biss talks about Beethoven’s music in a engaging and insightful way.

The first week was an introduction to two things, first Beethoven’s predecessors Bach, Haydn and Mozart, then to sonata form. The predecessors were covered necessarily very rapidly but Biss raised the question of the role of composers in society. Bach was never anything but a servant, even at his peak he was required to teach singing; Haydn started as a servant, was given leave to do his own thing at times, then eventually had enough success to go it alone. Mozart on the other hand couldn’t handle being a servant and went freelance before the idea was really around. It worked for a time but his genius didn’t extend to budgeting. However, both he and Haydn showed more daring and creative exploration when freed from court duties.

When Beethoven emerged the court composer role was dying off and he never had to write what he was told, so from the beginning he was free to try new things – but he still had to make money. Which puts an interesting dynamic into his early works.

The sonata form, which is a form of a single movement not a description of a sonata – someone needs to work on that bit of nomenclature – is also very interesting. Biss explained it really well too. I won’t go into the details but in essence it’s a journey, you start with at home, being the key the piece is written in, then go to the ‘dominant’ which is a fifth above the home key (also called the tonic), from there the movement goes on a harmonic journey as it tries to get back to the tonic/home. I love how it’s a basic narrative structure – story really is fundamental to our existence.

The second week was a look at the earliest sonatas – 1-11 and 19-20, which were written before but published after 12 – with particular emphasis on Sonata No 4, Beethoven’s Opus 7. It would take too long to go into what was said now but the assignment for the week was interesting. We had to list how one of the other early sonatas conformed with and differed from No 4, which meant listening to a Sonata in an all new way for me. I picked No 1 because it has almost exactly the same movement structure. It was fascinating to actively listen to the music, ask ‘what’s he doing here?’ and notice when phrases come in and go out. I can’t pick a key change to save my life so that’s a disadvantage but the experience did give me a new appreciation for the music.

This is definitely a journey worth taking.

Getting this blog going

This is just a quick post to announce the new way I'm hoping to run this blog. I'm going to try to be a bit more methodical and committed to it. I've started by adding a Facebook page which will announce when I post here and also share smaller things like links and quick happy birthdays to composers long dead and maybe even living ones from time to time.

I'm also going to have a Composer of the Month. I'll announce who on the Facebook page on the first Wednesday of the month and post a YouTube link to a piece written by them every Wednesday. I'll also do a post about them here sometime during the month and maybe some album reviews.

This month it's Beethoven. Yes, a fairly obvious choice but it made sense. I'm studying his Piano Sonatas in an online course this month so he's already on my mind and in my ears. Doing that course was a bit of serendipity actually. My wife just gave me the Beethoven-Willems Collection featuring all the sonatas and concertos plus more, and I was looking at courses on the Coursera site and saw it there - it was meant to be. I'll let you know what it's like later in the month.

I'm still working my way through the B-W collection but the discs I've played so far are magnificent. Not only is the playing good, the recording is crystal clear. It's an all-round brilliant effort.

Let the music play!