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.

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!

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.