classical – Page 8

Flash Mob, Turin, Italy | Mozart’s “Ave Verum Corpus”

Of all the things we’re missing now, the feeling of participating in a flash mob (as a planful participant or an unwitting audience member) might be among the most difficult to recall. This 2013 a cappella performance of Mozart’s “Ave Verum Corpus” (1791), nothing less than a pillar of the choral repertoire, resounds beautifully in the setting of a soaring Italian atrium.

Dr. Jimbob’s Mozart page (written by Dr. James Chi-Shin Liu, an internist with a specialty in performing arts medicine as well as an extensive scholarship of music!) has this to say about the piece: “Mozart’s setting is far from pedestrian or undistinguished…Artur Schnabel famously described as too simple for children and too difficult for adults (after all, simple music like this exposes any lapses of rhythm, intonation, or ensemble). And the music seems to encompass a universe of feeling in forty-six short bars.”

This rendition begins with an extended D major drone as the shoppers gradually figure out that a performance is afoot; the performance itself begins at 2:18. At 3:23, the piece’s dominant key of D major gives way to F major, returning to D major at 3:57. The choir returns to the D major drone, gradually tapering down to nothing and transitioning to applause, before the shoppers go on about their day.

Samuel Barber | Summer Music for Woodwind Quintet, Op. 31

In its program notes for a 2004 performance, Chicago Chamber Musicians wrote: “Barber was often described during his lifetime as hopelessly old-fashioned; audiences approved of his music more than critics did. Over time, though, his individuality and depth of emotional expressiveness have won universal admiration and given him a pre-eminent place in the history of American music. With his tendency toward romantic melodiousness, combined with a classicist’s fondness for traditional structures, Barber has sometimes been compared to Brahms, who was also accused of being out of step with his times, but whose works seem to have survived nonetheless. Barber himself commented on the work’s pastoral mood: ‘It’s supposed to be evocative of summer — summer meaning languid, not killing mosquitoes.'” American Music reports that the 1956 piece, Barber’s only chamber composition for wind instruments, has become a staple of the wind-quintet repertory.

The performance here is from the 2013 Fischoff National Chamber Music Competition; the ensemble is from the Eastman School of Music in Rochester, New York. Starting with a more disjointed mood, the piece is initially built on a series of luxurious features/solos for each of the quintet’s instruments — although no one instrument takes the lead for long. The tonality shifts several times, generally staying in the minor realm. At 2:07, the mood shifts suddenly; the ensemble begins to speak mostly as one as the lines grow more percussive. At 2:44, there’s a shift towards an uncomplicated major tonality as the quintet sprints to the finish line.

Frédéric Chopin | Prelude for Piano #25 in C-sharp minor (Op. 45)

Towards the end of his life, Frédéric Chopin wrote a series of preludes; while there were 26 in all, the piece known as #25 (1841), although published earlier, was actually the final installment of the series to be written.

According the AllMusic, “This last prelude begins with a gentle, melancholy theme, whose mostly ascending accompaniment Chopin deftly works into the gloomy melodic fabric. That is nothing new for him, but here the obsessive and seemingly simple manner of the harmony never becomes tiring, always remains profoundly atmospheric, largely because of the composer’s manipulation of his thematic material, at times allowing sunlight to break in, as when the theme is played for the second time and blossoms into hopeful joy…It is hardly surprising that this masterpiece is one of Chopin’s more popular and widely-played compositions.”

Although we can see from this sheet music-centric video that the key signature never formally shifts, modulations and passing keys-of-the-moment are more the rule than the exception in this piece, calling legions of accidentals into service. AllMusic goes as far as to suggest that “the success of this whole piece rests on the composer’s deft handling of what is essentially threadbare thematic material — there is no middle section here.”

Frédéric Chopin | Prelude in Db Major, Op. 28, #15 (Vladimir Horowitz, piano)

One of Frédéric Chopin‘s most beloved works, his Prelude in Db Major, Op. 28, No. 15 (1838) is often called the “Raindrop” prelude — the repeating patter of Ab/G#3 throughout the piece symbolizing raindrops. The piece is a large-scale ABA form, beginning and ending in Db Major, with the middle section in the parallel C# minor (the change to minor occurs at 1:35; the return to major at 4:05.) This piece has been on my mind over the last few weeks, as I think it presents as an interesting metaphor for the times we are living in: the first A section our lives before lockdown, the B section our darker present, and the final A section the light we will return to, with the incessant repetition of the Ab/G# our unyielding heartbeat, our humanity, staying consistent throughout. Performed here by the unparalleled Vladimir Horowitz.

Wolfgang Amadeus Mozart | Fantasia in C Minor (K. 475)

A good example of a common-tone modulation is presented by Mozart’s Fantasia in C Minor, K. 475 (1785). A shift from B major to D major jumps out at 2:32 via a repeated F# in the melody as the accompaniment briefly pauses. French pianist Ismaël Margain, a graduate of Conservatoire Supérieur de Musique in Paris, is at the keyboard.

Gabriel Fauré | Élégie, Op. 24

Gabriel Fauré’s “Élégie”, Op. 24 for cello and piano has held a special place in my heart ever since I was first introduced to it and played it with a close friend in high school. Originally envisioned as the slow movement in an uncompleted cello sonata, Fauré published the piece as stand-alone work in 1883, and later orchestrated it as well.

Fauré scholar Jean-Michel Nectoux wrote that the Élégie was one of the last works in which the French composer allowed himself “such a direct expression of pathos,” noting further that he regards the piece as “one of the last manifestations of French musical Romanticism. From now on Fauré’s music was to be more introverted and discreet.”

A large scale ABA form begins and ends in C minor; Ab major is hinted at in the bass beginning at 2:24 before fully arriving when the piano takes the melody at 2:35. Performed here by Jacqueline du Pré and Gerald Moore, pianist.

Wolfgang Amadeus Mozart | Alla Turca, Sonata #11 in A Major (K. 331)

Wolfgang Mozart’s Alla Turca from Sonata #11 in A Major (K. 331) shifts back and forth between A minor and A major throughout. A piano sonata in three movements, the piece was likely written in Vienna or Salzburg around 1783. The first modulations are at 0:48 and 1:02.

Have You Seen a Child (from “Amahl + the Night Visitors”)

Weekend bonus mod: thanks to frequent contributor JB! Written by Gian Carlo Menotti, an Italian-American composer and librettist, Amahl and the Night Visitors first aired on NBC on Christmas Eve, 1951; it was the first opera written specifically for television and was intended to be children’s programming.

According to Opera Magazine, Menotti was challenged by deadlines; he was assisted by his composition colleague Samuel Barber in completing the orchestrations, which were first performed under the baton of NBC Symphony Orchestra conductor Arturo Toscanini. The production, later staged by many opera companies, was aired on national TV for eleven years straight; sporadic performances have continued over the years.

The main theme is repeated in several keys; the first modulation is at 0:33.

Frédéric Chopin | “Military” Polonaise in A Major

The tonality of the “Military” Polonaise in A Major by Frédéric Chopin, composed in 1838, pivots all over the place during the many repetitions of its regal main theme. Canadian/Israeli pianist Tzvi Erez‘s version includes several more interesting points about the piece in its captions.

Ignacy Paderewski | Minuet in G major, Op. 14 #1

Ignacy Paderewski (1860 – 1941) was a Polish composer and pianist who is likely just as well known for his work as a philanthropist and brief stint as Prime Minister of Poland in 1919. The composer has a star on the Hollywood Walk of Fame. The Irving Berlin song “I Love a Piano” (1916) includes the lyric “…and with the pedal, I love to meddle/When Paderewski comes this way/I’m so delighted, when I’m invited/To hear that long-haired genius play.”

Paderewski’s Minuet in G major (Op. 14 #1, 1887) is performed here by Polish pianist Michał Szymanowski. At 1:54, the piece transitions away from its overall key of G major, then reverts to its main theme at 2:38.