Former Baltimore Symphony conductor Marin Alsop wrote for NPR of ” … Dvorak’s melodic gifts, as well as his ability to spin a seemingly infinite number of variations on a tune. This, combined with Dvorak’s Bohemian heritage, results in music unlike any other composer’s. Symphony No. 9 is nicknamed New World because Dvorak wrote it during the time he spent in the U.S. in the 1890s. His experiences in America (including his discovery of African-American and Native-American melodies) and his longing for home color his music with mixed emotions. There’s both a yearning that simmers and an air of innocence.”
The piece is often considered to be one of the most popular of all symphonies. Astronaut Neil Armstrong took a recording of the New World Symphony along during the Apollo 11 mission, the first Moon landing, in 1969. (WRTI.org).
Among the more prominent of the piece’s many modulations is a shift from E minor to G# minor at 7:12.
“Mandolinist-singer Chris Thile, guitarist-singer Sean Watkins, and fiddler-singer Sara Watkins recorded their self-titled debut for Sugar Hill in 2000,” (AcousticMusic.com). “The band had a lot going for it. Its members were young, spunky, and nice to look at on CMT; they were good musicians and singers, and brought a youthful edge to a music that seldom reached a youthful market. Indeed, the most surprising thing about Nickel Creek was that three, young with-it teenagers would choose to play anything resembling bluegrass, and that they, as Alison Krauss had some years earlier, were able to make acoustic music seem kind of cool.
The band’s third album, Why Should the Fire Die? (2005), (is) an intense, innovative album … Detractors will argue that Nickel Creek has strayed far from the traditional bluegrass path, but even the group’s first and most conservative effort wasn’t traditional. The problem with traditional-progressive conflicts is that they don’t tell you much about the quality of the music itself. Quite possibly, Nickel Creek doesn’t even qualify—at this point—as traditional, progressive, or any other kind of bluegrass. They are, however, an exciting band because they’ve brought new elements into acoustic music, giving it a potent injection of youthful vigor.”
After a starting in E major, a shift to G major is in effect from 1:02 – 1:18, where the band hiccups back into the original key.
“Mozart’s last three symphonies come from the extraordinarily creative summer of 1788,” (RedlandsSymphony.com) “In the space of slightly over six weeks, he composed the Symphony in E-flat, K. 543; the Symphony in G minor, K. 550; and the Symphony in C major, K. 551 …
Of the three 1788 symphonies, the Symphony in G minor, K. 550 (popularly referred to as No. 40, but probably No. 53), is the most original and has had the greatest influence on future composers. Few works from the 18th century are as intense, chromatic, and unconventional … few classical works more clearly point the way toward 19th century romanticism.”
Beginning in G minor, the movement transitions to the relative major key, Bb, for the first time at 0:27. Many other shifts in tonality follow.
Brasstracks is a Grammy Award-winning hip-hop production duo based in New York City. Founded by Ivan Jackson and Conor Rayne in 2014, the group released their first album, Golden Ticket, in 2020. This cover of Mariah Carey’s “Always Be My Baby” was released in 2019, and modulates at 2:40.
“For many, (Miles Davis’) crowning achievement was the album Kind of Blue, the best selling album in jazz history,” (JazzWise). In 1999 it topped The Independent’s ’50 Best Recordings of the 20th Century’ list, in 2006 it topped the Jazzwise ‘100 Albums that Shook the World’ listing, while more recently The Guardian’s ‘1000 Albums to Hear Before You Die’ gave Kind of Blue a half-page box-out, an honour accorded to just 20 or so albums on the whole list. It even featured at No. 66 on the pop station VH1’s ‘100 Greatest Albums of Rock ’n’ Roll.’
“No other recording in jazz has come remotely near acquiring the kind of cachet Kind of Blue has accumulated over the decades. It’s an album that has probably been responsible for more Damascene conversions of non-believers into the jazz faith than any other, it has been the base-station from where countless fans have begun their journey into jazz and it’s an album that crops-up in the record collections of classical, rock, pop and country & western devotees who would not otherwise give jazz house room.”
After an intro, Kind of Blue‘s “So What” (1959) starts in earnest at 0:34. Even though the melody repeats throughout, the half-step upward modulation on the third pass (1:02 – 1:17) lends the track a classic AABA form. At 1:17, the tune reverts to its original key.
Guitarist and composer Maurice Cahen was born in Saint Germain en Laye, France. He began studying classical guitar while playing jazz in the Paris area. He traveled back and forth to Spain, where he discovered his love for traditional and contemporary Spanish music. In 1982, Maurice moved to the United States to study at Boston’s Berklee College of Music, followed by studies with Charlie Banacos and Dimitri Goryachev. Since then, he’s collaborated with various Boston and New York based musicians and has published original chamber music for flute and guitar, including the Impromptu #1.
Cahen has toured Israel with The Little Big Band and later toured Brazil with his own quartet and duo. Since then, Maurice has created numerous ensembles: Reflection, Brazilian Serenade, and various duos and trios featuring his original work, improvisation, etc. and exploring many styles, instrumentations, and genres (Classical, Latin, etc.) Maurice is currently studying North Indian Classical music and sitar technique with Jawwad Noor.
Impromptu #1 for flute and guitar, featuring Cahen on guitar and MotD co-curator Elise MacDonald on flute, begins in an overarching B minor and D major, but shifts to B major at 1:03. After touching on several other keys of the moment, we return to B minor and D major at 1:44.
Pianist Liz Story studied music at Hunter College and at Juilliard. “Although she was an accomplished pianist, (she) lost interest in a music career until she saw Bill Evans play one night at the Bottom Line in New York,” (MusicianGuide). “That concert opened up performance possibilities that she had never considered. ‘What hit me was the improvisation. I had the impression that improvising music had died in the 18th century, that it was a musical feat people knew about in some other time,’ she told DownBeat. ‘All these lights went on. I had, for the first time, a clear idea of what I would do in music.’
The timing of Story’s entrance onto the music scene was fortuitous. She arrived when a new form of music, popularly dubbed New Age, was gaining wide acceptance. William Ackerman helped pioneer New Age music through his Windham Hill label, which he formed in 1976 to release his first album of guitar music … Story recorded her first solo album, Solid Colors, for Windham Hill in 1983. High Fidelity reviewed the album: ‘ … a virtually flawless technical capacity, a fine gift for melody, a great sense of creative passion … a performer-composer with the melodic power to move an audience.’ Story claims that she desires simplicity in her compositions. ‘When I sit at the piano, complexity dissolves. I want music to somehow move me, simple and stripped down as it may be. I wonder at the possibility that a melody of three notes can turn the heart.'”
Story’s 1983 track “Things With Wings” begins in F major; at 1:03, there’s a modulation to F# major, then a reversion to the original key at 1:46.
“Out of all the hit recordings of ‘Body and Soul,’ Coleman Hawkins’ is the best remembered,” (JazzStandards.com). Considered the first truly great jazz saxophonist, Hawkins’ October 11, 1939, version cemented his fame and must be considered the definitive recording of the song. According to Mark C. Gridley, author of Jazz Styles: History and Analysis, ‘Coleman Hawkins loved to improvise on complicated chord progressions and invent solo lines whose construction implied that chords had been added …'”
In 1973, the National Academy of Recording Arts and Sciences inducted Hawkins’ 1939 recording into the Grammy Hall of Fame. The original recording is on Coleman Hawkins’ Body and Soul CD. An interesting reworking of the tune can be heard as the title cut on Hawkins’ 1944 Rainbow Mist recording on which he lays a new melody over the chord changes of ‘Body and Soul.'”
The 32-bar tune, composed in 1930 by Johnny Green, is built in Db major overall. After a brief intro, the first A section begins at 0:11 and the second at 0:32. The B section, which features several departures from the original key via a huge amount of harmonic sleight of hand, begins at 0:52. Finally, 1:12 brings the form’s last A section, returning to the original key.
“Gabriel Fauré is sometimes overshadowed by the generation of composers that followed the trail he had quietly illuminated. He was more than the composer of one much-loved piece, the Requiem. He was crucial to a movement that aimed to establish a characteristically French style of composition,” (DeutscheGrammophon.com). A student of Camille Saint-Saëns, Fauré later became “a founding member of the Société National de Musique, along with Saint-Saëns … The aim of the Société’s concerts of new music was to encourage an indigenously French style of musical composition and shake off German influence. It paid special attention to chamber music, (which) had until then been under-represented in 19th-century Paris, where opera was the predominant measure of a composer’s success …
Fauré’s music was characterized from the start by an innate sense of balance and beauty … Saint-Saëns was naturally a tremendous influence. So were Liszt, whom Fauré met through Saint-Saëns, and Chopin, on whose piano genres Fauré substantially built.” In terms of his lasting impact on music, “Fauré’s influence lived on not only through his works but also through his pupils. He helped them strengthen voices that were as individual as his own. This might explain the profound differences among Ravel, Enescu, Charles Koechlin, Florent Schmitt and Arthur Honegger.”
The Berceuse (lullabye), written in 1879, is performed here by Henrik Dam Thomsen on cello and Ulrich Stærk on piano. Shifts among closely related keys are a subtle but nearly constant presence in this piece. “The mixing and reuse of material is an example of familiarity … familiarity works because new ideas are only subtly different, or they are accompanied by familiar gestures, harmonic overlap, or both. The harmonic movement therefore is experienced as subtle shifts rather than exhausting journey of departure and arrival. It is like floating on a calm river instead of climbing up a mountain.” (Brandon Kinsey). According to the video’s description, “The Berceuse is charming, irresistible, and impossible to fall asleep to.”
The “Viva Italia” Fantasy for piccolo on themes by Rossini and Verdi, by Marina Manafova, is performed here by the Mariinsky Theatre Symphony Orchestra; Kuelyar Ksenia is the soloist. The Orchestra has performed for 239 years and “is one of the oldest in Russia. Its history dates back to the first orchestra of the St Petersburg Imperial Opera Orchestra. Information on Manafova, a Russian composer, is nearly impossible to find, but this 2018 performance was the world premiere of the Fantasy.
Italian composers Giuseppe Verdi and Gioachino Rossini are often linked due to their shared focus on opera. WQXR’s blog illuminates the relationship between the two colleagues: “The two men met in Bologna in June 1842, and Verdi quickly admired his older colleague. Verdi was able to discuss with Rossini his many operas and it seems that he particularly came to learn a lot about L’Italiana in Algeri, Il Barbiere di Siviglia and what was known in Italian as Guglielmo Tell. He later said that ‘I cannot believe that there is another opera that has a greater abundance of musical ideas, comic verve and truthfulness of declamation than Il Barbiere di Siviglia, which must be the greatest comic opera there is. I admire Tell, but how many other sublime things there are in his other operas.’”
The piccolo soloist, Kuelyar Ksenia, was the winner of the All-Russia competition in 2000. She “is a regular (flute and piccolo) soloist with St. Petersburg Philharmonic orchestra …. participates in projects organized by Ensemle of Modern Music under Pro Arte Foundation … (and) gives master classes in Russia, Germany and Spain … ” She has worked as a teaching assistant “at the St. Petersburg Conservatory named after Rimsky-Korsakof.”
Ksenia’s mastery of the diminutive woodwind is evident at all times, but never moreso than when the highest arpeggio notes sail gracefully out into the crowd, strongly stated but sometimes somewhat quieter than the low notes. This excellent technique is no small feat for a flutist, but a near-miracle on piccolo! After starting in D major, 2:18 brings a transition to A major, followed by several other modulations throughout (the music begins at the 0:40 mark).
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