Time for a Schubertiade

Schubertiade (1868) by Moritz von Schwind

Franz Schubert is my favorite composer. He has influenced me more than any other creative genius, in any of the arts or sciences. No works of art resonate within my mind with the potency of his music.

Why? There are too many reasons to articulate in a coherent and accessible manner, but I think it can be boiled down to two main points: Romanticism and Melody.

Schubert's Romantic style fully embraces the wandering and dark musings of the imagination. However, he maintains Classical tightness and eloquence, avoiding the overblown excesses that weigh down the work of later Romantic composers. For Schubert, all of the passion and inspiration of the Sublime can be articulated, with effectiveness and efficiency, into a tightly structured, highly melodic song

As regards melody, it is through this that the Romantic narrative is expressed. Moreover, these tales of sound and emotion have the narrative purpose at their core, as their premise. Sometimes the story is vague, simply a progression of emotion, and, sometimes, it is direct, programmatic in design. In either case, one can't listen to this music within being drawn into Schubert's narrative mindscape.

Portrait of Franz Schubert (1825) by Wilhelm August Rieder

I could go on endlessly about these two topics, as well as countless other aspects of Schubert's music. However, in celebrating his birth date, born 1797, I think it is only fitting to let his music make its own case.

Cosi Fan Tutte

Posthumous Portrait of Wolfgang Amadeus Mozart (1819) by Barbara Krafft

In my youth, Wolfgang Amadeus Mozart was second-to-none my favorite composer. From his great choral works, such as the Requiem, to his operas, especially Don Giovanni, and across his instrumental repertoire, I could not get enough of his music. It was an inspiration.

Over the years, my adoration for Mozart's music has remained steady, although I've gone through fads where another composer would become my favorite. And, to this day, I am still enthralled by certain pieces, though familiar, seemingly ever fresh, graceful, and gallant.

Through music, Mozart takes us on a grand tour of human emotion, from playful irreverence to prideful damnation, from courtly elegance to profound religiosity.

Unfinished Portrait of Wolfgang Amadeus Mozart (1789) by Josef Lange

So, on the occasion of his birth date, born in 1756, let's listen to some music.

Music Is a Higher Revelation

The bust of Ludwig van Beethoven inspires Schroeder's music. Lucy is unimpressed.


"What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven."

Well, nobody can state the situation quite like Ludwig van Beethoven. ;-)

I've cut back on the classical music posts recently, since it seems very few people read them. However, I can't pass up on Beethoven's birth date without giving due celebration. He is one of my favorite composers, perhaps the most influential of them all. I never get tired of listening to his works, admiring their intensity and beauty, their drama and sublimity.

Beethoven's birth date is believed to be December 16, 1770.

I could write more about this great artist, but his works can speak for themselves.

Beyond the Crystal Spheres

Uranus Rings (1987) by David A. Hardy

In 1738, Sir William Herschel was born. His career in science was prestigious, including the discoveries of Uranus and infrared radiation, the coining of the word "asteroid", and the improvement of telescope technology. And he composed symphonic music as well!!!

Although I rarely cover "science" topics, I couldn't let Herschel's genius go uncelebrated. Too often, we spend our time celebrating "popular" figures, overlooking those individuals who may have been less glamorous but, nevertheless, contributed significant ideas or inventions to humanity. That's not to say that "media darlings" or celebrities are not important, but, instead, that a discerning society ought to give equal or greater interest and respect to those who labor in obscurity, as is appropriate to their contributions to society.

Our current Age of Information was founded upon the genius of prior scientists and thinkers. Herschel was one of these great men.

William Herschel's 40 ft. telescope, 1789

So, let's give thanks to Herschel and those innovative thinkers, famous or obscure, who have made our world a better place.

Only an Ornament

Sketch of Fanny Mendelssohn by Wilhelm Hensel

Fanny Mendelssohn Hensel was the older sister of the famous Romantic composer, Felix Mendelssohn, wife of the prominent court painter, Wilhelm Hensel, granddaughter of the great Jewish philosopher, Moses Mendelssohn, and the grandmother of a few notable intellectuals; the tradition of defining her in relation to prominent male relatives is a disservice to her own underappreciated genius.

Born to a respectable German Jewish family in 1805, Fanny Mendelssohn was subjected to the societal marginalization that was socially prominent toward women. In spite of her obvious musical talent, her family never allowed her to cultivate the knowledge and skill to meet her potential. While her brother was developed into one of the greatest voices of early Romantic composition, Fanny picked up her technique through self-taught trial and error as a performer.

Fortunately, her brother encouraged her compositional activities, publishing her works under his own name so as to avoid the scandal that would have ensued if the true authorship was known. When Fanny married Wilhelm Hensel, who supported her musical endeavors, she eventually began to publish under her own name.

Sketch of Fanny Mendelssohn by Wilhelm Hensel

Let's honor her birth date by listening to some beautiful music. And reflect upon the even greater music to which we cannot listen, those pieces that were never realized by Fanny because of the many social obstacles that prevented their creation, lost to the ignorance of misogyny.

Would You Like to Dance?

Detail of Hofball in Wien (1900) by Wilhelm Gause


On this day in 1825, Johann Strauss II was born.

Known as the "Waltz King," Strauss perfected the classic waltz. Many great waltzes came before him and plenty came after, but his works are the watershed apex of the form. So influential were his works that even now, nearly two centuries later, his music is conceptually synonymous with the waltz.

When I hear his music, I want to get up, hold my partner, and dance, whirling around an opulent ballroom, mirrors and candelabra glittering as we spin across the floor. I want to take flight into the magical realm of beauty and joy that the music evokes.

The Hunt Ball (1885) by Julius LeBlanc Stewart

These timeless works need no more of my words.

Night of the Electric Insects

Cover art detail from the Black Angels album (1990) featuring the Kronos Quartet


Pushing the boundaries of classical music, George Crumb has created some of the most interesting avant-garde compositions of the late 20th century, navigating that precarious border between innovation and inaccessibility, always focusing on the expressive qualities of sound.

In honor of his birth date, we're celebrating Crumb's work with a selection of my favorite pieces, compositions that evoke narratives and images within my mind, provoking both intellectual and emotional responses, inspirations that encourage me to pursue my own creative endeavors. Because of the immediacy of his music, appreciation comes easy. Unlike many other avant-garde composers of his generation, his works are challenging but not discouraging.

There is no prerequisite to understanding and enjoying Crumb's music. Of course, possessing a strong knowledge of music history and compositional theory adds value to the experience, but the sounds can stand alone, articulating awesome poetic visions.

George Crumb was born on October 24, 1929. (Photo by Sabine Matthes)

Now, let's listen to some music.

Danse Macabre

Dance of Death (1493) by Michael Wolgemut


October 9, 1835 is the birth date of Camille Saint-Saens.

This isn't a "Classical Music" blog, but I was thinking of sneaking in a little Spooky Sunday fun for an early October evening. One of Saint-Saens' most famous pieces is the Danse Macabre. This tone poem is based on a story in which Death appears at midnight every Halloween and summons up the dead from their graves. To the sound of Death's violin, they dance until sunrise. Then they return into the earth and wait for another year to pass so that they can enjoy another night of liberating dance.

In late medieval lore, the danse macabre was symbolic of the universality of death. Regardless of your age, wealth, social status, or personal talents, the Reaper was always at your side. Death was waiting for all mortals. And so Life was nothing but a dance on the way to the grave.

Morbid stuff!!!

Dance of the Dolls (2011) by Anthony Clarkson

But I find the imagery fascinating. Dancing is such vigorous and life-affirming activity that the combination with Death creates a transgressive thrill. Lifeless things should not be dancing. And dancers should not be dead.

From the Pipes of Hydraulus

Louis Vierne at the Wanamaker Auditorium Organ (1927)

The French organist and composer, Louis Vierne, was born on this date in 1870.

That gives us a prime opportunity to listen and appreciate the "King of Instruments" this afternoon. So, head over to your favorite source for experiencing music and give a listen to the rich sounds of the organ. If it's sacred music that you enjoy, there's plenty of great pieces. Looking for a more secular vibe? Then try out a bit of theatre organ works or diversions upon the calliope. Or check out the Hammond in some jazz or soul music.

No matter the type of music to which you listen, adding an organ into the mix will make it something grand! ;-)

Organ of Notre-Dame de Paris, 2007 (Photo by Eric Chan)

Let's check out some vids.

Dispel All Your Sorrows

Detail of Winter Sunday in Norway, Maine (c.1860) by artist unknown


William Billings is another composer that languishes in obscurity. Given his creative vision and early presence in the American timeline of the arts, you would think he'd be given a special place of prominence within musical history classes, at least in the States. I didn't learn about him until well after I had become familiar with the standard classical repertoire.

Now, it's true that I didn't sing in a church choir, which is where most of his works are currently performed as part of the Sacred Harp tradition. However, a student of classical music gets exposed to numerous choral works from European sources fairly early on in the course of their education. Why does Billings get overlooked in favor for yet another German baroque cantata?

I'm not saying that Billings should bump Handel off the syllabus. But I do think that there is a prejudice at work here that marginalizes "colonial" expressions. This is also true for composers from the Spanish colonies, such as Juan Garcia de Zespedes or Juan Gutierrez de Padilla. So, my position is that maybe a day can be set aside to focus on the works coming out of the European colonies in the New World.

Hieroglyphic of a Christian (1850-75) by artist unknown

Well, I'll get off of my soapbox and let Billings' music defend itself. ;-)

Variations on a Polish Theme

Karol Szymanowski (born October 6, 1882) was a Polish composer and pianist.

In the history of classical music, there is a strong focus upon the "Greats" of the tradition. That's as it should be, but it is nice to stop occasionally and take a listen to the music of the lesser accomplished masters. Their music may not have that special spark of genius, but, if it has authenticity and artistry, then it well worth our time and attention.

And so we'll celebrate the birth date of the Polish composer, Karol Szymanowski, born on this date in 1882 (although I've seen it listed as being October 3rd at some places.) I feel that his music is sadly overlooked. Yes, he wasn't a great innovator or paradigmatic of a style. However, he was an "explorer" of various trends within classical music of his era, from late Romanticism to Impressionism to Nationalism. His compositional style wandered through the turbulent influences of early 20th century, adapting and incorporating musical elements as fit his own interests.

Portrait of Karol Szymanowski (1930) by Witkacy

Therefore, let's appreciate his musical journeying. We can't all be geniuses, but we can honestly make the most of the talents which we have cultivated. I think Szymanowski's works fit that description.

Umbrellas and Brooms

Dukas' Sorcerer's Apprentice is featured in a scene of Fantasia (1940)

We've got a few Disney-related events to celebrate today.

The French composer, Paul Dukas, was born on this date in 1865. His most famous work was the Sorcerer's Apprentice, which has become inextricably connected with the Disney interpretation in the 1940 cinematic feature Fantasia. I have a special love for the Sorcerer's Apprentice because of how it serves as an example against the modern Disney-influenced concept of intellectual property.

Let me explain. The history of the "Sorcerer's Apprentice" story spans over 2000 years. In ancient Egypt, there was a believe that magical funerary figures, ushabti, could be enchanted so as to perform one's work in the afterlife. Playing off of this belief, the ancient Greek satirist, Lucian of Samosata, created the basic narrative as we now know it in his work, the Philopseudes, written c.150 AD. Centuries later, the German writer, Goethe, does a "remake" of the story in his poem Der Zauberlehrling. This poem inspired Dukas to create his tone poem. And Disney uses the music as the basis for the wonderful scene in Fantasia.

It's really cool to see how different minds shaped the underlying source material over the centuries. It's too bad that modern "property" restrictions make creating works of derived influence a risky legal endeavor. Fortunately, contemporary "mash up" projects in music and literature are bringing the Disney "property" paradigm into question.

Julie Andrews as Mary Poppins


And we're also celebrating the birthday of Julie Andrews. Happy 76th Birthday!!!

Songs of the Celestial Beings

The Planets orbit the Sun.


I know we've been celebrating a lot of music related birthdays recently, but I've got yet another one for you. Gustav Holst was born on this date in 1874. His most famous composition is the orchestral suite, The Planets.

This work has served as a source of inspiration for many 20th century orchestral composers, most notably John Williams and his score for the Star Wars movies. Although it was written without a direct programmatic element, the inherent sense of drama that the music conveys seems to tell a story, like a tone poem. This has made it a paradigm to which modern soundtrack composers turn when arranging an orchestral score.

Holst felt a great deal of ambivalence towards The Planets. He was of the impression that it overshadowed all of his other works. That's a valid complaint. However, I'd say it dominates his compositions because it is it is by far and away his strongest piece of music. Heck, it's one of the most powerful works of the standard Classical repertoire.

Mars (Photo by NASA, J. Bell, M. Wolff)

My favorite part of the work is Mars: the Bringer of War. It's a wonderfully dramatic and strong piece that captures the "warrior" vibe.

Music or Mars?

John Carter of Mars and Dejah Thoris (2009) by Julie Bell and Boris Vallejo


Since I'm in a bit of a rush today, we'll compress the celebration of Edgar Rice Burroughs' birth date (1875) and Johann Pachelbel's (1653) into one post. This may become the model for future days when I'm torn between two inspirations. Since Burroughs has plenty of illustrations to depict his work, but few quality videos, he'll have the front page. Meanwhile, Pachelbel has virtually no interesting images but many, many vids. So he'll come after the jump.

Today we'll focus on images of Burroughs' Barsoom. Why? Well, there is a John Carter of Mars movie coming out later this year. Second, Dejah Thoris, princess of the Martian city-state of Helium, is the original interplanetary super-hottie. Many an illustrator has been inspired by this Martian muse. ;-)


Cover art to Edgar Rice Burroughs' Princess of Mars by Frank Frazetta (1970)


If it's Tarzan or images of the Hollow Earth land of Pellucidar that you desire, then wait until next year or so.



Dejah Thoris, Princess of Helium (2010) by Frank Cho


As regards Barsoom, Princess of Mars was published as a serial in 1912 and republished as a novel in 1917. The series spans 11 books. The success of this series created the Planetary Romance subgenre of Science Fiction.

Scaramella Va Alla Guerra

Woodcut portrait of Josquin des Prez (1611)

I usually prefer celebrating great artists on the date of their birth, but sometimes that isn't known. So, I'm left memorializing on the anniversary of their date of death. Such is the case with my favorite Renaissance composer, Josquin des Prez.

In my generation, most hardcore enthusiasts of classical music enter through cinematic soundtracks and scores. For instance, by being exposed to the orchestral music of John Williams' movie masterpieces, such as Star Wars or the Indiana Jones movies, the listener might be encourage to try out the music that inspired Williams, be it Holst, Wagner, or Richard Strauss. And by developing a familiarity with the art of orchestra music, the listener becomes a fan of "classical music" as a whole.

That's not how I became a classical fan. I have always been deeply interested in religion and spirituality. I'm especially wild over artistic expressions of devotion and spiritual insight. As a Catholic, I was no stranger to sacred music and its ceremonial role. And so, I began to listen to classical music from the other direction, early music into the modern.

And Josquin des Prez was the composer who sealed the deal with my love for classical music. Here's a bit from Wikipedia:

Josquin lived during a transitional stage in music history. Musical styles were changing rapidly, in part due to the movement of musicians between different regions of Europe. Many northern musicians moved to Italy, the heart of the Renaissance, attracted by the Italian nobility's patronage of the arts; while in Italy, these composers were influenced by the native Italian styles, and often brought those ideas with them back to their homelands. The sinuous musical lines of the Ockeghem generation, the contrapuntal complexity of the Netherlanders, and the homophonic textures of the Italian lauda and secular music began to merge into a unified style; indeed Josquin was to be the leading figure in this musical process, which eventually resulted in the formation of an international musical language, of which the most famous composers included Palestrina and Lassus.

Now let's listen to some music.

Biber: Music from a Real Bohemian

Vanitas Still Life by Pieter Gerritsz van Roestraeten

One of my favorite baroque composers in Heinrich Ignaz Franz von Biber. His music has a rich intricacy that keeps the ear engaged but never overwhelmed. There is an elegant progression to his compositional style. This is most obvious in my favorite piece, the Mensa Sonora seu Musica Instrumentalis (1680). Yeah, it is a series of courtly dance pieces, but I like dance music even if it's over three centuries old. ;-)

Here is a bit of the Mensa Sonora:

And here is Biber's most famous work, the Passacaglia for violin solo in G minor from the Mystery Sonatas. Haunting, yet entrancing.

So, if you've never listened to Biber's music before, then take the opportunity to today to remedy the situation. The Mensa Sonora and the Mystery Sonatas are great pieces to develop an appreciate for this master of the Baroque.

Enjoy!!!

Be Serious About It

Morning (1821) by Caspar David Friedrich

It's been a while since we celebrated the birth date of a composer of classical music. So, let's take the opportunity to think on and enjoy the works of the great Norwegian composer, Edvard Grieg, born on this date in 1843. Overall, I'm not wild about his music, but I usually find it charming and fun. Late Romantic compositions often incorporated nationalistic themes and styles. Grieg's work is a paradigm of this trend.

My main criticism of his works is that they are so excessively folksy and syrupy that it's a bit overwhelming. It almost becomes campy or self-satirical. However, there is such a dedicated seriousness to the underlying compositional techniques that it can't be dismissed as mere bombast or sentimentality. No, although the expressive impression of these works seems flashy and shallow upon a casual listen, they are actually deep and complex works.

Stetind I Take (1864) by Peder Balke

Let's give them a listen and you can judge for yourself.

The Languor of the Sun

The Roses of Heliogabalus by Lawrence Alma-Tadema

The emulation of and reference to historical themes and subjects is an important element within my personal aesthetic expressions. For me, Art don't manifest ex nihilo from creative genius, but is generated through the synthesizing of diverse influences into a unique expression. Among these influences is the historical dialectic of symbols and techniques.

The birth date of Gabriel Faure (born in 1845) brought this topic to mind as I was listening to his Pavane, Op.50, composed in 1887, nearly three centuries after the heyday of this dance style.

Now, listen to an original era pavane, John Dowland's Lachrimae Antiquae from 1604. (Note that Dowland's title is implying a historical reference.)

Let's jump foward to the generation that followed Faure to Maurice Ravel's Pavane pour une Infante Defunte (1899) and, using the Dowland composition as a baseline, consider differences of how this work expresses the basic form from that of Faure's. (BTW, Ravel was a student of Faure's at the Conservatoire de Paris at the time that this composed.)

Given the title, Ravel's Pavane has been associated with various images of Spanish Princesses. Whether or not the composer intended these connotations is irrelevant. His title and use of the antique dance form lead the reviewer to them.



Las Meninas by Diego Velazquez (1656)


Finally, let's look at John Adams' "Pavane: She's So Fine" from John's Book of Alleged Dances (1994). The title of this Post-Modernist work is a direct reference to Dowland's compositions, but how direct is the interpretation of the pavane?

Anyways, the point of this post is that we have a rich history of ideas, styles, symbols, and techniques from which to draw upon for our own aesthetic expressions. Use them.

Here are a bunch of Wikipedia links:

John Adams

Lawrence Alma-Tadema

John Dowland

Gabriel Faure

Maurice Ravel

Diego Velazquez

Enjoy!!!

Reason to Go Mad

Time for another music homage. Pyotr Ilych Tchaikovsky was born of this date in 1840. For me, among the great composers, Tchaikovsky is the great storyteller, the master of narrative music. His compositions develop a premise, regardless of compositional structure: ballet, concerto, symphony, or tone poem. When you listen to his music, there is a progression of conflict and resolution, an intensification of emotion leading to catharsis.

This goes beyond mere program music. In the case of such music, the narrative is made explicit. Yeah, Tchaikovsky does this too, see the 1812 Overture or Romeo and Juliet.

His influence is still with us, in the form of modern movie scores and soundtracks. And that's why he is so accessible to the contemporary ear. For many modern listeners, the music of Bach, Chopin, Mozart, and Schubert requires some mental focus to appreciate, a effort that many are not willing to expend. But because of its lyric narrative, Tchaikovsky's music sneaks up on the listener. The stories that they tell are timeless and universal.

I can go on and on with the importance of narrative, but I'll let the music speak for itself. In each of these pieces, asks what is this music "about"? They are arranged in increasing order of abstraction.

Alright, Swan Lake is an gimme. But listen again but with your eyes closed? Does the narrative change?

1812 tells a clear tale of battle and triumph. That's obvious, but take note of how the music tells the story.

This one's a bit tougher. There is no clearly stated "plot" focus, but there is a "setting" clue, a Rococo theme upon which variations are played. So, what is it "about"?

Yeah, it's called Souvenir de Florence, but is that related to its narrative? If not, what is the it about???

Anyways, we could play this game all day long and then some. But I encourage you to give Tchaikovsky some time. There is a lot to explore. There is much to learn. And there is a great deal of Beauty to enjoy.

Here's Tchaikovsky's Wikipedia page.

Here's a link to the American Ballet Theatre.

Enjoy!!!

Für Elise

On this date in 1810, Ludwig van Beethoven wrote one of the most beautiful and captivating musical compositions of Western Civilization, "Für Elise". Although the piece is titled with a dedication, we don't know for certain who "Elise" was. The primary argument is that the title is is error and should actually be entitled "Für Therese". This would indicate that it was written for Therese Malfatti, a lady to whom Beethoven proposed in that same year.

Therese turned down the offer and eventually married an Austrian noble in 1816. One is tempted to make a commentary on how wealth and power are more appealing than artistry and genius, but Beethoven was certainly a difficult man. You can't really blame a young lady for rejecting the offer of a person of erratic disposition, even if he was a musical genius. Nevertheless, the music is one incredible love letter.

In any case, this seems to be an appropriate place to give my favorite Beethoven quote:

"What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven."

LOL!!! The man had a bit of an ego.

Here's a vid of Valentina Lisitsa paying "Für Elise":

Here's a link to the Wikipedia page for "Für Elise".

And here's a link to Valentina Lisitsa's website.

Enjoy!!!