Category Archives: Concert Preview

Preview: Batch at Carnegie Hall (3/28)

Piece: Johann Sebastian Bach, St. Matthew Passion BWV 244

Venue: Carnegie Hall, Manhattan, NY

Performers:  Orchestra of St. Luke’s;  Conductor; Iván Fischer, Soprano; Dominique Labelle, Mezzo-Soprano; Barbara Kozelj, Tenor; John Tessier, Bass-baritone; Hanno Müller-Brachmann, Musica Sacra, Music Director; Kent Tritle.

 

http://www.youtube.com/watch?v=-miQ6_FTtN0

In this piece, the instruments bring a touching vulnerability to the performance. The combination of flute and oboes is uniquely beautiful. The intimacy of this St. Matthew Passion is reinforced by the size of the choruses. Originally the St. Mathews passion employs two mixed choruses, two orchestras, and another group of boy singers for the preexisting melody used as the basis of a polyphonic composition for the first chorus.

The St. Mathews passion represents the climax of Bach’s music for the protestant church.This piece is a setting of the Passion story from the Gospel of St. Matthew and was first performed on Good Friday. The gospel of St. Mathew allowed Bach to express his own fervent devotion to Jesus here.

While Bach was working on this piece, news had reached him that his dear former patron prince Leopold of Anhalt-Cothen had suddenly passed away, and was expected to perform music for the memorial service the following spring.  Bach saw that part of his sublime new work seem to be the appropriate piece for this event. Something I found very interesting about this piece is that Bach composed the St. Mathews Passion not as an independent oratorio, but to be heard in a specific liturgical context.The ariosos, arias, and choruses convey the emotions of the unfaithful watching the unfolding of the imposing drama.

A distinguishing factor I liked about this piece compared to his St. Johns passion I also listened to, was the indication of great importance Bach attached to it in terms of the vast musical forces needed to perform it.

I don’t think there was any information that i wished I had known before seeing the concert. However, I think biography and history matters when listening to a piece of music because, studying the Biography of composers can give a better understanding of the chronology of compositions, as well as influences on style and works. In addition, it can also provide important background to the interpretation by performers or listeners of a piece of music.

Sources: Bach, The Culmination Of An Era. Edited by Karl Geiringer in collaboration with Irene Geiringer. New York: Oxford University Press, 1966

Preview- Janacek, Mozart, and Schumann at Carnegie Hall (4/10)

Pieces:

  • MOZART Piano Concerto No. 13 in C Major, K. 415
  • JANÁCEK Concertino for Piano and Chamber Ensemble
  • SCHUMANN Piano Quintet in E-flat Major, Op. 44

Venue:

  • Zankel Hall, Manhattan, NY

Performers:

  • Jonathan Biss, Piano
  • Elias String Quartet: Sara Bitlloch, Violin, Donald Grant, Violin, Martin Saving, Viola, and Marie Bitlloch, Cello
  • Carol McGonnell, Clarinet
  • Eric Reed, Horn
  • Brad Balliett, Bassoon

Mozart’s Piano Concerto No.13 in C major consists of three movements: allegro, andante, and allegro. The first movement starts with a burst of energy. Although it begins in piano with the violins and violas and basses, the orchestra join in shortly after with a fanfare theme signaling its dominant presence. The second movement is more of a lyrical melody with focus on a ternary form. The last movement incorporates many musical techniques that extend the finale. It contains an adagio, repetition of themes for reinforcement, and even a recapitulation. Eventually it ends, and does so in a way that shocks the audience. “When the audience demanded the final rondo by way of an encore, he surprised everyone by offering them a free improvisation that was loudly applauded. the emperor, too, remained to the end, not leaving his box until Mozart had left the platform” (Albert 713).

Janacek’s Concertino for Piano and Chamber Ensemble was composed in the spring of 1925. This piece is separated into multiple movements with each one representing a very specific aspect. Movement 1 suggests the setting, spring, and the introduction of a hedgehog. Movement 2 reveal a squirrel running and jumping from tree to tree. It is a scene of happy playful spring animals. Movement 3 introduces an owl. The last movement combines all the animals together and features a climatic theme (Zemanova 108-110).

Schumann was one of the first few composers to successfully experiment with the piano combined with the string quartet. Piano Quintet in E- Flat Major, Op. 44 utilizes the brilliance of the two groups, piano and string quintet.  The piece is in 4 movements and quickly establish the creativity and potential of the two groups.

Bibliography

Albert, Herman. “Engagement and Marriage.” In W.A. Mozart. Edited by Cliff Eisen. 713. Yale University: Yale University Press, 2007.

Chissell, Joan. Schumann Piano Music. Seattle: University of Washington Press, 1972

Zemanova, Mirka. “Concertino.” In Janacek’s Uncollected Essays on Music. Edited by Mirka Zemanova. 108-110. Great Britain: Marion Boyars Publisher, 1989.

Preview – Boston Symphony Orchestra at Carnegie Hall (April 5th)

Program:

Selections from Götterdämmerung
-Dawn
-Siegfried’s Rhine Journey
-Siegfried’s Death and Funeral March

  • Overture to Tannhäuser
  • “Ich sah das Kind” from Parsifal
  • Prelude to Act I of Lohengrin
  • Prelude and Liebestod from Tristan und Isolde

Performers:

  • Boston Symphony Orchestra
  • Daniele Gatti – Conductor
  • Michelle DeYoung, Mezzo-Soprano

Venue: Stern Auditorium / Perelman Stage, Carnegie Hall

Check it out!

http://www.youtube.com/watch?v=hCLL26TO6KA

PII

Reading parts of the novel I checked out, I am led to believe that the core influence on his composure of different musical pieces was his interest in stories written by Homer, mythological pieces, and the works of Shakespeare, which then evolved into poetical and musical composition.

I find it particularly interesting how “Tristan und Isolde” came about. To make a long story short, it came about after Wagner had half written “Siegfried” when Wagner had gone through stages of depression because he had felt the works he had been writing would never be produced by the end of his life. “He hungered for a closer, an active connection with the stage, and he needed money, and so he regretfully laid aside the “Ring” scores and set to work on the poem of “Tristan und Isolde” (Henderson).This also kind of reminds me of other composers. If I remember correctly, I believe I heard in class that other composers had felt the same way about their works.
It is said the works of Parisfal was occupying the mind of Wagner in the year of 1857, and it was not completed until 1877. “Wagner told me that in the fifties, when in Zurich, he took possession of a charming new house, and that inspired by the beautiful spring weather, he wrote out the sketch that very day of the Good Friday music.” (Henderson). After coming across this excerpt, it instantly reminded me of Vivaldi’s “Spring” movement.
PS– The italics don’t seem to want to go away! Silly technology…
Reference:

Henderson, William. Richard Wagner His Life and His Dreams. New York: AMS Press Inc., 1923.

 

Preview – Beethoven,Mozart, Messiaen, and Murail at New York Philharmonic (04/11)

Pieces:

  • Les Offrandes oubliées
  •  Piano Concerto No. 23
  • Le Désenchantement du monde, Symphonic Concerto for Piano and Orchestra (U.S. Premiere–New York Philharmonic Co-Commission with Bavarian Radio, the Royal Concertgebouw Orchestra, and the Seoul Philharmonic Orchestra
  • Symphony No. 2

Venue:

  • Avery Fisher Hall, Manhattan, NY

Performers:

  • New York Philharmonic
  • David Robertson, Conductor
  • Pierre-Laurent Aimard, Pianist

Videos:

http://www.youtube.com/watch?v=UPsfNMTHxXs

http://www.youtube.com/watch?v=mf711o8jAQA

http://www.youtube.com/watch?v=VAnjfp7vUvA

Les Offrandes oubilees is a religious piece that was written by Oliver Messiaen in 1930. It was Messiaen’s first orchestral work to be performed in public. This piece tells the story of mans decent into sin, and the promise of salvation offered by the Eucharist. (A christian sacrament commemorating the last supper by consecrating bread and wine) So Messiaen performs different themes in the movement to represent these different characters. He adds odd measures and chords to represent the pass into sin and he plays smooth and fuller chords to represent the Eucharist which is the savior from the sins. When this piece was first performed in 1931 Messiaen had been appointed to be organist of the church of the Holy Trinity in Paris.

I think that this information will definetly give me a different perspective on the piece when I hear it in person. I will now try to focus on the different themes to try and differentiate the different characters that Messiaen represents. I will also try to focus on the main transitions to see how the story progresses throughout the piece.

Sources: Nicholas, Roger. Oxford studies of composers, Messiaen, Second Edition. New York: Oxford University Press, 1986.

 

Piano concerto #23 in Amajor was written by Mozart in 1786. It was written between the composition of figaro, which was an opera performed in Vienna by Mozart, and its performance. This piece was written for the season of the lent concerts. It is considered to be one of the most popular melodic concertos. This piece is distinct because it plays a double exposition in the first sonata form movement. Also this piece is considered to be very short for a conerto piece. It is said that Mozart became inspired during the final movement because he introuduced a new melody/ theme to the piece. This theme in a sense provides a “counterbalance” to the dramatic theme.

I think that this information will add an a strong effect to my experience when i view this piece. the reason being that Iwill now focus on the difference between the first part of the exposition and the second. Also I will try to pinpoint the new melody in the last movement to see what makes it so distinct.

Sources: Forman, Denis. Mozart’s Concerto Form. New York, Washingtom: Praeger Publishers, 1971.

Symphony #2 was written by Beethoven in 1801 in Heiligstadt, Vienna. At this point in Beethovens life, Beethoven was nearly Deaf. The piece is a very energetic symphony. The instrumentation in this piece alternates betwen different instruments in an unexpected manner. The orchestra makes jumps between the solo melodies and the tutti. The slow second movement is much different from the opening movement. It’s theme is very simple and recurs throughout the entire movement. What’s very distinct about this symphony is that the final movement is in a duple meter and performs a similar theme to that in the scherzo.

I think that some of this information will impact the way I experience this piece. for one it will be interesting to see what Beethoven was able to compose when he was almost fully deaf. Also it will be interesting to hear the last movement being its different from the usual 4th movement of a symphony.

sources: Berlioz, Hector. A crictical study of Beethoven’s nine symphonies. London: Edwin Evans, 1958

 

 

Preview – Alexander String Quartet performs Mozart and Shostakovich (April 25th)

Pieces
  1. Dmitri Shostakovich, String Quartet No.7 in F sharp major, Op. 108
  2. Wolgang Amadeus Mozart, String Quartet No. 23 in F major, K. 590
Venue
  • Baruch Performing Arts Center – Newman Vertical Campus Baruch College: 25th St. (bet. 3rd and Lexington Aves.), NYC
Performers
  • The Alexander String Quartet
   Dmitri Shostakovich was a soviet russian composer and pianist in the 20th century. At that time when Shostakovich started composing, there was also a war occurring between the Soviet Union and Germany. Shostakovich had composed many string quartet’s including the String Quartet No.7 in F sharp major, Op. 108. This piece was very popular. Shostakovich composed this piece for his wife. (Fay, Laurel 27) This piece that was composed for his wife would be meaningful and interesting to hear.
   Mozart was very undemanding child when he was young. He believed in bringing honor and fortune to his family. Even though his family would struggle fincancially, he was always willing to help out due to his father being passed away. Mozart was always content that his pieces will bring interest to the wide-eyed general populace.(Solomon, Maynard 48)  Mozart who wrote in many standard genres, composed the piece String Quartet No. 23 in F major, K. 590. This piece was very meaningful because it was one of the pieces in which has been acknowledged by the people. (Solomon, Maynard 20) This piece was made for the  Friedrich Wilhem II who was the King of Prussia. It was also one of the last pieces that he has composed. (Solomon, Maynard 34)
Fay, Laurel E. Shostakovich: A Life. New York: Oxford UP, 2000.
Solomon, Maynard. Mozart: A Life. New York, NY: HarperCollinsPublishers, 1995.

Preview– Alexander String Quartet at Baruch Performing Arts Center (4/25)

Pieces:

  • W.A. Mozart:  String Quartet No. 23 in F major, K. 590
  • Dmitri Shostakovich:  String Quartet No. 7 in F sharp major, Op. 108

Venue: Baruch Performing Arts Center – Newman Vertical Campus
Baruch College: 25th St. (bet. 3rd and Lexington Aves.)

Performers: THE ALEXANDER STRING QUARTET- Zakarias Grafilo Violin 1, Frederick Lifsitz Violin 2, Paul Yarbrough Viola, Sandy Wilson Cello

Mozart was a composer that was in debt a lot and constantly asking people to lend him money, so he would compose pieces for people that would pay him. Mozart composed, “six quartets for King Friedrich Wilhelm II of Prussia,” (Hildesheimer 1981, 25) and one of the six quartets was String quartet No. 23 in F Major K. 590. Since String quartet No. 23 is one of the pieces I will be listening to, so now I am expecting the piece to be upbeat and glorifying the King of Prussia. Also Haydn, a composer from the Classical period like Mozart, produced many string quartets and “in Vienna, Haydn and Mozart became close friends and influenced each other’s musical style” (Kamien 1998, 155).

Shostakovich composed, “two of his most highly personal works,” (Wilson 1994, 332) and one of them is String quartet No. 7 in F sharp minor.  This piece was, “dedicated to his late wife, and written to commemorate her fiftieth birthday,” (Wilson 1994, 332) so I would assume he wrote about how he misses her and the good times they had. It is interesting that Alexander String quartet will be playing the string quartet in major instead of minor. So I think it will make it interesting and maybe more livelier than the original.

Bibliography

Hildesheimer, Wolfgang. Mozart. New York : Farrar Straus Giroux, c1981.

Wilson, Elizabeth. Shostakovich: A Life Remembered. Princeton, N.J. : Princeton University Press, c1994.

Kamien, Roger. Music An Appreciation. Boston, Mass. : McGraw-Hill, c1998.

Pieces:

W.A. Mozart:  String Quartet No. 23 in F major, K. 590

Dmitri Shostakovich:  String Quartet No. 7 in F sharp major, Op. 108

Venue: Baruch Performing Arts Center – Newman Vertical Campus
Baruch College: 25th St. (bet. 3rd and Lexington Aves.), NYC

Performers: The Alexander String Quartet

String quartet No. 23 was Wolfgang Amadeus Mozart’s last string quartet.  It was one of three that “was dedicated to the King of Prussia, Friedrich Wilhem II”(Kenyon,228).  The three string quartets dedicated to the king where No. 21 in D K575, No. 22 in B flat K589,and No. 23 in F K590.  These were otherwise known as the “Three Prussian Quartets” (Kenyon 228). The king was a cellist, therefore Mozart intended to give the king a starring role in the pieces where he can play the cello, capturing the audiences attention.  Mozart purposely introduced the cello later in the piece where it is “high in its register, so it could hardly fail to be noticed”(Kenyon, 228). Mozart added roles for the king in the tenor to show off his skills(Kenyon, 228).

Before creating these three quartets, “Mozart gave a concert on May 26, 1789” ( Kenyon, 228).  This concert was not a complete success.  Therefore, after meeting the some cellist and the King, he came up with the string quartets including the king.  These three quartets succeeded and brought more fame to Mozart.

I found it quite unusual and rather interesting that we would hear the cello clearer instead of it being in the background. The melody seems to be embraced by the sound projected by the cello and of course this is to show the kings talent. But, it is interesting and it does create a rich sound because the cello is woody, the pitches are moderately low, and sounds very strong and royal.  I would definitely find more enjoyment listening to the music because it gives me a chance to imagine a story that goes along with the piece; Although, Watching the performance would give me the pleasure to watch the performers and how they interject emotion into the piece.

http://youtu.be/48GX_Q3S9ek

Dmitri Shostakovich is a soviet russian composer and pianist, who was born in 1906 and died in 1975.  One of his popular string quartet was No. 7 opus. 108.  Dmitri Shostakovich wrote this specific one for his first wife Nina.  This piece intends on capturing his memories of his wife, although “it is short, it was one of his most poetic works” (Moshevik, 161).  Although, this was a beautiful piece, it “had a spooky characteristic” (Moshevik, 161).

This piece is very interesting, it gives a mysterious and spooky feeling.  There is a lot of suspense, which makes the string quartet No. 7 so exciting. When the piece begins playing the second theme, it is pleasant and soft.  I found it very unusual and special that there was pizzicato in this piece. For this specific string quartet, I would like to watch the performance live rather than listening to it.  This is an intense and exciting performance, and watching the performers playing and their emotions would make the experience and the music more entertaining and memorable.

Sources:

Kenyon, Nicholas. The Pegasus Pocket Guide to Mozart. New York: Pegasus Books LLC, 2006. Page 228.

Moshevik, Sofia. Dmitri Shostakovich, Pianist. Canada: Mc-Grill Queens University Press, 2004. Page 161.

 

Preview – Charles Gounod’s Faust (3/21)

Opera in five acts with music composed by Charles Gounod

Performers:

  • Conductor: Alain Altinoglu
  • Faust, a scientist: Piotr Beczala (Tenor)
  • Mephistopheles: John Relyea (Bass-Baritone)
  • Wagner: Richard Bernstein (Bass)
  • Valentin, a soldier, Marguerite’s brother: Alexey Markov (Baritone)
  • Siebel, one of Faust’s students: Julie Boulianne (Mezzo-Soprano)
  • Marguerite: Marina Poplavskaya (Soprano)
  • Marthe, Marguerite’s friend: Catherine Cook (Mezzo-Soprano)

The Venue: The Metropolitan Opera

A video clip from scene V – Walpurgis Night

https://www.youtube.com/watch?v=OGDrMy5qu6Q&NR=1&feature=endscreen

Charles Gounod was a French composer. Huebner stated that “throughout the 19th century, until the creation of societe nationale and the rise to prominence of concert organizations after 1870, the primary way for a young French composer to make a name for himself was by composing operas.”(21) Charles Gounod rose to fame due to the talent and passion he possessed for his music. There was a contest called the Prix de Rome, which is a contest that grants the winner to study at the French Academy for free; only the best win the contest and Charles Gounod was one of them.

Faust is an opera that Charles Gounod wanted to compose. “It was he that proposed ‘Faust’ as an operatic subject to the librettists”(R.Martin and T. Martin iii). I find it interesting that the libretto from 1966 only contains four acts opposed to the program book of the recent performance of Faust that has five acts.

Also, the opera that I saw was performed in French. Originally Faust was performed in German and then translated to Italian when it became the first opera to be performed at the New York Metropolitan opera in 1883(R.Martin and T.Martin iii). I believe that I would have been more excited watching Faust had I known that it was the opening performance for the Metropolitan opera. It is also enjoyable to know that Faust was translated to French assuming the reason was because Gounod was French. I enjoyed the opera; however, I found it difficult to completely enjoy the art since my eyes were halfway stuck on the closed captions on the seat in front of me. I do not think that it is entirely important to know the history behind the art but it definitely adds to the magic to know beforehand.

I was a bit surprised when finding out that the opera played into the idea that humans could sign their souls over to the devil for something in return. Even growing up as a child I remember cartoons and movies that would reenact the deal with the devil. It was surprising that some of the same ideas are still being recreated centuries later.

Bibliography:

Gounod, Charles, Jules Barbier, Michel Carré, Ruth Martin, and Thomas Martin. Faust: Opera in 4 Acts. New York: G. Schirmer, 1966. Print.

Huebner, Steven. The Operas of Charles Gounod. Oxford [England]; New York : Oxford University Press: Clarendon, 1990. Print.

Preview -Giulio Cesare by George Frideric Handel at Metropolitan Opera- April 19

PIECES:

  • Act I aria “Va, tacito”
  • Act II aria “V’adoro, pupille”

PERFORMERS:

  • David Daniels as Cesare
  • Natalie Dessay as Cleopatra
  • Harry Bicket conducting the orchestra
  • Others Include:Dessay, Coote, Bardon, Dumaux, Loconsolo

VENUE:

The Metropolitan Opera at Lincoln Center

NOTES:

  • Composer: George Frideric Handel
  • Librettist: Nicola Francesco Haym

http://www.youtube.com/watch?v=2CJXlJCJSH4

Handel wrote this opera in in 1724 for the Royal Academy of Music, where it was first performed in London. According to Stanley Sadie in Handel, Giulio Cesare is an opera in III acts about Cleopatra and Cesare’s  first meeting, and the story of Cleopatra’s “murderous brother,” Ptolemy (Sadie 1969, 36-37).

 

Keeping true to his predecessors, Handel composed this opera with arias and recitatives, with an underlining continuo. Amy Ann Schneider describes Cesare’s first aria: “this relentless bravado aria alternates an agitated violin line with the equally agitated vocal line,” and also notes that the continuo “outline[s] broad leaps” (Schneider 2000, 37). Handel creates a lot of text painting within Giulio Cesare, including a battle during the aria “Al lampo dell’amri,” in which he “depicts the flashing of swords with the key B-flat major…galloping eighth- and sixteenth-note rhythmic pattern[s]” (Schneider 2000, 40).

 

Interestingly, Handel did not compose this opera based on what was happening in the world during this time. Europe was a mess, with war waging, and America trying to break free from England’s reign. Perhaps, what Handel was doing, was to keep the uneasiness off the people’s minds and offer pure entertainment. Much like the works of William Shakespeare, Handel took something from history and created a story. More so than a sign of his time, Handel shows his creative ability and musical genius in the classic Baroque style opera.

 

 

BIBLIOGRAPPHY:

Sadie, Stanley. Handel. New York: Thomas Y. Crowell Company, 1969.

Schneider, Amy Ann. His or Hers: On Performing Heroic Male Roles in Handel’s             London Operas. Boston: UMI, 2000.

 

Preview – Messiaen, Mozart, Beethoven, and Murail at New York Philharmonic – 4/13/13

Mozart – Piano Concerto No. 23 in A, K. 488

Pieces:

  • Mozart, Piano Concerto no. 23 in A major. K488.
  • Beethoven, Symphony no. 2 in D major. Op 36
  • Messiaen, Les Offrandes Oubliees, for Orchestra
  • Murail, Le Desenchantement du Monde.

Venue:

Avery Fisher Hall, Manhattan New York.

Performers:

New York Philharmonic; Orchestra. David Robertson; Conductor. Pierre-Laurent Aimard; Piano soloist.

Wolfgang Amadeus Mozart was a great composer and musical genius from the classical era. His music expressed a mastery of the classical form, bound in structure and tradition. One of Mozart’s most representative pieces of his style and his contributions to the aesthetics of classical music is piano concerto no 23. At the time of its composition concertos were growing in popularity, and pieces like piano concerto no 23 helped to increase the genre’s popularity. Listening to a live performance of concerto no 23 should show the brilliance of Mozart that brought prominence to the genre.

Source:

Rushton, Julian. Mozart. Oxford: Oxford UP, 2006. Print.

Ludwig Van Beethoven’s music marked the transition from the dominance of the classical music era to the romantic era. Beethoven’s music was greatly influenced by his predecessors Mozart and Haydn. Beethoven’s earlier works especially show inspirations from the likes of Mozart. Beethoven’s symphonies were an interpretation and continuation from the musical tradition established in the baroque period.  Beethoven’s second Symphony was written in 1802. It was while composing his second symphony that Beethoven started to lose his hearing. It is amazing g how Beethoven could go on to compose such great works without being able to hear.

Source:

Solomon, Maynard. Beethoven. London: Schirmer, 1998. Print.

Oliver Messiaen was a French composer and musical innovator, of the 20th century whose work took inspirations from many different cultures. Messiaen was one of the first composers to use an electronic keyboard in his orchestral performances. He also was a very religious man, and his music was deeply rooted in his religious convictions. Messiaen was appointed organist at the Église de la Sainte-Trinité in Paris 1931,a roman catholic church, the same year that Les Offrandes Oubliées made its debut. His position in the church resulted in works that were very spiritual in nature. From a Messiaen performance,  I would expect to hear music that has a religious and spiritual tone. Les Offrandes Oubliées offers to tell the story of Christ’s sacrifice through music.

Source:

Hill, Peter, and Nigel Simeone. Messiaen. New Haven, CT: Yale UP, 2005. Print.