Day 52

Happy New Year! Or at least it will be for me in less than one hour. Some of you may have already ushered in the New Year, others maybe later. Some of you may not view time in a linear fashion; who am I to critique?

Anyway, I choose this piece because it is one of those pieces that ushered in a new idea of what music is, and yet remained attached to it's own creative musical roots. If you haven't guessed it already, it's Le Sacre du Printemps, also known as the Rite of Spring...plus one other short piece.

Side One:

Pieces: Fireworks

The Rite of Spring (1st part)

Composer: Igor Stravinsky

Orchestra: Chicago Symphony Orchestra

Conductor: Seiji Ozawa

Record Date: None Given

Side Two:

Piece: The Rite of Spring (Conclusion)

Composer: Igor Stravinsky

Orchestra: Chicago Symphony Orchestra

Conductor: Seiji Ozawa

Record Date: None Given

The Rite of Spring is one of those pieces where if you haven't heard it, stop what you are doing, go out, get a good recording of it, and damn it, listen to it. It's a whirlwind of force, of tonal calamity brought together and held aloft, with the statement "I am MUSIC". Notice I say music, because while this may be pushing the edge of what some state is music, it is still music. The stories surrounding this piece are great; riots, dancers unable to dance, virgin sacrifice and the French. But what I find most interesting is the fact that in reality the very core of the piece is old, very old. It is a tribal song that Stravinsky heard while on vacation in Siberia, played on an instrument unlike any in a modern orchestra; and the composer ran with it. It is this blending of new and old that drew me to this piece as a new years piece. That and it really rocks, seriously, sit in a completely dark room and play this right before or after playing Rollin's Band and you'll understand.

I'll see you all next year (the 15,000th time you've heard that joke this week)

Day 51

Something I believe I've listened to before, but yet I feel this piece fits the time of year, the end of a decade and potentially today.

Side one:

Piece: Symphony No. 3 in E-Flat, Op. 55 "Eroica"

1. Allegro con brio

2. Marcia funebre (adagio assai) -First part

Composer: Beethoven

Orchestra: Warsaw National Philharmonic

Conductor: Witold Rowicki

Record Date: None-Give, printed 1981

Side two:

Piece: Symphony No. 3 in E-Flat, Op. 55 "Eroica"

2. Marcia funebre (adagio assai) - Conculsion

3. Scherzo (Allegro vivace)

4. Finale (Allegro molto)

Composer: Beethoven

Orchestra: Warsaw National Philharmonic

Conductor: Witold Rowicki

Record Date: None-Give, printed 1981

If you believe what you read (and as a reader of this blog I must assume this is not true), this is Beethoven's personal favorite Symphony. Beethoven also supposedly wrote it for Napoleon, until Napoleon crowned himself emperor, and then some other stuff happened. Whatever. Let's get this straight, this symphony reeks of heroism, struggle, bravery and hope. The opening bars of the first movement cry out with a horn call which is repeated over and over again throughout the fifteen minutes the first movement occurs. The second while much less upbeat still has it's moments, and the third, while often being described as calvary charging their foes, to me it too upbeat and happy to be an appropriate description. This last observation may be due to the change in the view of war in the last hundred year.

And you care why? Well, I choose this piece to help set the stage for the New Year. Whoa Ian, you say; should you have placed it tomorrow then? Of course not, tomorrow will be clashing to new and old; of past and future; of Abbot and Costello. Any guesses?

See you tomorrow.

Day 50

So this is big day number 50. Pretty cool if you ask me, or not. Anyway I really didn't listen to anything special, some Haydn piano trios, the kind of stuff that you would see played during a cheap sitcom when playing up how Waspy or over educated (not the same thing) someone is. Not that I fit that discrpition, not that I sat around reading an intellectual leftist publication (I was reading the NYT) or that I have a tweed jacket with elbow patches (all I want for Christmas). drinking a refined beverage (Absinthe). Either way the works are solid, but no game changers.

Side One:

Pieces: Piano Trio in D, H. XV No. 7; Piano Trio in A, H.XV No.9

Composer: Joseph Haydn

Performer: The Beaux Arts Trio

Menahem Pressler, Piano

Isidore Cohen, Violin

Bernard Greenhouse, Cello

Record Date: None Given

Side Two:

Piece: Piano Trio in E Minor, H.XV No. 12

Composer: Joseph Haydn

Performer: The Beaux Arts Trio

Menahem Pressler, Piano

Isidore Cohen, Violin

Bernard Greenhouse, Cello

Record Date: None Given

Well I'm afraid that's all for a while; I need to get up in 5 hours to catch a flight down to the south for Christmas with the future in-laws, I'm sure it'll be a good time.

Catch you all on the other side, and happy holidays.

Ian

Day 49

Not much to say today. I really enjoy these pieces, especially the theme and variation. Then again, I always love when a composer takes a theme and continually moves it from octave to octave while changing the accompaniment.

Side One:

Pieces: Theme et Variations in C-Sharp Minor, Op. 73; Barcarolles (begining)

Composer: Gabriel Faure

Performer: Evelyne Crochet, Piano

Record Date: 1964

Side Two:

Piece: Barcarolles (continuation)

Composer: Gabriel Faure

Performer: Evelyne Crochet, Piano

Record Date: 1964

Day 48

So I've been gone awhile. I know, I know, I'm lazy. The good news, I'm alive, not that any of your would be able to confirm that, as no one has come to my apartment to check on me after the abrupt end to my blog updates (and for this, I think less of you all). But I am here (well as much as anyone person can be "here" on teh interwebs), and I haven't stopped listening, I just became busy with, well let's say life and leave it at that.

As I said I have been listening, if not writing, and here is a selection that I have enjoyed while gone:

Mozart's Serenade in B-Flat, K. 361 "Gran Partita" (Crap)

Bartok's String Quartet No.1 (different)

Milhaud's String Quartet No7 (makes Bartok look normal)

Schubert's Wanderer Fantasie and Piano Sonata in A-Minor D. 845 (so outrageously good that just thinking about it makes me orgasm so hard that I won't be able to stand for 34 and three-quarter minutes)

So what does this means to you? Nothing. Unless you like good music (and by good music I mean well recorded music, the type is a matter of taste) and/or drugs, because really they are one in the same.

Let me explain. Yesterday I sat down for a listen, and this time I mean a true listen. I turned off all my lights (and as I live next to the north pole it's dark between 2:15pm and 11:30am), sat down on the floor beneath the beautiful print of Rothko's Red on Maroon and listened. And it was glorious. A virgin record, still sealed in its sleeve, devoid of surface scratches, thumb prints, the dust and the oils of life, ready to release it's full tonal assault of beautiful analog brilliance to my ears. I entered an opiate like haze.

More on that in a moment, first let me state what I listened to

Side One:

Piece: Mass in G Minor, BWV 235

1.Kyrie

2. Gloria

3. Gratias Agimus Tibi

4. Domine Fili Unigenite

5. Qui Tollis Peccata

6. Cum Sancto Spiritu

Composer: JS Bach

Performers: The Richard Hickox Singers and Orchestra

Conductor: Richard Hickox

Recorded: June 1975

Side Two:

Piece: Mass in G Major, BWV 236

1. Kyrie

2. Gloria

3. Gratias Agimus Tibi

4. Domine Deus

5. Quoniam tu solus Sanctus

6. Cum Sancto Spiritu

Composer: JS Bach

Performers: The Richard Hickox Singers and Orchestra

Conductor: Richard Hickox

Recorded: June 1975

So you get the idea now, I was listening to a two Bach masses, that ranged in pitch and tone from pipe organ to solo soprano, and it was amazing. You don't realize how good analog is until you listen only to digital (whether CD or god have mercy on me, lossy mp3) for a while. But once you actually sit down and listen to music they way you're supposed to (with your ears), music becomes a drug; a wonderful, wonderful drug that actually allows for you to listen to music. This is not the compressed crap they shove at people through iTunes, or the Amazon store or hell even your local independent record store (though in truth it looks like everyone is trying to become better). There is air around each note (not to mention there are notes instead of just tones), there is depth to the sound. I could go on and on, but let's put it this way, I'm a music junkie, and I only want the white china stuff.

Bach's masses were, well Bach's masses; they're amazing works of mathematical efficiency, counterpoint to point were the concept breaks down at perfection and still have remarkable beauty. Vocals interplay with organ, bass and cello set the stage for the incredible use of double-reed woodwinds (bassoon and oboe obbligato), the oboe strikes out, setting the melody, winding it's way through the sections of the mass, which always ends in the return to normality (or a G-Major chord). In the end I was a dripping man, laying on my back as my cats poked at me thinking I was dead, though rather I had found relaxation of the deepest variety. I had begun to listen to music again.

Day 47

There is something about a Sunday morning that calls for a French Composer; or maybe I was just too relaxed.

Side One.

Pieces: Tzigane (Rapsodie de concert)

Performer: Izthak Perlman, violin, London Symphony Orchestra

Conductor: Andre Previn

Le Trombeau de Couperin

Performer: Chamber Symphony of Philadelphia

Conductor: Anshel Brusilow

Composer: Maurice Ravel

Record Date: None Given

Side Two;

Pieces: Valses nobles et sentimentales

Symphony: Chicago Symphony Orchestra

Conductor: Fritz Reiner

La Valse (Poeme choregraphique)

Symphony: Boston Symphony Orchestra

Conductor: Charles Munch

Composer: Maurice Ravel

Record Date: Non-Given

There is just a light heartiness to Ravel that cannot be denied; perfect for a lazy Sunday morning. And with that, I'm heading off to a lazy Sunday Bed.

Goodnight Internets.

Day 46

A few catch up posts here.

Side One

Piece: Quartet No. 2 in F Major, Op 22

1. Adagio, Moderato assai

2. Scherzo

Composer: Peter Tchaikovsky

Performers: Borodin Quartet

Record Date: Non-Given

Side Two:

Piece: Quartet No. 2 in F Major, Op 22

3. Andante ma non tanto

4. Finale

Composer: Peter Tchaikovsky

Performers: Borodin Quartet

Record Date: Non-Given

As always I enjoy Tchaikovsky's work, but not as much as I enjoy his piano works.

Day 45

Dear lord it's getting late, and I'm an old man who likes his sleep.

Side One

Piece: Rondo in B-Flat

Piano Concerto No. 3 in C minor, op. 37

1. Allegro con brio

Composer: Beethoven

Performer: Julius Katchen, piano

Symphony: London Sympohony Orchestra

Conductor: Pierino Gamba

Record Date: 1958

Side Two

Piece: Piano Concerto No. 3 in C minor, Op. 37

2. Largo

3. Rondo

Composer: Beethoven

Performer: Julius Katchen, piano

Symphony: London Sympohony Orchestra

Conductor: Pierino Gamba

Record Date: 1958

Not going to say much besides the fact that I learned something, and that once again realized how much I enjoy Beethoven. I learned that what I was mistaking for a pressing date symbol (a "p" in a circle) is in fact the performance copyright symbol, showing the year that the performance was copyrighted (and most likely preformed), I will have to adjust future posts to reflect this. Also, still love Beethoven's work.

Day 44

Real quick one tonight as I must get back to stats.

Side One

Pieces: Trauervorspiel; Czardas; Klavierstuck in F-Sharp Major; Romance; Romance aubliee; Scherzo & Marsch

Composer: Franz Liszt

Performer: Gunnar Johansen

Record Date: None given

Side Two

Pieces: Libestraeume 1. Hohe Libe

2. Seliger Tod

3. O Lieb

Todtentanz- Paraphrase uber "Dies irae"

Composer: Franz Liszt

Performer: Gunnar Johansen

Record Date: None given

Day 43

In which I recant some of what I said yesterday:

Side One

Piece: Piano Sonata Nr. 23 in F Minor, op.57 "Appassionata"

1. Allegro assai

2. Andante con moto

3. Allegro ma non troppo-Presto

Composer: Beethoven

Performer: John Buttrick

Record Date: 1983

Side Two

Piece: Piano Sonata Nr. 17 in D-Minor, op 32 Nr 2, "Der Sturm"

1. Largo-Allegro

2. Adagio

3. Allegretto

Composer: Beethoven

Performer: John Buttrick

Record Date: 1983

I stated I recant because these pieces have a little more staying power, and it is not due to my part, I was reading complex algebra and epidemiological theory at the time. Rather I think it has to do with the composer; don't get me wrong, I love Grieg's work, but there is still something about Beethoven. It's interesting though, because you can hear in the way he writes, it's as almost as if he wants you to remember, often repeating phrases over and over, with slight variations. Doubt me, think of his 5th Symphony

Day 42

Quick and easy today, and you'll know why by the end.

Side One

Piece: Concerto for Violin and Orchestra in B Minor, Op. 61

1. Allegro

2. Andante

Composer: Edward Elgar

Soloist: Kyung-Wha Chung, Violin

Orchestra: London Philharmonic Orchestra

Conductor: Sir Georg Solti

Record Date: February 1977

Side Two

Side One

Piece: Concerto for Violin and Orchestra in B Minor, Op. 61

3. Allegro molto

Composer: Edward Elgar

Soloist: Kyung-Wha Chung, Violin

Orchestra: London Philharmonic Orchestra

Conductor: Sir Georg Solti

Record Date: February 1977

So why is today so quick and painless? Because I don't remember much of the piece. Unfortunately that isn't reflective of the piece (ok 90% of that isn't), but rather because I had my nose in a book for school while listening; needless to say I didn't focus like I could have. This is actually something that has been bothering me for the last couple of weeks, the fact that as life speeds up, my chances to sit down and really explore a piece of music are dwindling. I'm certain this is more of a "growing up" experiences than anything else, it just means that when I do get a chance to really listen, I should take it, and let you all know.

Day 41

Ok, so yesterday I went on a little rant. Today I decided to go with, shall we say less contentious pieces.

Side One

Pieces: Lyric Pieces, Op. 54: 3 & 4, March of the Dwarfs -- Nocturne

Lyric Pieces, Op. 65 complete

Composer: Edvard Grieg

Performer: John McCabe, Piano

Record Date: None Given

Side Two

Pieces: Lyric Pieces, Op 43: Complete

Lyric Pieces, Op. 71: 2& 3, Summer Evening -- Puck

Four Humoresques, Op 6

Composer: Edvard Grieg

Performer: John McCabe, Piano

Record Date: None Given

Nothing calms the soul quite like piano, especially when the piano music is based off Scandinavian folk tunes. According the the jacket notes Grieg was composing during a time when nationalism was sweeping through music circles; and I must admit that the pieces, while maintaining a complexity also have a joyful almost naive/free feel to them. I guess this is not that big of a surprise, as this is the composer who brought us "In the Hall of the Mountain King." All in all, while fun to listen to, the pieces are quickly lost after listening, meaning that while I know I will return to listen again, I most likely will not do it soon.

Day 40

Well I'm back...I know, I know, most of you out there thought I was dead. Actually most of you out there knew I was alive because you either live with me, spoke to me on the phone, or actually don't care if I'm alive or dead because you got to this blog by googling the Tool album 10,000 days. Truth of the matter is, it started out as me being really busy, followed by me being really lazy. But I'm back! And I'm listening to Bach!

Side One
Pieces: Cantata No. 103: "Ihr werdet weinen und heulen"
Cantata No. 200: "Bekennen will ich seinen Namen"
Cantata No. 118: "O Jesu Christ, mein's Lebens Licht"
Composer: J.S Bach
Performers: Heinrich Schuetz Choir of Heilbronn, Pforzheim Chamber Orchestra
Conductor: Fritz Werner
Record Date: None Given

Side Two
Pieces: Cantata No. 7: "Christ unser Herr zum Jordan kam"
Composer: J.S Bach
Performers: Heinrich Schuetz Choir of Heilbronn, Pforzheim Chamber Orchestra
Conductor: Fritz Werner
Record Date: None Given

Ok, they don't write them how they used to, or at least they don't write church music how they used to. Seriously, go and sit in church, and listen to the new crap they turn out (mostly by David Haas). I understand that in order to make god (or God or G-d or whatever) more accessible everyone got on the "Let's all sing together and feel the mystery of the Lord through our community" bus. I have no problem with this, but save it for the retreats and the campfires (insert priest joke here). But by removing the complexities from church music, I always feel that we have lost something. Yes, we gained the ability to feel as "one" with the 45-year old balding father of three next to you belting out "Blest are They" three keys off the one that it is written in, but to me faith is something that while containing a communal aspect, is better suited by a metaphor using the vast complexities of sonic punctuation that is found in a Bach Cantata (or better yet Prelude and Fugue) or a Rachmaninoff choral mass. These are long, complex pieces, which require multiple listenings, thought and study in-order to help grasp their fullness; and yet, always, some of the beauty is undefinable, unexplainable, lacking the ability to define its wholeness through interpretation of the dots on paper that we in error call music. This is my metaphor, this is why I am disappointed every time I see that the majority of hymns sung during a service are composed by Haas (not to pick on him too much, he has written some nice tunes). Faith, for me, involves work, it involves thought, study and knowledge, and when all of that sweat and headaches are through, there will always something else, some other mystery, undefinable, unexplainable, lacking the ability to define its wholeness.

I rail against this modern conception of church music not because it's bad music (though a lot of it really is terrible [in my opinion]), but rather because it represents the "dumbing down" of the concept of faith (whether or not you have faith is on you, I know where I stand). Dumbing it down to the idea that just because you were born into a certain family/had water poured on your head/foreskin cut off/blessed prayers said and weekly make the trek to a building to sit next to people who you would never speak to outside said building that you can have a reliable, fulfilling relationship with God; to me cheapens the very concept of faith. But what do I know? I'm just a moron with a blog...

Day 39

Lots going on today, work is starting to move forward, school is getting hard, Jen's getting ready for residency (interviews) and I'm still trying to make sense of it all. Luckily if you, unlike me, have 15 minutes to kill, head over to Current.com/movies and check out my "mainstream" Internet debut.

Ok, if you're still reading this, and still consider me someone you would actually tell another person you know (or read their blog), here's what I listened to today.

Side One

Piece: Piano Quintet in A, Op. 114 D. 667 "Trout"

1. Allegro vivace

2. Andante

Composer: Franz Schubert

Performers: Alfred Brendel, piano; Donald Weilerstien, violin; Martha Strongin Katz, viola; Paul Katz, Cello; James Van Demark, double-bass

Record Date: Non-given, though judging by the clothing on the performers right around the pressing date of 1978

Side Two

Piece: Piano Quintet in A, Op. 114 D. 667 "Trout"

3. Scherzo (Presto_

4. Andantino (Tema con variazioni)

5. Finale (Allegro giusto)

Composer: Franz Schubert

Performers: Alfred Brendel, piano; Donald Weilerstien, violin; Martha Strongin Katz, viola; Paul Katz, Cello; James Van Demark, double-bass

Record Date: Non-given, pressing date 1978

After listening to a lot of romantic and modern piano pieces, something about this piece struck me, in fact it struck me mid-way through the second movement, the almost complete lack of left hand. Where much of the romantic music I have been listening to lately focuses on the creation of a tonal idea through the left hand, this quintet does an amazing job of letting the other four instruments do this work. And honestly it works. The piece allows for the mingling of ideas in the four strings with accents placed by the piano. This is a classic example of how playing the rests is more important than playing the notes. If you're not certain what I'm talking about go listen to this piece, or better yet a Miles Davis solo (try late 50's early 60's, personal fav is Milestones). While this piece was not what I was expecting from the famed composer of that amazing Ave Maria, it was good, enjoyable and fit the tonal hunger for the day.

Day 38

I listened to Brahms' third symphony today, and I have a lot to say about Brahms, his music and his philosophy...Just not tonight, have things to do and people to see.

Side One:

Piece: Symphony No. 3 in F-Major, Op. 90

1. Allegro con brio

2. Andante

Composer: Brahms

Performers: Vienna Philharmonic Orchestra

Conductor: Karl Bohm

Record Date: None Given, my guess is old since it was "electronically" changed to "simulate stereo", meaning mono recording. So, recorded mid-sixties at the latest.

Side Two

Piece: Symphony No. 3 in F-Major, Op. 90

3. Poco allegretto

4. Allegro

Composer: Brahms

Performers: Vienna Philharmonic Orchestra

Conductor: Karl Bohm

Record Date: Non-Given

The piece is good, in fact the fourth movement is amazing. The house of cards comes crashing down as soon as you think of other composers of the 1880's. It is then you know why everyone made fun of Brahms for writing such old fashioned music. And really he is, he sounds like Beethoven 70 years beforehand. To me though, in the end, there is an honesty to this piece, a feeling of "it may be old man's music, but it's my music, and damn it, it is good." I respect that, completely.

Day 37

Not too much today, just listened to the other record from the two record set I started two days ago while reading about STDs in the United States. Now it burns when I pee.

Side One

Piece: Choral-Fantasia contrappuntistica

Variationen uber "Ehre sei Gott in der Hohe" gefolgt von einer Qudrupel-Fuge uber ein Bachsches Fragment

1. Choral-Variationen

2. Fuga I

3. Fuga II

4. Fuga III

Composer Ferruccio Busoni

Performers: Isabel von Vintschger & Jurg von Vintschger

Record Date: October 4/5, 1982

Side Two

Piece: Choral-Fantasia contrappuntistica

Variationen uber "Ehre sei Gott in der Hohe" gefolgt von einer Qudrupel-Fuge uber ein Bachsches Fragment

5. Intermezzo

6. Variatio I

7. Variatio II

8. Variatio III

9. Cadenza

10. Fuga IV

11. Corale

12. Stretta

Composer Ferruccio Busoni

Performers: Isabel von Vintschger & Jurg von Vintschger

Record Date: October 4/5, 1982

Day 36

Sorry, I've been busy the last couple of days. Friday I was planning on posting, but rather than listening to classical music my fiancees and I had a dance party to Bowie's Moder Love with our cats. It was the definition of megacoolamazingawesomeness; which since it isn't a word, can't have a definition. Yesterday I spent in NYC, mainly meeting up with an old friend (ok really good friend) from my home town in MN and hanging out with some newer old friends from college. Oh, and ya, there was a pork extravaganza involved, mainly eating this.

Side One

Piece: Improvisation uber das Bachsche Chorallied "Wie wohl ist mir, o Freund der Seele, wenn ich in deiner Liebe ruh"

Composer: Ferruccio Busoni

Performers: Isabel von Vintschger and Jurg von Vintschger

Record Date: October 4/5 1982

Side Two

Pieces: Fantasie fur eine Orgelwalze

1. Allegro (Fuge)

2. Andante

3. Allegro (Doppelfuge)

Duettino Concertante nach Mozart

Composer: Ferruccio Busoni

Performers: Isabel von Vintschger and Jurg von Vintschger

Record Date: October 4/5 1982

It's not often that I come across pieces written for two pianos and I must admit, I really enjoyed it. I would place it as a cross between the solitude and inter-meditation of a piano sonata with the thematic fullness of a symphony. In other words, MORE SOUND. Also didn't that second sentence make me sound like an over educated prick? Anyway, more tomorrow, still recovering from my pork hangover.

Day 35

It's a cold, gusty, stormy night; time for the organ music.

Side One:

Pieces: Preludes and Fugues in E-Minor BWV 533 and BWV 548

Composer: J.S Bach

Performer: Gustav Leonhardt

Record Date: None-Given

Side Two:

Piece: Preludes and Fugues BWV 547 in C-Major & BWV 544 in B-Minor

Composer: J.S Bach

Performer: Gustav Leonhardt

Record Date: None-Given

I still find it strange that I have been so conditioned to hear a fugue on an organ and automatically think of some horrible monster, when in reality it's the pop stars of today I often find scary.

Day 34

I wish I had more time to write up these pieces, but life being what it is I must rush through. Maybe this will give you the gumption to run out and give the good Russian man Scriabin a listen.

Side One

Pieces: Sonata No. 6 for Piano, Op 62; Sonata No 8 for Piano, Op. 66

Composer: Alexander Scriabin

Performer: Igor Zhukov

Record Date: No idea, but it was made in the USSR

Side Two

Pieces: Sonata No. 5 for Piano, Op 53; Sonata No 10 for Piano, Op 70

Composer: Alexander Scriabin

Performer: Igor Zhukov

Record Date: Non-given

From the moment the needle hit, I knew I was in for a ride; the pieces are very modern, I mean, he is Russian and a contemporary of Schonberg, so we know it's going to be out there. Yet at the same time they really work at taking your for a journey. It's not that your not craving for resolution, it's rather that you want it to come but you don't want it to rush. Like waiting for a loved one on a snowy day; you can't wait for them to get there but you don't want them to hurry and skid off the road. Worth a listen if you ever have the time.

Day 33

Quick one today since I've burned up all my braincells on school and wedding stuff.

Two great Piano Sonatas today, perfect for relaxing on a Sunday morning while reading the paper. Not that I am that bourgeois were I spend my mornings reading papers and listening to classical music on vinyl...Never...damn it once again I'm first against the wall.

Side one:

Piece: Valses nobles sentimentales

Composer: Maurice Ravel

Performer: Lois Shapiro

Recording Date: Non-given, pressing date 1977

Side two:

Piece: Sonata No 49 in E-flat Major

Composer: Joseph Haydn

Performer: Lois Shapiro

Recording Date: Non-given, pressing date 1977

Day 32

A little dinner music this evening; or at least I ate dinner to it, what you do it up to you; I don't spend my time reading your blog, finding out about the intimate details of your life. I have a private investigator to do that, I read your blogs because the are entertaining.

Side One
Piece: Concerto No. 1 in E minor, Op 11.
1. Allegro maestoso risoluto
Composer: Frederic Chopin
Performer: Dinu Lipatti with Orchestra (not specified which orchestra)
Record Date: May 1948

Side Two
Piece: Concerto No. 1 in E minor, Op 11.
2. Romance (Larghetto)
3. Rondo (Vivace)
Composer: Frederic Chopin
Performer: Dinu Lipatti with Orchestra (not specified which orchestra)
Record Date: May 1948


Fantastic piece, especially if you love keyboard. But then again if you love keyboard you already know about Chopin.

Day 31

The issue of choosing a record to play has completely changed over the last couple of weeks. Whereas before I was limited to only two or three dozen records, I now have close to a thousand, most of which are on display in my dinning room. This brings up another problem; if I am to write about a new record every night (give or take), how am I to keep track over multiple years and thousands of records? I'm thinking of creating a database this weekend where I can track each record as I play them, but still not certain if that will be the best possible method. Any idea interwebs?

Side One

Pieces: Roman Carnival Overture, Op. 9; King Lear Overturn, Op. 4; Corsair Overturn, Op. 21]

Composer: Hector Berlioz

Orchestra: Royal Philharmonic Orchestra

Conductor: Sir Thomas Beecham

Record Date: None Given, Pressing Date 1975 (must be much earlier since Beechman died in 1961)

Side Two

Pieces: Les Francs-Juges Overture, Op. 3; Waverley Overture, Op. 1

Composer: Hector Berlioz

Orchestra: Royal Philharmonic Orchestra

Conductor: Sir Thomas Beecham

Record Date: None Given, Pressing Date 1975

I was not a fan; all and all maybe a 5.5 out of 10. But I will be the first to admit that I was busy with other things while the record played, and was unable to give it my full attention. Luckily I have plenty of Berlioz to go.

Day 30

Going old school today.

Side One

Piece: Brandenburg Concerto No. 1 in F Major, BWV 1046

Composer: J.S Bach

Performers: Hamburg Chamber Orchestra with the Hamburg Bach Soloists, Adolf Scherbaum on Trumpet

Conductor: Harold Newman

Record Date: Non-given, pressing date 1977

Side Two

Pieces: Brandenburg Concerto No. 2 in F Major, BWV 1047; Brandenburg Concerto No. 3 in G Major, BWV 1048

Composer: J.S Bach

Performers: Hamburg Chamber Orchestra with the Hamburg Bach Soloists, Adolf Scherbaum on Trumpet

Conductor: Harold Newman

Record Date: Non-given, pressing date 1977

It has been a while since I've listened to Bach and I always find it difficult. He really is boring, yet at the same time amazing. I found myself comparing his music to one of those fractal pictures made by computers; one half beautiful, one half mathematical, and no clear line where the one half begins and the other ends. In the end the Brandenburg Concertos (especially No. 3) will always hold a special place in my heart due to the ridiculous number of times I played them through my Jr high and high school years. Are they redundant? Yes. Are they predictable? Yes. Was Bach writing music that was already 20 years behind his own time? Yes. Was he writing music that will go down in history as some of the best ever put to bar staffs? Without a doubt.

Day 29

Today I listened to some wonderful pieces that I wouldn't had even thought to listen to, if it wasn't for my amazing bride to be.

Side One

Pieces: Pavane pour une Infante defunte; Ma Mere l'Oye (Mother Goose)

Composer: Maurice Ravel

Orchestra: Chicago Symphony Orchestra; Boston Symphony Orchestra

Conductor: Fritz Reiner; Charles Munch

Record Date: None given

Side Two

Pieces: Sonatine

1. Modere

2. Mouvement de Menuet

3. Anime

Gaspard de la nuit

1. Ondine

2. Le Gibet

3. Scarbo

Composer: Maurice Ravel

Pianist: John Browning

Date Recorded: Not given

In all honesty I have never given much thought to Ravel. His is a name I have heard, and I'm sure I've heard his pieces through the years; but I never put two and two together and figured out how wonderful his compositions are. The first side being two symphonies, are more whimsical than emotional (though I guess whimsical is an emotion, but I'll say it's not) but it is the ideas which amaze; the intelligence behind what seems a simple tune caught this listener off guard. Whereas Beethoven will use strings to lay the tonal foundations of his masterpieces Ravel uses harps; this creates a much softer approach while allowing for the odd passing chord to be subtly placed. The second side, with its two piano pieces are even more impressive. Now with only one instrument at his command, Ravel creates melodies within melodies, while bending the tonal structure just enough to catch the listener's ear, but not enough to make a statement. All in all, I was impressed; if not for the emotional fortitude that Ravel showed, but rather for the intellectual discussion he brought forth in the forms of songs for children.

Day 28

Sorry, I've missed the last two days mainly due to school, work and the need to travel down-state for wedding planning and for an Ikea run (I now have a bookcase to hold my "new" collection).

Speaking of my new collection, while unpacking the boxes I have run across many (and I do mean many) composers I have never heard of, not to mention plenty of albums that are written completely in French or German. So it seemed fitting to me to find an album that is a complete mystery; and I did. With the entire jacket written in Russian script, I would have been at a complete loss except for what seemed to be two names in latin script. After some googling and such, I now know who the composer was, and after a listening am glad I took the time to listen.

Side one:

Piece: ???? (Something in Russian, maybe Symphony No. 1)

Composer: Kara Karayev (as written on the jacket, name may change)

Performers: ?????

Conductor: ?????

Date Recorded: ????

Side two:

Piece: ????

Composer: Kara Karayev (as written on the jacket, name may change)

Performers: ?????

Conductor: ?????

Date Recorded: ???

This was one of the reasons I started this project. A composer, completely unknown to me, being played by an orchestra also unknown to me, and it was good. I mean, really good. I'm not going to lie and say that it wasn't automatically recognizable as 20th Century Soviet classical music, but I'm not one to label all things Soviet as evil. If you want an idea of what this guy sounds like, go watch Star Wars, since I feel that John Williams may be a fan.

Day 27

Today I finish the Rachmaninoff choral mass, which is good, since I spent my time listening to it reading a chapter on interactions within causal epidemiology theory. It was kind of like reading Joyce, you know what the individual words mean, you just don't know what they mean in that order.

Side One
Piece: The Vigil (Vesper Mass), Op. 37
1. Gloria
2. Resurrection hymn
3. Resurrection hymn
4. Hymn to the Mother of God
Composer: Serge Rachmaninoff
Performers: Bruckner-Mahler Choir of London
Conductor: Wyn Morris
Record Date: None Given, pressing date 1975

Side Two
Piece: Four Motets
1. I see Thy bridal chamber adorned
2. The Lord is God, and hath appeared unto us
3. It is very meet to bless Thee
4. Thou only art immortal
Compser: Alexander Dmitrievich Kastalsky
Performers: Bruckner-Mahler Choir of London
Conductor: Wyn Morris
Record Date: None Given, pressing date 1975

Say what you will about the Roman Catholic Church, but thier mass has inspired some amazing work. Though I wonder, since both these composers are Russian and would more likely be Orthedox. I guess it doesn't make much sense, beauty is beauty, unless it's in the eye of the beholder.

Day 26

Needed something soothing, so I went with a choral mass. Quick bit of advice, if you ever need something soothing, a choral mass is right up there with three fingers of 15 year old scotch and a dash of water.

Side One
Piece: The Virgil (Vesper Mass), Op. 37
1.Venite adoremus
2. Psalm 104
3. Psalm 1-2-3
4. Hymn
5. Nunc dimittis
6. Ave Maria
Composer: Serge Rachmaninoff
Performers: Bruckner-Mahler Choir of London
Conductor: Wyn Morris
Record Date: None Given, pressing date 1975

Side Two
Piece: The Virgil (Vesper Mass), Op. 37
1. Gloria
2. Psalm 136-137
3. Resurrection hymn
4. Praise of Resurrection
5. Magnificat
Composer: Serge Rachmaninoff
Performers: Bruckner-Mahler Choir of London
Conductor: Wyn Morris
Record Date: None Given, pressing date 1975

Amazing, simply amazing.

Day 25

So I'm back from PA, where I returned with 16 boxes of records. Seriously, this was a lot more than I was expecting, and a lot more than I have room for in my apartment; but I will make do.

Side one

Pieces: Prelude a "L'Apres-midi d'un faune"

Images pour orchestre - Nos. 1 and 3

1. Gigues,

2.Rodes de printemps

Composer: Claude Debussy

Performers: Boston Symphony Orchestra

Conductor: Charles Munch

Record Date: Non-given

Side two

Pieces: "La Mer"

1. De l'aube a midi sur la mer

2. Jeux de vagues

3. Dialogue du vent et de la mer

Composer: Claude Debussy

Performers: Philadelphia Orchestra

Conductor: Eugene Ormandy

Record Date: Non-given

In all honesty I really wasn't planning on listening to Debussy, I had Schubert's Ave Maria stuck in my head for most of the day and really wanted to listen to that; but after the first couple of Schubert records came up bust I decided on Debussy for his Prelude of a Faun. Why would I choose this piece as a substitute? because I needed something imaginative and ethereal, and if you have heard the Prelude, you know that this piece is exactly that.

While the pieces didn't quite fit what I was craving, they came close and in the end shocked me. After weeks of Mozart, Beethoven and Wagner listening to a piece by Debussy is like a slap in the face with a metaphorical glove. Which is to say that you are not slapped in the face, only feel as though you have been, but still aren't sure if you have or haven't. We're talking close to a hundred years of musical evolution (at least from Beethoven to Debussy) and a switch to something just more French. While I won't say that I was struck by every theme which always seemed to vanish, but I will say that the going from the tonal equivalent of Renoir to Monet without any buildup was...refreshing.

Day 24

Today is going to be quick and dirty, as I have to run and meet up with the parents in PA. This is a good thing, as today I listened to the final classical record in the small collection that I have right now. Come Monday I will have 12 more boxes of classical albums to listen to; which means if you're a sadist (and really who isn't?) you'll have weeks upon months upon years more of my blog to enjoy.

Side One

Piece: Symphony No. 5 in C Minor, Op. 67

1. Allegro con brio

2. Andante con moto

Composer: Beethoven

Orchestra: Sydney Symphony Orchestra

Conductor: Willem Van Otterloo

Record Date: Unknown, pressing date 1977 or 1978

Side Two

Piece: Symphony No. 5 in C Minor, Op 67

1. Scherzo (Allegro)

2. Finale (Allegro)

Egmont - Overture, Op. 84

Composer: Beethoven

Orchestra: Sydney Symphony Orchestra

Conductor: Willem Van Otterloo

Record Date: Unknown, pressing date 1977 or 1978

Quick bit of advice to all you potential audiophiles out there, clean your records! I was about to throw out this album because it sounded awful only to discover my needle was dirty, a quick clean makes all the difference.

'Till Monday.

Day 23

I actually listened to this piece yesterday and ended up not being able to break away from something to write about it. In the end I guess I lucked out since I didn't listen to anything classical today. I did, however, listen to two great Cat Stevens LPs; amazing stuff, really if everyone detained by Homeland Security is this talented we need to start sending in three new CIA inquisitors, Martin, Eno and Peel.

Side One

Piece: Quartet No 3 in D Major, Op. 18

1. Allegro

2. Andante con moto

3. Allegro

4. Presto

Composer: Beethoven

Performers: The Budapest Quartet: Roisman & A Schneider, Violins; Ipolyi, Viola; M. Schneider, Cello

Record Date: 04/30/1935

Side Two

Piece: Quartet No. 10 in E-Flat Major, Op. 74 "Harp"

1. Poco adagio: Allegro

2. Adagio ma non troppo

3. Presto

4. Allegretto con variazioni

Composer: Beethoven

Performers: The Budapest Quartet: Roisman & A Schneider, Violins; Ipolyi, Viola; M. Schneider, Cello.

Record Date: 04/27/1936

Well that's all for now; tomorrow will be my final post until Monday due to being out of records. Any guesses on what I'll be listening to? I'll give you a hint, I've mentioned having the piece before, but have yet to listen to it.

Day 22

Some very pretty pieces today, and once again the composer is Beethoven. Why you ask: is it could because I really really like his work; or perhaps because his works are recorded most often; or it could just be because it's all I have left until I get the mother load of records on Friday. Right now I plan on receiving 13 boxes of records, which conservative count would be around 750 records. Then I get the fun of opening all of them; that's right, it's going to be Christmas in September.

Anyway on to today's listening.

Side One
Piece: Quartet in A Major, Op. 18, No 5
1. Allegro
2. Menuetto
3. Andante cantabile
4. Allegro
Composer: Beethoven
Performers: The Budapest Quartet: Roisman and Gorodetzky on Violins; Kroyt on Viola; M. Schneider on Cello.
Record Date: 1951

Side Two
Piece: Quartet in B-flat Major, Op. 18, No.6
1. Allegro con brio
2. Adagio, ma non troppo
3. Scherzo: Allegro
4. La Malinconia: Adagio; Allegretto quasi allegro
Performers: The Budapest Quartet: Roisman and Gorodetzky on Violins; Kroyt on Viola; M. Schneider on Cello.
Record Date: 1951

Day 21

Quick one today as I'm spending all day tomorrow doing stuff for my upcoming wedding (in May 2010) and have three internship interviews and a big grad school homework thingy to do by Tuesday.

Side One:
Piece: Quartet No. 23 in F Major, K 590
1. Allegro moderato
2. Andante; Allegretto
3. Menuetto: Allegretto; Trio
4. Allegro
Composer: Mozart
Performers: The Budepest Quartet: Roisman & A. Schneider, Violins; Ipolyi, Viola; M. Schneider, Cello.
Record Date: 04/29/1935

Side Two:
Piece: Quartet No. 2 in G Major, Op. 18
1. Allegro
2. Adagio cantabile
3. Scherzo: Allegro
4. Allegro molto, quasi presto
Composer: Beethoven
Performers: The Budepest Quartet: Roisman & A Schneider, Violins; Kroyt Viola; M Schneider, Cello.
Record Date: 06/01/1938

The one thing I will point out about these recordings is the recording date. When I thought about it, I began to raise questions about the recording of a temporal art, like music, and how this captures the the intentions of the composer as interpreted by the musician. When these guys recorded the pieces, they did it through one mic, that fed to a piece of equipment, that literally cut the record right then and there. It was one take, no multi-track, no EQ, no compression, no nothing. The reason that I bring this up is because I've been reading a lot of audiophile websites lately, which often state that the goal of a stereo is to replicate the music exactly as it was played. If that is true, and since Mozart was born and died long before recording music was even an idea, couldn't we say that these, what we would call Lo-Fi recordings, are more true to the piece that Mozart put to paper than any recording that is done today using multi-track, post-editing, compression filled, mixed-down tech masturbation? I honestly don't know, but I would say it's a good question to ask as everyone raves about the joys of the new Beatles mixes.

Day 20

So today you get two for the price of one; well actually you get me catching up on missing yesterday and listening to a piece which spans two records. And the best part is, I even have an explanation why. Yesterday I had a plan, I was going to to go do laundry, come home, listen to some music, relax, then fall asleep. Suddenly, while enjoying my mid dryer beer, I remembered that some black guy who we elected a couple of months back, was giving the speech that could make or break his political career and the health of millions of Americans now and in the future. And I really wanted to watch it.

Ok, so it wasn't a good explanation, but I never said it was going to be; it does however, lead into what I listened to today, Beethoven's 9th Symphony. It was all dependant on the speech, if our president caved in, gave up the health of millions for an easier presidency I had planned to listen to Beethoven's 5th, which as we all know starts off a little less than optimistic. Luckily for me and in my belief anyway, the United States (maybe not Joe Wilson), he threw down the gauntlet. And I ended up doing fist pumps in the air, like the teenager who first discovers alcohol and Black Sabbath during the same summer...Not that would be autobiographical or anything.

Piece: Symphony No. 9 in D Minor, Op. 125 "Choral"
1. Allegro ma non troppo, un poco maestoso
2. Molto vivace (Scherzo)
3. Adagio molto e cantabile - Andante moderato
4. Presto - Allegro ma non troppo - Allegro assai - Prestp - Allegrp assai - Allegro assai vivace, Alla Marcia - Andante maestoso - Allegro energico, sempre ben marcato - Allegro ma non tanto - Poco Adagio - Prestissimo
Composer: Beethoven
Orchestra: Bayreuth Festival Orchestra and Chorus
Conductor: Wilhelm Furtwangler
Record Date: Live 1951

It's entertains me that the two pieces I was going to choose from today are probably (next to Fur Elise) Beethoven's most famous. Yet if you asked the average Joe to sing any part of the 5th besides the first movement, or the 9th besides the fourth movement, they would probably make some joke about bowel movements. This is saddening to me, not just on a comic level, or even on an educational level, or a cultural level, but rather just for the fact that the first, and especially the third movement of Beethoven's 9th Symphony is outrageously gorgeous. The symphony is complete with full thoughts and ideas that develop throughout the movements and when compared to seconds it takes to lay down and idea during first movement of his 5th Symphony, makes my jaw wag in awe. I guess what my rambling is trying to point out is, listen to the whole symphony, not because it's a classic, not because it's great, and not because it's culture, but rather because it's simply beautiful.

I'll end today with the translation of the first three lines of the famous fourth movement chorus, the only lines normally sung these days that were actually written by the Composer himself:

O friends, no more these sounds continue--
Let us raise a song of gladness.
O Joy! Let us praise thee!

Day 19

Today I'm continuing with Beethoven's String Quartets. I have a lot to say about them, but must write a cover letter for an internship applications. I hate cover letters, but I like internships with money and tuition vouchers...Dilemmas.

Side One
Piece: Quartet in D Major, Op. 18, No 3
1. Allegro
2. Andante con moto
3. Allegro
4. Presto
Composer: Beethoven
Performers: The Budapest Quartet: Roisman and Gorodetsky on Violins; Kroyt on Viola and Schneider on Cello.
Record Date: 1951

Side Two
Piece: Quartet in C Minor, Op 18, No 4
1. Allegro ma non tanto
2. Scherzo: Andante scherzoso quasi allegretto
3. Menuetto: Allegretto
4. Allegro

And that's all folks

Day 18

Spent most of the day rearranging the apartment, or reading about how alcohol intake can be a risk factor for heart attacks (and yes, I was drinking a beer while reading, so what).

Today was the first and second of Beethoven's Op. 18, The Six Quartets
Side One
Piece: Quartet in F Major, Op. 18, No. 1
1. Allegro con brio
2. Adagio affettuoso ed appassionato
3. Scherzo: Allegro molto
4. Allegro
Composer: Beethoven
Performers: The Budapest String Quartet: Roisman and Gorodetzky, Violins; Kroyt, Viola; Schneider, Cello
Record Date: 1951

Side Two
Piece: Quartet in G Major, Op. 18, No. 2
1.Allegro
2. Adagio cantabile; Allegro
3. Scherzo: Allegro
4. Allegro molto quasi presto

Supposedly this is one of those great recordings that happens once in a lifetime. The best musicians, playing the best instruments, preforming a great piece. I just wish life would have slowed down enough for me to really sit and enjoy.

Day 17

So I've been away for a couple of days and I'll let you all in on a little secret, I really haven't been away, I've been rationing my albums. It seems as though I miscalculated how many records I have, to the difference in days between the day I started the blog and the day when I would meet up with my folks and receive the mother load of albums.

Anyway, since I had a very nice relaxing Labor Day Sunday I took a listen to the other recording of Beethoven's 7th Symphony, if you remember, it was the one I liked better.

Piece: Symphony No. 7 in A Major, Op. 92. First Movement Pocu sostenuto - Vivace. Second Movement Allegretto. Third Movement Presto - Assai meno presto. Fourth Movement Allegro con brio.
Composer: Beethoven
Orchestra: Bavarian Radio Symphony Orchestra
Conductor: Rafael Kubelik
Record Date: 1971

Once again I can't say enough about how much I love this symphony, especially the second movement. The slightly slower tempo taken for this rendition added a depth to the piece that I felt was missing from the last one. Even with the slower tempo the third and fourth movements still had me envisioning great dance halls filled with merry guests; with Beethoven sulking in a corner in his world of silence, filled with music inside he head. Seriously, it sounds cheesy, but if you listen to the fourth movement especially there are great sweeping dance numbers, which are interrupted by moody interludes of great musical stretching.

Day 16

Not too much today, since I am still trying to figure out the Bayesian model of scientific philosophy and how it plays into epidemiological study in the terms of causality (if you can supply any help, please do; seriously, I'm going to be tested on this stuff!).

Three very nice Beethoven Piano Sonatas, not fully sure the names since this seems to be an import album and the entity of the jacket is in French.

Side one:
Pieces: Sonata No. 32 in C minor Op. 111. First Movement, Maestroso-Allegro con brio ed appassionato; Second Movement, Arietta (adagio molto semplice e cantabile). Sonata No. 30 in E Minor Op 109. First Movement, Vivace ma non troppo - Adagio espressivo; Second Movement, Prestissimo
Composer: Beethoven
Performer: Yves Nat

Side Two:
Pieces: Sonata No. 30 in E Minor Op 109. Third Movement, Andante molto cantabile ed espressivio (Theme et variations). Sonata No 31 in A-flat Major, Op. 110. First Movement, Moderato cantabile; Second Movement Allegro molto; Third Movement, Arisos (adagio ma non troppo) Fuga (allegro ma non troppo) - Tempo del arioso - Tempo dell fuga - Coda
Composer: Beethoven
Performer: Yves Nat

Day 15

Today we move to chamber music, mainly because I listened to these two string quartet pieces while reading an article on the philosophy of how we teach epidemiologists to conduct data analysis. If I had been listening to something heavy, I would have wanted to kill myself for fear of misclassification.

Side One
Piece: Quartet No 17 in B-Flat Major, K. 458 "The Hunt": First Movement, Allegro vivace assai; Second Movement, Menuetto, Moderato, Trio; Third Movement, Adagio; Fourth Movement, Allegro assai.
Composer: Mozart
Musicians: The Budapest Quartet: First Violin, Joseph Roisman; Second Violin, Alexander Schneider; Viola, Boris Kroyt; Cello, Mischa Schneider.
Record Date: 02/02/1940

Side Two
Piece: Quartet No. 19 in C Major, K. 465 "Dissonant": First Movement, Adagio, Allegro; Second Movement, Andante cantabile; Third Movement, Menuetto, Allegro; Trio; Fourth Movement, Allegro molto.
Composer: Mozart
Musicians: The Budapest Quartet: First Violin, Joseph Roisman; Second Violin, Alexander Schneider; Viola, Istvan Ipolyi; Cello, Mischa Schneider.
Record Date: 11/14/1932

Anyone who has spoken to me about classical music knows that I am no big fan of Mozart. It's that I don't find his work beautiful, or technically amazing, I just have little to no emotional response to 90% of what I hear. I once heard this thought best stated by a TA I had for one of my Music course (I did minor is Musicology), "Mozart wrote pretty pieces for rich people."

I think I'll leave it at that; though I do plan on listening to plenty of Mozart throughout these 10,000 days. Sometimes you just need something pretty.

Day 14

Sorry for not getting the post up yesterday, there was much wedding planning and fiance reassuring that needed to take place. I did, however, get a chance to listen to a Beethoven Symphony while discussing photographers.

Piece: Symphony No. 3 in E Flat Major, Op. 55 "Erocia". First Movement, Allegro con brio; Second Movement, Marcia funebre, Adagio assai; Third Movement, Scherzo, Allegro vivace; Fourth Movement, Finalle, Allegro Molto.
Composer: Beethoven
Preformers: The Czech Philharmonic
Conductor: Lovro von Matacic
Record Date: 1959

The title of the Symphony says it all; Erocia. That's pronounced like heroic, not erotic...sickos.

This is far from the best rendition of this symphony that I have ever heard, but it's not terrible; more forgettable than anything. The first movement while epic and invigorating doesn't due the piece justice. While you may feel inspired, you don't quite feel like climbing mount Everest, which is really what you should be feeling. Maybe something was lost in the re-mastering of the recording in 1973 (when the record was pressed), this is after all one of the famed "Best Of" recording series, which, in my opinion, never quite capture the "best."

That's it for now, check back later today after I listen to today's piece.

Day 13

So after eleven days of listening to epic Wagner opera I have decided to take a slight turn in styles and go with piano music.

Pieces: Humoresque; By the Hearth; Impromptu; Valse; Nocturne; Chanson triste; Christmas; In the Troika; Barcarolle; Dumka; Russian Danse; Scherzo; Song Without Workds; Harvest; Song of the Lark.
Composer: Tchaikovsky
Preformed by: Danielle Laval
Album: Humoresque: Piano Music of Tchaikovsky
Recorded: 1974

There is something about Tchaikovsky's piano works I have always loved; maybe it has to do with the fact that when I was young and played the piano one of my favourite to play a piece entitled In Church. Or it could be that for a man who composed some of the most playful ballets and symphonies, also spend much of his life very depressed; I believe his piano music shows this. That being said, not all of the pieces were slow and sombre, or even sad. But from the very first airy note there was a mood as though the composer told the audience to sigh deeply and settle in. I've listen to this record before, and I find it fantastic to gather one's thoughts to; I have also found it very helpful when one should let one's thoughts go.

Day 12

Piece: Gotterdammerung (Act III)
Conductor: Wilhelm Furtwangler
Recorded: Live 1950 at La SCALA in Milan

So this is it, this is the end, the end of one of the most famed opera cycles in history. I admit, I haven't digested it all. I can say that the final 40 minutes are amazing, just flat out beautiful. I can say is that there is this Soprano (most likely Brunhilde) who for about 20 minutes just captures any attention with what must be her sorrow and pain (according to the synopsis her lover just was murdered). I still get shivers just thinking of the vocal mastery, and the amazing composition of her soliloquy.

Besides the music, the one extremely impressive thing about the Ring Cycle is its length. Clocking in just over 17 hours (give or take an hour) there is very little to compare it to. Consider this, the Beatles released just 10 and half hours of music over their 22 singles and 14 albums, which is barely the first 2 and half operas Wagner used for this one cycle. Now we can all argue about quantity versus quality and so on and so on, but when was the last time you watched a movie that was over 4 hours long? Sat for two straight hours as a cast of characters belted words that you might not understand (remember writing an opera in anything other than Italian was taboo up until Mozart and I don't speak German as well I as used to)? But I'm straying from my point. I guess my question lies in with our video-on-demand, Internet wherever you go lifestyles, who's writing 17 hours worth of not just music, but also an accompanying story?

I'm impressed by the Ring Cycle, and one day wish to see it live, without interruption (OK one opera at a time) and to experience what it is supposed to be, a long, epic tale which took years to craft and needs almost a day to discover and possibly a year to digest.

Tomorrow brings something new, and (hopefully) something shorter; because seriously, when I'm trying to cram in an hour and half of music a day, it's hard to also catch all your favorite TV shows, blogs, twitter updates, live feeds and bathe. Luckily I've only had to cut out the bathing.

Day 11

Sorry for missing yesterday; I had timed out my evening in order to pick up my beautiful fiance at the airport and get back to the apartment with plenty of time to listen, only to have her flight come in 2 hours late.

Anyway, here I am, a day late and always a dollar short with the conclusion of the first act and the second act of Gotterdammerung.

Don't have much to say besides that it is good, and really I need to take the time one day to see this opera on it's own. So far, if I only had the chance to see one of the four operas in the cycle, it would be this one.

Piece: Gotterdammerung (Act 1 conclusion, Act 2)
Conductor: Wilhelm Furtwangler
Recorded: Live August 17th, 1950 at La SCALA

Tomorrow brings the final act of the opera and the finale of Wagner's famed Ring cycle.

Day 10

Today we return to Wagner.

Piece: Gotterdammerung (Act 1, first part)
Conductor: Wilhelm Furtwangler
Recorded: Live August 17th, 1950 at La SCALA

Going to be a short one tonight kiddies, not to say that the piece itself wasn't long (over 85 minutes) and good, but I must admit hunger forced me to make and eat dinner so I could not give my full attention to the music.

First off Wagner has finally composed an overture which sent a shiver down my spine. The themes are drawn out, Wagner takes the time to give a Soprano a 40 minute solo. Why can he do this, because the first act doesn't fit on the record, it is over 2 hours long! I have to admit though, one day I must give it the aural concentration this act deserves. The parts that I did listen closer to, seemed beautiful; I just didn't have the stamina to wait for the ideas conclusion 20 minutes later.

Day 9

Well I'm back and instead of continuing with Wagner I've decided to take a short break and listen to Beethoven's 7th symphony in honor of the late Senator Kennedy.

I'm also going to introduce a quick format that I haven't used until now mainly since I've been listening to the same orchestra, conductor and composer since the beginning. Also this is beta, so it may change

Pieces: Symphony Number 7 in A Major, op. 92; Egmont Overture, op 84
Performers: Berlin Philharmonic
Conductor: Joseph Keilberth
Recorded: 1967 (date of pressing, no recording date given)

I choose to listen to this piece after hearing about Senator Kennedy's death, due to having always loved the second movement, which when played slowly, feels like a funeral dirge.

I have two copies of this piece right now (no doubt when I get the big load of records from my parents in a couple of weeks I will have more) and I remember preferring one over the other; this is due to one playing the second movement about 5 beats per minute slower. But I couldn't remember which one was which...I picked the one that was played faster, go figure. At least I got the bonus of having the Egmont-Overture.

I always feel a little funny when anyone asks me who is my favorite composer, kind of like I always feel funny answering that my favorite pop band is the Beatles. It feels like too easy of an answer. Beethoven is where it is at, he was the best; as were the Beetles; yet I somehow feel that it is a cop out, of course they should be your favorite, their the best, but really couldn't you have tried harder?

Anyway, the first movement brought me face to face with the reason why I enjoy Beethoven so much, from the very second the needle began to dance across the vinyl I was filled with emotion. This was to such an extreme that I lifted the needle off the record to take a quick breather before the second movement. Those strings, and the interplay of the horns; and the timpani, the exact use of timpani right as it was needed...Fantastic!

As I stated earlier the second movement (Allegretto) is my favorite and often brings me to tears. But as I said this is not my favorite recording of this movement, it's too fast; or at least that is what I thought. After two minutes of being angry over the speed of the piece I started to seen the possible other intention of the movement; being slightly faster and more staccato I saw how the quick additions of sound created a different picture. If the slower more somber piece was a Rothko, with thick colors building on top of each other, than this faster variation is a Pollock, where individual droplets of sound create a whole. Both are beautiful, different from one another, but beautiful...Alright now hold hands and sing kumbaya

Since this is getting long quick I'll wrap it up. The third and forth movements are fast, and frantic and even show ideas that may have morphed into what would become the beginning of Beethoven's 9th. Overall I agree with Wagner (see I wasn't going to let him go away completely) who once stated that Beethoven's 7th symphony was the "Apotheosis of Dance." I think it suites the symphony nicely.

The Egmont Overture is one of those pieces that you hear all the time, but probably don't know by name. It's grand, it's frantic at times, it plays with dynamics so very well. I found myself consistently thinking about how modern pop (in all of its derivations) lacks dynamics and how disappointing this can be when you listen to a piece with great dynamic control. Perhaps it's the fact that we call just turn our ipods up to eleven in order to ignore our over-crowded bus/subway in the morning, or due to the electrification of all things sonic, but nothing can create tonal imagery quite like the fantastic use of dynamics. Beethoven was a master of this, all the more impressive for a man who was deaf. And if you doubt that dynamics are important, listen to "A Day in the Life" by the Beatles, even though for the most part the piece the volume steady, there are two major crescendos that wash over the listener.


Tomorrow brings the return of Wagner, and the beginning of the final opera of the Ring cycle.

Interlude

So ok, we all knew that this 10,000 days wasn't going to happen all in a row. In fact tomorrow I'm heading down south for a weeks vacation. Meaning I will be away from my collection and stereo, and won't be updating this post.

Until then, here are some of the great non-classical works I have been listening to lately

Once you get through the first few minutes of commentary this is a great song


And this one will always make me laugh

Since those two are both genius, I guess I'll post this one

See you in a week

Day 8

Today brings the third act of Siegfried by Wagner, conducted by Wilhelm Furtwangler in 1950 at La SCALA in Milan.

The first side opens up to possibly the most epic overture for an act since the Ride at the opening of the third act of Die Walkure; but quickly descends into what feels like deep emotional thought. Wager finally begins to break through epic tonal prison he has built around him throughout the last 2 and 2/3 operas. He brings dual violins, who wander up and down their register, culminating in a long luxurious notes at the high end of symphonic sound that grab ones ears and turn until tears of emotion leak from the listener's eyes. Not that I cried or anything...Because I'm a manly man, yes I am *grabs tissue* *sniffle*.

I wish I could say more about the second side, but I did lose interest quickly, I had not committed my full attention to the piece and quickly found my mind wandering, or being force at claw point to feed my cats treats until content. I will say that the entrance of a soprano with about 20 minutes to go, did give a feel of depth to the tonal complexity that had been missing. The acts wanders around, rearranging tempos and themes, but ends in true Wagner fashion with an epic duet between a tenor and the soprano. There is even a moment where the famed ride is revisited, cementing it further as the cornerstone of this cycle.

Day 7

Today was the second act of Siegfried by Wagner, directed by Wilhelm Furtwangler, in 1950 at La SCALA in Milan.

The first part of the act was much more subdued that I would have expected; since reading the synopsis states that the main charter (Siegfried) kills a dragon. But hey, maybe killing a dragon to him isn't all that big of a deal for him? The strings play a vital tonal role here, and are often set in the background, leaving the bellowing tenor free range to tell his tale.

The second side starts with a hollowing brass solo (baritone, trombone, french horn not certain which), which leads to a discussion between vocals, which quickly lost my attention. I will say by the end of the record I needed to jump in the shower to rid my self of the large amounts of perspiration that had collected on my skin. But this was do more in part to the 90 degree weather and the airlessness of the room where my stereo is located than the emotional intensity of the music.

Lessons learned in the first week of my 10,000 days: opera is not as bad as I once thought, though still not as good music written without the intention of telling a tale. Wagner does dramatic well, and subtle not so well. My cats now jump on the dining room table as soon as the needle hits the vinyl, knowing that it is time for a brushing and attention. No matter how hot the weather, the neighbors will still point and dial the cops when you lay about the room naked listening to German opera on full blast. And finally, it still feels weird picking up removing a copy Bowie's Diamond Dogs and replacing it with Die Walkure.

Day6

First Act of Siegfried by Wagner, conducted by Wilhelm Furtwangler in 1950 at La SCALA in Milan.

Not quite sure how much of an interlude there was between the composition of Die Walkure and Siegfried, but the first act has a completely different feel from the prior opera. Perhaps a more modern feel; but I could also be hallucinating from the heat and lack of AC.

Tomorrow calls for more Siegfriend and more hot weather.

Day 5

Today's going to be a short one; the reason, it's damn hot. Is that a good reason? No, but it's the reason I'm using.

Today I finished Die Walkure; conducted by Wilhelm Furtwangler in 1950 at La SCALA in Milan. This record held the third act in its entirety, and was for the most part unmoving. Well, until the finale, which was full of emotion and strife.

The third act starts off with the famed Ride of the Valkyrie; to which I say, eh. It's a nice bit, I'll give you that'; but goes for epic instead of continuing the complexities that Wagner had been developing up until that point. The second side of the record redeems the first, though I find myself not being able to remember quite why.

One thing that I did think of when choosing the Ring cycle as my starting piece, was history's memory of Wagner. Or rather the separation of his music and his thoughts, and whether or not these two things can be separated. Not surprisingly I'm not the only one thinking about this, and in last weeks NYT there was even an article on it (found here). It's a good quick article on the controversies of Wagner and his music and attempts to go into the idea of art being separated from its maker, and even how art (and in my opinion especially temporal art like music) can change and evolve in different era, with different political thinkers. So I ask you internets, is art something static, a representation of its maker's intent? Or does a piece mean something different to those who experience it (or in the case of music, those who play it), is is separate from its maker and in the eye of the beholder?

Day 4

Today is the completion of the 2nd Act of Die Walkure, once again directed by Wilhelm Furtwangler at La SCALA in Milan in 1950 (August 14th to be exact).

This is by far the most intimate of sections I have listened to yet; and for what it's worth, my favorite. According to the synopsis this is a conversations between a husband and wife over whether or not their son should die because he married their daughter. First off, what is it with ancient mythical gods and incest? Is it like the conversation about Superman and Louis Lane in Malrats? You know the one, kyptonite condom. Anyway, social taboos aside, the first side is soft, and conversationsal, you would beleive that it is a husband and wife who have been togeather of ages (literally). Whenever the discussion becomes more lively a bar or two of the famed ride is played, showing that the ride is far from just a short clip of a long opera pulled for mass apeal; it seems to be the cornerstone on which Wagner produced his epic. Throughout the first and second side the vocals become more relaxed, more legatto, which if not careful wraps the listener into the full depth of emotion the speaker experinces. I'm not saying that my mind didn't wander from time to time, it just happend less often.

Tomorrow completes Die Walkure with the third act, and is sure to bring the famed ride.

Day 5...Three Sir...Yes Three

Judging by my post title today, listening to Wagner has not decreased my high brow humour standards, but it has lead me to the second opera in the Ring series; Die Walkure by Richard Wagner, once again preformed in 1950 at La SCALA in Milan, conducted by Wilhelm Furtwangler. So feel free to sit back and make all fat women with horns jokes you'd like.

This record held the first act and the beginnings of the second, and from the drop of the needle you knew this was different from the prior opera. The strings, which played largely a supporting role to vocals and brass in Das Rheingold, received a larger role tonally, with brass being used for accent. The first side also introduced a solo violin, something that was completely (from what I can recall) absent from Das Rheingold; which for me, at least, is always a good sign. From reading the plot synopsis on the record insert, this is the love act, and it does show; not with tweeting birds and soft breezes (these are norse gods after all) but more through the playful interaction of accompaniment and voice.

The second side produced a teaser to the famed Ride of Valkyrie, which to me felt sadly out of place. The sounds of duh-da-da-duh-da just clashed with the musical ideas that surrounded its entrance. But perhaps it is because it interupted my new musical experince (I have never listened to the Ring cycle before) with 30 seconds of music I knew too well already. Or maybe it'll just play out better tomorrow as I continue and complete Die Walkure.

Day 2

So if one step begins the journey of 10,000 steps, step number two means you either didn't get lost after step one, or you don't care if you did.

Before getting to the piece, I would like to apologize to one Miss Wasmund, who, pointed out my improper use of the American English Language. I will, of course, go on Fox News and receive 20 lashes with the cat of nine tails from Sean Hannity for this offense. This brings up another apology, to all who may read this blog and have a love of the English language; I'm sorry, my grammar is awful, I do music, not words. Anyway...

My listening piece for today is again Wagner's Das Rheingold, the third and fourth parts; also directed by Wilhelm Furtwangler, also performed in 1950 at La SCALA in Milan. Really, I shouldn't need to write this, since it was recorded literally the same night as parts one and two that I listened to yesterday. But I figured since it's obvious I don't like reading (notice a listening project) maybe some of you out there on teh interwebs don't either.

If parts one and two were about the strings, parts three and four were about the brass. Wagner unapologetically uses trumpets, baritones, trombones and all other forms of metal where you can weld on a mouth piece, to create the tension and anger. And from what I can tell, there might be a lot of it? The entire third part (first side) only has male baritones and tenors, which when they're belting out German over pounding timpani...well let's just say I hid behind the couch at one point.

The second side brings about a fuller, more symphonic sound, with the strings being welcomed back into the party. This, along with an amazing entrance by an Contralto (possibly Erda, played by Margret Weth-Falke), who after 40 minutes of listening to only men, brings a more subtle (but no less powerful) feel to the piece. Being that this is the end of the opera, Wagner spends the final 20 minutes swelling the accompaniment back and forth, much like an ocean bounding against a levee. At the end, the swells just breaks over, spilling sonic water on the listners, but leaving the levee intact. Wagner plays with tonality, rhythm, often butting up against the wall that Stravinsky would burst through three decades later.

What I listen to and why

I've decided to start a blog, a blog about listening to music, classical music, on vinyl records (LPs). This all came about after a conversation with my parents, who, for as long as I can remember have owned boxes upon boxes of classical LPs, and for as long as I can remember have never listened to them. Knowing that I do enjoy listening to a good Beethoven Symphony, they had offered to bring me out a few boxes of what will be, no doubt, the beginnings of my inheritance.

I'm happy enough with just the couple of boxes of records, but the whole conversation got me thinking (mistake one), and I started to wonder (mistake two), about the condition of the records, would they be warped? Would they be new? Would they have duplicates? How many different recordings of Beethoven's Seventh Symphony (my personal favourite) would there be? I added another piece to the puzzle. I had been reading about a young conductor from Montreal who was taking the classical world by storm and was to make his New York debut at the Mostly Mozart Festival. The article spoke of the way this conductor could bring about emotions with the sweeping of his arms, and how he could make these centuries old pieces, that have been played millions of times, by thousands of amazing musicians jump with new life. And I wondered, when it comes down to it, can a conductor/symphony/soloist really make that much difference? And don't those 10,000 records that my parents are heaving my way (with one or two hernias no doubt) help me become even the slightest bit more cultured, or refine my taste?

The easy answer is yes, who is playing/conducting the piece does make a huge difference. The other answer is no, I will not be a better person, or have better taste, be more cultured if I listed to one classical record ever day for the next 10,000 days, compared conductors and symphonies, time frames and soloists. But that doesn't mean I won't enjoy the challenge.

So here is my project, for the next 10,000 days (approximately 27 years) I will listen to one record (both sides), and at minimum post what piece it was, who performed it, when it was performed, and who conducted; on a good day I will try to add a review/observations. And ya, I doubt there are 10,000 records, and I won't be able to do it every day; but I might as well see how far this pony will take me.

Day 1

To start this long journey, I choose a long epic of a piece, well actually four pieces. I started with Wagner's Epic, The Ring of Nibelung. This 1950 live recording from La SCALA in Milan was conducted by Wilhelm Furtwangler. The entire cycle is played out on 11 different records, the first being, from what I gathered, the first and second act of Rheingold.

I'm not a big opera fan, but I choose this as my starting piece since like this project, it's large, complex and rarely completed.

Since my German language skills have more or less vanished in the 4 years since I was last in Germany, I couldn't tell you what the story line is. Wagner's accompaniment, though, is everything that would be expected from Wagner; gripping, loud, brash and almost never subtle. The overture starts with a layer of strings and horns, building with string runs and arpeggios, up and down, over and over again. From this very beginning you know the epic is coming. It took me a while to tune into the vocals, mainly due to lo-fi recording and due to it being recorded live (I made some adjustments to my turntable which made a world of difference on side two). The one thing that stood out was how often I felt like was was watching a Loony Tunes show, which makes sense, Wagner and other classical pieces are all over those episodes. By the end of the second side, I was hooked, the tempo was building, the strings became rhythmic as the horns modulated through chords; baritones and tenors took the lead as the sopranos took a back seat. And then, it was done; the end of the second side. I jumped up with a start, craving more, craving a resolution of some kind, only to need to wait for tomorrow.