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.