Day 55

Today I decided to go a little modern, and strangely enough, didn't find myself going as modern as I had hoped.

Side One:

Piece: Violinkonsert, op 42

1. Moderato

2. Andante pastorale

3. Allegro molto

Composer: Lars-Erik Larsson

Orchestra: Stockholm Philharmonic; Leo Berlin, violin

Conductor: Stig Westerberg

Record Date: 09/07/1976

Side Two:

Pieces: En vintersage, op. 18 (4 vinjetter till Shakespeares skadespel)

1. Siciliana

2. Intermezzo

3. Pastoral

4. Epilog

Concertino for violin och strakorkester, op. 45:8

1. Allegro moderato

2. Cavatina: Andante con moto

3. Finale: Allegro vivace

Composer: Lars-Erik Larsson

Orchestra: Stockholm Philharmonic; Leo Berlin, violin

Conductor: Stig Westerberg

Record Date: 01/04/1977, 05/13/1977

That's right, I choose a Swedish, 20th Century, composer, and it wasn't modern enough for me. But in all fairness, I was expecting Schoenberg, which is to say I was expecting something almost unlistenable. In the end though, this was rather enjoyable; the first piece, Violinkonsert, starts off with a pulsating orchestra, just loud enough where you don't think soft, but not so loud as to think moderate or normal volume. Then enters the solo violin; up and down, dancing and creating complex ideas and melodies. While the piece lacked some serious thoughts it fully makes up for this through being fun and at times surprising. The second and third pieces follow a similar patter, though I will admit that I didn't get a chance to listen as closely to these two as I would have liked, mainly due to the three women in my life being, well, being women (and yes I did just clump my fiancee and my two cats into the same category). Anyway, long story short, I have placed this record on the every lengthening list of "return to" and hope to one day find more of this Larsson, and enjoy.

Day 54

So, I'm back. Sorry been away (physically for some of it, mentally for all of it) and haven't had much time to listen. Now that things are starting up with a more predictable schedule I am planning on actually doing something I enjoy, listening to classical music (what! who said that!).

Side One:

Pieces: Harpeggio E Fuga in G Major;

Parthie (Suite) in G Minor;

Sonata Septima

Composer: Johann Josef Fux

Performer: Michael Thomas, Clavichord

Record Date: None Given

Side Two:

Pieces: Capricio in G Minor;

Ciaconna in D Major

Composer: Johann Josef Fux

Performer: Michael Thomas, Clavichord

Record Date: None Given

I love keyboard music, especially baroque keyboard music; you can take your focus and completely divert it to something else while the record plays and still enjoy the music. Not that I would ever do anything like this (*cough* taxes *cough*), but really, sometimes you just want good background music. I'm not saying that these pieces only make good background music, rather they worked well as such today. In all honesty I've mentally marked this recording for a further listen. I found the Clavichord an interesting change from the piano and some of Fux's ideas deserving of a second listen. So, if you you're in the mood for a little know Austrian baroque composer who wrote pieces for instruments rarely played these days, or if you need to file your taxes, these may be the pieces for you.

Until we meet again, I have receipts to find.

Day 53

Followed up yesterday's listening of the "Rite of Spring", which may be considered one of the founding pieces of modern music, with a baroque opera, an English baroque opera. Needless to say it was pretty, but forgettable.

Side One:

Piece: Dido and Aeneas (Act 1)

Composer: Henry Purcell

Performers: Oriana Concert Choir and Orchestra, Harold Lester on harpsichord

Conductor: Alfred Deller

Record Date: None Given

Side Two:

Piece: Dido and Aeneas (Acts 2 & 3)

Composer: Henry Purcell

Performers: Oriana Concert Choir and Orchestra, Harold Lester on harpsichord

Conductor: Alfred Deller

Record Date: None Given

I'm not saying that this piece was bad, it just lacked the tonal complexity of Stravinsky, but then again most music prior to 1870 lack the tonal complexity of Stravinsky. It did not hold my attention, though I will be the first to admit that I did not give it my attention. I guess what I'm trying to say is that someday I will give this piece the true listening it deserves. Until then I will recommend it to anyone who enjoys harpsichord, and is looking for an older opera that is sung in English.

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