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 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 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.