4 posts tagged “classical”

For years, I have been one who reveled in the outer movements of big romantic pieces - The dramatic, kinetic energy of big orchestras playing quickly.I think it has to do with the fact that I'm generally better able to grasp the structure of the fast movements, in part because the different themes are so well defined, and in part because they tend to be fairly standard in form. The fast movements are usually sonata form or rondo form.

While it happened some time ago, I distinctly remember a shift occurring when I started to get to know Beethoven's 5th Piano Concerto - the Emperor concerto. It was one of the first pieces where I not only got a real sense of the structure of the slow movement (sonata form again) but I also felt like each instrument had a driving purpose and I could hear everything that Beethoven intended. I had a real connection with it and it still brings me near tears when I listen to it.

While not my absolute favorite piano concerto overall - although I'm not sure I'd be capable of identifying just one - the Emperor ranks right up there near the top. But the adagio - taken on its own - is easily my favorite slow movement from any concerto.

So I was over the moon to find this recording of Glenn Gould playing it with Leopold Stokowski and the American Symphony Orchestra. Both legendary performers in their respective fields, this was a bit of a dream combo. True, there's always the chance that they might not have shared a vision for the piece, but I was happy to hear they lived up to their reputations.

The whole concerto is beautifully performed, but the slow movement is exquisite. It's taken at a much slower tempo than one usually hears it - which really gives the listener a chance to move in and around the different instrument parts. To feel how the flutes highlight the sigh-like end of the main theme, or how, in the recap, the piano just flat out interrupts the strings when they move too quickly towards the end of the theme, and passes it off to the winds - which enter with so much hesitancy - for a final restatment, with all others playing a simple supporting role.

It's played so tenderly, so clearly, and so eloquently - I can't imagine a better performance. The Emperor certainly helped me to better embrace slower movements because of it's clear structure. If other slow movements were played with the clarity and sincerity shown in this performance, I'm sure my preference for fast movments would be at risk.

Adagio Un Poco Mosso

My friend recently picked up a book of Gabriel Fauré's music scored for piano. I borrowed it to see if any of it was playable with my limited skills, and it turns out I could conceivably play several movements from Fauré's Requiem -- among other pieces. I was thrilled.

I hadn't listened to it in a while and I was reminded just how lovely the Fauré Requiem is. It's interesting since he had no point in writing it other than to see what he could come up with for this classical form. Despite that, Fauré produced one of the most tranquil and peaceful Requiems I've ever heard. There's really very little bombast here, and while bombast has it's place, sometimes it's nice just to have something to sooth you. It's worth a listen if you get a chance.

Fauré - Pie Jesu

London Musici, Richard Marlow Conducting

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In terms of versions, I'm not too fussy on big orchestras playing this. The delicate nature of the music lends itself well to a smaller ensemble. This version featuring Richard Marlow conducting London Musici and the Choir of Trinity College Cambridge is pretty well perfect in my opinion. That, and the fact that it's couple with some great Maurice Duruflé's pieces make this Conifer Classics recording one of my favorites.

Now I better go practice the Agnus Dei.

Philip Glass seems to have become the composer of film music - often stealing from his own earlier works to complete a film score. Not that there's anything wrong with that - he's written some wonderful music, and why not set it out for a wider audience than will likely hear it in a concert setting. (Ah movies, the great equalizer!). At least he's not pilfering from other composers like James Horner does. Hack!

Anyway, like I said, there's some great Glass music in the archive. His solo piano stuff is gorgeous. But for my money, his violin concerto is probably one of his best works -- especially given that the concerto form itself has been around so long and there are so many fantastic examples of how to do it right. For Glass to take on that form and still come up with something so unique, interesting (let alone mesmerizing) is a feat to be admired.

The third movement (check it out below) is one of the most driven movements of any music that I've heard. The simple repetitive nature of it belies the fact that it would be music that just makes you want to run or jump or speed around on a motorcycle. I think it's the alternating between the simple arpeggiated violin and the full tutti orchestra that gives it so much momentum.

And then the way it just kind of withdraws in the last couple of minutes is so tender. It just disappears into itself. Have a listen:

Glass - Violin Concerto - 3rd Mvmt

Glass/Kremer