Classical Tyro

A Beginner's Guide to Great Music

MusicAnimationMachine

Bach and the Internet's Pot of Gold


“When I finish playing one of the books of The Well-Tempered Clavier in one evening, I have the feeling that this is actually much longer than my real life, that I have been on a journey through history, one that begins and ends in silence.” – Daniel Barenboim, Music Quickens Time

In 1708, Johann Sebastian Bach accepted a job as organist, composer, and chamber musician for the Duke of Weimar. Even though the Duke raised Bach's salary in 1713 to keep him at Weimar, Bach felt snubbed in 1717 when the Duke passed him over for a job as Kapellmeister (Director of Music). Angry at the Duke, Bach decided to leave Weimar and take a job as Kapellmeister for Prince Leopold at the Court of Anhalt-Cöthen. When the Duke refused to give Bach an early dismissal from his job at Weimar, Bach made such a fuss that the Duke had him thrown in jail. During the month he was in jail, as the legend goes, he began composing his iconic work,
The Well-Tempered Clavier.

Bach
Bach completed his first book of the Well-Tempered Clavier in 1722, furnishing the world with preludes and fugues for keyboard in all twelve major and minor keys — a total of twenty-four pieces of music. Twenty years later, Bach completed a second book, again producing preludes and fugues in every major and minor key. All told, the two books of The Well-Tempered Clavier provide an encyclopedic record of Bach’s extensive understanding of the keyboard and the music it can produce.

“For the use and profit of the musical youth desirous of learning and for the pastime of those already skilled in the study.” – Bach's inscription to Book One of The Well-Tempered Clavier

Although the forty-eight pieces Bach composed for
The Well-Tempered Clavier stand collectively as a masterwork of music, they were most likely conceived by Bach primarily as technical exercises, a means of providing keyboard players experience at working with chords, arpeggios, and scales in every key. Indeed, the music has been used to train musicians of all nationalities and musical styles for almost 400 years, including many of history's best-known composers and performers

The Well-Tempered Clavier, for example, formed a foundation for the lessons delivered by Nadia Boulanger, the famous French teacher who trained over 1200 musicians, including composers of such disparate styles as Leonard Bernstein, Elliott Carter, Aaron Copland, Philip Glass, Quincy Jones, and Charlie Parker. Even though Boulanger was well known for helping composers develop their individual voices, she did standardize one element of her instruction — she required every student to memorize Bach’s Well-Tempered Clavier.

“Let the Well-Tempered Clavier become your daily bread. Then you will become a musician.” – Robert Schumann to Felix Mendelssohn

And now for the primary purpose of this posting: If you would like to find a pot of gold on the Internet look no further than the website that features the pianist
Kimiko Ishizaka playing Book One of The Well-Tempered Clavier in its entirety. Adding even more luster to that pot of gold is a collection of animated graphical scores from Stephen Malinowski, creator of the Music Animation Machine. Malinowski has created animated graphical scores for the entirety of Ishizaka's performance. (What a great time to be alive when treasures like this are so easily accessible!)

I have embedded Ishizaka's entire performance of the
Well-Tempered Clavier below, and to whet your appetite for Malinowski's work I have added a video of the Fugue in C major. I recommend visiting Malinowski's YouTube playlist featuring animated graphical scores of all 24 works from Book One.


Bach, Well-Tempered Clavier, Book One, Kimiko Ishizaka (piano),


Bach, Well-Tempered Clavier, Book One, Fugue in C major, video by Stephen Malinowski
and the Music Animation Machine (Kimko Ishizaka, piano)


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Erik Satie: Born Into an Old World


“I was born very young into a world very old.”
– Erik Satie

Erik Satie (1866-1925) lived his looney life with a playful attitude. He was often overcome by unexpected fits of laughter. He wore nothing but gray velvet and carried black velvet umbrellas. During a love affair with a woman named Suzanne, he bought her a necklace made of sausages and said he liked the way she belched. His playfulness was even evident in the titles of his musical compositions:
  • “Genuine Limp Preludes (For a Dog)"
  • “Sketches and Exasperations of a Big Boob Made of Wood"
  • “Waltz of the Mysterious Kiss in the Eye"
  • “Three Pieces in the Shape of a Pear”
Satie's music is often described as “wallpaper” music. It's easy to understand the musical elements, and the music is comforting in how it affects its listeners. His Gnossiennne No. 1, for example, provides music that is quite somber and beautiful. (By the way, “Gnossienne” is a word that didn’t exist until Satie created it as a title for this piece.)




And here's a version of Satie’s well-known
Gymnopédie No. 1, performed and animated by Stephen Malinowski. Malinowski describes Gymnopédie No. 1 as a "languorous melody moving just once (or less) each beat, accompanied by one bass note and one chord per measure.” If you enjoy watching this version, visit Malinowski's YouTube Channel, where it’s not difficult to become a fan of his animated work.


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Stravinsky Causes a Riot

History books are traditionally divided into chapters that attempt to compartmentalize the ebb and flow of historical change. In most cases, however, historical change is not orderly and well-defined. History is not always marked by clear beginnings and endings. Even so, now and then, a single event turns everything upside down and transforms a society — the attack on the Bastille in 1789, the assassination of Archduke Ferdinand in 1914, the stock market crash in 1929. Those events clearly marked new “chapters” in human history.

Music history — like political and economic history — also has its earth-shattering moments, the moments when everything changes. Monteverdi’s
L’Orfeo  (1607) changed European music forever, as did Beethoven’s Eroica Symphony (1805) and Wagner’s Tristan und Isolde (1865). All three of those works shook the foundations of music and made it difficult for composers to continue using the traditional "rules" of composition that had preceded them. Another such moment in music history came on May 29, 1913, when The Rite of Spring by Igor Stravinsky premiered at the Théâtre des Champs-Élysées in Paris.

Photo of Champs Elysees Theater
Théâtre des Champs-Élysées

The first performance of The Rite of Spring caused such an uproar that most accounts of the audience’s reaction refered to it as a “riot.” Even though the ballet’s unusual choreography may have had as much to do with causing a commotion as the music, we cannot avoid describing The Rite of Spring as one of the most significant and influential pieces of music ever composed.

The Rite of Spring was the third ballet by Stravinsky for the Ballets Russes. Sergei Diaghilev, a Russian art critic and entrepreneur, created the Ballet Russes in 1909 when he brought Russian ballet dancers to Paris. Employing the finest dancers in the world, Diaghilev gained much fame combining music, scenery, costumes, acting, and drama into what Richard Wagner had once described as “Artwork of the Future.”

During the first season of the Ballets Russes, Diaghilev produced performances of classic ballets with music by Chopin and Rimsky-Korsakov. During the second season, however, Diaghilev scheduled performances with new music. The first ballet commissioned by Diaghilev with new music was
The Firebird by Stravinsky. At the time, Stravinsky was an unknown Russian composer, a former pupil of the great Rimsky-Korsakov.

The Firebird, which premiered in June 1910, became a hit, leading Diaghilev to commission another ballet from Stravinsky. That ballet, titled Petrushka, made Stravinsky an international star and Diaghilev asked Stravinsky for a third ballet — The Rite of Spring. At its premiere the audience was full of aristocrats and celebrities, and Paris was primed for a major social event. Little did the audience know they were about to make history by witnessing an event that would scandalize Paris and revolutionize the language of music.

PIcasso's Drawing of Stravinsky
Pablo Picasso's sketch of Stravinsky

The Rite of Spring paints a picture of a primitive and pagan world, a version of primeval human beings paying tribute to nature with rituals related to spring. During the ballet, a young virgin is selected for sacrifice and then dances herself to death.

Parisian painters had already been influenced by primitive art and had created a new artistic style known as Fauvism. “Fauvists” (or “Brutes”) painted with wild brush strikes and jarring colors.
The Rite of Spring might be described in the same terms. The combination of modernist music and dancing went far beyond what some members of the audience at the premier performance were willing to accept.

Carl Van Vechten, an American writer and photographer, attended the premier and later describe the chaos in his book
Music After the War.

“A certain part of the audience, thrilled by what it considered to be a blasphemous attempt to destroy music as an art, and swept away with wrath, began very soon after the rise of the curtain to whistle, to make catcalls, and to offer audible suggestions as to how the performance should proceed. Others of us who liked the music and felt that the principles of free speech were at stake bellowed defiance. The orchestra played on unheard, except occasionally when a slight lull occurred. The figures on the stage danced in time to music that they had to imagine they heard, and beautifully out of rhythm with the uproar in the auditorium. I was sitting in a box in which I had rented one seat. Three ladies sat in front of me, one young man occupied the place behind me. He stood up during the course of the ballet to enable himself to see more clearly. The intense excitement under which he was laboring, thanks to the potent force of the music, betrayed itself presently when he began to beat rhythmically on the top of my head with his fists. My emotion was so great that I did not feel the blows for some time. They were perfectly synchronized with the music.”

In addition to Van Vecthen’s description, other well-known stories from that evening illustrate the controversial nature of the ballet.

  • A woman who was enjoying the performance stood up and spat in the face of a man who didn't like the music.
  • Another woman who was also enjoying the performance was seated in a theater box . When a boobird in the box next to her got on her nerves she reached into his box and slapped his face. Her escort then challenged the boobird to a duel.
  • The Princesse de Pourtalès walked out of the theater exclaiming, “I am sixty years old, but this is the first time that anyone dared to make a fool of me!”
  • The ambassador from Austria sneered and laughed out loud.
  • Music critic André Capu screamed that the music was a fraud.
  • Composer and music critic Alexis Roland-Manuel loudly defended the music, causing a protestor to tear the collar from his shirt.
  • Police came to the theater in large numbers and arrested over 40 people.
The well-known people at the performance included Marcel Proust, Pablo Picasso, Gertrude Stein, Maurice Ravel and Claude Debussy. Ravel shouted the word “genius” during the performance. Debussy pleaded with those around him to be silent and listen to the music. Meanwhile Vaslav Nijinsky, the choreographer, tried to jump into the audience to fight the protestors. Stravinsky held Nijinsky backstage to keep him from getting into a fistfight. The crowd's noise also prompted Nijinsky to stand on a chair shouting directions to his dancers as Stravinsky held his coattails.

Byron Hollinshead has edited a pair of books titled
I Wish I'd Been There in which distinguished historians answer the question, “What scene or incident in history would you most liked to have witnessed? Although I can think of several historical events I would like to have witnessed, the premier performance of The Rite of Spring would be near the top of my list.

If I had been at that performance, I would have wanted to attend as neutral observer, someone who was not taking sides. I would have wanted to watch that performance knowing what we know over 100 years later, fully cognizant of how much Stravinsky’s music was changing everything that came after. I wish I'd been there to see what it looks like when the world is shaken to its core and everything begins moving in a different direction.

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Music Outline for The Rite of Spring (LeSacre du Pintemps)

The two animated scores embedded below are among the best I have seen. The animations come from Stephen Malinowski and Jay Bacal at
Music Animation Machine. I find their work on The Rite of Spring riveting and thrilling. NPR called them "mind blowing."


Based on a recording rendered by Jay Bacal using virtual instrument software from Vienna Symphonic Library.

Part One: Adoration of the Earth


 
0:06 | 1. Introduction

 
3:18 | 2. Augurs of Spring (Dance of the Adolescents): The celebration of spring begins in the hills. Pipers play music and young men tell fortunes.

 
6:26 | 3. Game of the Abduction: An old woman enters. She knows the mystery of nature and begins to predict the future. Young girls with painted faces come in from the river in single file and begin the spring dance.

 
7:48 | 4. Spring Rounds: The young girls dance the “Spring Rounds.”

11:22 | 5. Games of the Rival Tribes: The people divide into two groups opposing each other and begin the “Games of the Rival Tribes.”

13:08 | 6. Entrance of the Wise Man: The holy procession enters with the wise elders led by the Wise Man.

13:48 | 7. The Wise Man: The Wise Man interrupts the spring games and the people tremble as the he blesses the earth.

14:09 | 8. Dance to the Earth: The people dance passionately and become one with the earth.


Based on a recording rendered by Jay Bacal using virtual instrument software from Vienna Symphonic Library.

Part Two: The Sacrifice


 
0:15 | 9. Introduction

 
4:54 | 10. Mysterious Circles of the Adolescents: At night, the adolescent girls engage in mysterious games, walking in circles.

 
8:10 | 11. Glorification of the Chosen One: One of the girls — a virgin — is selected as the Chosen One after being twice caught in a perpetual circle. The adolescent girls honor her with a marital dance.

 
9:36 | 12. Evocation of the Ancestors: The adolescent girls invoke their ancestors in a brief dance.

10:30 | 13. Ritual of the Ancestors: The Chosen One is entrusted to the care of the old wise men.

14:06 | 14. Ritual Dance of the Chosen One: The Chosen One performs a sacrificial dance and dances herself to death in the presence of the old wise men.




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Claude Debussy: The Tranquil Revolutionary

"I am more and more convinced that music, by its very nature, is something that cannot be cast  into a traditional and fixed form. It is made up of colors and rhythms. The rest is a lot of humbug invented by frigid imbeciles riding on the backs of the Masters—who, for the most part, wrote almost nothing but period music. Bach alone had an idea of the truth."

– Claude Debussy

Claude Debussy (1862-1918) was one of the most accessible composers in music history, and if you don’t enjoy listening to his music, you may never enjoy anything from the classical repertoire.

Picture of Claude Debussy
I've often told students that a great piece of music must be heard several times before it can be fully understood or appreciated. With Debussy that is generally not the case. His compositions can make a lasting impression with a single hearing, and I don't use the word "impression" lightly.

Early in Debussy’s career his music was labeled “Impressionist," a term that had previously been applied to a style of painting associated with artists such as Claude Monet and Pierre-Auguste Renoir. The term came from the title of Monet’s painting
Impression: Sunrise (shown below) and refers to paintings that use light and color to create a soft-focus image of a scene rather than a detailed representation. By that definition, it's easy to see why some people used the term to describe Debussy's music.

pastedGraphic
Although Debussy disliked the comparisons of his compositions to Impressionism, the adjectives used to describe Monet’s style of painting can also be used to described Debussy’s music. Like Monet's paintings, Debussy's music is often static and seemingly unconcerned with any need to move forward. Debussy's music might also be described as “blurred,” using harmony and timbre to create musical impressions. Like Monet's paintings, the mood of Debussy's music is more important than the image or story.

Debussy disliked the music of most other composers and criticized the work of Brahms, Wagner, Tchaikovsky, and Beethoven. (He did, however, seem to like Bach.) This disdain for the music of others can be heard in the way Debussy rejected the musical traditions of past masters and created a whole new musical language. During the late 1800s and early 1900s, he provided listeners with music unlike anything ever heard before. He was an artistic revolutionary and, for that reason alone, ranks as one of the most significant composers of the last century.

The best way to describe Debussy’s music is to take the following ingredients and mix them together. When finished you will have what amounted to a new type of music for the twentieth century.
  • He was unconcerned with the expectations of his audience, and created a musical language that divorced itself from the long-standing German traditions. He famously wrote: “I want my music to be as relevant to the twentieth century as the airplane.”
  • His music was largely programmatic, although he did not try to paint a picture or tell a story with his music as much as he tried to evoke a mood.
  • The sounds of his native language can be heard in his compositions. Debussy was French, and — like the language he spoke — his music was generally free of sharp accents and harsh consonants.
  • His music emphasized “color” through his creative use of musical timbre. He used instruments either by themselves or in unusual groupings to create sounds that had never been heard in an orchestra.
  • His music provided unorthodox harmonies and melodic lines. Generally unconcerned with whether his themes were set in a major or minor key, Debussy employed harmonies designed to evoke a certain mood, using whole tone scales (play C – D – E – F# – G#– A# – C on a piano), pentatonic scales (play the black keys on a piano), and chromatic scales (listen to the flute at the beginning of The Afternoon of a Faun on the video embedded below).
Although Debussy’s music was shockingly original when it was first composed, it did not cause the same social earthquake as other modernist music of the early twentieth century. Debussy was as much a revolutionary as composers like Stravinsky and Schoenberg, but the benevolent sound he created did not give people a sense that he had turned the musical world upside down — even though he had.

As for my statement above that unlike many other composers Debussy's music can make a lasting impression with a single hearing, let me finish by quoting Debussy on that very subject:

"Love of art does not depend on explanations, or on experience as in the case of those who say ‘I need to hear that several times.’ Utter rubbish! When we really listen to music, we hear immediately what we need to hear."

Debussy, “Claire de lunefrom Suite bergamasque (1905)
graphic score by
Music Animation Machine


Debussy, Prelude to the Afternoon of a Faun (1894)
Leonard Bernstein conducting the Boston Symphony Orchestra






© 2011 James L. Smith (originally posted on sonataform.blogspot.com)

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