ūüéß ¬†Resources for Each Class Meeting - Fall 2019

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Shostakovich

  • Musicologist Michael Parloff‚Äôs absorbing and authoritative lecture on the life and music of Dimitri Shostakovich. ¬†¬†


3.   TCHAIKOVSKY 


2 JOHANNES BRAHMS: 


4. Intro to Holst, The Planets

3. Shostakovich: Piano Trio #2. 



_________________

Appendix Interesting resources from past semesters: 

‚ÄĘ ¬†¬†¬†Excerpts from Yale U. Prof. Craig¬†Wright‚Äôs introduction to Beethoven:

                   ◦ The three periods of Beethoven’s music

                   ◦ The Beethovenian Heroic Sound 

¬†¬†¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬†‚󶬆Beethoven as¬†‚ÄėRomantic‚Äô Genius¬† ¬† ¬†¬†

                   ◦ Beethoven’s Deafness and Disability

‚ÄĘ ¬†¬†¬†An outstanding documentary on Beethoven‚Äôs life and music by conductor¬†

         Charles Hazelwood in collaboration with the BBC. 

          Part I      Part II   Part III

VIVALDI: La Tempesta di Mare, 1728

4. OTTORINO RESPIGHI

00:00 - 04:45 The Circenses and the Circus Maximus (in Roman times): A threatening sky hangs over the Circus Maximus. The howling of wild beasts mingles with the strains of a religious chant sung by the martyrs as they are led into the arena. 

04:50 - 12:00 The Jubilee (in Late Medieval times): Pilgrims trail along the highway praying. Finally they see the Holy City. "Rome! Rome!" they cry and a hymn of praise bursts forth.

12:05 - 19:35 The October Festival (in Renaissance times): In the Roman 'Castelli' we hear echoes of the hunt, tinkling bells, songs of love and a romantic serenade from a mandolin.

19:40 - 25:28¬†The EpiphanyÔĽŅ (in early Modern times):¬†The night before Epiphany in the Piazza Navona. A frantic clamour of saltarellos, barrel-organs, popular songs and drunken revellers with their hoarse cries of "We are Romans! Let us pass!‚ÄĚ

4. Puccini:

Resources for: Philip Glass and his Violin Concerto #1. 

      Movement #2                 Movement #3

Resources for: (1) Bach/Stokowski: Toccata and Fugue in D minor. (2) Torke, his Bright Blue Music., and on the phenomenon of synesthesia  (3) Mussorgsky (4) Mussorgsky/Ravel’s Pictures at an Exhibition (5) Conductor Anu Tali

(1) Bach/Stokowski: Toccata and Fugue in D minor. 

_

(2) Torke’s Bright Blue Music: A performance by the Baltimore Symphony Orchestra, David Zinman conducting.

(3) Mussorgsky biographies and  . . .

(4) Mussorgsky/Ravel’s Pictures at an Exhibition 

(5) Conductor Anu Tali:


Resources for:  Introduction to George Gershwin (2) Gershwin’s Cuban Overture and Rhapsody in Blue. (3) Gershwin’s I Got Rhythm Variations (plus Howard Goodall’s video on Rhythm). (4)  Introduction to Aaron Diehl

(1) Introduction to George Gershwin and program notes for the concert selections.  

(2) Performances of Gershwin’s Cuban Overture:

(3) Performances of Gershwin’s Rhapsody in Blue. 

(3) Gershwin’s I Got Rhythm Variations. 

(4)  Introduction to pianist Aaron Diehl: His website, with information and performance clips. 


Resources for: (1) Introduction to Paul Hindemith. (2) Hindemith’s Symphonic Metamorphosis on Themes of Carl Maria Von Weber  (3) Hindemith’s Kammermusik No. 1 (4) Bonus resources on dissonance, counterpoint, and Hindemith’s harmonic system. 

 (1) Introduction to Paul Hindemith. 

(2) Hindemith’s Symphonic Metamorphosis on Themes of Carl Maria Von Weber  

      (Mvt 1) Piano, 4 hands, op. 60 No. 253,        (Mvt 2) Turnadot theme, op 37, 

      (Mvt 3) Andantino for piano, op. 10/2,           (Mvt 4) Maestoso for piano op. 60/7

(3) Hindemith’s Kammermusik No. 1

    di Santa Cecilia, Rome.

Bonus resources: 

Resources for: (1) Introduction to Edward Elgar. 

     Part I,      Part II,   Part III, Part IV

(2) Elgar Cello Concerto  


  • A performance with Jacqueline DuPre, cello, and Sir John Barbirolli conducting the London Symphony Orchestra.¬†¬†link to the video. Movement 1 starts at: ¬†0:13;¬† ¬† ¬†Movement 2 starts at:¬†8:03;¬† ¬† ¬†Movement 3 starts at:¬†12:35;¬†Movement 4 starts at: ¬†17:45ÔĽŅ. ¬†

 

(1) Introduction to Ralph Vaughn Williams.


(2) A sampling of Vaughn Williams' various musical styles:


(3) Vaughn Williams' Dona Nobis Pacem.  

00:00 - I. 'Agnus Dei' (Lento) 

03:59 - II. 'Beat! beat! drums!' (Allegro moderato) 

07:55 - III. Reconciliation (Allegro moderato) 

15:05 - IV. Dirge for Two Veterans (Moderato alla marcia) 

26:42 - V. 'The Angel of Death has been abroad' (L'istesso tempo) 

30:10 - VI. 'O man greatly beloved’


Resources for: (1) ¬†MartinŇĮ:¬†Nonet No. 2, H. 374. (2) Nielsen:¬†Serenata in vano, FS 68. (3) Strauss/Hasen√∂hrl: ¬†Till Eulenspiegel einmal anders, a frolic, op. 28. (4) Spohr:¬†Nonet in F Major, op. 31

(1) MartinŇĮ: Nonet No. 2, H. 374.¬†


(2) Carl Nielsen: Serenata in vano, FS 68.

  • Nielsen composed the¬†Serenata in vano¬†in 1914 for clarinet, bassoon, horn, cello and bass.¬†
  • A readable and helpful¬†biography¬†plus a few interesting links from AllMusic.¬†
  • A¬†very thorough biography¬†from Wikipedia.
  • Nielsen‚Äôs words about the Serenata in Vano:¬†"Serenata in vano is a humorous trifle," Nielsen wrote. "First (from 0:00 - 4:00), the gentlemen play in a somewhat chivalric and showy manner to lure the fair one out onto the balcony, but she does not appear. Then they play in a slightly languorous strain (Poco adagio, from 4:00 - 6:20), but that hasn't any effect either. Since they have played in vain (in vano), they don't care a straw and shuffle off home to the strains of the little final march (6:30 - 8:20), which they play for their own amusement."
  • A performance¬†by an unidentified chamber group.¬†

(3) Strauss/Hasenöhrl:  Till Eulenspiegel einmal anders, a frolic, op. 28.

  • Richard Strauss composed¬†Till Eulenspiegels lustige Streiche¬†(Till Eulenspiegel's Merry Pranks), Op. 28 in 1894 - 1895.¬†Hasen√∂hrl composed his verson¬†for horn, violin, clarinet, cello & double bass in 1954.
  • Here is¬†an introduction to Hasenohrl from Joseph Stevenson at AllMusic, with an explanation of the way he adapted Strauss' piece for a large symphony orchestra into a charming piece for woodwinds and string quintet. (Downloadable)
  • Here are two videos (¬†#1¬†¬†#2) that tell the story of¬†Till Eulenspiegel, the Merry Prankster. Each video ties the story to the musical themes of Strauss‚Äô¬†¬†symphonic poem, "Till Eulenspiegel.‚Ä̬†Both previews are worth viewing.¬†
  • Here is an outstanding performance of the¬†chamber music version of Strauss‚Äô symphonic tone¬†poem, "Till Eulenspiegel‚ÄĚ. Tthe performance is from the Curtis Institute with¬†Nadir Khashimov - violin, Juyong You - clarinet, Nate West - double bass, ¬†Catherine Chen - bassoon, Austin Larson - horn.¬†

(4) Louis Spohr: Nonet in F major op. 31

00:00 - I. Allegro 

08:07 - II. Scherzo (allegro) 

15:14 - III. Adagio 

22:33 - IV. Finale (vivace)


(1) R. Strauss, Burleske.  

(2) Hector Berlioz Symphonie Fantastique. 

15:00 2nd Movement

21:24 3rd Movement 

38:30 4th Movement 

43:13¬†5th MovementÔĽŅ


(3) Beethoven Symphony #4. 

00:00-   03:30  introduction

03:30 - 15:05   first movement

15:20 -  25:25  second movement

25:40 -  31:35  third movement 

31:50 -  38:32 fourth movement 

_________________

Appendix

Interesting extras from past semesters: 


¬† ¬† ¬† ¬†¬†¬†‚ÄĘ ¬†¬†¬†An outstanding documentary on Beethoven‚Äôs life and music by conductor¬†

         Charles Hazelwood in collaboration with the BBC. 

          Part I      Part II   Part III

        



(1) Mahler’s Symphony #1 (Titan)

¬† ¬† ‚ÄĘ ¬†¬†¬†Documentary of Mahler‚Äôs life and music,¬†‚ÄúOrigins and Legacy,‚Ä̬†¬†

        from Keeping Score, a series by Michael Tilson Thomas and 

        the San Francisco Symphony Orchestra.




(1) Beethoven’s Symphony No. 7 in A major, Op. 92

¬† ¬† ¬† ¬† ¬†¬†‚Äʬ†¬†¬†¬†Program notes from the¬†Kennedy Center

         

¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†¬†¬†A history and listening guide by¬†Michael Tilson Thomas.¬†

¬† ¬† ¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬†Leonard Bernstein discusses¬†Beethoven‚Äôs melodic style¬†

¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬†Excerpts from Yale U. Prof. Craig¬†Wright‚Äôs introduction to Beethoven:

                   ◦ The three periods of Beethoven’s music

                   ◦ The Beethovenian Heroic Sound 

¬†¬†¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬†‚󶬆Beethoven as¬†‚ÄėRomantic‚Äô Genius¬† ¬† ¬†¬†

                   ◦ Beethoven’s Deafness and Disability




¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†A video documentary by¬†Howard Goodall on Bernstein‚Äôs¬†

        musical career and its importance in 20th century music 

¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†From the¬†NYTimes‚Äô music critic Anthony Tommasini,¬†
        an overview of Bernstein’s three symphonies.

¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†From musicologist Dr. Philip Gentry (UDelaware),¬†

          an in-depth analysis of the symphony and its political-cutural moment, 

¬† ¬† ¬† ¬† ¬† "A Great American Symphony during McCarthyism.‚Ä̬†

¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†From class member Tom Backman, a list of links to videos¬†

          of Bernstein teaching, lecturing and/or conducting. 





¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬†Prokofiev‚Äôs Life in Context, an¬†introductory lecture by Harlow Robinson¬†

            for the Boston Symphony. Part I,  Part II   

           

Korngold’s Violin Concerto in D maj. Op. 35

¬† ¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬† A short documentary on the¬†life, career and music of Korngold.

¬† ¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬† A ¬†BBC documentary on the impact of¬†

          Korngold’s music on Hollywood films, narrated by 

          conductor Leonard Slatkin,  whose family’s story is intertwined 

          with Korngold’s.  (Note: This video lacks sound for the 1st minute and half.)      

¬† ¬† ‚ÄĘ ¬†¬†¬† ¬†A listening guide from the¬†London Symphony Orchestra,¬†

          "Korngold's Violin Concerto: From the Silver Screen to 

¬† ¬† ¬† ¬† ¬† ¬†the Concert Hall‚ÄĚ ¬†(with audio clips)

¬† ¬†¬†‚ÄĘ ¬†¬†¬†¬† ¬†Violinist Stefan Jackiw explains the themes and bowing choices¬†

          for the first phrases of the concerto.

¬† ¬†¬†‚ÄĘ ¬†¬†¬†¬† ¬†Violinist Hilary Hahn talks about¬†playing of the final¬†movement

          of the concerto. 

        


Beethoven's Quartet in B-Flat Major, op. 130, with Grosse Fuge op. 133e


¬† ¬† ¬† ¬†¬†¬†‚ÄĘ ¬†¬†¬†An outstanding lecture from the Chamber Music Society at Lincoln Center (NYC)

         given by Michael Parloff, musicologist, conductor and flautist, 

         on Beethoven’s String Quartet opus #130 and the Grosse Fuge.   

         The relevant part of the lecture on the quartet begins at minute 26:00. The part 

          of the lecture on the Grosse Fuge begins at minute 48:00. 

¬† ¬† ¬† ¬†¬†¬†‚ÄĘ ¬†¬†¬†Program¬†Notes for Op. 130 from¬†Melvin Berger‚Äôs¬†A Guide to Chamber Music¬†

¬† ¬† ¬† ‚ÄĘ ¬†¬†¬†An in-depth listening guide to¬†Quartet #13¬†op. 130 from the¬†Brentano Quartet¬†¬† ¬† ¬†

¬†¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†¬†¬†An in-depth listening guide to the¬†Grosse Fugue from¬†Earsense.¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬†











© Linda K. Shamoon 2013