Two quick hits from Mr Cantrell of the Dallas Morning News, two days apart. We would all like to be so warmly remembered as to merit the memorial recital Stephen Hough played Sunday afternoon. Honoring the late David Grice, a beloved Plano piano teacher, Mr. Hough reminded us just how transcendent an experience music can be. I was just sitting here thinking, "Damn! I wish I could remember how transcendent music can be!". Wait, what? Oh...hyperbole. Right. It is, after all...Chopin... The slow movement of Chopin's B minor Sonata seemed to inhabit a parallel universe, where time stood still amid aching beauties. Time stood still...in a parallel universe...surrounded by gorgeous women in pain. Is this...is this H.P. Lovecraft? (click to enlarge) The cascading accompaniments almost turned to vapor. Yes, yes, Chopin is ethereal. And cascading. The whole Chopin sonata was wonderfully personalized, at times feeling – quite appropriately – made up on the spot. The composer's B major Nocturne (Op. 62, No. 1) seemed a dream caught as it drifted by. And dreamy! Everyone loves Chopin. But wait! There's more!
First, a word about expectations.
What's the very last piece you'd expect to hear on a Dallas Symphony Orchestra concert?
Hmm. The very last? That's a thinker, right there. Let's see...
Ionisation?
Music for 18 Musicians?
Synaphai?
Cobra?
A pretty good guess would be Sir Edward Elgar's The Music Makers, a 40-minute piece for mezzo-soprano, chorus and orchestra set to poetry by Arthur O'Shaughnessy.
(The Music Makers)
(For no reason, here is a picture of Elgar that is fun to look at.)
Aw, man. Curses, foiled again! You got me. But I would have guessed Zorn, Xenakis, Reich, or Varese before anything by Elgar. Silly me! Not that it's not an obscure work of overblown English neo-Romanticism, but...the very last piece?
Two days later, a review of Stephen Hough's concert memorializing David Grice:
Usually modernist music is not compelling. And, arguably, this is Copland's most modernist piece, as he experiments with (*gasp*) serialism!*
(Copland Piano Variations)
This is craggy but compelling music
Dude, you just typed "compelling" like six words ago. Just sayin'.
This is craggy but compelling music, proving that even tough modernism can have a beating human heart.
Um.
Inherent anti-modernism aside (it's craggy and tough, not usually compelling, and inhuman), I think you missed the point of modernism.
The "beating human heart" of "tough modernism" is its casting off traditional modes of expression with the desire to express one's inner...
Ah, crap, I stopped being funny.
And I would've got away with it if it hadn't been for you meddling kids!
*Blogger does not think "serialism" is a word.
11/18/08
A Completely Compelling Double Dose, Briefly Bestowed
6/18/08
Phoning It In, Again
I wasn’t familiar with Elgar’s Piano Quintet, Op. 84, until I spent a few minutes (only about fifteen) on the widetubenets, digging up all kinds of information. For instance, his Opus 84 was completed in 1919, but begun before his String Quartet, Opus 83. The piece that followed both of those was his beaten-dead, but famous, “warhorse,” the Cello Concerto, made famouser by preeminent recordings with Pablo Casals, Paul Tortelier, Jaqueline du Pré and Yo-Yo Ma. The quintet in A minor is the longest of Elgar’s chamber pieces, coming in at about 35 minutes long, and was composed at his home in Brinkwells, Sussex. Lady Alice Elgar suggested that the piece may be programmatic; she noted in her diary that the first movement may represent a group of trees in Flexham Park, near Brinkwells.
According to legend, these trees comprised the remains of Spanish monks who had engaged in sacrilegious ceremonies in the park. In correspondence, Elgar too had described the first movement as "ghostly stuff". Doubt has been cast on the legend, focusing on the lack of record of any Spanish religious settlement in the area. But this obscures the point that, whatever the factual basis for the legend (and what legend contains more than a grain of truth), Elgar appears again to have drawn his inspiration from the natural beauty of the area surrounding the cottage at Brinkwells.
Interestingly, Op. 84 was dedicated to music critic Ernest Newman, who wrote for many publications including the, then, Manchester Guardian, which is now, simply, the Guardian. He was also the author of the gargantuan, four-volume “The Life of Richard Wagner.” Unfortunately, the only writing sample I found is a paraphrase taken from a 1911 New York Times review:
The old argument averred that the writer of poetic or pictorial music is like the child who adds to his rude drawing of an animal the words: “This is a dog,” writes Ernest Newman in the London Nation.
(Ernest Herman)
Fun stuff. I wonder if this viewpoint had anything to do with Elgar’s supposed “tree legend” program. A joke, perhaps?
I found nearly twenty recordings of the Quintet made within the past fifteen, or so, years, over at Amazon. I also found a number of recent performances, though not as many as, say, his Enigma Variations or the Cello Concerto.
Lastly, there is only one video of Op. 84 on YouTube, only about four minutes of the 13-minute first movement, Moderato-Allegro. It’s a really cool-sounding clip. I wish there was more, because the piece seemed cool as well. But, if you’re interested, there are many available recordings to download at iTunes, or Naxos.
Pow! Only fifteen minutes of research. One quarter of an hour. The piece is...how long again? 35 minutes? My research took half, half the time that it would have taken to listen to the piece.
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Now consider this:
The evening ended with a big-boned, big-hearted performance of Elgar's Piano Quintet, with Judith Gordon as the sensitive guest pianist. This unusually textured three-movement work is somewhat of a rarity on concert programs, but these players were equal to its demands, both in its surging stormy passages and its many moments of swelling, sighing lyricism.
1) “Unusually textured?” How was it unusual? Did you listen to it? I only heard four minutes, but couldn’t find one unusual texture. Maybe the problem is in our contradictory definitions of what constitutes an unusual texture. Mind you, by 1919, I am also used to this, and this and this and this and this and this. To what unusual textures were you referring?
2) I would like to rephrase your “but” phrase: “...but these players were equal to its demanding surging stormy passages and its demanding moments of swelling, sighing lyricism.” I just wanted to highlight that you’re emphasizing that the piece was demanding and that the performers handled themselves well. But here’s my problem: Did “stormy passages” and “swelling, sighing lyricism” describe the piece adequately? Hmmm. Sounds like you phoned it in on that one. I mean, your descriptors could apply to practically any piece ever (see above and below “this and this and this and this and this and this”).
The work was completed just after World War I, yet there is something poignant in the way the music seems to cling to an older tradition of 19th-century Romantic chamber music, as if the world that tradition described could live forever, as if it had not already disappeared.
I know that this was your impression, but...the tradition had already disappeared? In 1919? To the contrary: this and this and this and this and this and this and this and this and this. That’s why it was sad? Come on. You’re better than this.
Sorry, but you phoned it in! No question about it. I found a ton of pertinent, fun information about Op. 84 in only fifteen minutes. How long did you spend with it? The time it takes to pop some microwave popcorn? Since it was the last piece on the long program, did you just...leave? Were you tired? Long drive home? Were you fed up with the “Beat L.A.” chants during intermission? Was your nose bleeding? Did you simply not like the piece and didn’t want to investigate it further? That’s something you usually do well. What happened, man?
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