CLASSICAL OPUS – the final word

 

I know that many of you actually listened to the snippets provided here in the last 100 days.

I would like to offer the final thought.

In an old, but never-ageing, Polish comedy, two dudes are sitting on a riverboat, metaphorizing the vessel’s slow movement with their languorous conversation about life.  One of them offers the following passage:

“You know, the only songs I like are those that I already know”.

Whether you are a casual listener or a professional musician, you might have noticed that this list of 100 compositions mixed the highly familiar with the almost obscure.  And what was our reaction?  Are we excited to embrace the unfamiliar terrain?  Or are we clinging to predictability?

Claude Shannon once said that the value of information lies in the surprise, in the unexpected.  Likewise, the biggest risks we face in life are not those of the highest negative impact, but those that we least expect because we cannot anticipate them by extrapolating from the recent experience.

Music and our response to music teaches us something about ourselves.  But maybe we know that already?  In our free time, do we go back to comfortable routines, or do we try something new?  On our vacation – do we return to the same holiday resort, or do we try to discover new lands?  Are we happily embracing new people in our life or do we cling to the restricted group of reliable friends?  Do we always join the mass rally with the incumbent or do we go out to meet a rookie primary challenger offering fresher ideas?  Do we just hold the Amazon stock or do we perform some analytical work to identify a promising start-up to invest?

Our emotional response to the level of familiarity in the pitch, the tone, the groove, the timbre, the cadence, the time signature or the harmonic structure may provide us with some answers.

But nothing is immutable. We change every day.  May be, with age, we flinch away from the unfamiliar a bit more?  Still, we are capable of a lot more than we think we are.  Wouldn’t embracing the ‘unfamiliar’ be one of the recipes to keep a fresh, and yes, a young mind?  And rather than plunging into the deep waters of the unknown, it may be easier to initially mix the familiar with a dose of the refreshingly ‘unfamiliar’.  Step by step, to our great satisfaction.

In the New Year, I wish you, whole-heartedly, an ever greater capacity to embrace the unknown.

Thank you for listening,

Happy New Year!

https://www.youtube.com/watch?v=r9LCwI5iErE

[Grazie, Curniuto]

 

[the same text appears below for the blog’s Japanese readers]:

皆さんの多くが、過去100日間に紹介された楽曲を実際に聞いていたことを知っています。

ここで最終的な考えを述べたいと思います。

ずっと前に 撮影 されても決してむかしっぽく に も ならない、ポーランドのコメディでは、2人の男が川船に座っていて、人生についての緩やかな会話で船の遅い動きを隠喩している。 男性の一人は次の意見を述べた:

「あのねぇ、僕の場合は、すでに知っている曲しか好きじゃない」。

杜漏のリスナーであろうとプロのミュージシャンであろうと、気づきかもしれませんが、この100の楽曲のこのリストは、非常に馴染みのないものと有名な作曲を混ぜ合わせたものです。 そして私たちの反応は何でしたか? なじみのない地形を受け入れることに興奮していますか? それとも予測可能性に固執していますか?

クロード・シャノンはかつて「情報の価値は驚きにある」と言った。同様に、私たちが人生で直面する最大のリスクは、最大の悪影響ではありません。最大のリスクは、最近の経験からそれを推定することができないので、最も予想されないものです。

音楽と私たちの音楽への反応は私たち自身について何かを教えてくれます。 しかし、多分私達はそれをすでに知っているでしょうか? 自由な時間に、快適なルーチンに戻るのですか、それとも私たちは何か新しいことを試みますか? 休暇に – 同じホリデーリゾートに戻りますか、それとも新しい土地を発見しようとしますか? 生活の中で幸せに新しい人々を受け入れているのか、それとも信頼できる友人のグループに固執するのでしょうか。 常に現職者との集会に参加するのですか、それとももっと新しいアイデアを提供する新人挑戦者に会うために出かけますか?  Amazonの株式をしか保有していないのか、それとも新興企業を特定するために分析的な調査を行っていて投資するのでしょうか?

ピッチ、トーン、グルーブ、ティンバー、リズム、拍子記号、または調波構造のに対する感情的な反応は、私たちにいくつかの答えを与えてくれるでしょう。

しかし不変なものは何もありません。人間って 毎日変わります。 年齢とともに、なじみのないものから少しずつ離れて行きませんか?  それでも、自分たちが思っている以上の能力があります。 「なじみのない」ことを受け入れることは、新鮮な心を保つためのレシピかもしれません。 そして未知の深海に飛び込むのではなく、最初におなじみのものとさわやかに「なじみのない」ものを混ぜたほうが簡単かもしれません。大きな満足へのステップバイステップで。

新年に、皆様に、心から、未知のものを受け入れる絶好の機会となることを願います。

ご聴取ありがとうございました、

あけまして おめでとう ございます!

Published in: on December 31, 2018 at 7:41 am  Leave a Comment  

CLASSICAL OPUS no.1

Sergei Prokofiev – “Dance of the Knights (Romeo and Juliet, no.13)”

セルゲイ・プロコフィエフ – 「騎士団のダンス(ロメオ&ジュリエット、13番)」

 

TIME COMMITMENT: 6 minutes

Virulent, ghastly, almost vampiric, this ballet is just like the composer’s disfigured century, whence most of us still hail…  Prokofiev throws a brass-heavy Molotov cocktail that punches, flails and whacks, slaps and birches into ultimate submission.

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Romeo_and_Juliet_(Prokofiev)

 

A REFLECTION

Hour of Parting, hour of meeting

They know not – nor grief nor rest

Theirs no longing for the future

Theirs no sorrow for the past

By thy day of anguish broken

Think of them and calm thy woe

Be indifferent as they are

To the pangs of earth below

 

Mikhail Lermontov: “Demon”

Published in: on December 30, 2018 at 6:17 pm  Leave a Comment  

CLASSICAL OPUS no.2

Franz Schubert – “Trio in E flat major op.100”

フランツ・シューベルト – 「Eフラットメジャーop.100のトリオ」

 

TIME COMMITMENT: 9 minutes

A climax of unhurried, audacious precision, the trio alternates with ease between mirth and solemnity.  The gentle, discursive style is richly endowed with a structural elegance of pointillist contrasts.  Uniquely among Austrian composers, Schubert started out as a viola player, hence – probably – his acute focus on non-ornamental detail within the structural frame.  And although his latest period is known for dour shades of saturnine bleakness, little of the downcast mood transpires in the Trio.

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Piano_Trio_No._2_(Schubert)

 

A REFLECTION

Comfort

which finds no windows and no doors

and wants to come in

bitterly gathers kindling.

It wants to force a miracle

and sets fire to

the house of pain

 

Hilde Domin: “House without windows”

Published in: on December 29, 2018 at 5:32 pm  Leave a Comment  

CLASSICAL OPUS no.3

Ludwig van Beethoven – ”Mondscheinsonate op.27“

ルートヴィヒ・ヴァン・ベートーヴェン  :「ムーンライトソナタop.27」

 

TIME COMMITMENT: 14 minutes

The first movement is tearfully resilient, even provocative in its unassertive and intimate humility.  But this childlike simplicity evaporates under the boneless robustness of presto agitato that follows.  This passage calls for absolute heights of pianistic craft.

Beethoven’s sonatas are sometimes referred to as the classical music’s “New Testament” (as opposed to Bach’s “Well-tempered Klavier”, or the “Old Testament”).  Interestingly, the Book of Revelation makes several references to the moon and, according to some interpretations, to moon eclipse.  Alas.  Tantalizing as this rabbit hole may be, the lunar moniker was only ascribed to this sonata posthumously.  What would the composer think?

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Piano_Sonata_No._14_(Beethoven)

 

A REFLECTION

Who wants to graze on silhouettes,

clothe the essence with borrowed deception or

hide behind hope with deceitful possessions?

Bared, I must see the truth

 

Friedrich Schiller: “The Poem of Life”

Published in: on December 28, 2018 at 6:01 pm  Leave a Comment  

CLASSICAL OPUS no.4

Bela Bartok: “Romanian Folk Dances”

ベラ・バルトーク:「ルーマニアの民俗舞踊」

 

TIME COMMITMENT: 8 minutes

Bartok plants arduously corrosive seeds when using exotic time signatures.  He achieves such feats with cliché-free authenticity, neatly condensed into succinct forms.  Rectilinear craftsmanship of gypsy trails oozes from this sunny, carefree medley of cryptic jewels.

This popular set has both a keyboard and an orchestral version (both shown below), but make sure to check the third video by Muzsikas.  The Carpathian dilettante inspiration source hides in plain sight.

 

MUSIC

 

 

 

INFO

https://en.wikipedia.org/wiki/Romanian_Folk_Dances

 

A REFLECTION

Ever let the Fancy roam,

Pleasure never is at home:

At a touch sweet Pleasure melteth,

Like to bubbles when rain pelteth;

Then let winged Fancy wander

Through the thought still spread beyond her:

Open wide the mind’s cage-door,

She’ll dart forth, and cloudward soar.

 

John Keats: “Fancy

Published in: on December 27, 2018 at 5:35 pm  Leave a Comment  

CLASSICAL OPUS no.5

Johannes Sebastian Bach – “Agnus Dei from Mass in B Minor”

ヨハネス・セバスチャン・バッハ – 「アグナス・デイ・イン・ミー・イン・マイナー」

 

TIME COMMITMENT: 6 minutes

This is autumnal messianism by 1000 cuts, wailing subcutaneously at all of life’s regrets.  Bach excels in tetrahedral combination of dextrously crafted coincidences that morph into a seamless, melancholic whole.  The emotional pendulum marks the pivotal element of a Roman Catholic mass, located here in the 24th movement of ‘Mass in B Minor’.

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Mass_in_B_minor

 

A REFLECTION

Now, O Christ, seal my eyelids

Let ice on my lips be spread

All the hours are superfluous

All the words have been said!

 

Gabriela Mistral: “Ecstasy”

Published in: on December 26, 2018 at 5:51 pm  Leave a Comment  

CLASSICAL OPUS no.6

Claude Debussy: “Clair de lune”

クロード・ドビュッシー:「月光」

 

TIME COMMITMENT: 6 minutes

A spacious, viscerally delicate, almost effete anthem to unexpected, voiceless tenderness.  Debussy vanquishes the pinnacle of impressionistic sensuality in the most poetic of musical forms.  Two versions are included here.  Seong-Jin Cho’s take on the lunar theme is more immediate in silences that he actively lays down, almost with John Cage-ian dexterity.

 

MUSIC

 

 

INFO

https://en.wikipedia.org/wiki/Suite_bergamasque#%22Clair_de_lune%22

 

A REFLECTION

 

Unhappy perhaps the man, but happy the artist torn by desire!

Eager to paint the one that has appeared to me so rarely and that has fled so quickly,

 like a beautiful sad thing left by the traveler carried away into the night.

How long now has he been gone!

 

Charles Baudelaire: “The Desire to Paint”

 

Published in: on December 25, 2018 at 1:59 pm  Leave a Comment  

CLASSICAL OPUS no.7

Erik Satie: “Gnossienne et Gymnopedies”

エリック・サティ:「グノシエンヌ と ジムノペディ」

 

TIME COMMITMENT: 65 minutes

Hypnotic use of unresolved dissonances remains the mark of this ultimate bard of solo keyboard Dadaism.  His wobbly tales of vulnerability are often hailed as psychoactive and having power to mesmerize an attentive listener.  This particular recording starts with three sarabandes, but their presence is not too intrusive.  I recommend the Turkish slant on the theme in the second video, if only for several minutes.

 

MUSIC

 

 

INFO

https://en.wikipedia.org/wiki/Gnossiennes

 

A REFLECTION

A tap of your finger on the drum releases all sounds and initiates the new harmony.

A step of yours is the conscription of the new men and their marching orders.

 

Arthur Rimbaud: “To a Reason”

Published in: on December 24, 2018 at 3:36 pm  Leave a Comment  

CLASSICAL OPUS no.8

Johannes Sebastian Bach: “Erbarme Dich, mein Gott, no.39 Matthaeus Passion”

ヨハネス・セバスチャン・バッハ:「「憐れみ給え、わが神よ」、39番マタイ受難曲」

 

TIME COMMITMENT: 8 minutes

The prime aria from the second part of the “Passion” has a contemplative, lilting rhythm framing a rather resigned mood – a proper metaphor for the spiritual traditions of the mainly Jewish audience that Matthew targeted in his Gospels.  Kathleen Ferrier’s classic 1950 recording with von Karajan is a priceless document, but the trimmed down orchestration in the second video is more transparent, with the lamenting violin, comforted by the cello under the organ’s warm eiderdown.

 

MUSIC

 

 

INFO

https://en.wikipedia.org/wiki/St_Matthew_Passion

 

A REFLECTION

Over this your white grave

covered for years, there is a stir

in the air, something uplifting

and, like death, beyond comprehension.

Over this your white grave

oh, mother, can such loving cease?

for all his filial adoration

a prayer:

Give her eternal peace

 

Karol Wojtyła: “Over This Your White Grave”

Published in: on December 23, 2018 at 5:03 pm  Leave a Comment  

CLASSICAL OPUS no.9

Franz Liszt: “Liebestraum, no.3 in A-flat minor”

フランツリスト「愛の夢、A-flatマイナー3番」

 

TIME COMMITMENT: 4 minutes

Misty, blithe, congenial and deceptively accessible, this gem glides effortlessly between the phlegmatic and the acrobatic.  Transcendentally passionate, the unobtrusively chopinesque Lied is devoted to love’s timelessness, thus allowing the fourth dimension to liberate it from the romantic shackles of evanescence.

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Liebestr%C3%A4ume

 

A REFLECTION

O love, as long as love you can,

O love, as long as love you may,

The time will come, the time will come

When you will stand at the grave and mourn!

 

Be sure that your heart burns,

And holds and keeps love

As long as another heart beats warmly

With its love for you

 

Ferdinand Freiligrath: “O Love, As Long As Love You Can”

Published in: on December 22, 2018 at 5:34 pm  Leave a Comment