CLASSICAL OPUS no.39

Camille Saint-Saëns: “Carnival of Animals”

カミーユサン=サーンス 「動物のカーニバル」

 

TIME COMMITMENT: 27 minutes

This dreamy, meditative collection wafts almost hushed in its soothing quality.  Two parts engross us in particular: ‘Aquarium’ (at 10:50 mark) and ‘The Swan’ (22:23), with its sailing quality of aquatic expanses.  In this corner, Debussy was Saint-Saëns’ only competitor.  I enclosed two different ensemble versions.  Note the second video with Martha Argerich accompanied by an all-star crew in Japan.

Finally, for those still in search for lysergic nostalgia, there’s Clara Rockmore’s theremin version of ‘the Swan’.

 

MUSIC

 

INFO

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

 

A REFLECTION

He who wants to do good knocks at the gate;

he who loves

finds the gate open.

 

Rabindranath Tagore – “Stray birds”

Published in: on November 22, 2018 at 2:46 pm  Leave a Comment  

CLASSICAL OPUS no.41

Fryderyk Chopin: “3rd sonata op.58, B minor”

フリードリヒ・ショパン:「第3ソナタop.58、マイナーB」

 

TIME COMMITMENT: 9 minutes

This chameleonic riddle is renowned as a tour de force of labyrinthine dimensions.  A conglomerate of moods, alternatively sober and luminous, cogitative and lambent, alert and diffident, it never settles, unlike many other compositions written by this pianist.  Regrettably, we don’t have moving pictures here, but, hey, it’s Arthur Rubinstein’s recording.

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Piano_Sonata_No._3_(Chopin)

 

A REFLECTION

When I die, I will see the lining of the world

The other side, beyond bird, mountain, sunset

The True meaning, ready to be decoded

What never added up will add up

What was incomprehensible, will be comprehended.

 

Czesław Miłosz: “Meaning”

Published in: on November 20, 2018 at 1:51 pm  Leave a Comment  

CLASSICAL OPUS no.45

Giuseppe Verdi: “Dies Irae”

ジュゼッペ・ヴェルディ:「ディラ・イレーエ」

 

TIME COMMITMENT: 2 minutes

This wrathful, fiery and demoniac chant explodes with paroxysms of thunderous detonations.  Verdi subverted operatic conventions with his groundbreaking use of choruses and unprecedented vigor.  The toolkit was used, to great effect, in this memorial mass.

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Requiem_(Verdi)

 

A REFLECTION

This solitary hill has always been dear to me

And this hedge, which prevents me from seeing most of the endless horizon

But when I sit and gaze, I imagine, in my thoughts

Endless spaces beyond the hedge

 

Giacomo Leopardi: “The Infinite”

Published in: on November 15, 2018 at 9:03 am  Leave a Comment  

CLASSICAL OPUS no.51

Richard Wagner: “Walkürenritt”

リチャード・ワグナー:「バルキリーライド」

 

TIME COMMITMENT: 5 minutes

This timelessly climactic delirium of awe-inspiring mythomania suffocates listeners with its programmatic, slippery angst.  For this Minotaur of Romanticism, the musical fabric and leitmotif analysis became eponymous for the eventually futile quest of a “complete” artwork.  But myth, desire, sensuality and destiny were all convulsed in the historical – and artistic – trajectory of Germany’s 19th century rise.

 

MUSIC

 

INFO

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

 

 

A REFLECTION

Over all the hills now

Repose

In all the trees now

Shows

Barely a breath.  Birds are through

That sang in their wood to the west

Only wait, traveler.  Rest

Soon for you too.

 

Wolfgang Goethe: “Song of the Traveler at Evening”

Published in: on November 9, 2018 at 5:15 pm  Leave a Comment  

CLASSICAL OPUS no.54

 

Pyotr Ilyich Tchaikovsky: “1st Concerto for Piano in Bb minor”

ピョートル・イリッヒ・チャイコフスキー:「Bbマイナーでピアノのための第1コンチェルト」

 

TIME COMMITMENT: 34 minutes

The concerto is excruciatingly predictable in the way orchestral pathos relaunches keyboard’s sprightly, sizzling extravanganzas.  And yet, the proceeding is so effective!  The lighter passages feel as if they were lifted from Tchaikovsky’s floating ballets, while the ‘heavier’ moments act as metaphors of the composer’s sombre fatalism.

The material shown here is by Geneva’s venerable orchestra, starring Marta Argerich, but this is but a substitute for the eminent von Karajan & Kissin version, with three generations that separated them at the time of the recording.  Alas, Berliner Philharmoniker have taken an axe to their Youtube archives and it is gone, for now.

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Piano_Concerto_No._1_(Tchaikovsky)

 

A REFLECTION

O who can ever praise enough

The World of his belief?

Harum-scarum childhood plays

In the meadows near his home

In his woods Love knows no wrong

Travelers ride their placid ways

In the cool shade of the tomb

Age’s trusting footfalls ring

O Who can paint the vivid tree

And grass of phantasy?

 

W.H.Auden: “Poem” (1937)

Published in: on November 6, 2018 at 5:49 pm  Leave a Comment  

CLASSICAL OPUS no.60

Felix Mendelssohn “Frühlingslied op.62, no.6”

フェリックス・メンデルスゾーン「春の歌op.62、no.6」

 

TIME COMMITMENT: 3 minutes

Mendelssohn’s stubborn yet alluring spoonful of retro-idealism inevitably tickles nostalgic fancies. The recurring, jocular motif washes up repeatedly with subtle lyricism of early romanticism but not without a feathery shadow of German baroque imprint.

 

MUSIC

 

 

INFO

https://en.wikipedia.org/wiki/Songs_Without_Words#Book_5.2C_Op._62_.281842.E2.80.931844.29

 

A REFLECTION

Graceful, spiritual

With the gentleness of arabesques

Our life is similar

To the existence of fairies

That spin in soft cadence

Around nothingness

To which we sacrifice

The here and now

 

Hermann Hesse: “In Secret We Thirst”

Published in: on October 31, 2018 at 4:54 pm  Leave a Comment  

CLASSICAL OPUS no.66

Georges Bizet: “Arlesienne Suite no.1 and no.2”

ジョルジュ・ビゼー:「アーレジアンスイート1号と2号」

 

TIME COMMITMENT: 37 minutes

This magical rêverie for strings is seamlessly interlocked with minuet-like intermezzos.  The second part shines with its cinderblock, huffy and anguished first movement.  Almost subversively, it remains planted in our memory.  For true aficionados, we have here both no.1 and no.2 performed by Nathalie Stutzmann, but also a short fragment (“Farandole”) from no.2, under the direction of Herbert von Karajan.

 

MUSIC

 

 

INFO

https://en.wikipedia.org/wiki/L%27Arl%C3%A9sienne_(Bizet)

 

A REFLECTION

In misfortune, friends increase.

You who enter, leave all despair.

Goodness, your name is man.

It is here that the wisdom of the nations remains.

 

Comte de Lautreamont Isidore Ducasse: “Poésies II”

Published in: on October 25, 2018 at 4:57 pm  Leave a Comment  

CLASSICAL OPUS no.73

Richard Strauss: “Metamorphosen”

リチャード・シュトラウス:「変身」

 

TIME COMMITMENT: 26 minutes

Icy, audacious and highly tensile, this string enigma is perplexing: musicians’ warped parts appear to compete for tangible audibility.  Strauss, whose tone poem endings puzzled audiences, is usually remembered as a deconstructive innovator but he also relished obsessively traditional virtuosity.  Despite such formally irreconcilable ingredients, he emerged successful from most attempts to match them.

 

MUSIC

 

INFO

https://csosoundsandstories.org/strauss-reflecting-on-his-artistic-life-in-metamorphosen/

 

A REFLECTION

Losing too is still ours; and even forgetting

still has a shape in the kingdom of transformation.

When something’s let go of, it circles; and though we are

rarely the center

of the circle, it draws around us its unbroken, marvelous

curve.

 

Rainer Maria Rilke: “Losing”

 

Published in: on October 18, 2018 at 5:13 pm  Leave a Comment  

CLASSICAL OPUS no.75

Johannes Brahms: “Hungarian Dance, no.5”

ヨハネス・ブラームス:「ハンガリー・ダンス、第5番」

 

TIME COMMITMENT: 4 minutes

Jumpy and brightly chromatic, this was Brahms’ classic Viennese piece, almost contemporaneous with Johann Strauss’ all-time greatest hit – “An der schönen, blauen Donau”.  But where Strauss remains stately and imperial, Brahms will even dabble with fiery czardas.  This spicy bacchanalia is served with incandescent infectiousness.

 

MUSIC

 

INFO

https://en.wikipedia.org/wiki/Hungarian_Dances_(Brahms)

 

A REFLECTION

laugh as the sea laughs, the wind laughs,

without the laughter sounding like broken glass;

drink and in drunkenness grab life,

dance the dance without losing the step,

touch the hand of a stranger

in a day of stone and agony

 

Octavio Paz: “Simple life”

 

Published in: on October 16, 2018 at 4:22 pm  Leave a Comment  

CLASSICAL OPUS no.83

Robert Schumann – “Kinderszenen, op.15”

ロバートシューマン –  「子供の情景、オーパス15番」

 

TIME COMMITMENT: 18 minutes

This ultimate miniaturist was frequently inspired by literature.  In this vignette, he was evidently seeking  – and finding – humor, adventure, quest for the unusual, yet he appears to be diving into the inward reaches of an adult, rather than children’s, life.  The “Scenes” are crafty, perfectly rounded between dissolute shrapnels and more nimble passages.  To this day, musicologists discuss the significance of the unusual tempo changes.  Was Schumann’s metronome really broken?

 

MUSIC

 

INFO

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

 

A REFLECTION

Hush, be still. Outer space

Is a concept, not a place.

Try no more. Where we are

Never can be sky or star.

From prison, in a prison, we fly;

There’s no way into the sky.

 

C.S.Lewis: “Science-Fiction Cradlesong”

Published in: on October 8, 2018 at 5:02 pm  Leave a Comment