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Ives’s Three Quarter-Tone Pieces: Adventures in Microtonality

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Quarter tones occupy the narrow spaces halfway between the pitches of the chromatic scale. In other words, they are approximately half as wide as a semitone. Venture into their colorful domain, and you arrive in a wild new microtonal universe which expands the expressive possibilities of tuning and tonal color. Traditional Persian music is filled with quarter tones. These intervals also can be found in numerous works by twentieth century composers. Charles Ives’ father, George, …

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“The Black Gondola”: Liszt’s Haunting Memorial to Wagner

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Earlier in the month, we listened to music from Wagner’s iconic 1865 opera, Tristan und Isolde, and explored its influence on later composers such as Claude Debussy. With its distinctively dissonant “Tristan chord,” this is music which, for many theorists, marked the beginning of the “dissolution of tonality” and opened the door to the tone rows of the twentieth century. Franz Liszt’s haunting solo piano work, La lugubre gondola (“The Black Gondola”), is filled …

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Debussy and the “Tristan Chord”

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On Monday, we heard the Prelude and Liebestod from Wagner’s Tristan und Isolde, a work which opened the door to the dissolution of tonality and the atonal sound world of the twentieth century. One composer who was profoundly influenced by this music was the young Claude Debussy. In 1887, Debussy called Tristan und Isolde “the most beautiful thing I know, from the point of view of the profundity of the emotion.” Yet, in a …

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Bach’s Fantasia and Fugue in G Minor, BWV 542: A Dark and Tempestuous Adventure

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In 1720, J.S. Bach applied for the post of music director at St Jacob’s Church in Hamburg. As part of the audition, Bach performed an organ recital lasting more than two hours. In the end, establishment politics prevented Bach from winning the job, but the level of his playing left the audience stunned. After hearing Bach’s improvisations, the 97-year-old Dutch organist, Johann Adam Reinken, said, “I thought this skill had died out, …

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Schubert’s Piano Sonata No. 18 in G Major, D. 894: Paul Lewis in Concert

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The music of Franz Schubert inhabits a unique and magical world, distinct from any other composer. While Beethoven often grabs us roughly by the collar and throws us onto an exhilarating and ferocious musical rollercoaster ride, Schubert gives us a radically different experience. He invites us into a quiet, sensuous space filled with crystalline melodies, conversing voices, and moments of deep mysticism. Sudden, effortless harmonic shifts and modulations open up new, unexpected dramatic vistas. …

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Rachmaninov’s Suite No. 1 “Fantaisie-tableaux”: Vivid Musical Pictures

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Sergei Rachmaninov’s Fantaisie Tableaux for two pianos, better known as Suite No. 1, Op. 5, was conceived as “a series of musical pictures.” The piece is made up of four vivid and magical soundscapes, each loosely inspired by a poem. It’s music of the young Rachmaninov, written in the summer of 1893, a year after his graduation from the Moscow Conservatory. The score was dedicated to Tchaikovsky, who offered the young composer support. Following …

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Chopin’s Berceuse and the Music of Bill Evans

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Listen to Frédéric Chopin’s D-flat major Berceuse, Op. 57, completed in 1844, and you might get the uncanny feeling that you’re hearing a jazz improvisation. As its title suggests, on one level, Chopin’s masterwork is a dreamy, gently rocking lullaby. Until the final cadence, it’s built on a sublime harmonic oscillation made up of just two chords. It begins with a serene melody which seems to anticipate the Gymnopédies of Erik Satie, published …

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