Twentieth Century

Arvo Pärt’s “Pari intervallo”: Geometry Unfolding in Time

by

Musical lines evoke strict geometry in Arvo Pärt’s brief but cosmic meditation, Pari intervallo (Latin for “in the equal distance”). Throughout the piece, two parallel voices seem to drift quietly into infinity. A continuous and inevitable process unfolds which gives rise to occasional unexpected but delicious harmonic dissonances. In the score, Pärt inscribed a quote from Romans 14:8: “For whether we live, we live unto the Lord; and whether we die, we die unto …

Read more

Stravinsky Meets Tchaikovsky: Reimagining “The Sleeping Beauty”

by

Tchaikovsky’s fairytale ballet, The Sleeping Beauty, was first performed at St. Petersburg’s Mariinsky Theatre on January 15, 1890. Among the audience members of this premiere production was the eight-year-old Igor Stravinsky, who later noted it as a formative musical experience. For the first time, the young Stravinsky was struck by the majesty of the orchestra, and well as the music of Tchaikovsky, a personal friend of Stravinsky’s father. In January of 1941, Stravinsky received a …

Read more

Stravinsky’s Symphony in Three Movements: Rhythmic Delirium

by

Igor Stravinsky’s Symphony in Three Movements is a delirious celebration of rhythm. This bright, exuberant music leaves behind the rapturous, primordial jabs of The Rite of Spring to enter the crisp, spare world of neoclassicism. Witty and spirited conversations unfold between instrumental voices. Quirky, irrepressible ostinatos propel the music forward amid unpredictable and swiftly changing rhythmic currents. The outer movements hurtle forward with the hyper, unrelenting energy of an action film, whisking us from one …

Read more

Menotti’s “Amahl and the Night Visitors”: The First Television Opera

by

On Christmas Eve, 1951, opera moved into the television era. On this evening, the premiere of Gian Carlo Menotti’s Amahl and the Night Visitors was broadcast live from NBC’s studio 8H in Rockefeller Center. The NBC Opera Theatre performance was seen by an estimated five million viewers across the country. Set in one act, it was the first opera to be composed specifically for television. Menotti was inspired by The Adoration of the Magi, a …

Read more

Sibelius’ Fourth Symphony: Probing Psychological Depths

by

Jean Sibelius’ Symphony No. 4 in A minor enters a dark, austere, and occasionally terrifying sonic landscape. At first listen, it is undoubtedly the strangest and most unsettling of Sibelius’ seven symphonies. Its four movements probe frigid, mysterious depths. Yet, upon entering this forbidding territory, we are rewarded with glimpses of rugged beauty and awe-inspiring power. Sibelius called the Fourth “a psychological symphony.” It is the stuff of Expressionism, murky dreams, and …

Read more

“The Promise Of Living”: Copland’s Hymn of Thanksgiving

by

The Promise of Living forms the first act finale of Aaron Copland’s opera, The Tender Land. Conceived for the NBC Television Opera Workshop but ultimately rejected by the network’s producers, The Tender Land was premiered by New York City Opera on April 1, 1954. Dramatically, it occupies the same hazy, surreal space we encounter in Copland’s ballet, Appalachian Spring. Set in the rural American heartland during the Great Depression, the plot centers around the coming of age of Laurie …

Read more

Bartók’s Suite, Op. 14: The Percussive Piano

by

The piano music of Béla Bartók is filled with the hard edges and exhilarating, swirling motion of Eastern European peasant dances. It strips away Romantic embellishment in favor of something more direct, austere, earthy, and primal. The piano, with its hammer-striking mechanism, becomes a full-fledged percussion instrument. All of this can be heard in Bartók’s solo piano Suite, Op. 14, composed in 1916. In a 1944 radio interview, Bartók said, When this work …

Read more