Twentieth Century

Messiaen’s Quartet for the End of Time: Visions of Eternity

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One of the 20th century’s most mystical and transcendent works was created in a frigid, overcrowded German prisoner-of-war camp during the gloomy second winter of World War II. It was not his captivity, nor premonitions of a coming fiery apocalypse that inspired Olivier Messiaen (1908-1992) to compose the provocatively titled Quartet for the End of Time (“Quatuor pour la fin du temps”), but serene spiritual visions of the “eternity of space and …

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Shostakovich’s String Quartet No. 9 in E-flat Major: A Poignant Musical Diary

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Musicologist Kai Christensen describes Dmitri Shostakovich’s fifteen string quartets as “a personal diary of poignant reactions, reflection, and dark visions.” Nowhere is this more apparent than in the middle quartets. Shostakovich dedicated his Seventh Quartet to the memory of his first wife, Nina, who died in December of 1954 at the age of 46. Outwardly, the iconic and emotionally raw Eighth String Quartet was “dedicated to victims of war and fascism.” Privately, …

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Bartók’s Études, Op 18: Daring Technical Exercises for Solo Piano

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Béla Bartók’s three Études, Op 18 for solo piano are daring, both technically and musically. Composed in 1918, they were intended to push the limits as pedagogical studies. The influence of Chopin, Debussy (whose piano Études were written three years earlier), and Schoenberg is evident. The three brief Études follow the traditional fast-slow-fast format. The first unleashes an exhilarating, demonic motor, punctuated with the accents of Hungarian folk music and language. In …

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Bartók’s String Quartet No. 4: Fearful Symmetry

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The greatest music requires deep, active listening. You can’t just put it on in the background and allow it to waft over you as you go about other tasks. It demands undivided attention. Initially, it may seem wildly incomprehensible. Its meaningfulness may be revealed gradually over the course of repeated listenings. Béla Bartók’s String Quartet No. 4, composed in Budapest during the summer of 1928, is one of those mysterious and monumental …

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“Dark Pastoral” for Cello and Orchestra: David Matthews’ Completion of a Vaughan Williams Fragment

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A four-minute fragment of music, sketched by Ralph Vaughan Williams in 1942, is all that exists of a cello concerto the composer intended to write for Pablo Casals. In 2010, contemporary English composer David Matthews (b. 1943) developed the fragment, which would have become the concerto’s slow movement, into the elegiac Dark Pastoral for cello and orchestra. Vaughan Williams’ original two-stave short score set out the movement’s A section, with only a few instrumental …

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Vaughan Williams’ Concerto for Violin and String Orchestra: An Homage to Bach and the Country Fiddler

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In Ralph Vaughan Williams’ Concerto for Violin and String Orchestra (“Concerto Accademico”), vibrant neoclassical counterpoint meets the sunny strains of an English country fiddler. Completed in 1925, the Concerto was dedicated to the Hungarian violinist, Jelly d’Aranyi, who gave the premiere with Anthony Bernard and the London Chamber Orchestra on November 6, 1925. Initially, the work was called “Concerto Accademico,” but Vaughan Williams came to dislike the title and withdrew it prior …

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Michael Daugherty’s “Desi”: Reawakening the Latin Big Band

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Vivid cultural allusions abound in the music of Michael Daugherty (b. 1954), an American composer famous for his five-movement Metropolis Symphony, inspired by the Superman comics. Daugherty’s Desi is an exuberant romp for symphonic band, composed in 1991. Its conversing instrumental “characters,” at once spirited, comic, and menacing, sweep us into a dangerous and  exhilarating party. It’s easy to imagine ghosts from the audience of Desi Arnaz’ Hollywood big band reawakening and forming …

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