Recently, some the world’s top conductors have been playing a game of musical chairs. Early last month it was announced that Alan Gilbert will step down in 2017, following eight seasons as Music Director of the New York Philharmonic. Christoph Eschenbach will be leaving his post at the National Symphony. Yesterday, we learned that Sir Simon Rattle will take the helm at the London Symphony Orchestra in 2017. He talks about the appointment …
The lullaby is universal and timeless. It’s one of the clearest expressions of the deep bond between mother and young child. Its gentle, repetitive, rocking rhythm lulls infants to sleep. The simple expression of its melody evokes warmth and security. At the same time, many lullabies contain an inexplicable hint of sadness. From Franz Schubert to George Gershwin to U2, music history is full of lullabies. Here are five of my favorites: …
From the ominous minor second “shark motive” in Jaws, to E.T.’s soaring “Flying Theme,” to the terror of Psycho’s blood-stained shower, music plays an obvious role in heightening the drama of our favorite movie scenes. Music has the unique capability to transcend the literal and transport us into the world of metaphor, a place where fundamental truths are most deeply and directly experienced. In some cases, music may be the most important dramatic ingredient. For example, video footage of …
Washington’s Birthday, the first movement of Charles Ives’ Holiday Symphony, emerges out of the desolate, snowy gloom of a midwinter night in rural New England. The music feels strangely amorphous, as if we’ve suddenly slipped into a dream. As we enter this sonic dreamscape, it’s easy to get the sense that we’re joining music already in progress. Who knows where or when it began? Drifting from one hazy moment to the next, we …
My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite. -William Shakespeare, Romeo and Juliet In celebration of Valentine’s Day, here is the quirky Dance with Mandolins from Act II of Sergei Prokofiev’s 1935 ballet score, Romeo and Juliet, Op. 64. Given this ballet’s multitude of powerful, dramatic music, this excerpt may seem slightly off the beaten path. But …
Good composers borrow. Great ones steal. -Igor Stravinsky La Folia, the ancient theme/chord progression which originated in Portuguese dance music as early as 1577, was borrowed (and stolen) by composers throughout the Baroque era. Vivaldi, Scarlatti, Handel, and Jean-Baptiste Lully were among the composers who took advantage of the theme’s endlessly rich musical possibilities. Later composers also paid homage to La Folia. It surfaces briefly at this moment in the second movement of Beethoven’s Fifth Symphony. Franz Liszt included it …
Erich Wolfgang Korngold’s 1920 three-act opera, Die tote Stadt (“The Dead City) opens in the rational world, but quickly dissolves into a dark dreamscape of hallucination. Paul, the central character, is haunted by the recent death of his wife, Marie. Unable to move on, Paul is obsessed with a “Temple of Memories,” which includes paintings, photographs and a lock of his deceased wife’s hair. On the streets of Bruges he sees Marietta, a young …