Fauré’s “Ballade in F-Sharp Major”: Bending Harmony

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Gabriel Fauré’s Ballade in F-sharp Major, Op. 19 is filled with harmony-bending moments. For example, listen to the opening of the piece. The first phrase follows a graceful and beautifully consonant arc. Then at the 0:26 mark, we get a sudden, wrenching dissonance. Floating over a serene, hypnotically repeating rhythmic line, this music doesn’t seem far off from Erik Satie’s dreamy Gymnopédies, published ten years later in 1888, or the second movement of …

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Beethoven’s “Emperor” Concerto: Monumental and Heroic

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Beethoven’s Fifth Piano Concerto begins with a bold and unexpected announcement. Four chords in the orchestra, outlining the most elemental harmonic progression (I-IV-V-I), stand as mighty pillars. Each initiates an expansive cadenza from the solo piano. A cadenza at the beginning of a concerto? This is not what the first audiences would have been expecting. These first bars establish the piano as a heroic, convention-defying protagonist. The orchestra launches into the expected introduction only …

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Sibelius’ Sixth Symphony: “Pure Spring Water”

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The Sixth may be Jean Sibelius’ most enigmatic symphony. It doesn’t offer the kind of heroic and triumphant journey we experience in the Second and Fifth Symphonies, or the strange, brooding darkness of the Fourth. Instead, it drifts through a soundscape which is shimmering, austere, and mysterious. “The Sixth Symphony always reminds me of the scent of the first snow,” said Sibelius in 1943. On another occasion, the composer spoke of the …

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Bach’s Prelude and Fugue in E-flat Major, BWV 852, Pieter-Jan Belder

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The Dutch harpsichordist Pieter-Jan Belder considers Bach’s Prelude and Fugue in E-flat Major (No. 7 from Book 1 of The Well-Tempered Clavier) to be a significant emotional departure from the preceding pieces in the set. “When you get to this Prelude, you’re in another world,” he says. Indeed, from the opening bars a sublime, ever-rising conversation unfolds between two voices—one high, and the other low. This opens the door to an expansive chorale …

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Einojuhani Rautavaara’s “Autumn Gardens”: A Radiant Orchestral Soundscape

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Autumn is a season of shimmering, radiant colors. Long shadows fall amid fading sunlight and a crisp chill seeps into the air. All of this can be felt in Autumn Gardens, a vibrant orchestral soundscape in three movements, written in 1999 by the Finnish composer, Einojuhani Rautavaara (1928-2016). The title refers to a passage from the libretto of Rautavaara’s 1990 chamber opera, The House of the Sun, “…like a butterfly in the garden of black …

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Joyful Sounds of Praise: Five Musical Settings of Psalm 150

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Today marks the 1,000th post of The Listeners’ Club. In celebration of this milestone, I want to thank our growing community of readers and subscribers, and all who take time to comment and share this incredible music with friends. Praise God in His sanctuary; praise Him in the firmament of His power. Praise Him for His mighty acts; praise Him according to His abundant greatness. Praise Him with the blast of the …

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The “Happy Ever After” Finale of Strauss’ “Ariadne auf Naxos”

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Richard Strauss’ Ariadne auf Naxos is an opera within an opera. The 1916 work opens with a Prologue. At the home of the richest man in Vienna, preparations are underway for the premiere staging of the Composer’s new opera seria, Ariadne auf Naxos. Meanwhile, Zerbinetta and her burlesque comedy troupe are also on the evening’s program. Arguments break out over which performance should be presented first. Then, an unexpected announcement throws everything into chaos. The …

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