Stephen Paulus’ Concertante: Vibrant Instrumental Conversations

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The concertante is the most democratic of musical forms. Blending symphony and concerto, it opens the door to a vibrant, free-flowing musical conversation among solo instrumental voices and groups of instruments. The distinct persona of each instrument comes sharply into focus. Exhibiting brilliance and virtuosity, every voice gets its moment in the spotlight.* American composer Stephen Paulus (1949-2014) embraced all of this in his simply titled Concertante, written in 1989. Exuberant, playful, and …

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George Butterworth’s “Love Blows As the Wind Blows”: Three Idyllic Songs

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English composer George Butterworth (1885-1916) left behind only a handful of brief musical treasures, among the most famous being  The Banks of Green Willow and A Shropshire Lad.  Emerging from the pastoral landscape with a sense of quiet nostalgia and dreamy impressionistic color, these magical, fleeting works make us long for what might have been. At the outbreak of the First World War, Butterworth enthusiastically enlisted, and quickly rose to the rank of …

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Borodin’s “Prince Igor” Overture: Dramatic Sweep

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Alexander Borodin’s four-act opera, Prince Igor, is based on the medieval Russian nationalistic epic, The Tale of Igor’s Campaign. It tells the story of a 12th century military campaign, launched by the Prince of Novgorod-Seversk against the Polovtsians, an invading nomadic Tartar tribe. Quickly, the campaign takes a disastrous turn, and Igor and his son, Vladimir, are taken prisoner. A member of the group of composers known as the “Russian Five,” Borodin …

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Mozart’s Piano Concerto No. 21 in C Major: Comic, Majestic, and Adventurous

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Mozart was at the height of his popularity in Vienna when, in March of 1785, he composed the Piano Concerto No. 21 in C Major, K. 467. In a letter dated March 12, two days after the Concerto’s premiere, Mozart’s father, Leopold, wrote to his daughter back home in Salzburg, We never get to bed before one o’clock and I never get up before nine. We lunch at two or half past. …

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Orlande de Lassus’ “Aurora lucis rutilat”: An Easter Motet

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First recorded in the 9th century, Aurora lucis rutilat (“Dawn reddens with light”) depicts the dawn of Easter morning and the triumph of resurrection. Late Renaissance composer Orlande de Lassus (c. 1532–1594) created a ten-voice motet setting near the end of his life (c. 1592). Born in the Netherlands, Lassus was long employed by the court of Munich. As Lassus’ motet unfolds, we are enveloped in majestic and celebratory polyphonic lines. Two five-voice …

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John Adams’ “Hallelujah Junction”: Delirious Dueling Pianos

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“Hallelujah Junction is a small truck stop on Highway 49 in the High Sierras on the California-Nevada border near where I have a small cabin,” explains American composer John Adams. “One can only speculate on its beginnings in the era of prospectors and Gold Rush speculators (although a recent visit revealed that cappuccino is now available there).” For Adams, Hallelujah Junction was “a great title looking for a piece.” Scored for two “dueling …

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Handel’s “I Was Born to Weep”: A Mournful Duet from “Giulio Cesare”

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Handel’s 1724 celebrated opera, Giulio Cesare in Egitto, HWV 17 (“Julius Caesar in Egypt”), explores themes of “power, ambition, love, and revenge.” Set during the Roman Civil War of 49-45 BC, it chronicles the love story between Caesar and the cunning seductress Cleopatra. Amid this political drama, Cornelia and her stepson Sesto are determined to avenge the beheading of Pompeo (Cordelia’s husband) by Tolomeo, who rules Egypt with his sister, Queen Cleopatra. …

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