Michael Torke’s “Nave”: A Preview of “Sessions, 3 A.M.”

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The atmospherically titled Sessions, 3 A.M. is the most recent project of American composer, Michael Torke. It is a collection of fifteen pieces for solo piano, performed by the composer. The first track, Nave, was released as a single earlier this month, and the full album will be available in November. In the nave of a cathedral, repeating structural columns rise to a vaulted ceiling and convey a sense of order and symmetry. …

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Shostakovich’s First Cello Concerto: Sardonic and Defiant

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In his later years, the cellist, Mstislav Rostropovich, recalled a conversation that he had with Nina Vasilyevna, the wife of Dmitri Shostakovich. Rostropovich wondered what he could do to encourage Shostakovich to write a concerto for the cello. “Slava,” she answered, “if you want Dmitri Dmitriyevich to write something for you, the only recipe I can give you is this—never ask him or talk to him about it.” Eventually, in July of …

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Josquin des Prez’ “Nymphes des Bois”: Graindelavoix

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Nymphes des bois (“Nymphs of the woods”) is a sensuous, five-voice lamentation by the High Renaissance Franco-Flemish composer, Josquin des Prez (c. 1450-1521). A musical memorial, it was written following the February 1497 death of Johannes Ockeghem, an influential composer with whom Josquin may have studied. The text, based on a poem by Jean Molinet, includes the Requiem Aeternam as a cantus firmus. The first two sections of the piece pay homage to …

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Remembering André Watts

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André Watts, the celebrated American pianist, has passed away following a battle with prostate cancer. He was 77. At the age of 16, Watts made his national debut, performing Liszt’s Piano Concerto No. 1 in E-flat with Leonard Bernstein and the New York Philharmonic as part of a nationally televised Young People’s Concert. Soon after, Bernstein invited Watts to perform on one of the orchestra’s subscription programs, where he substituted for an …

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Brahms’ Serenade No. 2 in A Major: A Pathway to the Symphony

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As a musical form, the serenade implies light, entertaining music of the evening, set in a loose collection of movements which resembles a divertimento. The two youthful Serenades which Johannes Brahms wrote in his early twenties conform to this description. Yet they can also be heard as trial runs on the path to a symphony. It was Robert Schumann who heard “veiled symphonies” in Brahms’ early piano music, and who anticipated that …

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Bach’s Prelude and Fugue in B-flat Minor, BWV 891: Stratospheric Stretto

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Epic is a word that could describe Bach’s Prelude and Fugue No. 22 in B-flat Minor, BWV 891. The companion pieces come near the end of Book II of the Well-Tempered Clavier, the manuscript of which is dated between 1739 and 1742 in the final years of the composer’s life. From the Prelude’s opening bars, a dense contrapuntal conversation unfolds. At moments, the imitative voices resemble a fugue. The real fugue arrives with …

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Paul Creston’s Second Symphony: A Celebration of Song and Dance

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The Second Symphony of American composer, Paul Creston (1906-1985), celebrates the fundamental musical building blocks of melody and rhythm. These elements are expressed in the Symphony’s two movements, “Introduction and Song,” and “Interlude and Dance.” Through a process of thematic transformation, the theme which opens the Symphony is developed adventurously throughout. This theme first appears as a wandering shadowy single line in the low strings. The violas enter in fugal counterpoint, soon …

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