Bartók’s “Bluebeard’s Castle”: Entering Terrifying Psychological Recesses

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Béla Bartók’s symbolist opera in one act, Bluebeard’s Castle, begins with a spoken prologue which asks, “Where is the stage, outside us or within us?” What follows is a chilling psychological horror story, based on an account of a French fairy tale by Charles Perrault. The Gothic drama, set in a gloomy castle with seven locked doors, involves only two characters, the mysterious Duke Bluebeard and his young wife, Judith. Here is …

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Gesualdo’s Tenebrae Responsoria: Madrigali Spirituali

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Four hundred years after it was written, the music of the Italian late Renaissance composer, Carlo Gesualdo (1566-1613), still sounds shockingly avant-garde. Gesualdo’s madrigals and sacred works are filled with rule-bending harmonic innovations which, in the words of Aldous Huxley, add up to “a kind of musical no-man’s land.” In the final years of his turbulent life, Gesualdo wrote a twenty-seven part setting of the Responsoria, liturgical texts for Catholic evening services for …

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Takemitsu’s “A Flock Descends Into the Pentagonal Garden”: A Shifting Panorama of Scenes

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Tōru Takemitsu’s ephemeral 1977 orchestral piece, A Flock Descends Into the Pentagonal Garden, grew out of a dream. The Japanese composer attributed his vision of a flock of birds descending into a five-sided garden to an iconic photograph he viewed earlier in the day, which showed the artist, Marcel Duchamp, posing with the back of his head shaved in the “form of a star-shaped garden.” Takemitsu described the resulting piece as a “shifting panorama of …

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Bach’s “Wenn wir in höchsten Nöten sein,” BWV 641: Evolution of a Chorale

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The young J.S. Bach was employed as court organist in Weimar when he composed the tender and intimate chorale prelude, Wenn wir in höchsten Nöten sein, BWV 641 (“When we are in utmost need”). The brief liturgical interlude is part of Bach’s Orgelbüchlein (Little Organ Book) BWV 599−644, a compilation of 46 chorale preludes, written between 1712 and 1717. Albert Schweitzer commented that the soprano line, heard below as a pastorale reed voice, flows “like a …

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Liszt’s Csárdás Macabre: Alfred Brendel

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Among Franz Liszt’s final works for solo piano is the Csárdás macabre, composed in 1881. The piece is a ghoulish joyride, filled with convention-defying parallel fifths and intimations of the Dies irae. Its innovative harmonies anticipate the twentieth century music of Béla Bartók and others. Above the title on the manuscript, Liszt inscribed the words, “May one write or listen to such a thing?” The csárdás is a Hungarian folk dance in 2/4 or 4/4 …

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Mozart’s Clarinet Concerto: A Swan Song

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The Clarinet Concerto in A Major, K. 622 has been called Mozart’s swan song. His last completed work, it was first performed on October 16, 1791 in Prague, less than two months before the composer’s death at the age of 35. At the time, the clarinet was a young instrument still in development, and a newcomer to the orchestra. When the 22-year-old Mozart visited Mannheim, a progressive musical center far ahead of provincial …

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Mozart’s Kyrie in D Minor: An Enigma

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The impetus for Mozart’s Kyrie in D minor, K.341 remains a fascinating enigma. Initially, it was believed that Mozart completed this sublime choral fragment in Munich in early 1781. The occasion for which it would have been composed remains unclear. The full instrumentation (which includes two clarinets) suggests that the Kyrie may have been intended for a large-scale Mass which remained unfinished. Sketches from the composer’s final years (1787-91) show that he was …

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