Bruckner’s Fourth Symphony: Nature and the Call of the Horn

by

The Fourth is the only symphony to which Anton Bruckner added a subtitle, “Romantic.” The word might bring to mind the mythical operas of Wagner and the triumph of the individual in a world filled with struggle and pathos. Yet, Bruckner’s “Romantic” Symphony inhabits territory which is more cosmic and elemental. It is the world of nature, punctuated by the mystical call of the horn, with its ancient hunting connotations. Many years after …

Read more

Bach’s Organ Sonata No. 6 in G Major: An Etude for All Time

by

Today, we regard the output of J.S. Bach (1685-1750) as a fundamental pillar of Western music. As with the works of Shakespeare, Bach’s music is eternally relevant in a way which transcends cultural trends or politics. Yet, there was a time when Bach’s place in the canon seemed less assured. In the years following J.S Bach’s death, his music fell out of stylistic favor, with its triumphant revival (courtesy of figures such …

Read more

Stephen Sondheim’s Homage to Ravel

by

Artistically, a strong kinship exists between Stephen Sondheim and Maurice Ravel. In the music of Ravel, we often get a sense of cool detachment. Distance and irony open the door to the most intimate expression. Stravinsky alluded to the pristine craftsmanship of Ravel’s music when he called the composer “the most perfect of Swiss clockmakers.” As a student, Stephen Sondheim learned “that art is work and not inspiration, that invention comes with craft.” Perhaps …

Read more

Ravel’s Piano Concerto for the Left Hand: Big, Bold, and Jazzy

by

In the fall of 1929, Maurice Ravel received a commission for a concerto from the Austrian pianist, Paul Wittgenstein. After losing his right arm in the First World War, Wittgenstein relaunched his career, performing left hand piano repertoire. He solicited works from numerous composers, including Paul Hindemith, Erich Wolfgang Korngold, Sergei Prokofiev, and Richard Strauss. Wittgenstein proved to be a difficult client. After receiving Strauss’ thickly scored work, he wrote back, “How …

Read more

Bolero: Ravel’s Sublime Orchestration Exercise

by

It’s one of the most iconic and sensuous pieces of twentieth century music, delivering the ultimate exploration of orchestral color. Yet, Maurice Ravel’s Boléro was conceived as a kind of composition exercise. The composer explained, It is an experiment in a very special and limited direction, and it should not be suspected of aiming at achieving anything different from, or anything more than, it actually does achieve. Before the first performance, I issued a warning …

Read more

The Artistry of Christa Ludwig: Two Songs from Mahler’s “Rückert Lieder”

by

During the summers of 1901 and 1902, Gustav Mahler wrote five Lieder based on poems written by Friedrich Rückert (1788-1866). Mahler did not intend the Rückert-Lieder (Songs after Rückert) to be performed as a cycle. Originally, the songs were published independently and later grouped together. Ich bin der Welt abhanden gekommen (“I Am Lost to the World”) is the dreamy soliloquy of the solitary artist, which concludes with the lines, “I live alone …

Read more

Mozart’s Symphony No. 40 in G Minor: Opening the Door to the Romantic World

by

The summer of 1788 was a low point for Wolfgang Amadeus Mozart, both personally and professionally. In Vienna, Mozart’s popularity was in decline as the city’s notoriously fickle audiences turned their attention elsewhere. Funding from aristocratic patrons evaporated with the outbreak of the  Austro-Turkish War. As income dried up and creditors pounded at the door, Mozart and his family relocated from central Vienna to the suburb of Alsergrund. In June of 1788, Mozart’s …

Read more