Liszt

Liszt’s “Les Adieux”: A Fantasy on Gounod’s “Roméo et Juliette”

February 19, 2021 by Timothy Judd

On April 27, 1867, Charles Gounod’s five act opera, Roméo et Juliette, was premiered at Paris’ Théâtre-Lyrique Impérial du Châtelet. The same year, Franz Liszt composed Les Adieux (“The Farewell”), a solo piano work described as “a Rêverie on a motif from Gounod’s opéra Roméo et Juliette.” As the pianist and musicologist Leslie Howard writes, He really uses several motifs from the opera, all concerned with the partings of the lovers: the end of the …

“Là Ci Darem La Mano” from “Don Giovanni”: Mozart’s Most Seductive Duet

January 27, 2021 by Timothy Judd

Don Giovanni (or Don Juan) is one of literature’s most infamous seducers. In Mozart’s two act 1787 opera—a sublime blend of comedy, melodrama, and supernatural elements— the character takes on a new and intriguing complexity. As the cultural historian, James H. Johnson writes in his essay, Sincerity and Seduction in Don Giovanni, Mozart and the librettist, Lorenzo Da Ponte, “deliberately employ a tone of sincerity that keeps to the surface in conveying Giovanni’s …

Liszt’s “Nuages Gris”: A Haunting, Atmospheric Soundscape

October 28, 2020 by Timothy Judd

Franz Liszt’s Nuages gris (“Grey Clouds”) sounds as if it could have been composed for the film score of a psychological thriller. In fact, the brief, haunting work for solo piano was featured in a chilling morgue scene in Stanley Kubrick’s 1999 mystery drama, Eyes Wide Shut. It’s hard to believe that Nuages gris was written in 1881. The piece’s shockingly progressive harmony anticipates the music of Debussy and composers of the twentieth century. In his …

Liszt’s Second Piano Concerto: Khatia Buniatishvili in Concert

September 25, 2019 by Timothy Judd

Franz Liszt’s Second Piano Concerto begins with a hauntingly romantic melody. We hear it first in the solo clarinet, accompanied by a woodwind chorale. For a composer whose music is often filled with larger-than-life virtuoso bravura, these quiet opening bars seem surprisingly unassuming, perhaps even lamenting. They open the door to the magic and mystery of the piano’s entrance a moment later, in which the melody is outlined in arpeggios which seem …

Eight Pieces Based on the Dies Irae

October 24, 2018 by Timothy Judd

Last week, we explored two pieces which bookend the musical output of Sergei Rachmaninov- the First Symphony, which Rachmaninov wrote at the age of 22, and the Symphonic Dances, his “last spark,” completed in 1940. The Dies irae, the ancient chant of the dead, emerges as a prominent presence in both works. It’s a motive that returns throughout Rachmaninov’s music with haunting regularity. We hear it in The Isle of the Dead, The Bells, and the Rhapsody on a Theme of Paganini, where it …

Five Excerpts from Verdi’s “Simon Boccanegra”

March 12, 2018 by Timothy Judd

The premiere of the first version of Giuseppe Verdi’s three act opera, Simon Boccanegra, took place in Venice on this date (March 12) in 1857. At this first performance, the dark, historical drama, once described by the composer as “too sad and desolate,” was a flop. Verdi returned to the work over twenty years later with an 1881 revision that was more successful. This is the version that is most often heard today. It contains some …

10 Musical Adaptations of “God Save the Queen”

November 27, 2020February 8, 2017 by Timothy Judd

On Monday, Britain celebrated Queen Elizabeth II’s Sapphire Jubilee, marking her 65 years on the throne. At 90, Her Majesty is the world’s longest-reigning monarch. The milestone reminded me of the nearly 140 composers who have created musical adaptations of God Save the Queen, an ancient melody that may have originated in plainchant long before it was attributed to the English composer and organ-builder John Bull in 1619. Here are ten of the most …