The Well-Tempered Ear
Today is Veterans Day. Here is some appropriate music by Beethoven to mark it. Can you guess which piece? What composer or music would you choose?
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By Jacob Stockinger
Today – Wednesday, Nov. 11, 2020 – is Veterans Day.
It started out as Armistice Day in 1918 when the end of World War I was declared to take place on the 11th hour of the 11th day of the 11th month.
It is a day to mark the service of all veterans – not just those who died in the line of duty, as is celebrated on Memorial Day.
You can find a lot of choice of classical music to play for Veterans Day. Here is one link to a compilation that features patriotic songs and marches: https://www.youtube.com/watch?v=BJepYzH1VUY
But The Ear settled on Beethoven (below, in an 1815 portrait by Joseph Willebrord Maehler).
Can you guess which piece?
It is not the memorable funeral marches on the Piano Sonata in A-Flat, Op. 26, or the Symphony No. 3 “Eroica.”
It is also not the “Sacred Hymn of Thanksgiving” in the String Quartet, Op. 132.
And it is not “Wellington’s Victory” or the “Egmont” Overture or the Piano Concerto No. 5 “Emperor” with its triumphant fast movements.
Instead it is the second movement of the Symphony No. 7 in A Major, Op. 92. (You can hear it see it represented graphically in the YouTube video at the bottom.)
That is the very well known Allegretto movement with its repetitious and almost hypnotizing, soaring theme. It seems like a funeral march, full of introspection, poignancy and sadness, that is a bit brisker and more lyrical than usual.
It is so popular, in fact, that it has been used as a soundtrack in many movies, including “The King’s Speech” and has inspired works based on it including the “Fantasia on an Ostinato” by the contemporary American composer John Corigliano.
If it seems an unexpected choice, you just need to know more about its history.
It was composed 1811-1812, and Beethoven correctly considered it one of his finest works. So did Richard Wagner who famously described as the “apotheosis of the dance” for the infectious rhythms throughout the symphony.
At its premiere in Vienna, in his introductory remarks Beethoven said: “We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us.”
Beethoven (below, in 1815 as depicted in a paining the Joseph Willibrord Maehler) premiered the symphony at a charity concert in 1813 to help raise money for the Austrian and Bavarian soldiers who had been wounded at the Battle of Hanau while fighting against France during the Napoleonic Wars.
It was so popular with the first performance that the audience demanded and received an immediate encore performance of the second movement.
Here is a Wikipedia link to the history of the symphony: https://en.wikipedia.org/wiki/Symphony_No._7_(Beethoven)
To this day, the Seventh Symphony, so charged with energy, remains for many people, conductors and orchestral players their favorite Beethoven symphony.
It is ironic that Leonard Bernstein (below, in a photo by Paul de Hueck) performed the Seventh Symphony at the last concert he ever conducted – at the Tanglewood Festival in August 1990. He took the second movement at a slower-than-usual tempo and many have criticized Bernstein, who was in terrible health, and have suggested that he was using it as a funeral march or homage for himself.
They may be right. But in retrospect the choice of Bernstein – who died two months later — finds a certain justification in the original motive for the entire symphony and especially the second movement.
Listen for yourself.
Then tell us what you think.
Does this movement justify it being played on Veterans Day?
What music would you choose to mark the day?
What do you think of the Symphony No. 7 in general and the second movement in particular?
The Ear wants to hear.
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Classical music: On Saturday night and Sunday afternoon, the Madison Bach Musicians explore the miracle of Mozart across his lifetime and across different genres
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By Jacob Stockinger
The Madison Bach Musicians concludes its 15th season on this coming Saturday night, April 6, at 8 p.m. and Sunday afternoon, April 7, at 3:30 p.m. with The Mozart Miracle .
The program features performances of beloved music by Wolfgang Amadeus Mozart (1756-1791, below) with an all period-instrument chamber orchestra in the magnificent acoustic setting of the First Congregational United Church of Christ (below), 1609 University Avenue, near Camp Randall Stadium.
Period-instrument specialists hailing from Madison, Milwaukee, Chicago, Omaha, Seattle, Philadelphia and New York City will perform on natural or valveless horns, classical oboes, gut-strung violins, violas, cellos and a double bass played with 18th-century transitional bows.
Early music specialist and bassoon professor Marc Vallon (below to, in a photo by James Gill) of UW-Madison Mead Witter School of Music will lead the orchestra (below bottom, in a performance last year at the First Unitarian Society of Madison).
Internationally acclaimed soprano Ariadne Lih (below), from Montreal, Canada, will join the ensemble for Exsultate Jubilate — a ringing example of how Mozart could seamlessly fuse religious zeal with vocal pyrotechnics. (You can hear Renée Fleming sing “Exsultate Jubilate” in the YouTube video at the bottom.)
The program also features dance sequences, choreographed by Karen McShane Hellenbrand (below) of the UW-Madison, from Mozart’s ballet Les Petits Riens (The Little Nothings).
Also included are pre-concert lectures: On Saturday, April 6, at 7:15 p.m. there is a lecture by MBM artistic director Trevor Stephenson with an 8 p.m. concert . On Sunday, April 7, his lecture is at 2:45 p.m. with the concert at 3:30 p.m.
Advance-sale discounted tickets are $35 for general admission.
Tickets are available at Orange Tree Imports and Willy Street Coop (East and West). You can also buy advance tickets online at www.madisonbachmusicians.org
Tickets at the door are: $38 general for adults, $35 for seniors 65-plus, and student rush for $10, on sale 30 minutes before lecture.
MBM artistic director Stephenson (below) sent the following remarks to The Ear:
Here are two fantastic quotations about Mozart:
“Together with the puzzle he gives you the solution.” Ferrucio Busoni on Mozart
“It may be that when the angels go about their task of praising God, they play only Bach. I am sure, however, that when they are together as a family, they play Mozart…” Karl Barth
Both quotes underline, I believe, Mozart’s charismatic generosity of spirit, his sense of play and camaraderie. We’re all in this together! Mozart’s music is a perfect fusion of melodic inspiration — tunes so good they can stay in your head for joyous weeks at a time, or even a lifetime — and structural clarity.
His sense of proportion — when to display 18th-century balance and when to step outside the frame — is uncanny and always a delight. And for me, as a five-year-old-boy, dancing about the living room to the old LP vinyl — dancing lightly, though, so the record wouldn’t skip — it was Mozart’s boundless energy and joy, pouring out of the speakers, that really revved me up.
The Madison Bach Musicians program on this coming Saturday and Sunday will explore several sides of Mozart’s genius: master orchestrator and symphonist; aficionado of fugues; virtuoso keyboard player and mesmerizing improviser; ballet composer; and the greatest fashioner of material for the soprano voice.
MBM has assembled a Classical-period chamber orchestra, replete with gut strings and transitional bows, natural horns, and classical oboes. To this we’ll add: a fortepiano — the type of instrument Mozart toured with; an elegant dancer — for dance was an integral part of 18th-century living; and a magnificent soprano — Mozart was virtually besotted with the magic of the high female voice, and he wrote for it throughout his life with imagination and a sense of thrilling experiment that has never been equaled before or since.
Here is a bit about each selection:
Symphony No. 1 in E-flat major – Composed 1764 when Mozart was just eight years old (below), during an extended stay in London with his father Leopold and sister Nannerl. Strongly influenced by the symphonies of C. F. Abel and J. C. Bach (The London Bach, youngest son of Johann Sebastian).
Symphony No. 29 in A major – Composed 1774 when Mozart was 18 years old (below). It is often considered the pinnacle of his early symphonic writing.
Exsultate Jubilate for soprano and orchestra – Written 1773 in Milan for the castrato, or male soprano, Venanzio Rauzzini, it is an elegant fusion of rapturous melodies and vocal display.
Adagio & Fugue in C minor for strings – Composed in 1788, certainly the latest Mozart work on the program when the composer was 32. Mozart had by this time — largely through the Sunday soirees at Baron van Swieten’s—been studying Bach’s fugues closely for several years. This fugue is an arrangement of a work for two fortepianos, K. 426, which Mozart had composed five years earlier in 1783. Mozart added the opening Adagio for the strings version.
Fantasy in D minor for fortepiano – Mozart improvised frequently as part of both private and public performance. This Fantasy, with its dark distinctive opening which explores the fantastical low register of the fortepiano, may give us a good idea of what Mozart might have done one night just sitting down to “jam” for his friends.
Two French Songs for soprano and fortepiano — Birds follow the warm weather, so they never cease their courtship. And in the woods one day the protagonist foolishly rouses a sleeping Cupid — and pays a terrible price.
Ballet excerpts from Les Petit Riens – literally The Little Nothings. Mozart composed most, but not all, of this ballet in Paris 1778 for Jean-Georges Noverre, ballet master of the Paris Opera. The work served as an interlude to an opera by Niccolo Piccinni that closed after just four performances.
For more information, go to: www.madisonbachmusicians.org
Tags: #AriadneLih, #ArtisticDirector, #BalletMusic, #BaronvanSwieten, #BBCProms, #BlogPost, #BlogPosting, #CampRandallStadium, #ChamberOrchestra, #ChicagoIllinois, #ChristianChurch, #ChristianReligion, #Classicalera, #CriticallyAcclaimed, #ExsultateJubilate, #FacebookPost, #FacebookPosting, #FerruccioBusoni, #FirstCongregationalUnitedChurchofChrist, #FirstUnitarianSocietyofMadison, #FrenchSong, #HistoricallyInformedPerformancePractices, #JesusChrist, #JohannChristophBach, #JohannSebastianBach, #KarlBarth, #LeopoldMozart, #LondonEngland, #MadisonBach Musicians, #MaleSoprano, #MarcVallon, #MeadWitterSchoolofMusic, #MelodicMusic, #MilanItaly, #MilwaukeeWisconsin, #MontrealCanada, #MusicalExcerpt, #NannerlMozart, #NewYorkCity, #NiccoloPiccinni, #OboeMusic, #OmahaNebraska, #OperaMusic, #OrangeTreeImports, #ParisFrance, #ParisOpera, #PeriodInstruments, #PhiladelphiaPennsylvania, #RenéeFleming, #SeattleWashington, #SeniorCitizen, #SopranoSinger, #TheLondonBach, #TrevorStephenson, #UniversityofWisconsin-Madison, #VocalMusic, #WillyStreetCoopEast, #WillyStreetCoopWest, #WolfgangAmadeusMozart, 18th century, acoustic, adult, angels, Ariadne Lih, Artistic director, Arts, Bach, balance, ballet, ballet music, Baron van Swieten, Baroque, basson, BBC Proms, bird, birds, blog, bow, bows, boy, Busoni, C.F. Abel, camaraderie, Camp Randall Stadium, Canada, castrato, Cello, Chamber music, chamber orchestra, charisma, Chicago, Christ, church, clarity, Classical, Classical music, closed, compose, composer, conductor, counterpoint, courtship, critically acclaimed, cupid, dance, dancer, dark, delight, discount, display, door, double bass, Early music, energy, era, excerpt, experiment, Exsultate Jubilate, Facebook, Family, fantasy, father, Ferruccio Busoni, First Congregational United Church of Christ, First Unitarian Society of Madison, fortepiano, French, fugue, fusion, generosity, genius, God, gut, head, historically informed performance practices, horns, imagination, improvisation, improviser, interlude, international, Jacob Stockinger, jam, Jesus, Johann Christoph Bach, Johann Sebastian Bach, Joy, Karl Barth, Keyboard, lecture, Leopold Mozart, lifetime, London, LP, Madison, Madison Bach Musicians, Marc Vallon, Mead Witter School of Music, melody, Milan, Milwaukee, miracle, Montreal, Mozart, Music, natural, New York City, Niccolo Piccinni, Nonnerl Mozart, Oboe, Omaha, online, opera, Orange Tree Imports, Orchestra, orchestrator, Paris, Paris Opera, period instruments, Philadelphia, play, player, price, private, professor, Proms, proportion, protagonist, public, pyrotechnics, quotation, quote, rapture, Religion, religious, Renée Fleming, ringing, Saturday, Seattle, senior citizen, sense, sequence, setting, sing, singer, sister, soprano, speaker, specialist, spirit, strings, structure, Student, Sunday, symphony, terrible, The London Bach, thrill, thrilling, ticket, transitional, Trevor Stephenson, tune, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW-Madison, valveless, vinyl, Viola, Violin, virtuoso, vocal, vocal music, voice, weeks, Willy Street Coop East, Willy Street Coop West, Wisconsin, Wolfgang Amadeus Mozart, Woods, YouTube, zeal
Classical music: What composers and what pieces give you shelter and sanctuary during troubled times?
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By Jacob Stockinger
A week ago, The Ear went to the inspired all-Mozart program given by the University of Wisconsin-Madison’s Pro Arte Quartet with guest cellist Jean-Michel Fonteneau (below center) and guest clarinetist Alicia Lee (below right), who was making her debut as a new UW faculty member.
He expected a fine performance and he was not disappointed. Indeed, he shares the same very positive reactions that critic John W. Barker expressed in his review for this blog. Here is a link to that review:
But something else happened too.
The sublime music of Mozart (below) – especially the Larghetto slow second movement of the late Clarinet Quintet, K. 581, but also the other movements and the String Quartet in G Major, K. 387 -– took The Ear into another world, into a parenthesis in time.
(You can hear a live performance in Japan by Yo-Yo Ma and others in the Larghetto movement, plus the rest of the Clarinet Quintet, in the YouTube video at the bottom.)
For a brief time – perhaps a total of about 80 or 90 minutes – The Ear was totally transported. He temporarily blocked out the political strife in Washington, D.C. and the Trump White House; the government turmoil here in Madison and around the world; and the terrible, deadly natural disasters of floods, hurricanes and wildfires in the U.S. and elsewhere around the globe.
He just let the transcendent music and the performances wash over him, refreshing him with their beauty before he reemerged onto the street and into the painful reality of current events after the concert ended.
So The Ear offers a deeply felt thank you to the performers for planning and playing such a timely and therapeutic program. He needed that more than he knew. And he hopes more such concerts are in store. The times demand such balm, not as escapism but as a reminder of great good things that endure.
So here is The Ear’s question: What other composers and what other pieces or works do you find offer the same kind of sanctuary or shelter?
Leave a COMMENT with a link to a performance on YouTube if possible.
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The Well-Tempered Ear 