So, an ear of Corn, a karat of Gold and a concerto violin met in a bar...what happened next is probably after the fact when considering the context of this post. I was trying to be very punny...I think I failed.

Anyway, there's a rather interesting story to go with this latest post.

A couple of years ago I was flying somewhere on Air Canada and I listened to their in flight classical music radio program. On the program was the second movement of Barber's Violin Concerto (beautiful!) performed by James Ehnes (a Canadian!) and the Vancouver Symphony.

I loved it and listened to the program again and again just to hear that one piece. About a year ago I stumbled upon the same recording on Amazon.ca and immediately ordered it. I don't think I've ever heard a violinist with such an amazing, cantabile tone before. He is still my favorite Concert violinist, so far. I almost got a chance to see him live last Summer but couldn't find the transportation.

In addition to the Barber Concerto, the CD featured two other gems as well. One of them was Erich Wolfgang Korngold's Violin Concerto in D Major, Op.35.


first movement

The concerto was composed in 1945 in response to some persuasion from violionist and fellow émigré of Korngold, Bronislaw Huberman. Korngold used the Concerto to honor a fellow mentor from his childhood, Gustav Mahler, by dedicating it to his widow Alma. It was premiered on February 15, 1947 by Jascha Heifetz, with the Saint Louis Symphony Orchestra and conductor Vladimir Golschmann.

It was Heifetz's performance that elevated the Concerto into the standard of today's standard repertoire and the recording and performance of which gained the Concerto it's most wide acclaim. The Concerto is distinct with that of the film music Korngold was vastly associated at the time of composition. Many references to film scores of Korngold are embedded within the Concerto.


second movement

The concerto contains a very lyrical, lush and colorful construct and is seen in its elaborate instrumentation. In addition to the solo violin, Korngold added a piccolo, two flutes, two obeoes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabasson, four horns, two trumpets, three trombones, harp, strings, as well as a colorful percussion section including timpani, symbals, gong, bells, chime, vibraphone, xylophone, and celesta.

The sophisticated musical language of Korngold's classical training is forefront in the composition of the solo violin, whereas the accompaniment and the more lyrical moments of the solo part draw from the "soundscape" you would witness in "at the time" Film music. While Korngold was equally inspired by his own musical abilities, the concerto as noted earlier borrows thematic material from his own movie scores in each of the three movements:


finale

I. Moderato nobile: the magnificent soaring violin solo which opens the concerto is a theme from Another Dawn (1937). Juarez (1939) provided the second theme, and then is expanded and relied upon by the orchestra.

II. Romanze: A solo clarinet introduces the envious principal theme of the movement quoted from Anthony Adverse (1936) and revisited after a contrasting middle section. This section is original and seems to have been composed uniquely for the concerto alone. It is where the concerto discovers its most dramatic moment.

III. Finale: Allegro assai vivace: The finale is the most demanding movement for the soloist and is seen in the very beginning with a staccato jig-like quote. After this we discover the second theme seen in the Prince and the Pauper (1937), of which it was the main motif. The concerto then builds to a virtuoso climax and finishes brilliantly. It mostly employs the form of variation throughout on the principal melody.

One can imagine a sweeping epic or periodical movie with a dazzling love story in between with the great use of orchestra color and unanticipated emotions as film music provides. Naturally the hero/protagonist triumphs by the sheer scope of the third movement and the climactic ending. Maybe he gets the girl? or saves the world? it's often too cloudy to tell, the music could tell so many stories.

About the video:
Hilary Hahn with Kent Nagano; conductor. It's a Californian Orchestra I believe.

...In lieu of me forgetting Friday.

It's been a rather Beethoven-ish time lately.

With the whole theme of Heroicism and fate hovering around many of the posts as of late, not coincidental to the fact it was Easter Weekend. And also with the incredibly long tribute to the "Eroica" Symphony, which I'll admit probably wouldn't have happened had I not written a paper on it previously, the next update for symphonic Friday seems to be obvious.

If not then I shall reveal the mystery. This week we move sequentially to Beethoven's Symphony No.4 in B Flat Major, Op.60. Chronologically speaking within the context of Beethoven's life this was probably a less important work in the fields of orchestral composing but as it is a Beethoven work, it is still ridiculously complex.

The story behind this symphony is in its dedication. A relative of Beethoven's patron, Prince Lichnowsky, Count Franz won Oppersdorff. While visiting Lichnowsky at his summer home, in which Beethoven was residing, Von Oppersdorff met Beethoven and was so wildly amused and intrigued by the Second Symphony of Beethoven in D Major that he offered Beethoven a substantial sum of money to compose a symphony solely dedicated to him.

Therein, the symphony was dedicated to "the Silesian nobleman Count von Oppersdorff." The symphony was completed in 1806.



The first movement opens mysteriously, almost fearful of what lay ahead before courageously exploding into the Allegro Vivace section finishing triumphantly.

The second movement allows us to reflect off the momentous occasion of the first movement whilst silently preparing the audience for the remainder of the symphony.

The Allegro Vivace of the third movement rests in its humorous rhythmic subdivisions and almost anticipation of the orchestra unwinding.

The fourth movement, as with most of Beethoven symphonies is my favorite as a mildly chromatic, witty string section interludes the charismatic brass and a robust coda continued to show Beethoven's maturing compositional style.

The symphony itself probably has the lowest reputation among Beethoven's symphonic works. As is the result with his "even" numbered ones. Robert Schumann once refereed to it as the "slender Greek maiden between two Norse Gods." Upon listening to the symphony it is easy to see that it is far from resembling a "Greek maiden" but the quote finds its reference in that the symphony is sandwiched between the Third (Eroica) and the Fifth symphony, both of which own towering reputations.

It almost seems unfair that such direction is attended towards the Third, Fifth, Seventh and Ninth symphonies. They rank as some of the most profound works Beethoven ever wrote but only tell half the story to his work.

Often overlooked is the Second, the Sixth, "Pastorale," of which contains the most beautiful slow movement out of all the Beethoven symphonies in my opinion. It was my unprecedented favorite until I heard the funeral march in the Eroica. The Eighth Symphony as well has tremendous character. So while examining the Odd numbered symphonies brings many into a great light of the composer that was Beethoven, the shadows aren't truly gone until one recognizes the other four.

A little heartwarming tale to go alone with another serving of brilliant music by Rachmaninoff.

The piece is Prelude No.12 in G-sharp Minor from his Thirteen Preludes, Op.32. It is the pinnacle out of the entire work in my opinion, if not one of the more popular Preludes Rachmaninoff wrote. I wouldn't say it's the most dramatic as the No.10 in B Minor from this work sets quite a precedent as well.



The performer's name is Alex Stobbs. He unfortunately has cystic fibrosis, a genetically-inherited diseases that slowly destroys the lungs and digestive system causing progressive disability. It is one of the most common diseases in younger populations in European nationalities with one in twenty-two people of European descent carriers of one gene for CF, making it the most common genetic disease in these populations.

Taken from Youtube video description:

Alex has a particularly virulent form. Over the years, the disease has attacked his bones and left him partially deaf, especially distressing for a musician.

There is no cure. Without the massive cocktail of drugs pumped into his bloodstream day and night, Alex would not be alive today.

Neither the drugs nor the disease will stop Alex from now taking on the greatest musical challenge of his life: to conduct a performance of Bach's epic choral work, the Magnificat, before an audience of several hundred people in the glorious setting of Eton's 15th century chapel

As Alex explains,

'Music makes me forget about where I am or what state I am in or what's happening to my lungs. Music is my hope. It's everything.'

Overall I would probably need to re-evaluate how I learned the piece and make some minor changes now if I were to play it again. I practiced it the other day and it was obvious I wasn't doing something right.

It was the Polonaise in A Major, Op.40 No.1, commonly known as the "Military" polonaise. A polonaise is slow form of Polish dance written in 3/4 meter and is distinct with its rhythm.



It is also through this rhythm that the A major polonaise also eludes the idea of a full fledged military band herding through town. The piece is ideally separated into five segments that somewhat resemble this.



The opening A segment is heard many times throughout and the distinct middle (C) section in D major are my favorite parts while the B section recurring after the main theme is probably the most challenging in the entire piece.

The C section gives the piece its more lively sense of character which is then contrasted by a various series of trills and a brief interlude of altering parallel major-minor chords build into a recapitulation of the D major section before exiting out into the A theme once more. Chopin then brings back the B section again before finishing as the piece started in A major.



It always pays to watch other videos of other performances as it opens the door to new ideas in approaching the piece. Technically as well as playing it like a Chopin piece, with a distinct array of contrasting emotions. To do it with a rather simplistic piece in terms of rhythm and melody was probably the biggest challenge for myself.

The true effectiveness in this piece lay in the harmony and integrating energy into that perpetual polonaise rhythm.

In truth, when I first heard this piece it wasn't exactly my favorite of Chopin's. Upon learning it I've found a new level of respect for the piece, and what it takes to perform it.

It is amazing what you can achieve with a little bit of teamwork and choreography!

As a pianist, the way in which I perform is always up for debate. Is he enjoying the piece too much and being flashy? Is he being too conservative? The debate is endless.

Whilst the choreography of how you move is a crucial element to the coordination of which you play and adds a whole new dimension to your technique, many like to add extra theatrics on the side. Most of the time it is rather easy to discriminate the differences between feeling the music and showing off.

Even with that however, the temptations are always lingering.

Below is a great video featuring two pianists who attend Yale(?)I believe. Greg Anderson and Elizabeth Roe, the Anderson & Roe Piano Duet! present a very different approach to how it is you choreograph movements on the piano to not only make it easier in which to play but allow the audience to enjoy the performance as well.

The story line subtended in the video is another attractive feature.

Anderson & Roe Piano Duet play "Blue Danube Fantasy"



In the words of Anderson & Roe:

In composing this work, we sought to emphasize the emotions that hide beneath the surface of the typically restrained Viennese Waltz. Note: the narrative is not a representation of reality. Yes, we're really playing the piano, but no, we didn't actually meet over a lost mitten, and no, we're not actually romantic lovers. :-)

Imagine a world where two piano players meet in a setting of love? too cheeky?

Probably, but the performance was excellent!

For Today's Symphonic Friday update I thought I'd go with some historical context. Or at least attempt it.

204 years ago today the Napoleonic code (The French Civil Code) established under Napoleon Bonaparte entered into force and took complete effect.

It was around this period as well, starting late 1803 to early 1804 that Ludwig van Beethoven completed work on his Third Symphony "Eroica" in E-flat Major, op.55 . The first public performance of the work was given in Vienna at the Theatre an der Wien on April 7, 1805 (16 days, 203 years ago!)

Part One


The connections between this Symphony and Bonaparte are historically inseparable. Given the "heroic" context of the name supplied by Beethoven, Eroica, one naturally assumes connections with the hero being that of Napoleon.

Beethoven was at the time he began composing the landmark work, fond of Napoleon and his apparent devotion to the ideas of the French Revolution, within the motto itself of Liberty, Equality and fraternity (brotherhood).

He was also in the midst of a personal vendetta, displeased with his compositional quality up to that point in his life. In reference to this he had just completed his 15th piano sonata in D major and felt it lacked a "compelling figure," though the Op.28 is one of my personal favorites. Physically, Beethoven was on the beginning of a downward spiral as his hearing was going nowhere good quickly. None of these dissonances in his life worked to calm his nerves.

Beethoven retreated to a tiny town outside of Vienna known as Heiligenstadt where here he witnessed a tremendous increase in his compositional productivity. However the reasons for pursuing a retreat in the country never arrived, that was the goal of attempting to stall his deteriorating hearing condition. His anguish continued even further and Beethoven was flirting with the idea of his own mortality. Compelled from this consequence he began to write what was at the time his will and testament, though nobody in his lifetime publically became aware of it. The Heiligenstadt Testament as it became known divulges into the details of his ailing illness and the constant pain and turmoil resulting from this. One reading this document with its fraught and painful script, immediately feels the ultimate despondency that had consumed Beethoven. It is perhaps his most anguished creation not written as music.

It is through what was considered an exorcism of Beethoven's emotional and physical fears brought upon from releasing his feelings in the above testament, Beethoven embarked on his most creative and ambitious segment of his life. The Eroica started it all. For many this is recognized as his "Heroic" stage in his life. It is with this symphony alone that the ideals Beethoven possessed during this stage clearly reveals themselves.

Referring back to Napoleon now it was within Beethoven's own reasoning that the Symphony was to be labeled the "Bonaparte" Symphony as stated earlier, to Bonaparte's apparent connections with the ideals of the French revolution to which Beethoven adherently agreed with. Beethoven always possessed an ambitious mind towards feelings in an almost humanist quality, pursuing elements related to human knowledge and experience.

Part Two


However, once Beethoven discovered that Napoleon had gone far enough as to declare himself Emperor of the French in May of 1804, Beethoven was furious. So much in fact he rushed to the corner where the recently finished manuscript of the symphony lay, scratched out the dedication to Bonaparte with such ferocity the page was destroyed and was forced to be rewritten.

Fired over the discovery of the imperiously short noble, Beethoven spoke violently. "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!"

This is how the Symphony was to be named the "Eroica" symphony. To be more precise in its origin, Sinfonia eroica, composta per festeggiare il sovvenire d'un grand'uomo ("heroic symphony, composed to celebrate the memory of a great man").

The Eroica is so grand for many different reasons, to each which have their own deep explanations. The work is considered the birth of Romanticism in music and quite possibly the finest achievement in symphonic writing, at least until Beethoven's own ninth symphony arrived twenty years later. The Eroica subset the ideal from the radical, a device that created an impression of representing a psychological journey in music writing. This added another dimension to music in society and that appreciation has never faded.

Music was suddenly no longer a means of performance and leisure. It cold now initiate ideas that shifted beliefs and throw away present-day conventions. For a society at the time still complacent with the earlier Classical procedures of Haydn and Mozart, to have the Eroica manifest everything changing in the world so suddenly came as nothing but a shock in the highest order.

The Symphony is also throughly enjoyable and sparked a higher level of intellectual achievement in all of Beethoven's work. He suddenly sought to be more profound, the emotion and drama arising from the funeral march of the second movement are unprecedented and ideally portray Beethoven's newly adopted style.

About the performance videos:
Herbert von Karajan conducts the Berlin Philharmonic Orchestra (I believe, it doesn't really clarify the orchestra performing)

Etude-Tableau Op.39, No.5 in E-flat Minor



Performed by Finnish pianist Jussi-Pekka Heikkilä

It's Sweeping feel of Majestic "Heroicism" is marked with the appasionato instruction of this piece. It builds dramatically, scales every possible unknown before simply fading away into the mystical aura it created.

One cannot help but feel an inner battle for supremacy of feelings when listening or performing this massive work.

Perhaps that is where my brain will be heading as I continue working on an eight page essay on Beethoven for my class tomorrow at 1:00.

So far, three pages down and the only thing standing in my way is writer's block.

I was talking with a friend in Germany earlier today and he mentioned something about going stargazing later on with his girlfriend and noted that it was a particularly good time of year to spot Jupiter. He never said why, or gave any clarified scientific reasons, I often try not to divulge that from him frequently, but it got me in a rather Holst-ish mood.

So below is "Jupiter, the bringer of jollity!!" (go figure) the central movement and my favorite from Gustav Holst's Planet Suite, Op.32



Everyone talks about Mars being so amazing, despite its strong rhythmic motivation I just don't like that particular movement too much. Jupiter kind of acts like the pinnacle of the entire suite, and could stand on its own if performed separately.

There is also speculation abound that the first four movements act as a device forming a four movement symphony. It would make sense in that method as the Suite starts with Mars, progressing through the serene Venus: bringer of peace, and Mercury: the winged messenger mimicking the Minuet before finding itself a finale in Jupiter.

Even more surprising is that after the momentous occasion of Jupiter has passed, the suite dives into three very diverse movements in Saturn, Uranus and Neptune. They all possess mystic qualities not seen in the first four movements. It is almost as if Holst wrote two symphonies and placed them together to create the suite. The same form with the opening three is seen in a way with the final three movements.

Saturn is very heavy, plodding and epic running parallel to Mars in several compositional traits. Uranus is possibly the most "vulgar" and "eccentric" out of all the planets, rather suiting since the movement comes tagged as Uranus, "the magician." The suite then appears to resolve from the adventure on Uranus into a mystic, unknown being with the tranquil and sublime Neptune movement.

The entire suite is a very unique composition, in which the influences of Stravinsky are profound. It is his most popular work by most standards, though Holst insists it is not his best, and as such distracts from the rest of his work.

"Grant them Eternal Rest"



An indescribable musical moment, among many from quite possibly "The most powerful piece of music ever composed by man." --unknown

Mozart's Requiem in D minor, KV.626

As a dire Beethoven advocate, I put all this aside in recognition of this masterpiece of Mozart. The Requiem is a true testament to the understanding of mortality and the anguish and desperation examined throughout.

It is believed that even though the piece was commissioned by a man known as Count Walsegg-Stuppach wishing to pass it off as his own composition for the memory of his deceased wife, Mozart wrote what he could of the Requiem in recognition of his own impending death. Also seen I believe with Chopin in the writing of the "funeral march" movement to his second piano sonata.

I myself was privileged this past evening to have performed this tremendous work. In collaboration with the Choir I'm in, another one from the University and the Lethbridge Symphony Orchestra it was an amazing show I felt. The church we were in possesses such amazing acoustics and the piece just lived off the walls. A wondrous sound was achieved.

The video above is of the Agnus Dei from the Mass. An overwhelming source of hope from a mass tormented with anguish and dissent. In addition to the Lacrymosa movement, this was my favorite. The moments at 1:50 and 1:08 are so beautiful. The latter of the two drew tears every time we hit the chord on "peccata," the body can only retain such warm harmony before equilibrium is hit.

I should only be so lucky to be able to perform it again in my lifetime. Enjoy the videos below of more of the mass. I've highlighted the text underneath the video of more of those "musical moments."

Offertorium, "Domine Jesu Christi," & "Hostias"



"Quam olim Abrahae promisisti, et semini ejus"
Let the standard-bearer Holy Michael, bring them into the holy light

Sequencz "Nr.5 Confutatis"



"voca me cum benedictus, Oro supplex et acclinis"
call me among the blessed, I kneel with a submissive heart

You be the judge.

I wonder if Mozart was responsible for Beethoven's belief in seeing his purpose in life by God was to construct beauty with every note? Beethoven was inspired by Mozart in several ways, perhaps it is from Amadeus that Ludwig adopted his destiny.

"cuncta stricte discussurus!"
all things examined closely

Well we didn't actually cover Vivaldi today in my Music History class, but it's nearing I can feel it. It's also probably because I'm retaking the course so I already know the basic outline of the material and know he should be coming up...or that was the one I missed and we've already talked about him...

Either way, he was a great composer and musician. Today I've decided to feature one of his concertos written among a group known as L'estro Armonico, Op.3. It is perhaps the work that allowed Europe to recognize Vivaldi's inherent genius and hisreputation among composers was born. One even quoted the Op.3 Concertos as Vivaldi's most Celebrated Concertos

The name L'estro Armonico, figures into several different translations, but the one I find relatively suitable is "The Harmonic Fantasy." Though really, it's rather difficult naming compositions unless the name truly befits the reputation it creates.

In total there were 12 concertos Vivaldi wrote varying for 1-4 solo violinists with strings and a continuo accompaniment.


The First Movement

The Second Movement

the Third Movement


The Concerto I have featured is my personal favorite out of all them, and that is E Major #12 concerto, RV. 265. It's harmonies are brilliant and the ornamentation provided by the soloist are supreme. Plus the work itself possesses a vitality that is easily seen in the up tempo allegro of the third movement. The harmonic progression in that movement is perhaps what drew me.


Off to class I go. Time to sing Brahms, it would work if I was a singer or had a somewhat appreciative voice.

In Spirit of it being Wednesday and having so much to do this upcoming weekend, a piece by Stravinsky seems to be the best way of coping at the moment. Normally Stravinsky isn't a composer I'd listen to when trying to "mellow" out, but this piece in particular achieves that status.

The Firebird originally was composed in 1910 as Ballet. Stravinsky later set the parts for orchestra in concert performance. There are three arrangements, one done in 1911, 1919 and a later one in 1945. Whilst the 1919 one is probably the most widespread and adhered to when listening, the 1945 one perhaps contains the most content from the original ballet.

It is a rather ambitious piece. One of my professors at University remarked on the difficulties of the suite, including its complex rhythms and elided harmony and overall intensity it requires to perform. Nonetheless it is a remarkable work.

The video I have attached below is more so for the music itself than what is provided by Disney in terms of visual accompaniment. The segment was the the Finale (suiting) to Fantasia 2000, a movie I saw a couple of weeks ago and loved. It provides a little controversy as many argue the visual representation accompanying the music isn't what Stravinsky had originally intended the piece to portray. The aforementioned topic was also up for dispute in the original Fantasia back in 1940 which contained the "Rite of Spring" ballet Stravinsky wrote, and it was set to the theory of evolution (though we all know it as the "dinosaur" segment).

But in comparison to artists, how often do the intent of our works portray itself in the eyes of the audience? Nonetheless, enjoy the video.



I've also found a nifty solo piano arrangement for it. The one below is of the Finale but the rest of the suite is also available. I'm always cautious of orchestral arrangements for any instrument as it loses the real sense of the piece. Elements like sound color, tone and intensity are often hard duplicated by a piano when it's mimicking an orchestra, but the performer plays it well.



I was originally going to save this for Friday, for the symphonic update but I figured I'd save that for a Tchaikovsky piece I've adored for awhile.

A little Brahms to kick off the Weekend is always a good thing. Perhaps it will even inspire myself a little to work on my two papers coming up.

I thought I'd try and start something here by featuring some orchestral work on every Friday. As most of the focus in the previous posts has been on piano music, this blog in general is for the love of "music," and with it comes other forms, obviously.

I thought I'd start with Brahms mostly because it was his third symphony I was listening too when I decided to post. But also, why not start off strongly with a Romantic great?

Brahms' Symphony No.3 in F Major, Op.90 was written in the summer of 1883 at Wiesbaden coming nearly six years after the completion of the second symphony. This was a period of great intellectual and emotional clarity for Brahms as some of his greatest works came within that span. Among them, the Violin Concerto and the mammoth Second Piano Concerto.

It was premiered in Vienna on December 2, 1883 with the Vienna Philharmonic Orchestra under direction of Hans Richter, who had been bold enough as to proclaim the symphony as Brahms own"Eroica.

In examining some subtle irony here, Beethoven's "Eroica" Symphony was also the third one he composed. Beethoven's third was considered by many the birth of Romanticism in music and with such emotional intensity found within its composition, the connections to Brahms' third are overwhelmingly simple.

The symphony itself is perhaps Brahms most elusive and daring. It modulates adventurously in the first movement and contains a strong connection in establishing thematic inter-relationships between voices, a trend borrowed from Schumann nonetheless. Whilst many label the symphony as dark and dramatic, it is not without its sublime, more heavenly moments as heard in the introduction of the andante second movement. Hans Zimmer must have loved this movement as I hear several flashbacks to the "Lion King." You can watch the second movement here. There's a great write up about it in the description

It wouldn't be me if I didn't include the finale movement as well. I find it is the most emotionally troublesome and dramatic of the symphony. A tumultuous tumble beginning in F minor, seeking its way through so much adversity before resolving in the much anticipated F Major, where the symphony ends. The coda is rather subdued, which is particularly unusual for Brahms but much like Beethoven, so much turmoil and dissent needs to be properly resolved. The Finale simply fading away makes it perfect in my mind, it' like watching the clouds fade away and the sky brightening up after a huge storm. You can watch the fourth movement here

The Best Recording I have heard of this symphony in my young life is of the BRT Philharmonic Orchestra in Brussel with Alexander Rahbari. However Karl Bohm, the conductor in the two videos brings a vitality to the second movement unscaled by the Rahbari recording.

Now to go think about how I can follow up Brahms next Friday...

I've been a little obsessed with Rachmaninoff as of late.

I swear I've listened to the second movement from the 2nd Piano Concerto enough times now I can probably hum the entire melody by heart. There's also about a 12 second fragment from the ending to the first movement with a melody in the cello that is so gut-wrenchingly beautiful.

It's a healthy obsession, I swear. Listening to so many beautiful works has to be good for you in some form or other. Of course looking at the previous post on the Op.23, No.5 g-minor etude would also identify my obsession this week. It was a rather contrasting etude in respect to the others he wrote. So many of Rachmaninoff's etudes were guided by enchanting, near haunting melodies whereas the g-minor eluded from that form of melodic guidance by engaging us with its rhythmic vitality.

But not to be outdone by Rachmaninoff in the composition of the "etude" was Chopin. In fact, I was at a masterclass today for a good friend and one of her colleagues performed the Chopin etude in A-flat major Op.25, no.1, also known as the "Aeolian Harp" etude.



From the moment it begins you can immediately tell why it was tagged the "Aeolian Harp," by Robert Schumman nonetheless, who also commented on its "fantastic" arpeggios and a "wondrous" melody hidden within such grand embellishment. It is a truly challenging piece of work, requiring excellent wrist dexterity, quality for good tone and even balance through those enduring arpeggios.

A little on the performer, his name is Jonathan Cambry. He's studying at the Roosevelt Univ-Chicago College of Performing Arts in Chicago and he's been playing since he was 3 years old. That's all I really know about him, as it's all that I got from his YouTube channel.He unlike me, has uploaded videos of his playing, and it's incredible. His video of Chopin's Scherzo No.1, awesome!

Another work requiring a similar level of virtuosity, mind you most of Chopin's work requires it, is the Op.10, No.8 etude, commonly known as the "Ribbon," or "Sunshine" etude. Unlike the "Harp" etude, the Op.10, No.8 contains two very dissimilar ideas working together. The first is seen in the fluid movement of the right hand, which reaches a level of near kaleidoscopic proportions. The second is seen with the rather rhythmical and lyrical presence from the left hand. Together it blends perfectly, flowing together like a piece of ribbon in the wind or ray of sunshine, hence the nicknames.



The second etude in the video is the Op.10, No.5 "Black key"etude. With the exception of one note which is an F, the entirety of the piece is played on black notes. And of course I forgot to mention the magnificent Krystian Zimmerman is performing both of them.

They're all truly remarkable, and like all Chopin works, require that level of technical proficiency that will instantly allow anyone to understand what is happening. I might have chosen the wrong composer to idolize! I only say that when I'm learning one of his works.

Until then, back to Rachmaninoff's No.2 Concerto for awhile!

In a way, a piece from a favorite to describe the mood of latter post, possibly my mood for the day!!

Rachmaninoff Prelude in G minor, Op.23, No.5, performed by Richter.

It's haunting rhythms will always stifle those outer senses in my spine!