Astor Piazzolla was an amazingly prolific composer who technically only wrote one type of music – the tango. I say technically, because this student of Ginastera and Nadia Boulanger took the form farther than anyone else before or since, developing it into a pliable frame for his complex musical ideas.
This new recording from Naxos features some of Piazzolla’s better-known works, arranged for brass quintet, percussion, and (for some pieces) violin. Reimagining Piazolla’s compositions with this decidedly classical contemporary mix of instruments offers new insights into the music.
I wouldn’t recommend this disc as someone’s introduction to Piazzolla’s music, but for those already familiar with his output, it should be a welcome addition to their collection.
The disc features “Las 4 Estaciones Portenas,” Piazzolla’s take on Vivaldi’s “Four Seasons.” The solo violin serves up most of the Vivaldi quotes, while the brass ensemble primarily play Piazzolla’s additions. The contrasting timbres make this well-known work sound fresh.
Also included are Piazzolla’s most popular work, “Oblivion” and the three tangos he wrote for Amelita Boltar.
The Quintetto di Ottoni e Percussion della Toscana plays with tightly-wound precision. Percussionist Roberto Bichi nicely balances his performance between a popular music style (suitable for the tango’s origins), and a controlled, yet expressive playing of a classically-trained musician.
I’ve heard some Piazzolla recordings that make pleasant background music. This isn’t one of them. The brass bring an immediacy to the music that cannot be ignored. And that’s a good thing. Piazzolla imbued his compositions with the passion and fire that was always part of the tango. This recording brings a new perspective to the music while remaining true to that vision.
This new release from Ondine is actually two historical musical documents in one. The first CD is a recording of the 50th Anniversary Concert held at the Kennedy Center with the National Symphony Orchestra lead by Christoph Eschenbach. This January, 2011 event took place 50 years after the January 19, 1961 Inaugural Concert for the president-elect, John F. Kennedy. The second disc has some excerpts from that historic concert.
The centerpiece of the 2011 concert is a newly-commissioned work by Peter Lieberson, "Remembering JFK, an American Elegy." Modeled along the lines of Copland's "Lincoln Portrait," the music blends quotations from JFK's speeches along with orchestral accompaniment that sets the tone for the words. It's an interesting work that sounds distinctively American, without being either crassly patriotic nor excessively maudlin. Richard Dreyfuss narrates with gravity and conviction. I'm used to hearing Kennedy's New England delivery, so I found Dreyfuss sounding a little too nasal for my taste. But that's just me.
The concert includes Leonard Bernstein's "Symphonic Dances from 'West Side Story," and his "Fanfare for the Inauguration of John F. Kennedy." The orchestra delivers effective performances of both these works.
The concluding work is Gershwin's "Concerto in F" with pianist Tzimon Barto. Barto plays with fire and conviction, but leans more towards a classical rather than a jazz-inflected performance. The Concerto has never enjoyed the popularity of the "Rhapsody in Blue," and the serious-minded interpretation it receives here may be part of the reason why. That's not to say Eschenbach and the NSO don't do the work justice, it's just that this is a very good -- rather than great -- performance.
The second disc features some commentary and performances from the 1961 Inaugural Concert held in Constitution Hall. Washington was paralyzed by a blizzard, and many of the guests (and performers) had difficulty making it to the concert. Even the President-Elect and First Lady had to walk to the event!
Color commentary from the Mutual Radio Network broadcast is included, and for me, that alone is worth the price of admission! Tony Martin, Bill Evanson, and Dorice Bell were professionals trained in a style of announcing that's now long out of fashion. Despite the chaotic nature of the concert that was somewhat improvised due to the weather, they remain unflappable, brilliantly describing the scene in clear, well-articulated sentences with every syllable rolling effortlessly and beautifully off their tongues.
And the music's a treat, too. Included is John La Montaine's work "From Sea to Shining Sea," commissioned for the event. Maestro Howard Mitchell and members of the National Symphony Orchestra (I don't think all the performers ever made it to the event)do a fine job with this pleasant occasional work.
Also included is part of Randall Thompson's "Testament of Freedom" a choral setting of Thomas Jefferson's writings, played with the composer in the audience! The work was to have been performed by the combined male choirs of the predominantly white Georgetown University Glee Club and the black Howard University Choir. A heavily symbolic performance that would have presaged an important stance of the new administration.
Unfortunately, the Howard choir was stuck in the snow, and so the work was only performed with the Georgetown U. Glee Club. The Glee Club sounds a little anemic -- those Howard voices were sorely missed. With the two choirs, I think the music would have had a greater impact. Still, the work's inclusion makes a nice compliment to disc one's "Remembering JFK."
The CD concludes with Earl Wild performing Gershwin's "Rhapsody in Blue." It's an interesting contrast to disc one's "Concerto in F." I don't know if Earl Wild is a necessarily a better technician than Tzimon Barto, but the music just seems to flow from his fingers. Wild captures the improvisatory nature of Gershwin's music, and manages to make this well-know work sound as if he's making it up on the spot. And the enthusiastic response by the audience confirms that this was indeed, a great performance.
Overall, "Remembering JFK" is a treasure. The commissioned works are welcome additions to the repertoire, the 2011 concert is immensely enjoyable, and the 1961 concert recording is a wonderful historical document to a truly exciting musical event.
"Wachut Auf" by Bach. At least
that's what we call it.
The nomenclature of classical music is seen by some as a barrier to entry into the field. Some believe (both inside and out of the field) that if you're not quite sure what "Concerto for flatiron in H-flat, Op. 999a" means, then, perhaps you're not smart enough to listen to it.
Well, yes you are. In parts one and two I explained the basics behind the naming of instrumental works. Since they usually just have a generic name, some type of numbering is necessary to tell them apart.
But what about vocal music? After all, songs in popular music all have unique titles. That's true. And those titles usually come from one of two places: either a key word or phrase from the chorus of the song, or an evocative title assigned by the composer(s).
Begin at the beginning, so none may sleep
Classical music works a little differently. Like instrumental music, most vocal and choral works originally didn't have assigned titles. So the practice evolved of referring to them by the first line or phrase of the text.
That's why Puccini's popular aria from "Turandot" is called Nessun Dorma. The phrase ("None May Sleep") is a repeat of the decree Princess Turandot has issued, that none may sleep until the name of the Prince has been discovered. The Prince echoes the call, which then leads into his aria of love. But since the first words he sings are "Nessun dorma," that's what the aria's called.
The same holds true with arias from oratorios and cantatas. "Are We Like Sheep" is a famous chorus from Handel's "Messiah." Ditto the "Hallelujah" Chorus -- so called because that's the first word sung.
And the pattern holds for unnamed larger vocal and choral works as well. Bach's cantatas all take their titles from the first line of text. "Wachet Auf" is the first line of his Cantata No. 140. Want to sing the second aria from that work? Then you're talking about Mein Freund ist mein!.
A Sense of Entitlement
Works can have titles assigned, of course. Most operas take their titles from the lead character, or the plot. And if a poem is set to music, the title of the poem usually becomes the title of the musical work as well. Schubert's lieder mostly follow this pattern, as do Schumann's.
Missa No Understand, Obi-Wan
Reciting titles for medieval and renaissance masses can make one sound like Jar-Jar Binks, but there's a reason for that nomenclature as well. The Roman Catholic worship service is known as a mass, or missa in Latin.
From about 1100 to 1600, it was very important to have liturgical music tied to tradition. So much so that composers usually uses an existing Gregorian chant as the basis for their composition. As time went on, other types of music were incorporated, including some secular (and in some cases pretty dirty) songs.
Titles for these masses always referred to the root melody the composition was based on. So the Missa L'Homme Armee is a mass based on the popular song "The Armed Man." Actually, several renaissance composers have a Missa L'Homme Armee in their catalog.
It's like the French have a different word for everything! - Steve Martin
The important thing to remember is that classical music has been composed for over a millenia in virtually every country in Europe, as well as most of the Americas, (and a few other places besides). Titles almost always come from the language of the text. So that's why you have German, Italian, French, and even Latin titles for works.
So the titles of these works isn't meant to obscure, but to provide additional clarity. You might not know what Christ Lag in Todesbanden (Bach's Cantata No. 4) means, but you at least you know it's a German work.
What next?
There are many other ways classical works are named. If any are puzzling you, just leave me a note in the comments field. I'll be happy to research your question and supply an answer. Classical names shouldn't be a barrier to the enjoyment of the music. It doesn't really matter what a work is called, just how it calls to you.
