Tone Poem Tuesday

When in doubt, there are always Mozart and Beethoven.

In 1822 Karl Friedrich Hensler, a Vienna dramatist and theater manager, was opening a rebuilt venue called the Theater in der Josefstadt, which still stands and is apparently now the oldest operating theater in Vienna. For the theater’s reopening, Hensler commissioned a work by Ludwig van Beethoven. The great composer had recently been studying the music of Bach and Handel, and with those sorts of Baroque fugues and sounds in his heart, he displayed their influence in this wonderful concert overture. It’s hard not to listen to the fanfare passage a few minutes in, with its accompanying runs in the bassoons, and not think of things like Handel’s Music for the Royal Fireworks. But shortly after we’re right back in the 19th century, with Beethoven’s characteristic sense of forward motion. It’s a fine, fine piece, and how fitting that a theater which had this work performed at its opening almost two hundred years ago is still operating today.

Here is Beethoven’s Consecration of the House.

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Tone Poem Tuesday

Jean Sibelius is a composer with whom I am in constant need of discovery. His work is sometimes warm and melodic and fully Romantic, but other times there is an austerity to his music, a certain emotional coolness and introspection that is sometimes difficult to get a handle on. Sibelius seems to be fond of repetition of sounds and musical figures, which can create a dreamy quality in his music. This is an example of the latter voice of Sibelius: no Finlandia-esque fireworks are on display here, just a sense of meditative motion as Sibelius musically describes (or so he says) a carriage ride in the darkness, followed by the arrival of sunrise.

Here is Jean Sibelius’s Night Ride and Sunrise.

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Tone Poem Tuesday

Want to listen to one of the great orchestral showpieces of all time? Sure you do! Here’s Rimsky-Korsakov’s Cariccio Espagnol. And you can’t go wrong with the New York Philharmonic conducted by Leonard Bernstein.

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Tone Poem Tuesday

Here’s something interesting, not for how good it is but rather how good it isn’t. This concert overture, creatively titled by its composer “Concert Overture #1,” is a student work that makes for a nice and pleasant listen, but that’s about it. There’s no hint at all here of greatness to come from the composer, none of deeper musical thought at work. If this piece represented the height of its composer’s powers, that composer would be a forgotten name today.

However, this particular composer turned out to be a bit of a late-bloomer, and by the time his true abilities actually did manifest themselves, this composer ended up not only being one of the immortal greats of music, but the dominant force of Western artistic life in the second half of the 19th century. Not bad for a late-blooming Richard Wagner, eh?

Here’s Wagner’s Concert Overture No. 1. It’s a pleasant-enough work with some Beethovenian influence, and not a hint of Rheingold or Tristan und Isolde to be found.

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Tone Poem Tuesday

Last night we finally watched this year’s New Years From Vienna concert, a new year tradition of mine that dates back to high school when I discovered this wonderful annual program on PBS. We used to watch it on New Years Night, but now we wait a day or two until it becomes available for streaming on the PBS website and then watch it in the comfort of our own bed, usually with an open bottle of something sparkling. (This year it was hard cider, but sparkling is a must.)

Vienna’s New Years concert always features the Vienna Philharmonic Orchestra performing works by the Strauss family, with occasional pieces by other contemporary composers of light music. The telecast always features brief looks at Viennese history and art and architecture, and each year at least two or three of the performed works accompany a performance by dancers from the Vienna Ballet. If you’ve never seen it, I can’t recommend it highly enough: it’s always a bit of music effervescence to bring in the New Year.

This piece, the overture to Johann Strauss’s operetta The Gypsy Baron, opened this year’s program. Now, this performance is actually from the 1992 concert, hence the more dated appearance. Today’s VPO is noticeably younger and also less male than the VPO of yore, but this music still runs through the blood of Vienna. Here, from 1992, is The Gypsy Baron overture. (Note, also, conductor Carlos Kleiber’s somewhat wild range of movement!)

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Your Daily Dose of Christmas AND Tone Poem Tuesday

Two birds, one stone! Here’s a symphonic poem by British composer Arnold Bax, titled “Christmas Eve”. Apparently it was originally titled “Christmas Eve in the Mountains”, but Bax revised the work some years later and shortened the title. It’s an atmospheric and dense work, typical of Bax’s sound. There is no specific “Christmas” material here, but the work is redolent of Bax’s usual meditations on nature and mood. Here he is after the feel of a cold, crystal-clear morning in the mountains, and what morning is colder or clearer than Christmas Eve?

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Tone Poem Tuesday

Transcriptions of works from one medium to another can be especially fascinating, as this orchestral version of Franz Liszt’s Hungarian Rhapsody #2 demonstrates. This was originally a work for piano, and to perform it well requires enormous skill from the pianist. The work’s transcription to orchestra makes it into a showpiece as well.

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Tone Poem Tuesday

Some Berlioz this week, and one of his most frequently performed works: the Roman Carnival overture, which is a concert piece comprised of repurposed material from his opera Benvenuto Cellini. Berlioz is not generally considered one of classical music’s finest melodists–his themes tend to be long and require a bit of unpacking to find their emotional center–but the melody of the slow section of this piece, first played by the English horn, is one of the most beautiful creations of Berlioz’s life. The following carnival dance bursts with energy.


This particular performance features Charles Dutoit conducting the Montreal Symphony Orchestra. This particular combo once produced some of the finest performances of Berlioz ever.

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