September 3, 2012.  Anton Bruckner was born on September 4, 1824.  This very fact gives one pause: Bruckner was born 9 year before Brahms!  Brahms has been part of the canon for more than a century, one of the “Three Bs.”  The music of Bruckner, while clearly of the Romantic tradition, feels new even today, fresh and absolutely original.  Its history was difficult; initially, Vienna rejected it.  Then, forty years after Bruckner’s death, the Nazis appropriated it, to some extent undermining it for the following generations.  Still, thanks to Bruno Walter, Wilhelm Furtwängler, Karajan, Günter Wand, Sergiu Celibidache, and many other conductors, Bruckner’s music thrives today, becoming a touchstone of sorts for any great orchestra.

Bruckner was born in a small village outside of Linz, Austria.  His first music teacher was his father, a local schoolmaster.  He started playing the organ very early, and greatly improved in his second school, where the schoolmaster was an organist.  After his father’s death, the 13 year-old Anton was sent to the monastery in Sankt-Florian, which had a great Baroque organ (see the photo below).  He sometimes played the instrument during services.  The following years were very difficult for Bruckner: his mother sent him to a teacher’s seminar, following which he had a number of low-paying teaching positions in St.-Florian and other towns.  In 1855 Bruckner started studying musical theory and counterpoint with the Viennese composer, organist, and music theorist Simon Sechter.  They mostly corresponded by mail, but Bruckner also made several visits to Vienna.  That was also the time when Bruckner was introduced to the music of Wagner, which he liked and studied diligently.  When Sechter died in 1868, the Vienna Conservatory offered his position to Bruckner.  He accepted and taught there for a number of years.  He later taught at the Vienna University.  Bruckner wrote most of his symphonies while in Vienna (there was an unnumbered “study” symphony that he wrote while in St.-Florian, and started his 1^st symphony there, although the revisions were written in Vienna). 

A man of genius, Bruckner was a very unusual person, and very unusual as a composer.  Mahler, who admired him, called him “half simpleton, half God.”  He was a direct opposite of the archetypical creator, an auteur impervious to all criticism.  Very humble and unsure of himself, he sought advice from everybody, from his students to conductors, and readily incorporated their suggestions.  He significantly reworked many of his symphonies.  Symphony no. 1 has three versions, as do symphonies 2 and 4.  Symphony no. 3 has four different revisions.  A provincial, he never got comfortable living in the capital.  That the musical tastes in Vienna were dictated by the famous critic Eduard Hanslick, an admirer of Brahms and anti-Wagnerite, didn’t help either: Hanslick strongly disliked Bruckner’s music.  Bruckner never married, although he made numerous proposals to very young girls.  He died on October 11, 1896, at age 72, and was buried under his beloved organ in St.-Florian.

We’ll hear the 3^rd movement (Scherzo) of his Symphony no. 4.  There’s a story connected to this symphony.  Hans Richter, the famous conductor who by then had worked with Wagner, was rehearsing for the premier of the symphony.  According to Richter, "When the symphony was over, Bruckner came to me, his face beaming with enthusiasm and joy.  I felt him press a coin into my hand. 'Take this' he said, 'and drink a glass of beer to my health.'” Richter took the coin, and later wore it on his watch-chain.  We’ll hear the original version (there are two others, each in more than one form.  Even Mahler got into the game and created a version).  It’s performed by Staatskapelle Dresden, Herbert Blomstedt conducting (to listen, click here, courtesy of YouTube).

August 27, 2012.  Nana Jashvili, a friend of the site, is a violin virtuoso recognized by the press and critics for the emotional intensity and the profound lyricism of her playing.  Nana’s musical ability was developed under the influence of two cultures, Georgian and Russian.  She was born in Tbilisi into a musical family.  Her father, Luarsab Jashvili, a violinist and violist, was a professor at the Tbilisi Conservatory.  He was Nana’s first teacher.  Nana’s older sister, Marina Jashvili (Yashvili), who also took her first lessons with her father, became a famous violinist and a professor at the Moscow Conservatory.  Marina died on July 9 of this year at the age of 79 after a long illness, and we mourn her passing.

After studying with her father, Nana moved to Moscow and entered the class of the great violinist Leonid Kogan at the Moscow conservatory.  As a student she won several national competitions.  Then, at the age of seventeen, she had her triumphant breakthrough when she won the "Premier Grand Prix" at the International Jacques Thibaud Competition, the youngest winner ever.  She was also awarded the "Prix Special" for the best interpretation of Maurice Ravel's "Tzigane."  Several years later she also won the "Concours International de Montreal."  Since then Nana has given concerts in the great music capitals in Europe, Canada and Japan.  She has appeared as a soloist with the Concertgebouw orchestra of Amsterdam, the Gewandhaus orchestra of Leipzig, the Staatskapelle Dresden, the Orchestre de Paris and the Moscow and Leningrad Philharmonic Orchestras.  She has worked with many great conductors, such as Claudio Abbado, Karl Böhm, Kurt Masur, Neeme Järvi, Yehudi Menuhin, Valerie Gergiev, Pavel Kogan, and Jansug Kakhidze.  Nana Jashvili is a welcome guest artist on the concert stages at the summer festivals of Vienna, Bregenz and Copenhagen.  Her repertoire extends from the Baroque to the contemporary.  Her interpretation of the violin concerto op.36 by Schoenberg at the Vienna state opera was celebrated as an exceptional event.  Nana is a professor at the Folkwang Hochschule in Essen.  She plays a Nicola Gagliano violin.

Nana Jashvili’s recordings in our library suffer from many transfers from one media to another.  Still, we’re sure that you’ll enjoy several of them.  Here’s Béla Bartók’s Six Romanian Folk Dances.  Tchaikovsky’s Valse Scherzo in C Major is here.  Finally, the complete F-A-E Sonata, written by Albert Dietrich, Robert Schumann and Johannes Brahms, can be heard here.  In all performances Nana is accompanied by the pianist Vladimir Skanavi.  We hope to bring you more and better quality recordings in the near future.

August 20, 2012.  Claude Debussy.  This week we celebrate a major event: the 150^th anniversary of one of the greatest composers of the late 19th – early-20^th century, Claude-Achille Debussy.  He was born in Saint-Germain-en-Laye, a wealthy suburb of Paris (his family was not).  He started his musical studies at the age of eight, in Nice, where his mother, then pregnant again, fled during the Prussian occupation of Paris in 1870.  At the age of ten he entered the Paris conservatory and studied there for 11 years.  In 1884 he won the Prix de Rome and moved to the French Academy in Rome for a four-year residence.  He didn’t like it there, neither his companions nor the food.  He submitted several pieces, one of which was a symphonic cantata La damoiselle élue.  A pretty but rather straightforward piece with just a hint of the kind of harmonies that Debussy was to develop later, it was still labeled by the Academy as “bizarre.”  In 1888 he visited Bayreuth to see Wagner’s Parsifal and Die Meistersinger and, deeply impressed, made a return a year later for Tristan und Isolde. 1889.  As different as Wagner and Debussy are, it’s not surprising that the shimmering sonorities of Wagner’s orchestra affected the young Debussy.  He later disavowed both the influence and Wagner’s music in general.  Still, it seems that Wagner’s influence is discernable, and not only on Debussy’s only opera, Pelléas et Mélisande.

By about 1890, Debussy had fully developed his own musical language.  One of the first compositions to clearly manifest the new style was Suite bergamasque for piano (you can listen to it here, in the performance by the young Chinese pianist Xiang Zou).  During that period Debussy was spending a lot of time in Stéphane Mallarmé symbolist salon.  Four years later, influenced by a poem by Stéphane Mallarmé, Debussy wrote a symphonic poem Prélude à l'après-midi d'un faune.  The poem was later made into a famous ballet, choreographed by Vaslav Nijinsky.  His only completed opera, Pelléas et Mélisande premiered in 1902.  We had to borrow from YouTube to bring you an excerpt.  It is here; Pierre Boulez conducts the Orchestra of the Royal Opera House, Donald McIntyre is Golaud, George Shirley – a Pelléas, Elisabeth Söderström is Mélisande.   One of Debussy’s most popular compositions, three symphonic "sketches" titled La mer was written in 1903.   A large number of piano compositions followed: Estampes, also in 1903, Children's Corner Suite in 1908, the first book of Préludes in1910 (the second book was written in 1913 and differs in style rather considerably).  Debussy’s works were becoming more angular, with a larger number of unresolved dissonances, such as in this Etude No.11 "Pour les arpèges composes," (1915) performed here by the pianist Jiyeon Shin.  And then in 1917 he wrote the violin sonata, which had much simpler harmonics (it is performed here by the Japanese violinist Mari Lee with Ieva Jokubaviciute on the piano).  We don’t know if there was a general shift in Debussy’s compositional style: he wanted to write six sonatas but completed just three, for violin, for cello, and for flute, viola and harp (you can find all of them in our library).  He died of cancer on March 25, 1918, while Paris was being heavily bombarded by the Germans.  He was buried at the Père Lachaise with no public ceremony.  The following year Debussy was re-interred at Passy, a small pretty cemetery behind the Trocadéro, in the 16^th arrondissement.

 August 13, 2012.  More mid-August birthdays.  This week is full of anniversaries, even if most of them are of minor composers.  Still, we think they should be noted.  Sorabji (Kaikhosru Shapurji Sorabji), born on August 14, 1892, was an English composer of Parsi descent.  He was quite controversial in his time and still is – among the people who’ve actually heard his music: some of  Sorabji’s pieces are of extreme length.  His piano sonata no. 5 runs for about five hours, and that’s not even his longest composition.  Some critics think of him as one of the most interesting composers of the 20^th century, while others, like The Guardian’s Andrew Clements, feel that Sorabji’s talent never matched his musical ambition.    We have a piece by Sorabji, Pastiche on Habanera, but it is not very representative, so here is the first movement of his piano sonata no. 1 played by Marc-André Hamelin (courtesy of YouTube).  If Hamelin though it worth studying and performing, that probably means that the sonata is not musically insignificant.

A totally different composer, the delightful Jacques Ibert, was born on August 15, 1890.  He studied at the Paris conservatory, and took private composition and instrumentation lessons with André Gedalge; his fellow students were Arthur Honegger and Darius Milhaud, both influential members of Les Six. Ibert, though friendly with both, never joined the group.  Ibert wrote operas, a ballet, several concertos, and a good deal of instrumental music.  His songs are among the best in his output.  Here’s Chanson à Dulcinée, from Chanson de Don Quichotte.  It’s performed by the bass Liam Moran; Renate Rohlfing is on the piano.

Two other French composers were also born this week: Gabriel Pierné and Benjamin Godard, Pierné was born on August 16, 1863, Godard on August 18, 1849.  Like Ibert, Godard studied at the Paris Conservatory, and like him, also won the prestigious Prix de Rome.  He wrote operas, ballets and instrumental music, but not much of it is performed these days.  But here is the first movement of his Sonata op.36 for violin and piano, and it sounds very nice.  It’s played by the French violinist Elsa Grether; Eliane Reyes is on the piano.  Benjamin Godard also studied at the Paris conservatory, and wrote an enormous number of compositions during his rather brief life (he died at the age of 45).  There are recordings of his music on the market, but they’re few and far between.  Here is a charming little morsel, Abandon.  It’s performed by Albert Markov, violin, his son Alexander Markov, violin, with Dmitry Cogan on the piano.

And finally, from a totally different era, Antonio Salieri. He was born on August 18, 1750 in Legnano, Italy but spent most of his productive years in Vienna.  Some day we’ll dedicate a whole piece to Salieri, but right now you can listen to part of his 26 Variations on the theme of La Folia.  It’s performed by the London Mozart Players, Matthias Bamert, conductor (here, courtesy of YouTube).

August 6, 2012.  Mid-August birthdays: Reynaldo Hahn, Alexander Glazunov, Maurice Greene.  These days Reynaldo Hahn is probably better known as Marcel Proust’s lover and friend rather than a composer, but in the 1890s his songs were very popular.  Hahn was born in Venezuela on August 9, 1874, his family moved to Paris when he was three.  He started composing when he was eight.  At the age of ten he entered the Paris Conservatory where he studied with Massenet, Gounod, and Saint-Saëns.  He was accepted into the popular salons of Paris when he was still in his late teens.  It was in one of these salons that in 1894 he met Marcel Proust, then just an aspiring writer.  Even though their affair was brief, they remind very good friends till Proust’s death in 1922.  Here is a song Si mes vers avaient des ailes (If my verses had wings) on a poem by Victor Hugo by the 14 year-old Hahn, which immediately became very popular.  It’s sung by the soprano Rebecca Wascoe, Jeffrey Peterson is on the piano.

Like Hahn, Glazunov was more popular during his own lifetime than   he is today.  Glazunov’s life spanned several eras: imperial Russia, the Soviet Union, and exile in France.  Glazunov was born on August 10, 1865 into a wealthy family in Saint Petersburg.  He began composing very early, was noticed by Balakirev, who in turn introduced his work to Rimsky-Korsakov.  Rimsky took Glazunov under his wing, tutoring him in composition and in 1882 even premiering his 1^st symphony (Glazunov composed eight symphonies altogether).   In 1898 he wrote a still-popular ballet Raymonda, and in 1904 – a violin concerto (which Jascha Heifetz played throughout his career).  In 1905 Glazunov was appointed the director of the Saint Petersburg conservatory.  He stayed in this position through the 1917 October Revolution and then another eleven years.  Dmitry Shostakovich was one of his students.  In the later years he became an alcoholic, and apparently even taught lessons while drunk.  Nonetheless, his prestige was such that he stayed in charge of the Conservatory.  But in 1928 Glazunov went on a tour of the United States and Europe and never returned.  He eventually settled in Paris and died in France in 1936.  Glazunov wrote five concertos: two for the piano, one for the cello and at the end of his life a concert for the saxophone, but the one that’s being played on a more or less regular basis is his violin concerto.  You can listen to it here, performed by Dmitri Berlinsky with the Jupiter Symphony Orchestra, Jens Nygaard conducting.

Marice Green lived in a very different epoch.  He was born on August 12,1696.  As David Schrader writes in one of his program notes, “the youngest son of a well-to-do family of considerable lineage, Greene was likely trained under Jeremiah Clarke at St. Paul's Cathedral. When his voice broke, he was apprenticed to Richard Brind, the organist of St. Paul's since Clarke's death in 1707. While Greene is best known nowadays for his sacred music, he also contributed much to the secular music of London – he befriended Handel for a time, but something had caused a falling out between the two men so that Handel, according to Sir Charles Burney, the music historian, never mentioned his name without some injurious epithet.”   Here’s David Schrader and Baroque Band playing Green’s Overture No. 1 in D Major.

July 30, 2012.  Summer is upon us, and with it, all kinds of festivals and special programs.  One of them is the Steans Institute, Ravinia Festival’s music conservatory.  The Steans brings young talented musicians from all over the world to study and perform.  This year’s program for piano and string has just finished, and the vocal program will follow (the Steans has an interesting jazz program as well).  The Piano and Strings program featured master classes with such musicians as Menahem Pressler (piano), Gary Hoffman (cello), Ida Kavafian (violin), and the pianist and conductor Christoph Eschenbach.  Also on the faculty were the pianists Leon Fleisher, Gilbert Kalish and John O’Conor; Ralph Kirshbaum and Lawrence Lesser taught the cello.

The students gave twelve concerts, and those were programmed to present both solo and chamber playing.  All kind of music could be heard, from J.S. Bach to György Kurtág.  And as is the tradition at the Steans, some teachers participated in music making alongside the students.  We hope to bring to you this year’s concerts in the near future. 

While we’re waiting for the audio files to be processed, we can offer you some recordings from the previous seasons.  We start with last season.  The English pianist Sam Armstrong plays Capriccio in b minor, from Eight piano pieces, Op. 76 by Johannes Brahms (here).  We’ll follow with recording from 2008, Ludwig van Beethoven’s Trio No. 5 in D Major "Ghost" for violin, cello and piano Op. 70, No. 1 (here).  It’s performed by Sean Lee, violin, the cellist Narek Hakhnazaryan, and David Kaplan, piano.  Narek went on to win the prestigious Tchaikovsky competition in 2011.  We’ll follow with Antonin Dvořák’s Piano Quintet in A major, Op. 81, from the 2007 season.  It’s performed by the violinists Tessa Lark (the 2012 Naumburg winner) and Yoon-Jung Yang, Yiyin Li, viola, Sébastien Gingras, cello, and Helen Huang, piano (here).   And finally,, you can listen to Felix Mendelssohn’s Octet for Strings in E-flat Major, Op. 20 (also from the 2007 season, here).  The performers are: Robin Scott, violin, Tessa Lark, violin, David McCarroll, violin, Miriam Fried, violin (she was teaching that year at the Steans), Yoonji Kang, viola, Yura Lee, viola, Blaise Déjardin, cello, Michael Nicolas, cello.  Enjoy!