| To mark the fifth anniversary of ITYWLTMT, we are undertaking a long-term project that will introduce - and re-introduce - musical selections in the context of a larger thematic arc I am calling "A Journey of Musical Discovery". Read more here. |
Today’s
installment of Project 366 builds on a series of Friday Podcasts that
consisted of what I called back then “one-work montages”. My policy on Friday
podcasts has always been to target montage duration somewhere between 75 and
90 minutes in length, in line with the duration of a run-of-the-mill Compact
Disc which, depending on its capacity, is anywhere between 74 and 80 minutes.
Back in the
day of vinyl “Long Playing (LP)” records, where one side typically contained 20
minutes of music, a “large work” would be issued as a two-disc album. Works
that would require that treatment were typically operas (which would be issued
sometimes as three or even four record sets!), but also ambitious symphonies,
oratorios, that sort of thing.
(There are
always exceptions to that rule. In my vinyl collection, I own a single Everest
disc of Mahler’s Symphony of a Thousand (from the Vienna Festival, conducted
by Dimitri Mitropoulos) which was made to fit on a single LP. I commend
the record label for attempting the experiment, but the acoustic quality of the
recording suffered greatly, as the grooves were so narrow that scarcely any
dynamics could be rendered for the listener.)
As there is
no specific overarching theme at play here, other than each Listener Guide
contains a single work, let me just dive right into our list of proposed
listening, with maybe a word or two about the feature work.
Listener
Guide #97 - Verdi's Requiem
First
performed at the San Marco church in Milan on 22 May 1874, this Messa da
Requiem is a musical setting of the Roman Catholic funeral mass for four
soloists, double choir and orchestra, composed in memory of Alessandro Manzoni,
an Italian poet and novelist whom Verdi admired (the work was at one time
called the Manzoni Requiem). It is rarely performed in liturgy, but
rather in concert form of around 85–90 minutes in length. Musicologist David
Rosen calls it 'probably the most frequently performed major choral work
composed since Mozart's Requiem.' (ITYWLTMT Montage #151 - 11 Apr 2014)
Listener
Guide #98 – Busoni’s Piano Concerto, op. 39
One of the
largest works ever written in this genre, this concerto lasts around 70 minutes
and is in five movements; in the final movement a male chorus sings words from
the final scene of the verse drama Aladdin by Adam Oehlenschläger. The
first performance of the concerto took place in the Beethoven-Saal, Berlin, on
November 10, 1904 with Busoni himself as soloist, and Karl Muck conducting the
Berlin Philharmonic Orchestra and the Choir of the
Kaiser-Wilhelm-Gedächtniskirche. (ITYWLTMT MOntage #247 - 12 May 2017)
Listener
Guide #99 – Mahler’s Third Symphony
Mahler’s
Symphony No. 3 is his longest piece and is the longest symphony in the standard
repertoire; the first movement alone, with a normal duration of a little more
than thirty minutes, sometimes forty, forms Part One of the symphony. Part Two
consists of five more movements and has a duration of about sixty to seventy
minutes. The symphony’s program suggests a title for each of the six movements:
"Pan Awakes, Summer Marches In", "What the Flowers in the Meadow
Tell Me", "What the Animals in the Forest Tell Me", "What
Man Tells Me", "What the Angels Tell Me" and "What Love
Tells Me" (ITYWLTMT Montage # 150 - 4 Apr 2014)
Listener
Guide #100 – Liszt’s A Faust Symphony
As the
title suggests, Eine Faust-Symphonie in drei Charakterbildern, or simply
the "Faust Symphony", was inspired by Goethe's Faust. The
symphony was premiered in Weimar on September 5, 1857, for the inauguration of
the Goethe–Schiller Monument there. The first clue as to the work's structure
is in Liszt's title: "A Faust Symphony in Three Character Sketches after
Goethe: (1) Faust, (2) Gretchen, (3) Mephistopheles." Liszt does not
attempt to tell the story of Goethe's drama. Rather, he creates musical
portraits of the three main protagonists. By doing so, though this symphony is
a multi-movement work and employs a chorus in its final moments, Liszt adopts
the same aesthetic position as in his symphonic poems. The work is
approximately seventy-five minutes in duration. (ITYWLTMT Montage #153 - 25 Apr 2014)
Listener
Guide #101 – Messiaen’s Turangalîla-Symphonie
The Turangalîla-Symphonie
was written between 1946 and 1948 on a commission by Serge Koussevitzky and the
Boston Symphony Orchestra. The premiere in Boston on 2 December 1949 was
conducted by Leonard Bernstein, substituting for an ailing Koussevitzky. Yvonne
Loriod, who later became Messiaen's second wife, was the piano soloist, and
Ginette Martenot played the ondes Martenot (invented by her brother Maurice).
The commission did not specify the duration, orchestral requirements or style
of the piece, leaving the decisions to the composer. When asked about the
meaning of the work's duration (80 minutes) in its ten movements and the reason
for the use of the ondes Martenot, Messiaen simply replied, "It's a love
song." (ITYWLTMT Montage #246 - 28 Apr, 2017 )
Listener
Guide #102 – Haydn’s Creation
Haydn was
inspired to write a large oratorio during his visits to England in 1791–1792
and 1794–1795, when he heard oratorios of George Frideric Handel performed by
large forces. Die Schöpfung is considered by many to be Haydn’s
masterpiece. The oratorio depicts and celebrates the creation of the world as
described in the Book of Genesis and is structured in three parts. The first
deals with the creation of light, of heaven and earth, of the sun and moon, of
the land and water, and of plants. The second treats the creation of the
animals, and of man and woman. The final part describes Adam and Eve during
their happy time in the Garden of Eden, portraying an idealized love in harmony
with the "new world". A typical performance lasts about one hour and
45 minutes. (Once or Twice a Fortnight - December 12, 2016 )
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