Here is Leopold Stokowski‘s (1882-1977) transcription of Modest Mussorgsky‘s “Night on Bald Mountain”. This is the version most famously featured as the ending sequence of the Disney film “Fantasia” (1948), and that most famously caused quite an uproar among movie-goers due to the demonic imagery used in the aforementioned clip.
Stokowski was a prodigy along the lines of Maazel, entering into the Royal Academy of Music to study composition and conducting at the age of merely 13. During his long span as one of the most prominent and important conductors (not to mention one of the greatest) he was actually a very controversial figure. What many people probably don’t know is that Stokowski was a great champion of contemporary music, giving the U.S. and/or world premieres of works by Elgar, Vaughn Williams, Prokofiev, Schoenberg, Hovhaness, Copland, Barber, Berg, Feldman and other contemporary composers. He is also very important to the history of modern concert practice as well, popularizing the batonless technique of conducting, as well as inventing and popularizing the “pops concert” and the modern chairing of a symphony orchestra. He was able to produce what was then referred to as “the Stokowski Sound”, although what is now called “the Philly Sound” (one of the many, illustrious orchestras he was resident conductor for), and was the greatest influence on many conductors proceeding him, particularly Leonard Bernstein. His transcriptions and editing of works were considered uncoif at the time, a practice that had long since become outdated as printed music became more available, but they are now one of the things he is best-known for, particularly this and his orchestration of Bach’s Toccata en Fugue in D Minor BWV 565.
Performed here in 1966 by the London Symphony Orchestra.
Posted in ARTISTS AND ARTS - Music, Educational, IN THE SPOTLIGHT, MEMORIES, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Fantasia, Great Compositions/Performances, Leonard Bernstein, Leopold Stokowski, london symphony orchestra, Modest Mussorgsky, Mussorgsky, Night on Bald Mountain, Royal Academy of Music, Stokowski, Vaughn Williams
English: The Stromness Hotel (Photo credit: Wikipedia)
Posted in Educational, FILM, IN THE SPOTLIGHT, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Arts -Architecture, sculpture, Los Angeles Guitar Quartet, Order of the Companions of Honour, Orkney, Peter Maxwell Davies, Royal Academy of Music, St Magnus Festival, Television, The Yellow Cake Revue, Yellow Cake Revue
J.S.Bach: Variatio 25 from Goldberg Variations
Catrin Finch, harp
The tale of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel:
[For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. … Once the Count mentioned in Bach’s presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, such also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: ‘Dear Goldberg, do play me one of my variations.’ Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 louis-d’or. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for.
Forkel wrote his biography in 1802, more than 60 years after the events related, and its accuracy has been questioned. The lack of dedication on the title page of the “Aria with Diverse Variations” also makes the tale of the commission unlikely. Goldberg’s age at the time of publication (14 years) has also been cited as grounds for doubting Forkel’s tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader. In a recent book-length study, keyboardist and Bach scholar Peter Williams contends that the Forkel story is entirely spurious.
The aria on which the variations are based was suggested by Arnold Schering not to have been written by Bach. More recent scholarly literature (such as the edition by Christoph Wolff) suggests that there is no basis for such doubts.
After a statement of the aria at the beginning of the piece, there are thirty variations. The variations do not follow the melody of the aria, but rather use its bass line and chord progression.
Variation 25 is the third and last variation in G minor; a three-part piece, it is marked adagio in Bach’s own copy and is in 3/4 time. The melody is written out predominantly in 16th and 32nd notes, with many chromaticisms. This variation generally lasts longer than any other piece of the set.
Wanda Landowska famously described this variation as “the black pearl” of the Goldberg Variations. Peter Williams writes that “the beauty and dark passion of this variation make it unquestionably the emotional high point of the work”, and Glenn Gould said that “the appearance of this wistful, weary cantilena is a master-stroke of psychology.” In an interview with Gould, Tim Page described this variation as having an “extraordinary chromatic texture”; Gould agreed: “I don’t think there’s been a richer lode of enharmonic relationships any place between Gesualdo and Wagner.”
For many years Catrin has delighted audiences with her performances in the UK and worldwide. Inspired to learn the harp at the age of five, her rise to prominence started almost immediately, achieving the highest mark in the UK for her Grade VIII exam at the age of nine. She studied with Elinor Bennett for eight years before entering the Purcell School. Catrin graduated from the Royal Academy of Music in 2002 where she studied with Skaila Kanga and received the Queen’s Award for the most outstanding student of her year. More about Catrin Finch: http://www.catrinfinch.com
Posted in Educational, IN THE SPOTLIGHT, MEMORIES, PEOPLE AND PLACES HISTORY, GEOGRAPHY, SPIRITUALITY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Bach, Catrin Finch, Christoph Wolff, Elinor Bennett, glenn gould, Goldberg, Goldberg Variations, Goldberg Variations Catrin Finch, Johann Nikolaus Forkel, Royal Academy of Music
Ion Voicu (October 8, 1923–February 24, 1997) was a Romanian violinist and orchestral conductor.
Hundreds of excellent concerts all over the world have brought out in bold relief Ion Voicu’s brilliancy as a Romanian violinist of international reputation, one of the greatest masters of our time. Continue reading
A wonderful interpretation of Haendel‘s Gloria In Excelsis Deo (part 1), and In Terra Pax (part 2) in the interpretation of Emma Kirkby, Soprano, and Royal Academy of Music.
I know, I know: Christmas time is past, and so are the 12 days of Christmas, but I just could not resist these wonderful hymns to our beliefs. Such angelic music, would be wrong not to share.
So enjoy and make the best of your time.
Posted in Educational, MEMORIES, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, SPIRITUALITY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Christianity, Christmas, Emma Kirkby, Gloria in Excelsis Deo, Music, Royal Academy of Music