Guest post by Ingrid Jacobson Clarfield and Phyllis Alpert Lehrer, editors of Classics for the Developing Pianist and Study Guides for Preparation, Practice & Performance Books 1-5more “Great Editing: The Difference between Success & Frustration!”
Wolfgang Amadeus Mozart’s Mass in C minor (K. 427) stands alongside the Requiem (K. 626) as his most remarkable church composition. Today it enjoys almost cult status, first because of its monumentality, which is unique in Mozart’s sacred vocal music, and second because, like the Requiem, it partakes of the aura of the unfinished and mysterious. The exact circumstances that gave rise to it as a votive mass have eluded explanation to the present day. The same applies to the reasons why it was left unfinished and to many details of its first performance, which, as far as we know, took place at St. Peter’s Church, Salzburg, on October 26, 1783. Finally, the transmission of the original sources also raises many questions. Indeed, it is astonishing that the Mass, although left as a torso, was performed at all during Mozart’s final visit to Salzburg. more “Revisiting Mozart’s Great Mass in C minor”
Guest post by Dr. Dominik Rahmer, editor at G. Henle Verlag.
The formal technique of “variations” played an important role in Beethoven’s work throughout his entire life. Critic Paul Bekker wrote in 1911, “Beethoven begins with variations,” and indeed this is true not only of the character of his oeuvre, but also of its chronological progression: Beethoven’s very first published work was his 9 Variations on a March by Dressler, WoO 63, which appeared in 1782.
Similarly, we could add that Beethoven also ends with variations. The Diabelli Variations, Op. 120, which are amongst his last piano works, not only crown his creativity, but also, in the history of piano variations, are probably equaled only by Bach’s Goldberg Variations.
The panoply of variations within his multi-movement works also indicates how fundamental this technique is in Beethoven’s musical thinking. Consider, for example, the profound closing movement of the last piano sonata, Op. 111, or the grand finale of the 3rd Symphony.
Though the themes of these movements were usually Beethoven’s own inventions, here we will focus on the pieces composed as independent variation sets on popular melodies. This vantage point reveals some interesting finds. more “A Short Foray into Beethoven’s Variations”
Guest post by Jan Schumacher
Beethoven is not primarily thought of as a vocal composer, but why not? The choral collection compiled by Jan Schumacher, which contains both well-known and unknown choral works by Beethoven and original transcriptions of Beethoven’s works by other composers, reveals a great deal of extremely attractive repertoire.
The widely-held prejudice that “he could not write for voice” sticks to few composers as much as it does to Ludwig van Beethoven. This may be due to the fact that his place in music history is primarily as a revolutionary symphonist and creator of incomparable chamber music like the string quartets and piano sonatas. To take this to mean that he had no understanding of the human voice or did not know how to write for chorus, however, is to draw the wrong conclusion. Beethoven, like nearly every other composer of his age and indeed until the first half of the 20th century (with a few notable exceptions such as Chopin and Paganini), was equally used to composing for voice and instruments.
It is when we try to label Beethoven that we develop what can be misleading expectations. more “Cantabile Qualities: Choral Music by Beethoven”
Video description: Tom Gerou’s workshop for piano teachers presented at the San Francisco Community Music Center on February 1, 2018.
Link to earlier Sheet Music Plus interview with Morty Manus, co-author of Alfred’s Basic Piano Library: https://blog.sheetmusicplus.com/2016/02/04/sheet-music-plus-interviews-morty-manus-co-author-of-alfreds-basic-piano-library/
by Jacy Burroughs
There are a plethora of classical pieces appropriate for Halloween. The best known are arguably Mussorgsky’s Night on Bald Mountain and Grieg’s In the Hall of the Mountain King. Here are my suggestions for a slightly less typical, yet spooky program. They are also great pieces to listen to and get you in the mood for a night of tricks and treats!
1. Isle of the Dead, 29, Sergei Rachmaninoff – 1908
Rachmaninoff was inspired to compose Isle of the Dead after he saw a black-and-white reproduction of Arnold Böcklin’s painting by the same name in Paris in 1907. The image is of a boat bearing a coffin to a fortress on a mysterious island. Rachmaninoff’s musical interpretation begins with the sound of oars in the water, represented by an irregular 5/8 meter. The urgency of the music increases as the boat approaches the island. Then, the Dies irae – the Gregorian Chant from the Mass for the Dead – takes over. Briefly, there is a struggle with music that sounds full of life, but the Dies irae theme is stronger. At the end, the piece comes full circle, returning to the relentless sound of rowing oars.
By Brendan Lai-Tong
Hi Sheet Music Plus Fans! We hope that your 2012 been full of great lessons, performances and musical accomplishments. Now that the holiday season is finally upon us, this is the perfect time to start looking for music gifts for your students, friends, teachers and colleagues. Check out these great gift ideas below:
Did you know that Sheet Music Plus sells CDs? We have 8,000+ recordings under the Naxos label including greats like Bach, Mozart, Debussy and more. Listening to recordings of great performances is an important part of growing as a musician, so why not add a few to your holiday shopping list!
For those who are looking to become full-fledged more “Holiday Gift Ideas”