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Category: Mozart

November / Month of the Sonata – 18 

Una melodia de Schubert, c.1896 - Francesc Masriera

    A Melody of Schubert (c.1896) 

 

           Francesc Masriera

 

                  ________

 

 

though there are other, and quite significant, 

composers who fit into this category, 

Beethoven, Schubert, and Chopin pretty

much define, all by themselves, the 

Romantic Period

 

Chopin composed only two sonatas of note,

plus one more that is overlooked for being 

an early, student effort, not up to the

standard of his later ones, Chopin, rather, 

wrote mostly shorter pieces, nocturnes, 

études, preludes, polonaises, and more, 

that later became the very stuff of his 

reputation

 

Schubert wrote enough sonatas that he 

could be compared to Beethoven, indeed

it can be difficult to tell one from the other,

much as it can be difficult to tell Haydn 

from Mozart, products in either case of 

being both of their respective eras

 

when I was much younger, a guest among

a group of academics, where I’d been invited 

by the host’s wife, a co-worker, what I knew  

of Classical music, in the large sense, which 

is to say comprising all of the musical periods, 

Classicism, Romanticism, Impressionism, 

and beyond, was all self-taught

 

is that Beethoven, I asked the host, about 

a piece of music he’d put on

 

that’s Schubert, he replied, aghast, as 

though I’d just farted

 

I blushed, deep red, confounded

 

Schubert, having great admiration for 

Beethoven, took on many of the older

composer’s lessons, four movements

instead of the Classical three, for 

instance, and many of the technical 

tricks of his forebear

 

but there’s an essential component of

their styles that marks one from the

other, an easy way to tell them apart, 

Beethoven always composes against 

the beat, Schubert following it

 

listen to the first few notes of Beethoven’s 

“Pathétique”, for instance, the beats are  

erratic, confrontational, the mark of a 

revolutionary, Beethoven was brashly 

proclaiming his worth, he had something 

to prove

 

Schubert, who was essentially playing

for friends, just wanted to entertain

them, which he did in spades, without

bombast or bluster

 

listen to his Piano Sonata in A major,

D959, for example, no swagger, no 

ostentation, delivering nevertheless 

something quite, and utterly, 

enchanting, everything following, 

unobtrusively, the beat

 

enjoy

 

 

R ! chard

November / Month of the Sonata – 13

Meditation, 1936 - Rene Magritte

       Meditation  (1936) 

 

            René Magritte

 

                  _______

                  

a story

 

while I volunteered at the palliative care

unit of our downtown hospital, a family 

asked if I could monitor their mother

while they took time off for lunch

 

of course, I agreed

 

their mother lay unsettled on her hospital

bed, jittery, shaking, distressed, incoherent,

out of touch, in her own nether, dissociated 

world, while the family, about ten of them, 

had been chatting, seemingly oblivious to, 

or unconcerned with, their mother’s flailing

 

they left

 

I sat by her side, placed a palm tenderly on 

her quivering arm, to impart what calm I

could, to bring her warmth, care, attention, 

and began to sing a mantra I’d learned at 

an ashram I had been attending, weekly, 

for months, after the death of my beloved, 

in order to find solace, consolation, Om 

Namah Shivaya, I chanted, gently, quietly,

over and over again

 

little by little, she settled, was becoming 

calm

 

then, in a whisper, she began to join in, 

Row, row, row your boat, she sang, 

over and over again, along with my 

own mantra, a duet of communication, 

despite even the incongruity of the 

tunes, we were meeting at an even 

deeper, primordial level

 

something stirred behind me, I turned,

the family was standing in the doorway, 

all held their breath, watching, as though 

they were witnessing grace

 

I think they were

 

a mantra is a distillation of the three

pillars of Western music, tempo, 

tonality, and repetition, what we sing 

to children to lull them to sleep, that’s 

what a mantra is

 

Row, row, row your boat indeed

 

the history of music in the West is 

the disintegration of those norms,

for better or for worse

 

here’s a solo, note, violin sonata of

Bach, no accompaniment, no piano,

his Sonata No. 2 in A minor, BWV 1003

                  

Bach is of the late Baroque Period, the 

tail end of the Renaissance, when art 

was directed by the Christian Church,

Bach was in fact cantor, music director, 

of several churches in Leipzig

 

it took Mozart to kickstart the Classical

Era in the West, the purview, now, of 

the aristocracy, a process that started 

with Louis XIV, the Sun King, the art 

that he commissioned for Versailles

leaving the Church behind in a 

secularizing world

 

with Bach, tempo, tonality and repetition,

set the uncorrupted standard for the

ensuing ages, Bach is the next best 

thing, to my mind, to meditation

 

 

R ! chard

November / Month of the Sonata – 7

The Wanderer Above the Sea of Fog, 1818 - Caspar David Friedrich

     “The Wanderer Above the Sea of Fog(1818)

 

             Caspar David Friedrich

 

                   _____________

 

           

meanwhile, back at sonatas for one 

instrument, it’s about time I brought 

up Chopin, the one composer that 

everyone associates before anyone

else with Romanticism, 1800, say, 

till about 1880, he incorporates it, 

not without reason, Chopin 

personifies the Romantic Era, like 

Mozart represents the Classical

 

others who count would be Elizabeth

Barrett Browning, her “Sonnets from

the Portuguese” – How do I love thee? 

Let me count the ways – Victor Hugo’s

Les Misérables”, and Charles Dickens

preaching, in all his works, humanity

 

Caspar David Friedrich‘s, also, iconic 

Wanderer Above the Sea of Fog“, 

see above

 

Chopin sounds a lot like Beethoven,

indeed, the first notes of his Second

Piano Sonata, in B-flat minor, Op. 35

are a reference to Beethoven’s 

Sonata no 8, his Pathétique“, listen,

you’ll hear the same peremptory,

commanding, chord, demanding 

attention, the rest is consummate,

however, Chopin 

 

in the last movement, you’ll specifically

hear what Chopin brought to the table,

texture, soundscape, rather than a 

narrative line, music as background,

atmosphere, context

 

enjoy

 

 

R ! chard

November / Month of the Sonata – 5

The Spring, 1478 - 1482 - Sandro Botticelli

  Primavera, or Spring (1478 – 1482) 

 

            Sandro Botticelli

 

                _________

                

here’s a violin sonata from Beethoven, 

1801, his No. 5, in F major, Op. 24, 

nicknamed Spring“, it is ebullient

 

Beethoven is more forthright than 

Mozart, he’s passionate, wears his 

heart on his sleeve, is tender, then

rambunctious, you’ll hear it in the 

extremes of volume, loud, soft, 

often with spontaneous outbursts,

it’s like talking to a friend, the 

appeal is emotional, personal, 

where Mozart was earlier decorative, 

it’s the Romantic Era taking over 

from the Classical

 

you’ll notice also that Beethoven is

chipping away at the conventions,

there are four movements here

instead of just three, he’s saying 

that his stuff is not just decorative 

but important, Beethoven has 

something to say, he’s got a story 

to tell, there’s even a narrative feel

to his composition, like there’s a 

conclusion to his story, a point

 

we’ve moved from a variety of 

artefacts, disparate pieces, to a 

cohesive and meaningful entity

 

the sonata is a trinity, three 

essences in one

 

 

R ! chard

November / Month of the Sonata – 4

Violinist - Blek le Rat

   Violinist 

 

            Blek le Rat

 

                   ____

 

 

it must be pointed out that sonatas could be

written for other instruments than keyboard,

but since any other instrument could play 

just one note at a time, it became the custom 

to make a keyboard instrument, which is to 

say, essentially, the piano, its accompaniment

 

therefore, you’ll find that sonatas can be 

comprised of more than just one instrument,

more about which later

 

don’t be confused, the history of music

is one of contradictions, as it is with, for 

that matter, any representation of reality

 

including, incidentally, religion, art’s 

historical ancestor, before the modern 

world took over, before the advent of

democracy, the French and American 

Revolutions, before our secular 

21st Century, when artists took over 

from preachers, where we started 

getting our gospel from literature, 

rather, movies, television, concerts, 

instead of the Bible, for better or 

for worse

 

here’s, meanwhile, Mozart’s Violin Sonata

no. 26, in B-flat Major, K. 378, of 1779, 

telling it like it was, back then, starting 

the process 

 

listen

 

R ! chard

November / Month of the Sonata – 3

Mona Lisa, c.1503 - c.1519 - Leonardo da Vinci

  “Mona Lisa ( c.1503 – c.1519) 

 

      Leonardo da Vinci

 

             __________

 

 

the next sonata, Beethoven’s Piano Sonata 

No 8 in C minor,  Op 13, the ‘Pathétique’“, 

is one that everyone’s heard, if only ever in 

fragments, right up there with “Jingle Bells” 

in our musical repertory, in our cultural DNA,

or, for that matter, Beethoven’s, also, other 

iconic piece, the Moonlight Sonata“, the 

Mona Lisa, nearly, see above, of music 

 

the initial chords are peremptory, have 

resonated, echoed, reverberated, 

throughout the ages

 

this is not, however, the way one should 

be addressing the aristocracy, Beethoven

was speaking for the growing Middle

Classes, who, hungering for the status 

and refinement of the elite, the French

Revolution having just happened, were 

crowding the burgeoning concert and 

recital halls cashing in on that interest

 

the artist was now the main attraction,

where earlier the performer had been

merely decorative, the sponsored

employee of an, however benevolent, 

aristocrat, see Mozart, see Haydn

 

listen to Beethoven strutting, for the 

ages, his revolutionary stuff, thumbing

his nose at convention, demanding

attention

 

enjoy

 

 

R ! chard 

 

 

 

 

 

November / Month of the Sonata – 2

Joseph Haydn, 1791 - Thomas Hardy

     “Joseph Haydn (1791) 

 

           Thomas Hardy

 

               ________

 

 

Haydn, profoundly underrated, was the

other pillar of Classical music during that 

period, Beethoven, with half a foot only 

in that era, uses its elements to yank us, 

yelling and screaming, into the next, the 

Romantic Era, 1800 to 1870 more or less, 

more about which later

 

if Haydn sounds a lot like Mozart, it’s that

this piece was also written in 1789, both 

were catering to the aristocracy, courts, 

salons, music was therefore frivolous, 

meant to be entertaining, not inspirational,

trills, a lot of decoration, technical agility,

prestidigitation over profundity

 

Beethoven will change all that, stay tuned 

 

meanwhile, listen to, enjoy, Haydn’s Piano  

Sonata in A-flat major, no 31, Hob XVI-46,  

today’s prescribed apple

 

R ! chard

November / Month of the Sonata – 1

Still life with seven apples, 1878 - Paul Cezanne

      Still Life with Seven Apples (1878) 

 

               Paul Cézanne

 

                      _____

 

 

a sonata is to the concerto what an apple

is to an apple pie, its essential component, 

after which the rest is decoration, however 

inspired

 

sonatas existed before Mozart, but he’s 

the one, along with Haydn, as well as

early Beethoven, who put them on the 

musical map, 1750 to 1800, more or 

less

 

it seems to me appropriate, therefore, 

to start my Sonata Month then

 

here’s something by Mozart, 1789, his 

last piano sonata, No. 18, in D major,

K. 576

 

three movements, fast, slow, fast – allegro, 

adagio, allegretto – a perfect example of 

the sonata as it was establishing itself

then, a piece of music consisting of 

several distinct sections, movements, 

meant to highlight contrasts, musical 

agility in the artist, compositional 

imagination

 

listen, enjoy

 

R ! chard

how to listen to music if you don’t know your Beethoven from your Bach, X

Joseph Haydn, 1791 - Thomas Hardy

        Joseph Haydn” (1791)

 

                 Thomas Hardy

 

                         _______

 

 

though I’ve focused especially, during

this introduction to Classical music,

on Mozart, a second great pillar of

that era is Haydn1732 – 1809

 

here is one of his 62 piano sonatas,

which expresses more than anything

you’ve heard here yet the definition

of what music was at the time, or

should be, tonality, as I’ve earlier

said, tempo and repetition were

tantamount

 

listen for or the rigidity of the tempo,

the consistent melliflousness of

the melody, and therefore tonality,

and the repetition of all the

component tunes

 

I remember going to a drum recital

once, here in Vancouver, a guy was

expressing his artistry in a formal

venue, I was sitting in a forward

row, saw him set up his music on

his music stand, and I thought,

he’s going to have to turn the

pages, which he did, a drummer

                         

that’s all I remember of the

presentation, but that was enough,

an entire revelation

 

in this Haydn sonata, the pianist

turns the pages of his score, back

and forth, an interesting visual

expression of the imperative of

repetition in that era’s music,

having to return to what had

been written on the previous

page

 

also note that trills abound

 

note too in the second movement,

the adagio cantabile, the sudden

introduction of arpeggios,

transcendent, as though angels

had just appeared

 

which prefigures the metaphysical

aspirations of the Romantic Period

which ensued, see, for instance, 

Chopin

 

note also that we’re on fortepiano

here, a period instrument, a cross

between the harpsichord and the

modern instrument

 

thoroughly enjoy

 

 

R ! chard

how to listen to music if you don’t know your Beethoven from your Bach, IX

The Spanish Guitarist, 1897 - Pierre-Auguste Renoir

          The Spanish Guitarist” (1897)

 

                  Pierre-Auguste Renoir

 
 

                            ____________

 

just as I was about to relegate the trill

to Mozart and the Classical Period, I

inadvertently came upon something

wonderful by Joaquín Rodrigo, a

Spanish composer, 1901 – 1999, a

concerto for guitar

 

the trill had been decorative, meant to

appeal to aristocrats frequenting

salons

 

then the French Revolution happened,

and the growth of the Middle Class,

and consequently popular avenues

of entertainment for the liberated,

concert halls, for instance, looked

for a more emotionally powerful

experience, arpeggios took care of

that

 

the trill died

 

but in 1939, nearly two centuries

later, Rodrigo wrote his Concierto

de Aranjueza descendent pays

homage to an elder, trills abound

 

it should be stated that a guitar can

play only one note at a time, it might

be that trills lend themselves better

to such an instrument than an

arpeggio would

 

then again, I’ve found that Spanish

music, the tango, the tarantella, for 

instance, see above, has held more

rigidly to the imperatives of Western 

music I’ve spoken of here before,

tempo, tonality, repetition, it is not 

Debussy, Ravel, it is not even

Chopin, it is peripheral, maybe, to

the cultural establishment, but

potent, steeped in blood and

tradition

 

here’s Rodrigo giving you Mozart

 

enjoy

 

 

R ! chard