Britten - Rejoice in the Lamb - 4/5 Stars

Britten - Rejoice in the Lamb - 4/5 Stars Every piece of Britten's that I've experience have all had a strange uniqueness to them. Many composer can be confused with other composers: Haydn for Mozart, Brahms for Beethoven, Vivaldi for Bach, and so on. But not Britten. Like Chopin, there is something inherent about his writing that just makes it sound like Britten. The same way one can recognize a Chopin Nocturne from just a few bars, Britten just sounds like Britten. I suppose some composer's voices are just completely unique in the same way some people's speaking voices just are one of a kind, like James Earl Jones, or Gilbert Gottfried.

In this particular piece, Britten chooses some rather cumbersome texts to set and sets them in a way that make the delivery odd enough to both work and be memorable. However, the unusual texts can also be a bit distracting. Actually being able to identify texts as they are sung is an inherent problem in music. Often times the texts will just pass and the listener will just ignore the fact that they can't understand the words because the music is moving enough. However, when Britten uses fast sixteenth note passages and gives one syllable to each note, the listener is so intrigued by the driving rhythm that the lack of understanding of text can be frustrating. "What did they just say!" anxieties can be passed present and thus detracting from the piece.

The piece, a cantata of sorts, broken into 8 short movements, has no real sense of progression. No big start, and then just staying in a comfortable middle feel until the end. The movements lack variety in mood and tempo.

Most enjoyable are great discrepancies between what the choir/soloist is doing and what is happening in the organ. Often they each seem to be doing their own thing and they are coincidentally happening at the same time. Neither particularly support one another but at the same time work great together.

I do, however, strongly recommend this piece simply because most people are not familiar with Benjamin Britten, and he truly was a unique composer with a totally original voice--none like him before, and none since.

Bach - Cantata 170 - 5/5 Stars

Bach - Cantata 170 - 5/5 Stars

There is something inherently marvelous and magical about Bach. Perhaps the greatest musical master of all time, he effortlessly (or so it seems) crafted the most lush, and elegant melodies atop very rich and contrapuntal continuo. Of the 1000s of pieces Bach wrote, there are very clunkers. In fact, he may be the most consistently amazing composer I can think of.

Cantata 170 is simplistic in many ways. And having no big climactic moments made me consider 4/5 stars. But I just couldn't. The melodies, while simple, are too beautiful--the harmonies, while not as wild an chromatic as most Bach music, move, support, and resolve too nicely--and the short and sweet nature of the whole piece just makes it perfect. Written for alto solo and small orchestra, the vocal part is rich with soaring melodies and decorative melismas.

Not every occasion is suited for this piece, but if you're looking for a piece to relax, close you eyes, and feel musical perfection, this one is a wise choice.

Copland Quiet City - 3/5 Stars

Copland Quiet City - 3/5 Stars

This piece embraces the "American" sound. I heard it immediately but wasn't even sure I could put it into words. So what defines that sound....

Copland's music was a blend of contemporary classical art music with flavors of other modern genres (jazz, hymns, pop) and American folk styles. The open, slowly changing harmonies of many of his works are said to evoke the vast American landscape. For me, it's usually the parallel harmonies that make me think "American"--going between parallel 4th, 5th, and 6ths, and giving his textures a rich and colorful lushness.

Quiet City is not his best work. Not by a long shot. Basically this piece seems like a single movement trumpet concerto. The melodies quickly span and octave or more by moving around by leaps. This quick, slightly angular movement gives the piece a sense of unease. Melodies are quickly forgotten, and 5 minutes after the final chord, it's hard to remember much besides a trumpet and some gentle, full, supporting harmonies. My ears almost heard this piece as a lament...but it wasn't quite somber enough. Perhaps melancholy is the right term.

I would only recommend this piece as background music. It's very pleasing sounding, but if you focus on it, you realize not much is happening. Better suited for as a movie score or some other secondary presentation.

Prokofiev - Symphony #7 - 2/5 Stars

Prokofiev - Symphony #7 - 2/5 Stars

Meh.

Sadly, just an overall 'meh'. All four movements lacked is all the general ares: nothing too interesting rhythmically, no grabbing melodies, no special orchestration or exciting additions to the orchestra. Would not recommend this piece.

Tchaikovsky - Piano Conerto 1 - 5/5 Stars

Tchaikovsky - Piano Concerto 1 - 5/5 Stars

Simply put, one of the greatest concertos of all time. Structurally the piece is a little unorthodox. The first movement is 15% longer than the other 2 combined, and feels like it should come to an end at about three separate times during its 20 minutes. Also, what happened to that amazing opening theme????!!!! It broadsides with it's power and grace, and then.....never again?

Despite the somewhat odd structural aspects, the first movement has soaring melodies, virtuosity, moments of power and moments of tenderness, and an overall spell binding nature that keeps the ear engaged its whole duration.

Movement II has that calm, flowing, lush texture we expect to hear in a middle movement. Decorated with a beautiful cello solo and followed by an impressive cadenza, this movement keeps the listener's attention the whole time. Switching in and out of playful/lively and serene moods, the piece pulls listeners back in if they're starting to drift away from the tranquil moments.

Movement III bears a striking resemblance to the Nutcracker to my ears. The orchestration is pure Tchaikovsky as melodies dart between instrument families, and textures shift from thick to almost transparent. The melodies are lively and full of energy, and pull together for joyous moments of power. There seems to be an almost tangible conversation between piano and orchestration at times--sometimes an argument, sometimes a joke, and sometimes maybe just talking about the weather. Regardless, the dialogue is amusing to pay attention to. An absolute must for everyone to listen to!!

Arvo Part - Lamentate - 4/5 Stars

Arvo Part - Lamentate - 4/5 Stars

A very beautifully crafted worked. Comprised of ten short movements, the work never shifts off a serious note (actually, come to think of it, few of Part's pieces do). Played without breaks between movements, some transition work better than others. Typically, when shifting to quieter sections, the composing seems a little more natural and graceful. I'm not a huge fan of unexpected huge brass sfz, and there's a bit too much of that for my tastes. However, my favorite moment of the piece does happen to be a moment when shifting from gentle to strong (I know, the hypocracy of my own statements): the Consolante to Stridendo transition = perfect and epic.

For me, Part does quiet amazingly. In his soft moments he captures sadness, loss, heartache, and tenderness perfectly. His use of space and silence exemplifies a master doing what he does best. It takes a confident composer to use as much silence and Part does--it's a very effective tool that many composers over look. Notes are silver, rests are gold! My only real complaint about the piece is that it occasionally gets too loud with too many brass unisons. It sort of just sounds overly bold without reason. But on the whole, this is a nice piece to sit back, reflect on life, and enjoy.

Bartok - Music for Strings, Percussion and Celesta - 4/5 Stars

Bartok - Music for Strings, Percussion and Celesta - 4/5 Stars

Movement I: Ok, a fugue with altering meters! How could I not love that? Also, the amazing timbral textures give the piece its own aesthetic flavor. All the parallel movement creates some wonderful envisioned shapes.

Movement II: I’m a sucker for pizzicato, and this mvt. is packed with it. The aggressive, syncopated and unexpected accents give the piece an exciting vibe that keeps listeners on the edge of their seats. There are a few awkward transitions that seemed rushed and not fully developed. Overall though, this is my favorite movement despite some angular/unprepared transitions.

Movement III: Made famous from the movie The Shining, this slower, more eerie movement is at points drawn out and a little slow for my tastes. There are several unique and fun little concepts here, however: rhythms based off the Fibonacci sequence, timpani glisses, and haunting chromatic melodies. The juxtaposition of the strings, xylophone, and timpani, (opposing like rivals) creates a very tense environment.

Movement IV: A nice, rhythmic, lively dance to close the piece. Again, the aggressive and explosive accenting coupled with meter shifts makes the whole piece an unpredictable adventure!