On September 28, I embarked on a somewhat odd task: to listen to a single classical piece every day for 30 days. Why you ask? It’s difficult to say. Perhaps it was out of a desire to really, intimately get to know a piece of music. Perhaps it was to spice up the doldrums of daily life as we pass the six-month mark of the pandemic. Perhaps it was a bit of both. Whatever the case, the idea was there and I was eager to try it out.
Once the task was set, I selected Bach’s Cantata BWV 150 (Nach dir, Herr, verlanget mich or, “Lord, I long for you”) to be the “guinea pig” piece and settled on a good recording of it—specifically, the 2017 recording with the choir Vox Luminis and conductor Lionel Meunier. (However, I decided early on that it would be OK if I wanted to venture to other recordings on occasion.) I also decided early on to pair this 30-day challenge with a series of blog posts. After each day’s listen, I would write a short entry that provided a tidbit, historical factoid, thought, reaction, or musing about the piece. Ultimately, each entry would build into a chronicle of my month-long listening journey.
Since I was writing on the blog every day, I decided to keep the entries short—just a few sentences to a short paragraph or two (although there are a few quite a bit longer than that!) It’s also worth pointing out that I was pretty well acquainted with this Cantata before starting the challenge, so a few of the entries contain thoughts that had already come to mind well before this. Nevertheless, it’s the first time these thoughts have been put to paper (or screen, in this case). Additionally, three brief notes:
- When referring to English translations of the German text, I alternated between using Pamela Diehl‘s translation on Emmanuel Music and the translation on All of Bach.
- Throughout the daily blogs, I often reference specific musical moments in Bach’s Cantata. In most cases, the blog text is accompanied by a hyperlink, cued up to a YouTube recording that begins at the corresponding moment. If you would like to listen to these, click the bolded text throughout. (There are some other hyperlinks throughout as well that link to other things.)
- At the bottom of this post, I included a Spotify playlist containing six full recordings of the Cantata, each of which I listened to at some point during the month.
Without further ado, here are my 30 days with Bach…Read More
Though COVID sadly (but understandably) canceled what would have been my third summer working at the Aspen Music Festival and School, I am grateful to have received a few writing opportunities from Aspen as well as the Music Academy of the West in Montecito. Below are the fruits of that labor, which take the form of both blog posts and program notes for each festival’s virtual summer season. Click the highlighted links below to read each piece. Enjoy!
(There might be one more blog post in the pipeline for Music Academy of the West, but I’m not 100% sure at the moment. If it does go through, I will add it to the list below.)
“Driven into Paradise: Émigré Composers at the Music Academy of the West” – Blog post (Music Academy of the West, July 4, 2020)
“What’s in a (Nick)name?” – Program note for a virtual, spliced-together performance of the finale from Haydn’s “London” Symphony, played by Academy fellows (Music Academy of the West, July 9, 2020)
“Notes Before a Recital” – Two program notes for a virtual recital of Handel, Bach, Ives, and Bolcom, presented by pianist Jeremy Denk (Music Academy of the West, July 16, 2020)
“Serious Frivolity: Juggling the Profound and the Lighthearted in Beethoven’s Third and Fifth Cello Sonatas” – Blog post accompanying a virtual recital of two of Beethoven’s Cello Sonatas, performed by cellist Alisa Weilerstein and pianist Inon Barnatan (Aspen Music Festival and School, July 27, 2020)
In 2015, the Southern California-based writer CK Dexter Haven posed the following question to the classical music blogosphere: “If you had to pick nine symphonies—no more, no less—by different composers to include as part of a proverbial desert island survival kit, what would they be?” This intriguing challenge quickly caught fire across the Interwebs as countless people weighed in with their own picks, ranging from KUSC’s Brian Lauritzen to New Yorker music critic Alex Ross. Some found that their favorite symphonies naturally fit into each corresponding slot. Others found it much more difficult. (On Twitter, Brian Lauritzen appropriately called the task “fun/impossible.”)
Fast-forward five years later. The COVID pandemic has graciously provided loads more time to listen to music (there’s a bright side for ya!), so I decided that it was time to take on Dexter Haven’s challenge. Throughout the month of August, I listened to many different symphonies—ones I already knew and loved, others that were less familiar, and some that were completely new. After working my way through over 60 pieces (!!), I considered possible outcomes and drafted up my own “desert island survival kit” of nine completely different symphonies by nine completely different composers. And let me tell you, it was not exactly a walk in the park.
There were a few additional rules to this challenge. In his original blog post, Dexter Haven states the following:
- “You can only pick one symphony per composer.
- You must choose numbered symphonies 1 through 9 only. No Symphonie fantastique, Symphony of Psalms, Symphonic Dances, etc.
- Once you choose a numbered symphony, you cannot choose another similarly numbered symphony by a different composer (i.e. no choosing both Beethoven’s 7th and Sibelius 7th).
- Use only current numbering conventions; so if you were to pick the New World Symphony by Dvořák, you’d have to put it in the 9th Symphony spot, not the 5th Symphony where some folks 50 years ago may have put it.
- Bonus point for including symphonies by composers who actually composed at least nine numbered symphonies.”
As you can see, this was an extremely tricky undertaking (and many, many wonderful symphonies got left out in the process), but it was loads of fun nonetheless and the perfect end-of-summer time waster. So, without further ado, here are my nine picks, followed by some additional thoughts at the end. Let’s do this…
1. William Walton: Symphony No. 1 in B-flat minor
For my opening slot, Walton’s First Symphony takes the crown (a rather appropriate metaphor for a British composer). This work is truly marvelous and sadly underplayed here in the States. It brims with both vivacity and heart-on-sleeve passion and features one of the quirkiest endings after Sibelius’s Fifth Symphony. Plus, this work has a special familial connection. While on the bus for a choir & orchestra tour in the 1980s, my dad first laid eyes on my mom while listening to the Symphony’s gorgeous third movement on his Walkman. They’ve been happily married ever since. Awwww…
Honorable Mentions: Shostakovich, Mahler, Brahms, Corigliano, Mendelssohn, Price, Mathias, StillRead More