This was prompted by Harry Dean Stanton, who stars as the aurally challenged lead cowboy in this David Lynch shortie (“The Cowboy and the Frenchman”) we watched the other night, while putting the last few brightly colored marmosets and monkeys and minnows into a jigsaw puzzle:

Click here to view the embedded video.

(parts two, three).

Which at the time reminded me of his appearance as the owner of the Fat Trout trailer park in Fire Walk With Me:

Click here to view the embedded video.

(Which G did not remember, hence the Youtubing tonight. I don’t see how she forgot it really, it’s one of my favorites in the movie… “I’ve already been places”). Which brought us to one of the major atmospheric forces in Lynch’s movies, the soundtracks of Angelo Badalamenti. Like this piece from Blue Velvet:

Click here to view the embedded video.

Badalamenti’s soundtracks are always luscious and dissonant, in a wandering, stringy sort of way. That’s exactly why I both love the music, and think it’s perfectly appropriate as a landscape for Lynch’s movies to live in. It is also very similar to some of Shosty’s brooding melancholia, especially that last piece, which was explicitly styled after his 15th symphony:

Click here to view the embedded video.

Which is of course how we wound down to the comment up there, at the top of this meandering blog post.

It’s hoppy as hell. It drips IBUs like a wet cat.

Here I am tonight enjoying two acquired tastes. Hoppy beer and classical music. For the first unperformance of the evening I listened to that old standby, Shosty’s CC#2. It’s one of my oldest and deepest favorites, one which will ALWAYS shove a warm dagger directly between my cerebral hemispheres. SLICE, goes the first morose saw across the cello; ignore everything else but this.

Here is Rostropovich playing the first movement. Well sort of. The video cuts off right in the middle of the big climax, and there is no part 2 for the first movement. Aggggh! Well, what you do get is frickin’ sweet. He’s got this kinda coarse, throaty, push-it-to-the-last-millisecond way with his playing. It’s sexy stuff:

Click here to view the embedded video.

Why the laptop torture sesh? Well, I’m back on the wildly careening Fast! Fourier! Transform! bandwagon (the exclamation marks are for extra excitement). FFTs are a way to break down a raw chunk of sound (for example, an MP3) into all of its individual frequencies. So for example, if you had a recording of a pure C chord, running an FFT on it would show that it had C, E and G tones in it.

It looks a lot more interesting when there is more stuff going on than that…

Click here to view the embedded video.

…but than it is also harder to see what is happening.

I’m excited about this again because I came across this page, in which they have an algorithm that can calculate the spectrograms waaaay faster than my old crummy one. I haven’t had time to pick apart why that is yet, but it’ll for SURE result in some sexy animations. Otherwise I want all my money back.

Any suggestions?

Oops, almost forgot about the (ultra-descriptively titled) Lied and Art Song Texts Page, which is where I go when trying to remember the approximate words to the last two Alex Blok songs. (Which is what I’ve been listening to all day, either in my head or via real, honest compression waves into the ears).

Click here to view the embedded video.

I feel a bit naughty because I don’t actually know the other movements at all. I’m not really a big fan of 5-8. This movement though… there is something entrancing about it, in a sort of benevolently disturbing kind of fashion.

You know how sometimes you get seats on a train which are facing in the opposite direction to how the train is traveling? And sometimes you don’t realize that you are facing the wrong way until the station starts falling away from you.

That’s how it makes me feel, like I am being rushed very rapidly backward. Especially the last few bars — I’m convinced it is deliberately arranged to sound like a skipping record.

The story behind this particular revelation is wrought out of blood and tears and toil. You see, earlier today I was simply GASPING and/or GAGGING to hear one particular piece of music. My old true love: Shostakovich’s 2nd Cello Concerto, Op. 126.

But I was at work, where only a few little escaped scraps of music live. “Still” (I thought naively, pacing the corridors and byways of the basement back to my office) “I MUST have a copy of that on my work computer — it’s always on my MP3 player. It must have been copied over at least once”. Oh foolish Ben, whiling the way back whistling the melody from movement one, plonking down on the blue spinny chair with the broken pneumatic cylinder. Ennhh wrong. It wasn’t bloody there.

If only I had found these excellent videos of Rostropovich performing the piece:

Mvt 1:

Click here to view the embedded video.

Mvt 2:

Click here to view the embedded video.

Mvt 3:

Click here to view the embedded video.

They don’t have the best sound quality, and the 1st and 3rd movements have tragically early deaths. But Rostropovich is gold. His performance of the lyrical bit (6:00-7:40) in the 3rd movement  is particularly devastating. I love how he’s got this kind of coarseness, as if each of the notes is just about to fall off of it’s proper tonal place.

After listening to that I put on a CD performance of him performing the same piece. Wow. Clarity like nuts.

But… something is missing without being able to see him play.

By the way, does anyone know if that could possibly be the premiere performance of the piece?

Click here to view the embedded video.

That’s the spark igniting the battle.

Ordinarily classical music kinda sucks to listen to while exercising, and so I stuff my mp3 player full to the brim with audio-books. That movement rocks for working out to, though, even if it does put me in a close to bawling kinda state. It’s a musical reenactment of the 1905 Bloody Sunday massacre, from the 2nd movemnt of Shosty’s 11th symphony.

Today it totally took my mind away from the running, as I was scheming out a very dramatic, and cinematic, and award winning-scene from a movie, with this movement as the soundtrack. Someone needs to CGI it up.

It’s a spectacular soundtrack to a non-existent film. That huge, slow crescendo breaking into dissonant full-orchestra machine-gun fire… oooo. Chills every time.

Unfortunately the YouTube sound quality leaves a lot to be desired; even more than usual. This is one of those pieces that deserve to be blasted at high fidelity through a decent pair of speakers, with the volume cranked way up.

Which contains, beyond the very sexy cover photo, the 15th symphony of Shostakovich arranged for six musicians, three of whom are percussionists. Kick arse. Here’s an example from the cheerfully sly third movement, first a Haitink conducted rendition of the orchestral version:

And here is the same section performed by the sextet:

They particularly seem to relish those impudent little glissandi at the end.

I love hearing pieces arranged for completely different instruments: aside from letting you distinguish all kinds of things that are either masked or you are accustomed to in the original versions, there is something purely delightful about listening to a familiar piece played in an unfamiliar way. Although, you purists out there might disagree…

You can buy the CD online over at DG, if you’re interested.

]]> http://classicalconvert.com/2008/06/rearranged/feed/ 4 http://classicalconvert.com/2008/04/the-goldberg-variations-right-up-close-and-personal/ http://classicalconvert.com/2008/04/the-goldberg-variations-right-up-close-and-personal/#comments Mon, 28 Apr 2008 03:36:36 +0000 Me http://classicalconvert.com/2008/04/the-goldberg-variations-right-up-close-and-personal/ We just arrived back from a jaunt down to the city. The main attraction was my girlfriend’s brother’s kickarse piano recital including a Haydn sonata (which I thought had surprising amounts of dissonance, but maybe I’m just getting accustomed to that older stuff) a Shostakovich Prelude and Fugue, and the Mendelssohn Variations Sérieuses.

The main meat of the performance was the Goldberg Variations. This is one of those must-love/must-know-really-well pieces for all serious classical music people. But I don’t know it. Well, I’ve maybe heard it through once before when a friend lent me his Glenn Gould CD, but that’s about it. In general I think theme and variations form is awesome (it can beat up rondo form any day of the week), but it’s often well hard the first times through to put it together. In order to actually hear the variations you kind of need to know the unvaried theme enough to hum it (and mentally fill in the harmonics), or you tend to lose track of things in the variations.

This was definitely in effect yesterday. It wasn’t aided at all by the descriptions of the variations, which are not very descriptive. Take a peak over the extensive list of them on wikipedia. Instead of (relatively) easy to pick up on describers like “presto” they are instead mostly labeled with either “a 1 Clav” or “a 2 Clav”. This only served to confuse me more, as I knew enough score-Italian to suspect that Clav means keyboard. Are some of the variations meant to be played on two pianos?

Well, it turns out that is actually sort of correct, but in this case it’s 2 “manuals” on a harpsichord which as my limited understanding of harpsichord design tells me are multiple keyboards on the same instrument. This means that your hands are less likely to collide. However, on a piano you of course don’t have this luxury and it becomes extra-hard to perform, but he did a totally awesome job of it.

The other descriptive element which became a lot more descriptive after the fact are the labels Canone alla Seconda, alla Terza, etc. which I did manage to deduce were numbers, but did not manage to deduce meant that these were variations based on the major second interval, the interval of a third, and so on. In fact they are specifically in the form of a Canon, which is a form in which there is leading melody that gets followed by various imitating melodies.

If I had known all that I might have had a chance at spotting them as they came at me, but as it was I just basked in the music. Next time I shall be better mentally equipped to parse them all out. The concert still rocked though, despite my ignorance. He is truly an amazing pianist.

(Oh, by the way, if anyone is looking for parking recommendations to get into Manhattan with minimum fuss I can heartily recommend taking the ferry from Port Imperial at Weehawken. It’s $10 a day to park, and there are ferries to Midtown minimally every 20 minutes which take only about 5 minutes to cross. Then there are free buses when you get to 38th street.)

For everyone else who hasn’t been exposed to it, it’s less of a symphony and more of a song cycle. It contains the setting to music of 11 poems all of which are rather not cheerily about death. Yes, classic depressed, sparsely orchestrated, uncertainly tonal late Shostakovich. Nice. It veers between moping, melancholy strings and astringent clanging chromaticism. Confusingly there are three different authorized versions of the piece, one in Russian, one in German, and one in the original languages (almost… “Loreley” is still in German) of the poems.

In fact, the high point of the cycle/symphony so far is Lorelei (or Loreley), which I incidentally hated at first. Here’s one of the best bits:

I’ll write about this movement a bit more in a few days probably, but at this point the heroine, Lorelei, is throwing herself off a cliff into the Rhine — and not too surprisingly this is the big climax of the song. I love how the frantic strings bubblingly warp into the tolling of the bell. Even better is the harmonization of voice and strings in the eerie section that follows, it’s smudged and not quite resolving, kind of creepily innocent. I know negative amounts of stuff about vocal techniques, but whatever the voice equivalent of glissando (sliding between notes) is sounds fantastic (quite literally) here.