Howdy Jim,

Here’s another one for the beauty competition – Beethoven Sonata for Piano & Violin No 5 / 2nd movement.

OK Ian … here it is!

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Thanks,

Jim

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In a letter Brahms says something to the effect `Nobody seems to understand Haydn nowadays. For years he gave us all our music’. Whatever precisely Brahms meant, it seems to me that the complete transformation in the idiom of music that made the music of Mozart and everyone since so astoundingly different from the music of Bach was Haydn’s achievement, and his alone.

What Brahms wrote – … ‘he gave us all our music’ – seems to imply what a  huge trans-formative influence he had on the great Classical composers who followed.

Here’s a piece I’ve just been listening to. It floats my boat! Hope it does yours too.

Horn Concerto #1 / second movement

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http://en.wikipedia.org/wiki/Nikolai_Medtner

My cyber friend and spiritual comrade Ben, in California, urged me to investigate his music. Since he was admired by Rachmaninoff (and actually collaborated with him) I was motivated to find and listen to more (I had only one piece by him in my library) After listening to a number of pieces I’ll stick with his buddy Rachmaninoff, when I want that Russian melancholy, wistful and nostalgic stuff! They do sound very close in the overall mood they generate.

Forgotten Melodies op38 (1) Sonata-Reminiscenza- Allegretto tranquillo

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My brother in law, with whom I frequently discuss music, casually mentioned John Field (b1782 – d1837) http://en.wikipedia.org/wiki/John_Field_%28composer%29

To discover that he studied with Clementi, collaborated with Hummel, Chopin admired his nocturnes and Liszt made a fuss about them too; was just another small humiliation for this dilettante, not having heard his music before.

Here’s part of what Liszt said, None have quite attained to these vague eolian harmonies, these half-formed sighs floating through the air, softly lamenting and dissolved in delicious melancholy. Nobody has even attempted this peculiar style, and especially none of those who heard Field play himself, or rather who heard him dream his music in moments when he entirely abandoned himself to his inspiration.

Bottom line: These piano pieces are very easy on the ears. Simpler in their construction than Liszt or Chopin, but certainly charming and appealing. The strong ostinato element in the pieces makes me wonder if modern minimalist composers of the ilk of Phillip Glass may not have found inspiration here.

*In music, an ostinato (derived from Italian: “stubborn”, compare English: obstinate) is a motif or phrase, which is persistently repeated in the same musical voice. An ostinato is always a succession of equal sounds, wherein each note always has the same weight or stress. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.^[1]

Here are his nocturnes 1 – 7 (about 28 minutes worth)

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Brandenburg Concertos #1 and 2 (about 28 minutes)

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Here’s the Suite number 2 in B minor, BWV 1067 the Ouverture

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http://en.wikipedia.org/wiki/Gabriel_Faur%C3%A9

Here are a couple of his beautiful piano nocturnes.

We’re sitting in a piano bar way-station nibbling tasty hor dourves and watching the runway. The room is full of cultured wealthy philanthropists and spiritual seekers; awaiting the shuttle flight to Heaven: Level 3/room 16

Nocturne # 4

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Nocturne #3

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Even 5 or 6 years ago when I began my Classical Music Quest I glossed over Bach. I’ll try to include more of his music on this site in the future.

Concerto #4 in A major for Oboe D’Amore and Strings

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In the article he comments on this second movement: The last sonata, in D major, takes off in other new directions. After the dramatic opening movement, Beethoven gives us, for the first time in these works, a full slow movement, a prayer that must surely be the most beautiful movement ever written for cello and piano.

‘the most beautiful movement ever written for cello and piano’ Wow. And that’s praise from a guy who plays the cello.

Beethoven’s 5th (and last) Cello Sonata in D maj. / second movement

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