Here are three more Bach Chorales for you. They are Chorale numbers 41, 43, and 44 in the Book of 101 Chorales by Johann Sebastian Bach. Everyone, sing along…..
Category: Original Music
Name That Film
This song is from an Academy Award winning film. I’m pretty sure. In any event, I have been working on it all day and it’s time to get it out into the world.
It was written over 100 years ago by Scott Joplin. He was born on November 24, 1868 and he passed away on April 1, 1917. He was an American composer and pianist. He is also known as the “King of Ragtime” because of the fame achieved for his ragtime compositions, music that was born out of the African-American community.
During his brief career, he wrote over 100 original ragtime pieces, one ragtime ballet, and two operas. One of his first and most popular pieces, the “Maple Leaf Rag”, became ragtime’s first and most influential hit, and has been recognized as the archetypal rag. Joplin considered ragtime to be a form of classical music and largely disdained the practice of ragtime such as that in honky tonk.
For more on that: https://en.wikipedia.org/wiki/Scott_Joplin
The Hits Are Back
And here are some thoughts I thought worth sharing:
– Did you know that before I became a vegetarian I was in “Burgers and Acquisitions?”
– Do you like ambience? Take an ambien.
– I am a guitar player, which means I often fret.
– Even thugs sometimes need hugs.
– Nipples always come in pairs. You can’t have one without the udder.
Here is another song for you
To make you happy if you’re blue
It’s quite laid back and very mellow
And the opposite of blue is yellow
It is an original 12-bar blues that I am sure you have never heard before.
And here are two more Bach Chorales. Only 88 more to go….
Today seems like a good day for a song about the ocean. It reminds me of the people I knew in the Navy, before we all drifted apart.
How about a 300 year old Bach Chorale to start us off?
I took this melody:
And added some chords:
And don’t forget, all 100 Classical Songs can be played in the music player at the bottom of every page on this site, along with some other “creations.”
And Now For Something Old
See if you can name these Classical Masterpieces. Or not. It is entirely up to you. No pressure. I will give you a hint: The composers (in alphabetical order) are Bach, Beethoven, Grieg, Mahler, and Mozart.
And remember all of the songs I have posted in the past 2 years can be played in the music player at the bottom of every page on this site. With no cost to you!
Also, if you didn’t already know this, you can adjust the speed of each song while it is playing. Click on the three dots, and choose to either slow it down or speed it up. I like the first song here on 1.5 speed.
And way back in 2020, I re-harmonized the previous song during my “music teacher” phase. Here it is again with lots of loud instruments:
Name That Tune.
(The beginning sounds like Largo by Handel.)
Here Comes the Sun
Actually, there goes the sun. But it will be back in the morning.
Today’s song isn’t classical but it is still a classic. It’s not completely done, but I need to take a break. And this song needs to be out in the world now, not later.
Here are my versions of The Beatles “Here Comes The Sun“:
It’s the next best thing to rain. And it also is song number 48 from the Big Book of Classical Music. This next song is an excerpt from Prelude in D-Flat Major by Fryderyk Chopin (1810-1849):
For more about the song: https://simple.wikipedia.org/wiki/Raindrop_Prelude
once more with feeling
A while back I posted a song called On Green Dolphin Street. That version wasn’t, how should I put this, very good? It had no right being out in the world. So I re-did it just for you. You know who you are.
That reminds me of the time someone asked me if I was “lean and mean” when I was in the military. I said no, I was more like “starched and parched.”
And here is song number 44 in our classical music countdown. It is probably the shortest song in the book, with 17 measures. This is an excerpt from Prelude in A Major, by Fryderyk Chopin (1810-1849):
Song Number 41 in our big countdown of Classical Music is called The Swan. It is from The Carnival of the Animals by French Composer Camille Saint-Saens (1835-1921).
According to galaxymusicnotes.com, Camille Saint-Saëns was widely heralded as a teen prodigy, as he started exhibiting perfect pitch at the age of two. He was also considered to be unparalleled on the organ and had very few competitors who matched his skills on the piano. He performed his first public concert when he was only 5 years old, accompanying a Beethoven sonata on the piano. His style can be best depicted as subtle, exuding a restrained yet cool essence. One of the world’s best pianists at that time, he was one of the first to actually create recordings of his works.
“The Carnival of Animals,” also known as “Le Carnaval des Animaux,” is one of his most famous works along with his Third Symphony, various piano and cello concertos, his opera “Samson et Dalila,” and his tone poem “Danse macabre.”
Saint-Saëns composed “The Carnival of the Animals” in 1886, while he was enjoying some leisure time in a small Austrian village. However, he was skeptical that it might hamper his public image of being more matured and serious composer, as he feared it was a tad bit whimsical. He took his reputation extremely seriously, and he was sure that the piece would make the listeners laugh, as it was stuffed with musical jokes. So, he prohibited all public performances of the piece until after his demise, except one movement known as “The Swan.”
It was first premiered on the 26th of February 1922, almost 30 years after its creation. The piece consists of 14 movements forming a suite, and utilizes two pianos, a xylophone, strings, glass harmonica, clarinet, and flute. The composer offers an amusing portrait of various animals by utilizing various instruments – either singularly or via combinations.
Introduction and Royal March of the Lion
The introduction starts with a bold tremolo theme via the piano, playing a pair of opposite scales and subsequently introducing a “march theme” that prevails through it. The pianos occasionally offer low runs of octaves, resembling the roar of a lion. The movement concludes with a “fortissimo note” that includes a combination of all the instruments utilized in the movement.
Hens and Roosters
The entire movement has a centralized theme played through strings and pianos, which resembles “chicken pecking at grains.” The piano offers a vast theme based on the crowing of a rooster.
Wild Donkeys Swift Animals
The animals depicted in this movement are running at great speed, which is induced by a feverish and fast up-and-down motion of the pianos.
The fourth movement is satirical and opens with a piano playing at a higher register, as the strings offer a slow rendition of the famed “Galop infernal.”
This section is marked with a perfect caricature of an elephant, as the piano offers a triplet figure resembling the waltz.
It constitutes a pattern of “hooping clouds” which is preceded by grace notes. The chords get louder and faster while ascending and subsequently becomes soft and slow while descending.
This movement is hugely musically rich, utilizing a glass harmonica, flute, two pianos, cello string quartet, and violins. The first piano opens with a descending ostinato, accompanied with the occasional glass harmonica at the end.
Characters with Long Ears
The shortest movement, it has two violins alternately playing both low, buzzing notes and high, loud ones – resembling a donkey’s braying.
The Cuckoo in the Depths of the Woods
It comprises of a clarinet and two pianos. The clarinet plays a single ostinato as the pianos craft soft and massive chords.
This movement comprises of a flute, pianos, and strings, offering a background score reminiscent of the buzz in a jungle. The flute plays the role of the birds, as the movement ends with a quiet tone.
This piano offers a glimpse of a unique movement comprising of two pianos and strings. The transitions between the keys are marked with a blasting chord from all the instruments utilized.
This movement utilizes a xylophone, clarinet, two pianos, and strings. The composer mimics his own works here, evoking images of skeletons taking part in card games. The violin and the xylophone play a prominent role, alternating with the clarinet and the piano.
It offers a slow-moving melody through a cello, which is played over the rippling sixteenths through one piano and rolled chords through another. It resembles the swan’s feet which are hidden beneath the water.
The movement opens with the similar tremolo notes from the introduction, and are subsequently reinforced by the xylophone, glass harmonica and wind movements. The strings slowly build up the tension as the lively main melody gets introduced. The movement concludes with a series of 6 braying from the donkeys, portraying that the animal enjoys the last laugh, and is followed by a final group of C major chords.
A Carnival of Music
Saint-Saëns originally crafted his ‘Grand Zoological Fantasy’ keeping a small group of instruments in mind – one each of clarinet, piccolo, flute, double bass, cello, and viola, and two violins. He also included a few surprise elements – a glass harmonica, two pianos, and xylophone. However, recent performance utilizes a full orchestra, introducing more colors to his brilliant characterizations.
The sounds of the instruments are exploited to perfection, painting the picture of the animals efficiently. The xylophone resembling the clattering of fossil bones, the double bass posing as an elephant. It’s the shape of music that swoons everyone to their feet – the trilling birds, the swans gliding with an elegant swagger, the hopping kangaroos etc. The composer also slips in the occasional musical pun to underline his point, for example, the tortoise slowly trundles off to Offenbach’s famous “can-can.”
The composition was finally free of his shackles when Saint-Saëns passed away in 1935. The Carnival of Animals has, after all these years, become a classic in its own rights, portraying the composer’s subtle skills as he paints his very own musical carnival.
Check out this recording from 1914: https://www.youtube.com/watch?v=MA1ffxiCOU8
(Now I understand what that Swan film was all about.)
Song Number 40 in our summer countdown of classical music is in the books. This is an excerpt from Tchaikovsky’s Sleeping Beauty Waltz.
According to https://petipasociety.com/the-sleeping-beauty:
The Sleeping Beauty Waltz was the first collaboration of Marius Petipa and Peter Ilyich Tchaikovsky. Although Tchaikovsky’s first ballet Swan Lake had not been the success he had hoped for, it did not end his composition of ballets. In 1886, during rehearsals for his opera The Enchantress, he was commissioned by the Director of the Imperial Theatres, Ivan Vsevolozhsky about a possible ballet adaptation of the story Undine. Despite the failure of Swan Lake, Tchaikovsky did not hesitate to accept the commission. However, by 1888, the idea of composing Undine was abandoned and Vsevolozhsky was more in favour of a ballet with a French subject. Eventually, he set his sights on the Charles Perrault fairy tale La Belle au bois dormant (Sleeping Beauty) as the story for which Tchaikovsky would compose the music, an idea with which Tchaikovsky was fully on board.
The fairy tale of Sleeping Beauty is one of the most classic of stories that has been widely known for centuries. The earliest known version is found in the prose romance Perceforest, which was written between 1330 and 1344, though it also appears in the myth of the Norse goddess Brunhilde. The story was first written as a fairy tale entitled Sun, Moon and Talia by the Italian writer Giambattista Basile and was published in 1634 in his collection Il Pentamerone. Basile’s variant was later retold and published by Charles Perrault in 1697 under the title Sleeping Beauty and it was again retold by the Brothers Grimm in 1812 under the title Little Briar Rose.
The fairy tale was first adapted into a ballet by Ferdinand Hérold and Jean-Louis Aumer and was staged at the Paris Opéra on the 27th April 1829, with Lisa Noblet as the Princess Iseult and Marie Taglioni appearing in one scene as a naiad. Aumer and Hérold’s Sleeping Beauty was later staged in London on the 13th February 1833 at Drury Lane, with Pauline Duvernay as the Princess.
(When I woke up this morning, I did not know any of this!)