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Good morning everyone! It's Classical Sunday time. My first post is happening because of my participation on a ABF thread devoted to Handel. Handel is well known for his operas, arias, and oratorios. However, I rarely got to hear any of his compositions for the keyboard when I was a young piano student. I've now found a piece that I love. My piano teacher has also agreed to help me learn to play this piece. However, don't expect to hear me perform it anytime soon. you'll see why after you listen to the Allemande from Handel's Keyboard Suite #9 in G minor.
This selection is performed by Sviatoslav Richter.
The remaining posts today will focus on some of the works of American composer Samuel Barber. My next post will be the 3-part String Quartet No. 1, Op. 11. Many will recognize the second movement, Adagio. However, I've never heard it within the context of the complete composition.
I didn’t know the origin of the “Adagio for strings†by Barber. The entire string quarter is a powerful music in term of expressiveness, without doubt. Thanks so much Griffin, it has been a discovery for me.
Thanks Recaredo! It was a discovery for me as well. I found this while looking for more of Barber's choral music. I will present something about that at another time, however. I'm afraid I didn't have enough time for it today.
I'm done for today. Enjoy the rest of your Sunday everyone!
Griffin, I was going to ask you if you could play the piece, when you posted on the Handel thread, but then felt it might be a bit of an impertinence.
It's a great piece to learn. What's going to be your strategy? Small segments? Hands separate?
I love G minor. (And before anybody says 'there's no difference with equal temperament', I'll add that I'm tuning my harpsichord to Werckmeister, and reading a book about the evils of equal temperament...)
Currently working on: F. Couperin - Preludes & Sweelinck - Fantasia Chromatica J.S. Bach, Einaudi, Purcell, Froberger, Croft, Blow, Frescobaldi, Glass, Couperin 1930s upright (piano) & single manual William Foster (harpsichord)
Today, Gillan and David Helfgott sent me this review of David Helfgotts recent performance The reviewer is Julian Wagner....
Electrifyingly abuzz was the Lismore City Hall on Saturday night 3 December 2011 when legendary pianist David Helfgott unleashed his enthralling rendition of Rimsky Korsakov’s The Flight of the Bumblebee as the fourth and final encore. Yet even well before the Bumblebee took flight, Helfgott, a brilliant busy-bee in his own right, had already positively captured his audience.
Given Rachmaninov’s Prelude in C Sharp Minor (Op. 3 No. 2) as an attention grabbing ‘opener’, the Maestro also struck a chord, so to speak, with a near capacity packed concert hall. Helfgott not only masterfully steered the famous foreboding motif through its paces but also ensured that the piano told a surrealistic tale which words alone could never fully tell. Perhaps the music spoke of an increasingly heavy step-by-step struggle of some poor condemned soul? Perhaps a death struggle of sorts? Either way, Helfgott commanded a ‘sit up and listen’ response, especially during his superb elucidation of the demanding quadruple sforzando (sffff) four stave recapitulation. Equally noteworthy was his ability to tenderly etch out the intermittent uplifting tones which, one could imagine, spoke of occasional albeit pointless glimmers of hope and faith. Powerful indeed was this thought-provoking extrapolation of the very piece which, ironically, was first performed by the composer at the equally ‘full of power’ 1892 Moscow Electrical Exhibition.
Auditory ‘light refreshments’ thereafter ensued when Helfgott enchanted all with shimmeringly alluring renditions of Rachmaninov’s G Sharp Minor Prelude (Op. 32 No. 12) and the G Major (Op. 32 No. 5). Both acoustically embraced the cedar wall panelling of the City Hall as much as it joyously graced the ears of its audience. Suddenly, however, it was as though all were marched off to the Russian Front of World War II as Helfgott (aptly dressed in a shiny red Cossack-like tunic) threw his all into a richly robust rendition of the Alla marcia from the famous G Minor Prelude (Op. 23 No. 5). Whilst Rachmaninov composed the G Minor well before WWII, it was indeed a joy to see many, young and old alike, getting ‘into the rhythm’. The Alla marcia audience aerobics ranged from in tempi head nodding to rollicking movements (as best one can do in a concert hall seat). Yet despite Helfgott’s unquestionable impact and the ‘ever onwards’ rhythm, the shiny red tunic man most impressively maintained a gravitas which anchored the spirited surges of melody both before and after the Legato middle section, which exuded a delightfully soothing Arabian Nights feel. Some younger virtuosi, who inappropriately catapult the Alla marcia (i.e. a march tempo) into a do-or-die Olympic race, would do well to listen to Helfgott or, ideally, a recording of the true master of the G Minor Prelude, Emil Gilels (1916-1984). david_helfgott_and_cheeta_concert_400
Stylistically and spiritually, Helfgott convinced all that he should unquestionably be ranked with the true greats of the Romantic period piano virtuosi. For instance, the Liszt selections (after Interval) included a scintillating Gnomenreigen (Dance of the Gnomes) and a ‘Hot as Hades’ Dante Sonata, each as thought-provoking as the opening Rachmaninov Preludes, that is to say, the music of the last of the great Romantics (Sergei Rachmaninov, 1873-1943). Yet on the Richter Scale of Applause (earning, in my estimation, a seven) it was Helfgott’s rendition of the Appassionata Sonata which exhilarated all. Yes, the Opus 57 Sonata written in 1804 by the very composer who ushered in the Romantic era – Ludwig van Beethoven!
As one lady commented, the Appassionata ‘Sent tingles up my spine’ as during Interval others also sang Helfgott’s talents. It was indeed a virtuosic performance, especially the last movement (Allegro ma non troppo), with Helgott building a formidable and growing intensity typically demanded of much of Beethoven’s music. The increasingly loud whirlwind of crystal-clear notes was still, however, alluringly coupled with melodious, impassioned yearnings. The performer’s softness of tone, indeed an ability to virtually caress the keyboard, was quintessentially evident during the short sempre pianissimo.
In praising Helfgott, no one, as best fathomed, was the slightest perturbed by fact that Helfgott himself, given a severe anxiety condition, occasionally sings, indeed mutters at times, whilst performing. Perhaps the Oscar winning 1996 movie Shine (about Helfgott’s background and career comeback starring the likes of Geoffrey Rush and Noah Taylor) best explains. Curiously, however, a handful of reviewers (music ‘critics’ in the old parlance), feel inclined to inhumanely criticise Helfgott for such mutterings (though’ mutter edited’ CDs are available). Moreover, such critics inter alia claim that this extraordinary man, who simply loves to play music, unduly rides on the fame of the now 15 year old movie. Yet in applying the ultimate and true litmus test of a performance, it went without saying that Helfgott, the man and virtuoso, clearly won over his Lismore audience (which included truly discerning music aficionados) not only in terms of brilliantly performing some of the world’s most difficult music but, most importantly, through giving music a supreme meaning and bringing joy to the ears and hearts of all. Indeed, Helfgott’s uncanny ability to virtually morph with a piano, like some inexplicable transmutation of both man and music, ensures a superb sum total performance which is greater (and indeed more rewarding) than the parts. May this man, who incidentally wouldn’t hurt a flea or a bumble bee for that matter, go on to shine well into the future.
Rise like lions after slumber,in unvanquishable number. Shake your chains to earth like dew which in sleep has fallen on you. Ye are many,they are few. Shelley
Good morning! Great information about David Helfgott. Thanks for sharing it Rossy. I don't have lots of time time today. However, I want to share this selection created by fusion artist TJ Rehmi. You will find this particular piece a very visual experience as well thanks to the YouTube contributor.
Griffin, I was going to ask you if you could play the piece, when you posted on the Handel thread, but then felt it might be a bit of an impertinence.
It's a great piece to learn. What's going to be your strategy? Small segments? Hands separate?
I love G minor. (And before anybody says 'there's no difference with equal temperament', I'll add that I'm tuning my harpsichord to Werckmeister, and reading a book about the evils of equal temperament...)
Eglantine, I am so excited about taking on G Minor. For me the process started last year with a lot of listening. I'm still doing that. It helps me to clarify how I feel about the piece, my own energy and thoughts I want to infuse into a piece.
Right now I'm doing a couple of other things. I'm preparing the score and playing parts of the piece hands separately in small segments. I'll probably put both hands together next week.
I can't do much more than that for a while because I've started working on another new piece a month ago, and I need to get comfortable with a routine in practicing on that one. My teacher has been very helpful with helping me to pace myself properly with introducing new pieces to learn. I'm also rehearsing another piece for a performance next month in an open mic.
Anyways, i'll keep you posted on my progress with G Minor. I'm delighted to know someone else shares my passion for this wonderful piece! I think some of Handel's keyboard compositions are grossly underrated. There are some real gems yet to be discovered!
BTW, as soon as I'm able I'll gladly share it here first. I have no idea how long that will take, however.
Last edited by griffin2417; 03/06/1210:55 AM. Reason: Clarity
This morning I finally - after much to-ing and fro-ing with Olympus Europe - had to post my dead Olympus LS-10 recorder back to Olympus UK. Unfortunately just out of warranty. Hopefully I will get it back in within a month, and then I may be able to do a recording of the first Froberger (Sarabande).
Currently working on: F. Couperin - Preludes & Sweelinck - Fantasia Chromatica J.S. Bach, Einaudi, Purcell, Froberger, Croft, Blow, Frescobaldi, Glass, Couperin 1930s upright (piano) & single manual William Foster (harpsichord)
loved the TJ Rehmi Griffin, excellent, I love the music and the artwork, look forward to more.
Eglantine, I hope that your olympus gets sorted post haste, I would love to see and hear your harpsichord and you playing.
I may be scarce because i am not too well at the moment... but better than yesterday which is good.
Rise like lions after slumber,in unvanquishable number. Shake your chains to earth like dew which in sleep has fallen on you. Ye are many,they are few. Shelley
Get well soon, Rossy! We need you here... and DID too!
I was watching The Line of Beauty again recently. When Cat interrogates the new house guest, Nick Guest, about his relationship activities, near the start of the movie, she puts this onto the turntable:
I love Clive Timperley's gee-tar intro. Before The Passions, Timperley was in the 101ers, with Joe Strummer.
There's a link to John Lydon too: "The lyrics for 'I'm in Love with a German Film Star' were written by Barbara Gogan about a one time roadie for The Clash and the Sex Pistols, Steve Connelly, who had minor roles in several German films."
More on Timperley: "Clive Timperley left [The Passions] in Verona in December 1981, during the Italian leg of their prophetically named "Tour Till We Crack" tour, as a result of "serious political differences".
Currently working on: F. Couperin - Preludes & Sweelinck - Fantasia Chromatica J.S. Bach, Einaudi, Purcell, Froberger, Croft, Blow, Frescobaldi, Glass, Couperin 1930s upright (piano) & single manual William Foster (harpsichord)
Greetings everyone! I've been pretty busy today, and now have a few moments to share some music.
Rossy, I hope you're feeling better real soon. I'm glad you enjoyed TJ Rehmi. Here's one more for you. However, haven't located anything with the incredible visuals in my last post. Hope you'll enjoy this one as well.
Thanks Griffin, for the kind wishes, its not anything serious, but totally debilitating, Cystitis, I keep getting it every two or three months or so. when I get it, i cant go out or anything thats more than 3 seconds away from a loo. Cranberry juice only works for women for some bizzarre reason mainly.
I could get anti-biotics off the doc which clear it in two days, but they are bad and make me ill, and its best not to keep taking them.
I will be fine in a few days, just got to keep drinking gallons of water, which I hate! I have never been a water drinker, I only drink tea, so its weird.
Funny thing is, just before it started this time round, the tap water tasted so funny, I had to throw a brew away and run the tap loads to refill the kettle and make a fresh brew.
So now, I am suspect of the tap water. Mind you I have always been suspect of the tap water, who asked for fluorine and chlorine to be put in the water? not me. Hmmmmm.
We should get given a choice of what chemicals we want to put in our bodies.
Loved the music Griffin, I really like that a lot, thanks for taking the time and trouble to post!!
later Dudes and dudettes.... toilet trauma, typical.
Rise like lions after slumber,in unvanquishable number. Shake your chains to earth like dew which in sleep has fallen on you. Ye are many,they are few. Shelley