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This week's featured recording: Chorales from St. Matthew Passion
by J. S. Bach

Here are six Lutheran Chorales as presented in Bach's magnificent St. Matthew Passion. I recorded them on solo piano while helping prepare the Central Illinois Children's Choir to sing them in concert a year ago.

Herzliebster Jesu   (Ah, Holy Jesus)
Ich bin's, ich sollte büssen 
 (My sin it is which binds me)
Erkenne mich, mein Hüter  (Receive me, my Redeemer)
Was mein Gott will, das g'sche' allzeit   (May God's will always be done)
Mir hat die Welt trüglich gericht't  (How falsely the world accuses!)
Bin ich gleich von dir gewichen   (I fall before you, Lamb of God)
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New on the Blog
from the concert hall, the teaching studio and the organ bench, posted Mon, Wed and Fri

Listen Up!
Monday 2/17: Marathon

Pianonoise Conservatory
Wednesday  2/5: A little Musical Motivation

The Visible Organist
Friday 3/7: Transition



from the Blog.......


The power of the obvious

first posted on April 15, 2013

Famed pedagogue Nadia Boulanger would tell her composition students, "Never strain to avoid the obvious."

I've always felt the key word there is strain. Despite getting bombarded daily with all the advice to keep things simple and to "just be yourself" (which might not be the same thing) and not to use 50 cent words when a penny word will do just as well because otherwise you are necessarily being pretentious, it seems to me a composer who only deals in the blatantly obvious ought to be writing greeting cards or making chitchat about the weather at parties, not stringing musical cliches together. We won't remember them anyhow.

But there is something effective about telling us what we already know, grounding us, reminding us of something obvious and important, if it is done well.

Last week I spent the entire blog post discussing the first movement of Robert Schumann's Scenes from Childhood. I noted how he took  this melody and harmonized the first upward leap in an unusual and effective way. Schumann's fifty cent musical word turned out to rescue what would otherwise have been a serviceable but rather dull  opening phrase, and instead turned it into a  psychological portrait.

That is only half the story, however. Schumann managed to avoid harmonizing the high G with a plain old G major chord, but he didn't do it for long. The curious thing is that this short musical idea, with the opening leap to high G, occurs three times. The first two times the composers gives out that surprising diminished chord, full of tension. But the third time, he 
 resorts to the perfectly obvious G major chord.

It is an odd strategy. You might expect a composer to do something obvious at first, and then save the musical surprise for later. Or if he starts with something we didn't see coming, to serve up something even more interesting once our ears had adjusted to the first wave. (Schumann builds the climax of the famous Träumerei, later in this set, on a chord that few composers would have even thought of.) Instead, just as the accumulated energy of three musical entreaties demands something really special, Schumann "settles" for the most obvious thing at hand, a garden variety tonic major chord.

It works. Here's why: the diminished chord Schumann uses the first two times is full of tension, such that the major chord on the third iteration comes as a glorious release. The other reason is that, as Theory 101 as that chord is, Schumann didn't actually use it the way it comes out of the box, with another G on the bottom. Instead he used a B, which means two things.


Pianonoise Radio
"O Man!"  (3/26/-4/19)  

Brahms: Sarabande in A
Telemann: All Men Must Die
Krebs: Our Father in Heaven
Bach: Pastorale: III
Haydn: Adagio from Sonata WU6 in G
Vivaldi/Bach: Adagio from Concerto in A Minor
Telemann: Durch adams fall ist ganz verderbt
Marteau: Depth of Mercy
Vaughan Williams: Rhosymedre

Play buttons should appear above which will automatically advance through the entire program. If they don't, you can click on the titles to play the pieces one at a time.



      















 

michael@pianonoise.com