The #1 Musical Experience

The #1 Musical Experience

By Herb WilliamsArtsPerforming Arts
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The #1 Musical Experience episodes

  • Scott Joplin- "King of Ragtime"
    Scott Joplin Born 1868 Died April 1, 1917) was African-American composer and pianist. Joplin 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 grew up in a musical family of railway laborers in Texarkana, Arkansas, and developed his own musical knowledge with the help of local teachers.

    While in Texarkana, Texas, he formed a vocal quartet and taught mandolin and guitar. During the late 1880s, he left his job as a railroad laborer and traveled the American South as an itinerant musician. He went to Chicago for the World's Fair of 1893, which played a major part in making ragtime a national craze by 1897. Joplin moved to Sedalia, Missouri, in 1894 and earned a living as a piano teacher. There he taught future ragtime composers Arthur Marshall, Scott Hayden and Brun Campbell. He began publishing music in 1895, and publication of his "Maple Leaf Rag" in 1899 brought him fame. This piece had a profound influence on writers of ragtime. It also brought Joplin a steady income for life, though he did not reach this level of success again and frequently had financial problems.

    In 1901, Joplin moved to St. Louis, where he continued to compose and publish and regularly performed in the community.

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    12 min
  • Bach Goldberg Variations, BWV 988 - Aria, Variations 16 - 30
    The Goldberg Variations, BWV. 988, are a set of 30 variations for harpsichord by Johann Sebastian Bach. First published in 1741 as the fourth in a series Bach called Clavier-Übung, "keyboard practice", the work is considered to be one of the most important examples of variation form. It is named after Johann Gottlieb Goldberg, who may have been the first performer.

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    28 min
  • J.S Bach - Christmas Oratorio - Part I-5
    Bach Christmas Oratorio, BWV 248
    Sheet MusicJohann Sebastian BachChoir and OrchestraChristmas Oratorio, BWV 248
    The Christmas Oratorio (Weihnachts-Oratorium) BWV 248, is a piece by J.S. Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell.

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    21 min
  • Guillaume de Machaut - Mass - Notre Dame - I. Kyrie eleison
    The Messe of Nostre Dame (Mass of Our Lady) is a polyphonic mass composed before 1365 by the French poet, composer and cleric Guillaume de Machaut (circa 1300-1377). One of the great masterpieces of medieval music and of all religious music, it is the earliest complete setting of the Ordinary of the Mass attributable to a single composer.

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    9 min
  • Symphony No. 8 in F Major, Op. 93 - I. Allegro vivace e con brio
    The colossal Fifth and reposed Sixth Symphonies of 1808 showed two approaches to the heroic of the genre, and with the near-simultaneous work on the Seventh and Eighth Symphonies, Beethoven seems to continue to be inspired by characteristics that generate two sides of a coin in reshaping the dramatic possibilities of the symphonic genre, this time by “wield[ing] the rapier [Eighth] as well as the hammer [Seventh].” (Lockwood, Beethoven’s Symphonies, 172). It is the rapier of wit, drawing on the idea of scherzo, that best characterizes Beethoven’s reconsideration of the genre in the last symphony of his so-called Heroic period.

    One of the most significant developments Beethoven brought to the symphony he had inherited from Haydn and Mozart was to transform the Minuet and Trio movements that typified late eighteenth-century symphonies into Scherzos, which became central to the symphonies of Beethoven and many of his successors. Haydn himself prefigured this evolution in his string quartets, and he would say near the end of his life, “I wish someone would write a really new minuet.” As Elaine Sisman points out, “Although Haydn did not mention them, Beethoven’s scherzos are usually considered to be the consummation of Haydn’s wish.” (Sisman, “The Spirit of Mozart from Haydn’s Hands,” 49.) Scherzos are, by definition, humorous. They thwart conventions—traditionally those of tempo, meter, and phrase length—and in so doing aim to delight, but also bring special attention to the conventions by denying them. This is particularly exemplified in the third movements of Beethoven’s First, Second, and Fourth Symphonies, which tend towards a beautiful aesthetic, while the Third, Fifth, Sixth, and Seventh Symphonies expand and intensify the scherzo even further, with moments suggesting the sublime, essentially consigning the gallantry of the minuet to a faded memory. While the scherzos of these latter symphonies suggest some sublime moments, as a rule they are not designed to overpower through an incomprehensible experience, but rather use the very fact that listeners can understand them by understanding what is unconventional about them, and through such novelty the audience experiences delight. In the Eighth Symphony, Beethoven expanded the scherzo character to encompass the entire symphony. Through unexpected structural twists, surprising rhythms and key relationships, and transparent orchestral textures, this symphony indeed recaptures some of the animating spirit of Beethoven’s First Symphony, “a salute to the symphonic ideal of a previous age” (“Beethoven,” Grove Music Online), while at the same time innovates using witty and subtle twists that thwart some of the basic expectations of the symphonic genre, and thereby call them into question for reconsideration, much as had earlier occurred with the scherzo begging reconsideration of the context of the minuet.

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    11 min
  • Dvořák Symphony no. 9 in E minor, 'From the New World' Op. 95
    Antonín Dvořák wrote his Symphony no. 9 in E minor, Op. 95 From the New World in 1893, while he acted as director of the National Conservatory of Music of America. The piece is popularly known as the New World Symphony, and it is usually referred to as Dvořák's ninth symphony, though in older literature it can be found listed as his fifth symphony (it is very rarely referred to by its Burghauser catalogue number, B. 178). This is by far his most popular work, and one of the most popular romantic pieces ever. Dvořák claimed he was inspired by the peculiarities of the Native American music, and drew attention to its similarities with the African and Scottish music. The sound of the symphony is predominantly pentatonic, so musicologists tend to agree that Dvorak was referring to this characteristic. The theme of the second movement was adapted into a spiritual called Goin' home by Dvořák's pupil William Arms Fisher, who wrote the lyrics in 1922. The popularity of this version has caused the erroneous impression that Goin' Home was the original version. However, it is possible that Dvořák drew inspiration from existing spiritual melodies. The symphony also draws heavily from European tradition: the opening of the third movement bears a strong resemblance to the opening of the third movement of Beethoven's 9th Symphony.

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    12 min
  • Polovtsian Dances Alexander Borodin's opera Prince Igor (1890)
    The Polovtsian Dances are perhaps the best known selections from ). They are often played as a stand-alone concert piece. Borodin was the original composer, but the opera was left unfinished at his death and was subsequently completed by Nikolai Rimsky-Korsakov and Alexander Glazunov. In the opera the dances are performed with chorus, but concert performances often omit the choral parts. The dances do not include the "Polovtsian March," which opens Act III (No. 18), but the overture, dances, and march from the opera have been performed together to form a suite from Prince Igor. In the opera, the dances occur in Act II (in the original edition). A typical performance lasts between 11 and 14 minutes. The overture, never written out by Borodin, was reconstructed by Glazunov from his memory of the composer playing it at the piano and a few sketches. The overture file is scanned from the separate offprints for the Overture, Dances, and March.

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    16 min
  • Fantaisie - Impromptu, Op. 66
    The Polonaise Fantasie in A flat major, Op. 61, is a piece for solo piano written by Frédéric Chopin. It was published in 1846 with dedication to Madame A. Veyret. Its complex form, the fact that it displays characteristics of both a fantasie and a polonaise, its advanced harmonic development and technical level, made it a piece that was slow in gaining favour from pianists.

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    6 min
  • Orchestral Suite no. 3 in D major, BWV 1068 - Complete Performance
    he Orchestral Suite no. 3 in D major, BWV 1068, was composed by Johann Sebastian Bach at some point between the years 1717 and 1723, for his patron Prince Leopold of Anhalt. From this work comes the famous Air on the G string, titled after violinist August Wilhelmj's late 19th century arrangement of the air movement for violin and piano. By transposing the key of the piece from its original D major to C major and transposing the melody down an octave, Wilhelm was able to play the piece on only one string of his violin, the G string.

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    21 min
  • Dvorak's Symphony no. 9 in Em, 'New World' - I. Adagio, Allegro molto
    Antonín Dvořák wrote his Symphony no. 9 in E minor, Op. 95 From the New World in 1893, while he acted as director of the National Conservatory of Music of America. The piece is popularly known as the New World Symphony, and it is usually referred to as Dvořák's ninth symphony, though in older literature it can be found listed as his fifth symphony (it is very rarely referred to by its Burghauser catalogue number, B. 178). This is by far his most popular work, and one of the most popular romantic pieces ever. Dvořák claimed he was inspired by the peculiarities of the Native American music, and drew attention to its similarities with the African and Scottish music. The sound of the symphony is predominantly pentatonic, so musicologists tend to agree that Dvorak was referring to this characteristic. The theme of the second movement was adapted into a spiritual called Goin' home by Dvořák's pupil William Arms Fisher, who wrote the lyrics in 1922. The popularity of this version has caused the erroneous impression that Goin' Home was the original version. However, it is possible that Dvořák drew inspiration from existing spiritual melodies. The symphony also draws heavily from European tradition: the opening of the third movement bears a strong resemblance to the opening of the third movement of Beethoven's 9th Symphony.

    Hosted on Acast. See acast.com/privacy for more information.

    12 min

About The #1 Musical Experience

From the publisher's feed

Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are…

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