What come to your mind when you hear or see “dry flowers”? To me, it gets me a picture of classic, graceful, elegant feeling. Well, today we are going to listen to Schubert’s work for flute, Flute Variations on “Trockne Blumen,” which means “dry flowers” in English. It was originally one of the pieces in the Song cycle, Die schöne Müllerin. Schubert composed three Song cycles in his lifetime, two of the themes from Wilhelm Müller’s poetry and one mainly from Ludwig Rellstab’s. Later on he adapted ”Trockne Blumen” into a variation for flute and piano. Since it can be sung as a song, why not take a look at the beautiful lyrics?

Lyrics: Dry Flowers, by Wilhelm Müller
All you flowers,
that she gave me,
shall go with me
into the grave.
Why look at me so sadly,
as if you knew my fate?
You flowers all, so faded, so pale?
You flowers all, why so bedewed?

Oh, tears do not revive the green of May,
do not make dead love flower again.
And spring will come, and winter will go,
and flowers will stand in the grass.
And flowers will lie with me in the grave,
the flowers all that she gave me.

And when she passes by the mound,
she will think in her heart: his love is true!
Then, little flowers, spring forth, spring forth!
May has arrived, and winter is over.

Composer:
     Franz Schubert by Wilhelm August Rieder
     Franz Peter Schubert (January 31, 1797~November 19, 1828) was an Austrian composer born in Vienna. He wrote some 600 lieder, nine symphonies (including the famous “Unfinished Symphony”), liturgical music, operas, and a large body of chamber and solo piano music. He is particularly noted for his original melodic and harmonic writing; therefore, he gained a repute of “King of Melodies.”
     While Schubert had a close circle of friends and associates who admired his work, wider appreciation of his music during his lifetime was limited at best. He was never able to secure adequate permanent employment, and for most of his career he relied on the support of friends and family. Interest in Schubert’s work increased dramatically in the decades following his death.

Music Style:
     While he was clearly influenced by the Classical sonata forms of Mozart and Beethoven, his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama. This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style. Schubert’s practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end.
     Also of particular note are his two song cycles on the poems of Wilhelm Müller–Die schöne Müllerin and Winterreise–and the collection Schwanengesang, all of which helped to establish the genre and its potential for musical, poetic, and dramatic narrative. In turn, Schubert’s work in Lieder fostered interest in shorter and more lyrical instrumental works.
     Schubert’s compositional style progressed rapidly throughout his short life. The loss of potential masterpieces caused by his early death at 31 was perhaps best expressed in the epitaph on his tombstone written by the poet Franz Grillparzer, “Here music has buried a treasure, but even fairer hopes.”

Narration to this Work: D.802
Category-Variation
Key- e minor
Instruments- Flute, Piano

Music in Person:
     We are very lucky to have a series by this player playing the whole variation. Here I just post part 1, and for the rest please go listen to it yourself. Feel it, imagine it – I believe you will admire the pensive grace, just like a dry flower Schubert planted here.

My opinion:
     This masterpiece of Schubert is such a diamond for the ear – I love it so much. However, don’t be cheated by the pretty appearance. Both the technique and the tone color are not easy to control well in this work. After all, beauty is to be afforded – this piece is definitely worth practicing! I believe I can play it well someday with my teacher’s instruction.

     It comes to the end of today’s course. I hope you have enjoyed the fragrance of “Trockne Blumen.” I haven’t decided what to listen to next time, but it will surely be something in the Romantic Period. Thank you for join me at musiclassique.

Clément

reference: Wikipedia

     I hope you had a good time enjoying the last episode, with Mozart’s flute concerto. If so, you’ll be happy today ’cause we are still listening to another piece of Mozart – the flute quartet. I love this flute quartet very much. Exquisite notes flow among measures, sounding like a peaceful stream, comforting my spirit, with a royal atmosphere.
     Due to the fact that we have already read the life and the music style of Mozart, we will just head for the narration of this piece.

Narration to this Work: K.285
Category-Quartet
Key- D Major
Movements- Allegro, Adagio, Rondeau: Allegretto
Instruments- Flute, violin, viola, cello

Music in Person:
     The video was found on youtube. I personally think that the entire speed can be turned up – it’s a bit slow. However, the melody was awesome, as if the golden silk whicking your face – soft and tender! It’s the first movement of the quartet. Of course, enjoy!

My opinion:
     The very first time I practice to play this piece, I was so excited that I cann’t control my speed; then – it rushed away. Ha! I now can digest the texture in the movement: the chains of notes should be played fluently and softly,we should play it calmly but with some passion and, it should be add with Mozart’s signature innocence!
     Well, Mozart’s music is just satisfying and delightful to me, but – it’s not easy at all to explain the phrases. Why? Because he’s a prodigy while we are just humanbeing!!

     This is the end of the classical period. Next time we will have the meeting with romantic period, in which a lot of pieces for flutes are composed! I’m really looking forward to it, for I enjloy the melodies of all the works! Hope you will like them as I do. And don’t forget, let me know if you have any comments. See you next time at musiclassique.

Clément

     I always remember the very first time I played Mozrt’s music – so sweet, so delicate, just like a little kid playing in the garden. Of course, he is considered a music prodigy! According to some research, listening to Mozart’s music can make children more spatioperceptual. And I do agree with the statement for it have already happened to me. Plus, I introduced some music by Mozart to me teacher, who was pregnant, at junior high school. She told me that, her baby really had an reaction to the music - the baby became quiet and calmed after listening to it. That’s amzaing, isn’t it?
     Well, today we are going to listen to Mozart’s flute concerto in G, K.313. I like this piece a lot, especially the third movement, which is very energetic and lovely. I believe this piece is very easy to be loved. Hope you enjoy it! 

Composer:
Posthumous painting by Barbara Krafft in 1819
     Wolfgang Amadeus Mozart (January 27, 1756~December 5, 1791) was a productive and influential composer of the Classical era. His output of over 600 compositions includes works widely acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. Mozart is among the most enduringly popular of classical composers and many of his works are part of the standard concert repertoire.
     As the youngest child and only surviving son of Leopold Mozart, Wolfgang Amadeus was born in Salzburg in 1756. He showed early precocity both as a keyboard-player and violinist, and soon turned his hand to composition. His obvious gifts were developed under his father’s tutelage. Through the indulgence of their then patron, the Archbishop of Salzburg, Mozart was able to travel abroad, between 1763 and 1766, to Paris and to London. A series of other journeys followed, with important operatic commissions in Italy between 1771 and 1773. The following period proved disappointing to both father and son, as the young Mozart grew to manhood, irked by the lack of opportunity and lack of appreciation of his gifts in Salzburg. By early 1779 Mozart was reinstated in Salzburg, now as court organist. Mozart spent the last ten years of his life in precarious independence in Vienna, his material situation not improved by a marriage imprudent for one in his circumstances. In 1791 things seemed to have taken a turn for the better. But in late November, however, Mozart became seriously ill and died in the small hours of 5th December.
     Mozart’s compositions were catalogued in the 19th century by Köchel, and they are generally now distinguished by K. numbering from this catalogue.

Music Style:
     Mozart’s music, like Haydn’s, stands as an archetypal example of the Classical style. His works spanned the period during which that style transformed from one exemplified by the style galant to one that began to incorporate some of the contrapuntal complexities of the late Baroque, complexities against which the galant style had been a reaction.
     Mozart’s own stylistic development closely paralleled the development of the classical style as a whole. In addition, he was a versatile composer and wrote in almost every major genre. While none of these genres were new, the piano concerto was almost single-handedly developed and popularized by Mozart. He also wrote a great deal of religious music, including masses; and he composed many dances, divertimenti, serenades, and other forms of light entertainment.

Narration to this Work: K.313
Category-Concerto
Key-  G Major
Movements- Allegro maestoso, Adagio ma non troppo, Rondo (Tempo di menueto)
Instruments- Flute, orchestra

Music in Person:
     As I said in the intro, I prefer the third movement; therefore I decided to share this part with you. But please go listening to the other two, which are good-listening and melodic as well!
     Here I found a video on the youtube, but somehow it is quite dark. Well, it does no matter because the flutist really did a great job. Just like the comment said, she played it as should be played.

My opinion:
     To me, Mozart’s music is always that childlike and innocent. HOWEVER, the fingering is easy to mess up when you play at a high tempo without mature skills! I can play the third movement so far, finding it so fascinating but a bit annoying! Playing Mozart’s music, I find myself back to a kid. No doubt this piece is considered one of the most beautiful flute concertos in the world, which is a must to study for those who play the flute!

     Ok. Next time, we will listen to another piece of Mozart, the flute quartet – I love it!! Both the music show the delicacy of Mozart. So stay tuned for the next episode. Thank you for joining me today.

Clément

reference: Wikipedia
20Naxos

     Today, we are going to continue talking about the Baroque music and, we will listen to Les Folies d’Espagne, by Marin Marais. As I first listen to this piece, I was instantaneously fascinated with the beautiful melody – graceful but pensive. Listening to the music, I, somehow, come up with the scene of the French Revolution. Well, let’s take a look right now.

Composer:
    
“The empire of the viol was founded and powerfully established by Pere Marais.” -Hubert le Blanc

     Marin Marais (May 31, 1656~August 15, 1728) was the central figure in the French school of bass-viol composers and performers flourishing during the late 17th and early 18th centuries. As a boy, he was a member of the choir of Sainte-Chapelle and in his teens studied the basse de viole with Hotman and Sainte-Colombe. Marais entered the royal orchestra as a soloist in 1685 and about the same time became a member of the orchestra of the Royal Music Academie. In the latter position he played under the direction of Lully, who later became his teacher in composition. Marais composed numerous operas and five books of Pieces of violes, but even made a musical depiction of a gall-stone operation. He spent the remainder of his life performing and composing, and also fathering nineteen children, several of whom became important figures in French musical life.

Music Style:
     Marais noted in his manuscripts the precise manner in which French Baroque music was played. Joachim Christoph Nemeitz declared that Marais’ works “were known by the whole of Europe.” Titon stated: “One recognizes the fecundity and elegance of the genius of this musician by the quantity of works he has composed. One finds everywhere in them good taste and a surprising variety.”

Narration to this Work: Les Folies d’Espagne
Category-Solo, Variation
Key-  e minor
Instruments- Flute

Music in Person:
     I finally found the best version in Youtube. Rhonda Larson, the player, was the Grammy winner, and the video was shot during the performance in italy. She played very well, I think; yet she only played part of it. The version of my CD is about twenty three minutes. Well, it doesn’t matter. Go and take a listen!

Hopefully, you like the music today. You are welcomed to give my comments or suggestions.
Next time we are heading for the classical music, which might be composed by Mozart, the prodigy. Thank you for join me today.

Clément

reference: Goldberg
Marin Marais
Marias

     Today is our very first episode. Are you excited? We are having J.S. Bach’s  music as the beginning.
     I believe you all have heard of this great man before, who is regarded as the Father of Music. I especially enjoy his works, which are simple but complicated, with beautiful melodies and the reverence to God. It was reported that the frequence of Bach’s music is similar to the specific one of babies. Somebody also says that listening to Bach’s music can better your concept of math and, it seems to have worked on me! When I’m having a math exam tomorrow, I listen to his music. It sounds like that Bach’s music has magic. So, why not just read the introduction below and, listen to the music?

Composer:
Bach in a 1748 portrait by Haussmann
     Johann Sebastian Bach ( March 21, 1685 – July 28, 1750) was a prolific German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, a control of harmonic and motivic organisation from the smallest to the largest scales, and the adaptation of rhythms and textures from abroad, particularly Italy and France.     Bach’s life can be divied into 5 periods of time – Childhood (1685–1703), Arnstadt to Weimar (1703–08), Weimar (1708–17), Cöthen (1717–23) and Leipzig (1723–50). Revered for their intellectual depth and technical and artistic beauty, Bach’s works include plenty of types. But Bach was not always appreciated during his own lifetime, and he was considered to be “old-fashioned” by his contemporaries, especially late in his career during the Rococo period. Nevertheless, Bach is now considered one of the most famous and influential composers of all time.

Music Style:
     There are several more specific features of Bach’s style. The notation of baroque melodic lines tended to assume that composers would write out only the basic framework, and that performers would embellish this framework by inserting ornamental notes and otherwise elaborating on it. Although this practice varied considerably between the schools of European music, Bach was regarded at the time as being on one extreme end of the spectrum, notating most or all of the details of his melodic lines—particularly in his fast movements—thus leaving little for performers to interpolate. This may have assisted his control over the dense contrapuntal textures that he favoured, which allow less leeway for the spontaneous variation of musical lines. Bach’s contrapuntal textures tend to be more cumulative than those of Händel and most other composers of the day, who would typically allow a line to drop out after it had been joined by two or three others. Bach’s harmony is marked by a tendency to employ brief tonicisation—subtle references to another key that lasts for only a few beats at the longest—particularly of the supertonic, to add colour to his textures.

Narration to this Work: BWV 1020
Category-Trios Sonata
Key- g minor
Movements- Allegro, Adagio, Allegro
Instruments- Flute, Harpsichord and viola da gamba (cello)

Music in Person:
     All the videos you watch in my blog is originally from Youtube. Here I post the first movement of the music we are talking about. If you are interested in the other movements, just search and perhaps you can find out! Due to the IPR, I can’t upload the music to here, sorry! If you like the song, I recommend you buy the record.
     The performer is Jean Pierre Rampel, one of the greatest flutists in the twentieth century.

I hope you enjoy the course today. Please feel free to give my comments or suggestions. I’ll be very willing to hear from you.
Thank you.

Clément

reference: Wikipedia

If you think classical music is an old-fashioned stuff, then you are so wrong.

Well, don’t take it so serious. In the fallowing year, I’m about to introduce you several kinds of flute music, which I enjoy very much. I’ll put some history about the composer, the background in which they wrote the music, the specific style for the music and… the most important one – the MUSIC itself! (hopefully I won’t get charged with plagiarism, IPR or illegal piracy) And if possible, I will uplaod some videos in which the musicians play the pieces.

It is my first time to make a project like this, so feel free to give me comments, suggestions… I’ll be glad to hear that.

Stay tuned, for my first episode!

Clément