Upcoming Graham School Classes: Some Suggested Preparation
John GibbonsBy April 1, syllabi will be available for Tuesday’s Baroque, Wednesday’s Beethoven, and Thursday’s Dvorak class, on this site. I regret that I do not get these syllabi up earlier, but I prepare up to the very last minute and things don’t come fully into focus until the 11th hour…partially because I never use old syllabi, formats, or readings, but re-think every class I give, even standard “Life and Works” classes that I’ve taught many times. For some, my lack of rigid adherence to a given syllabus is problematical, but others prefer spontaneity and flexibility; probably it is best to steer something like a middle course.
But here are general outlines:
Baroque Week 1 will begin with keyboard music of Frescobaldi, operas by Monteverdi (primarily L’Orfeo) and motets by Heinrich Schutz. The class will proceed chronologically. Dividing sessions by genre seems logical and attractive, but I worried about the lack of generic variety within individual sessions; for instance, somebody who for whatever reason can’t abide opera, or Italian keyboard music, or organ music, etc. would have some difficult sessions. Dividing by nationality is terrifically logical for a period like the Baroque, but is it really the most essential thing for students to distinguish between characteristic national traits at the expense of getting the chronology down? Maybe, but a choice had to be made. Two of the sessions will be devoted to J.S. Bach, and one to Handel; other composers will share time. Included for sure will be an opera by Lully, probably “Atys”, selected concerti by Arcangelo Corelli and Handel, Either “King Arthur” or “Dido and Aeneas” by Purcell, keyboard music by Couperin and Rameau, a concerto and possibly the famous “Gloria” of Vivaldi, and keyboard sonatas by Domenico Scarlatti. Subjects I would like to include are a comparison of the operatic styles of Alessandro Scarlatti and Carissimi, something by Telemann, perhaps “The Last Judgement”, organ music by Buxtehude and some transitional music by Bach’s sons, or maybe Frederick the Great. We will not feature the Pachelbel canon. Crash a wedding if you want to hear that. But, come to think of it, Pachelbel might feature in the first of the Bach sessions. For Bach we’ll have some combo of well known and lesser known works, depending on the needs and proclivities of the class. Of course we’ll analyze at least one fugue. Books I’ve been using in prep include Claude Palisca’s survey, “Baroque Music”, Nikolaus Harnoncourt’s “The Musical Dialogue” Christopher Hogwood’s Handel book, Joseph Kerman’s “The Art of Fugue”, Christoph Wolfe’s “Bach, the Learned Musician” and the Grout History of Western Music.
Beethoven: A chronological approach mixing biography and music remains the best plan for a “Life and Works” sort of course. I have in the past and will in the future offer more specialized Beethoven courses, but this upcoming course is a survey. The heart of Beethoven is the piano sonatas and string quartets; yes, the 3rd 5th and 9th symphonies shook the world and will be examined, but anybody interested seriously in Beethoven needs NEEDS to acquire and learn the sonatas and quartets. I plan on using William Kinderman’s wonderful book, “Beethoven” which is somewhat technical, and Maynard Solomon’s accessible biography. Maybe some of Lewis Lockwood’s bio, as well. Leave it there for now. I have shelves of books devoted exclusively to Ludwig van. Don’t get me started!
Dvorak: The first two sessions are on Smetana. His greatest works are the eight operas and the six tone poems, “Ma Vlast” (although “Macbeth and the Witches” is one cool tone poem, as well)…His bio is also exceedingly interesting. In general, I’ve found Smetana served well by his most famous works, in addition to “Ma Vlast”, the operas “Bartered Bride”, the wonderfully epic yet human “Dalibor” the even more epic but less human “Libuse” and the moving first string quartet, “From my Life”. I hope you like polkas. Smetana was to the polka what Tchaikovsky was to the waltz. The best. Funny thing; the polka, as its name indicates, is of Polish origin. But it’s the Czechs who made it their own. For the Poles, the mazurka is where the rubber hits the road. Incidentally, Smetana’s piano music is disconcertingly hard. He liked Liszt a lot.
I do not have a similar conviction that Dvorak is necessarily best served by his best known work. So therefore, some esoterica will be included. Will I be killed if the “American” quartet and the cello concerto don’t show up? Jeepers, I thought so. Well, let’s solace ourselves with the “Dumky” trio, selected movements from symphonies 3-7, with a more extended look at eight and nine, the “Slavonic Dances”! Light music you say? Not worth the time? They are the greatest works in the history of their crowded genre; and the greatest, the exemplar, is always interesting, like Joplin rags or Strauss Viennese waltzes…”folk” dances made by a master. How ‘bout the Stabat Mater and the opera “Rusalka”? You betcha, as they say in my home state. Of course I’ll perform with great delight selections from Dvorak’s large and underrated piano ouvre. Books I’m using include Mike Beckerman’s “Dvorak and His World” and “New Worlds of Dvorak” as well as Brian Large’s “Smetana”, along with dedicated commentaries on certain individual works. The question to which inquisitive minds want to know the answer: Will I include Janacek and Martinu? Probably only in passing, those guys deserve their own course. How about a course, “Bartok and Kodaly, Janacek and Martinu”? you could call it Eastern “European Masters” and specify in the description that it’s restricted to those composers. How I’d love to teach that!
Note on Once and Future Classes: The powers that be made me decide on fall classes. Summer classes are already decided. I chose for fall “Romanticism and Reaction: Rachmaninov and Prokofiev” and “American Masters” featuring music from Edward Macdowell, Ives, Griffes, Copland, Harris, Barber, etc.
The recently concluded “Aesthetics and Idealogy” course provoked some interesting responses. I appreciate deeply the enthusiam of the mostly positive feedback, but would like to acknowledge certain legitimate criticisms, and offer some cringing, grovelling excuses. Yes the class was “loosely” organized; I designed it that way, because I wanted to do a bunch of different things that I’ve never included in more obviously cogent courses, so the potpourri element was there, which has disadvantages, but hopefully introduced some stimulating things that are worthwhile, and may provoke courses of their own in the future. One person said “too much music” and another person said “not enough music”; here I agree with the former observation. A broader more multi-disciplinary approach would have been better for the sorts of topics I chose, and I’ve done it in the past, with courses on Paris, Vienna, and St. Pete/Moscow, where we had plenty of topics not strictly musical, and went more in depth. As for too much music, I hope that the price we paid in depth was made up for by some interesting discoveries of unfairly neglected repertory. Another criticism: didn’t follow the syllabus. Yes, I excluded Stravinsky and Les Six, and that was a problem. But I thought I got around to most of the other stuff; but of course some topics may have been shortchanged to provide room for some topics that seized me as the class went along. “The only seriously considered topic was Shostakovich” …my feeling is that if the other topics were superficial, so was the Shostakovich part. My own analysis would be that the class was wildly ambitious, too ambitious, but I’m proud of the discussion of Beethoven’s “Prometheus” works and of the relationships drawn between strange bedfellows like Hindemith and Barber, Weill and the constructivists. A flawed course that cries out for refinement, but hopefully interesting most of the time. Best would be to take each of the several threads, and expand it into its own course…
Reader Comments (28)
John,
Several Dvorak points. If you're using Beckerman's book on New Worlds of Dvorak don't you need to include something about the Cello Concerto, specifically the last movement and Dvorak's last-minute changes? Isn't the F Minor Trio Op 65 more worthwhile than the Dumky Trio? What about at least one of the four symphonic poems between Op 107 and Op 110?
The Eastern European masters idea is great, although I couldn't believe you left out Gorecki and Arvo Part (yes, I know they are later and mess up the chronology!)
It's either the op. 65 or the Dumky...op.65 may be a greater work,and I would guess that you, particularly would admire it, for its heroic and symphonic narrative, but the Dumky is so weird, so idiosyncratic, so obsessive that I don't want to exclude it.
As for the tone poems...Well, "Golden Spinning Wheel" or "Noon Witch" are good choices. I'm less inclined to use Fatherland or the three overtures.
You know, a cappella choral music is something else that could be included with profit.
But I was actually worried that spending time on Ma Vlast might compromise the impact of Dvorak's tone poems; I also felt that significant esoterica is already being included, as well as considerable orchestral music. Re the Cello concerto: are you talking about the coda-requiem for Josefina, that brings back the so-called Brahms theme in a duet for horn and cello? That's a great passage, but I haven't read Beckerman's book since it came out, and don't remember much of it, but it's a quick and agreeable read, I'll get to it before class and I'll see what I can do. I've been concentrating on Smetana, in prep for sessions 1 and 2. Listened to all his operas but for "Devil's Wall" and played all his piano music. Could hardly believe it,but I really liked Harnoncourt's Ma Vlast with Vienna. I really did! So sue me. I'll use the Kubelik, though, in class...
Would I get enrollment for the Eastern masters? If I put Part and Gorecki in, I'd be diluting the class the same way as if I put Martinu and Janacek in now. For Part and Gorecki, You could have a "Contemporary E. Europe Masters, and include Penderckei and Panufnik and Lutoslawski. would that get enrollment? It sur'd be fun.
David! I assume you have Suk's "Asrael" on Cd. I'd like to borrow it. Maybe that would be just the work to show in class.
Somehow I forgot. I do plan on using "The Wood Dove"...I wanted to suggest connections between that score and Mahler's Das Klagende Lied, one of my favorite scores, just like Pierre Boulez. Joaquin Rodrigo has a tone poem on the same Subject! I forget what it's called. You could make a program-program: Dvorak, Rodrigo, and after the intermission, the Mahler. That'd be a doo-dilly-doozer of a program!
In response to your three replies above:
1.The Dvorak Cello Concerto reference is to the recall of Dvorak's song "Lasst mich allein" Op 82, No 1, which was reputed a favorite of Josefina, which I think is what you're referring to. Beckerman's book makes a big deal about it, and he also was the instigator of a CD (which I can loan you) called "The Secrets of Dvorak's Cello Concerto". It features Jan Vogler, David Robertson and the NY Phil and includes the song both sung and played in a cello version. Related to a possible secret love story, I strongly recommend the novel Dvorak in Love by Josef Skvorecky (1986), which some have called the best novel ever about a composer. There is also a book titled Dvorak in America (1992) edited by John Tibbetts, which includes a chapter by Skvorecky detailing his personal trip to the US to gather background for the novel, and which parts he made up and which parts are historically accurate. When I read the novel it ALL seemed utterly plausible.
I think Harnoncourt's Ma Vlast is superb, but without the patriotic fervor of Kubelik (whose CSO version is better played and more sheerly exciting even than the 1990 performance - which has unique historical resonance).
I was really just joking about Part and Gorecki.
2. I have 4 CD's of Suk's Asrael : Kubelik/Bavarian Radio (1981), Talich/Czech Phil (1952), Pesek/Liverpool (1991), and Petrenko/Berlin Opera (2002). You can borrow any of them.
3. I think the Wood Dove is a great choice. Beckerman mentions it in his book because it's the only explicitly titled "marcia funebre" in Dvorak's music, even though there are actually many funeral marches. Considering that the Wood Dove is 1896 and Mahler's Resurrection Sym is 1894, maybe there's also a relationship there, plus of course the Eroica. I also meant to mention before that Janacek's analyses of Wood Dove and Golden Spinning Wheel are included in Dvorak and His World.
There is a new (and first) DVD of Das Klagende Lied (all three parts) in HD picture with Vladimir Jurowski and the LPO from last Sep, which also has Berg's Three Pieces, Op 6 and Wagner's Parsifal Prelude plus end of Act 3 attached. Then there is a second DVD with a picture in the lower right hand quadrant from a camera just on the conductor, while the rest of the picture is the same as on the regular DVD. Arkiv has it on sale now- it's a really good deal.
Wow, great, thanks. If you let me borrow a couple of your favorite Asraels that'd be great. I looked at the Janacek anaylsis last night; he doesn't really say all that much...That Klagende Lied dvd sounds incredible. What a program! I can't imagine a better one. I'll order it. All those fairy tales seem to have the same story. Golden Spinning Wheel has a song of sorrow, too, so to speak. I notice there are c-minor c-major relationships in the marches of Wood Dove, Klagende Lied, and Resurrection symph...I guess funeral marches have to be in c minor. Beethoven said so. You know, one could devote a session to Dvorak's autobiographical music...Cello concerto, 9th Symph., Heroe's Song tone poem, and several of the piano poetic tone pictures. Of course one could include Smetana's g minor trio and first quartet as his autobiographical pieces. Is the song quote in the cello concerto in the 2nd mvt? I have the song, I can compare the scores...but I seem to have misplaced or lost my Beckerman book, and I paid full hardcover price, minus 20% at Borders. In fact, I have some missing stuff at my house, I'm slightly concerned. Bonnie ordered a used copy of the Beckerman from Amazon last night. Oughta be here in time!
Thank you so much, I found it. Third movement of course, just like I, ahem, said! As you already know, sweetly B major, in flutes, clarinets, and solo violin. Can't miss it, if one knows the song...the words are, "Leave me alone to wander in my fond Dream, don't disturb the rapture my heart borrows, Leave me the dear delight, leave me the sorrow that fills my heart...Bravo, David, thanks for bringing this up, I might have skated around it... a beautiful song, and fun to play on the piano. B major is the easiest key, as Chopin said, and the piano doubles the vocal line. I think I'll do the concerto in class afterall, and in fact use the song as the class's motto, in the same way I used "Farewell to the Forest" as the motto for the Schumann class!
Great! Glad to help out. I'll bring 3 Asrael's. Do you want the Secrets of Cello Concerto? The booklet has a lot of Beckerman stuff.
On the subject of funeral marches and c minor moving to C Major, I continue to recommend another Czech symphony, the "Easter Eve Sym" of J B Foerster. The first movement is a march to Calvary (c minor of course) and the finale is "The Victory of Holy Saturday". It was premiered in 1905, the year Suk started his Asrael Sym (also c minor to C Major). Also, it was Foerster who was with Mahler the day of Hans von Bulow's funeral when Mahler got the inspiration for the last movement of the Resurrection Sym and Foerster who correctly guessed Mahler's solution of the Klopstock Ode. And it is with Foerster's memory of Mahler's funeral that Henry -Louis de La Grange ends (finally) his four volume life of Mahler (just out).
Count me in if you do an Eastern
European Masters course.
You bet, Harvey, great to hear from you. Yep, As long as we're going to do the cello concerto, the booklet would be good. You know, I knew Mike Beckerman personally. Took a course with him. The Graham school has instituted a rule that all hand-outs teachers want xeroxed have to be submitted 6 wks. before the course begins, which implies that if you want them to xerox something, let's say, for wk.8, you'd have to know what you need 14 wks. ahead of time. Now, I don't know where my a-- is 6 or 14 wks. ahead of time. I prepare classes the wk. of the class. My new plan is to get people to go online to this site, where hopefully I'll have scanned in or linked to materials that can be printed. Many students (still) are uncomfortable using computers, believe it or not. I still hear "I I don't mess with that computer stuff"...I'm not jumping for joy, especially since I've drifted into the habit of using more and more hand-outs.
I am also a huge fan of Czech music.Other operas
by Dvorak are "The Devil and Kate",possibly the funniest comic opera ever,and"Dimitrij,the sequel
to Boris Godunov,and what happened to the pretender,
and "Armida".I can't understand why the magnificent
Requiem is not heard more often,and the oratorio,
"The Spectre's Bride".
Deutsche Grammaphon has recently released a
concert performance from the BBC of Janacek's
"Excursions of Mr.Broucek", a wild,crazy and
phantasmagorically weird opera,Janacek's only
comic opera.Don't miss it.
Yeah, Broucek is great. In my class we're gonna look at Stabat Mater rather than Requiem. It'd be great to have time to do both. I don't think Armida is that Great, but I sure am interested in Dimitrii; have never heard it. By the way, I got Roussel's "Padmavati" on your recommendation, but incredibly, haven't found time to hear it in full yet. I listened to some passages, and printed the libretto, but that's as far as I got! However, I'm teaching a French and Spanish Masters class in summer, so I'll bone up on it then!
John,
I have Dmitrij, The Devil and Kate, and The Jacobin - all complete on Supraphon. let me know which you'd like to borrow.
I already ordered them! I prefer to cancel the order and borrow yours. Do they have libretti?
All three have complete libretti plus descriptions of the plot, bio's, etc.
David! Thanks again. For sure, I'd like to borrow Jacobin. My wife is attempting to cancel Devil and Kate and Dimitrii. No big deal if she can't, though 'cause it is nice to have the jewel cases to fondle as you listen! I do not plan on presenting these works in class. But as for Smetana, yes indeedy. Bartered Bride, Dalibor and Libuse will be represented. I love 'em all. By the way, I have an excellent Josef Krips Dalibor but no libretto, and I couldn't find a libretto on the internet. Can you help? German only is just fine. I knew you maintain a magnificent collection, but it didn't occur to me you'd have those Dvorak operas. It is interesting how little most professionals know of the repertory, it seems like so many musicians, even good ones, know things on a "need to know" basis. And here is a joke for the day: "Do you like Smetana?" ..."Oh my, yes. Especially with potatos."
I have Dalibor and Libuse with librettos. Back to Dvorak, I also have The Spectre's Bride (mentioned by Mr Berger above) and St Ludmilla.
Dalibor is coming up the very first session; if possible could you bring it? I have the Supraphon Libuse. I also have the score. Weirdly, I have the score of "The Secret" but no recording; Oh, keeper of Alladin's cave of riches, do you happen to have The Secret? I hope it goes w/o saying how much I appreciate your help!
I do not have the Secret, nor is it currently available from Arkiv. Amazon has a copy for $54 (!) However, the Chicago Public Library is shown on the Worldcat database as having a copy. Good luck with finding it.
Back to Dvorak, I just checked out a fairly new (recorded in 2005) 2 CD set of King and Charcoal Burner, Op 14. Gerd Albrecht and a Czech cast in Cologne on Orfeo. Please send me an email summarizing what CD's vs. librettos you'd like to borrow and which class you need them for- I'm losing track!
John - glad to see the suggestions for the upcoming classes (I was able to order my choices for the Beethoven class). I particularly liked the "we will not be covering Pachelbel" comment.
Ach du lieber, Mr. Osborn! Taco bell (I mean Pachelbel) is o.k., if you stay away from souped up versions of his howitzer...I mean canon. Bach liked him. There's no accounting for taste...in all seriousness, Pachelbel was a moderately significant composer whose style made at least some impression on Bach...he was a competent professional whose music is in fact reasonably intricate...But he's an easy butt for jokes. Mea culpa!
asics ng for taste...in all seriousness, Pachelbel was a moderately significant composer whos.
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