Song of the Week
Symphony 9, Mvmt. 4 in C Major by Franz Schubert
Schubert’s career, although cut short by an untimely death, was quite monumental and ambiguous. Technically, Schubert only composed three full symphonies, including this one. His ninth, also called “The Great,” challenged many music theorists and musicologists. It was not until recently that musicologists confirmed that the ninth was crafted in 1825-1826. Prior, it was unclear when Schubert actually wrote this piece. To make matters worse, a faulty numbering system led many to believe that Schubert’s ninth was his seventh, his eighth, or even his tenth. Even today, it is still unclear what symphony this actually is. However musicologists and theorists are confident that this is his ninth, thanks to the confimation of the composition year.
The beginning of this movement is probably one of the most unusual finale “beginnings” ever crafted. Why? Because it leads us absolutely nowhere. He plays with the theme for more than three minutes, and then finally, at 3:41, he gives us this lovely melody in the winds. But he has not forgotten about that initial theme… Just listen to the dancing strings under this wind melody. Ironically, this wind melody is based on the choral part from the finale of Beethoven’s Ninth. Perhaps the dancing string part under the theme is Schubert’s way of maintaining his own style and originality.
Speaking of originality, note the changes that this theme undergoes. By 4:26, it almost seems as though you are listening to a totally different song. Schubert transitions into this change effortlessly. He is discreet about it too! By 5:16, we begin our departure from Beethoven’s territory and begin our journey back to Schubert’s. At 5:37, Schubert proudly welcomes us back into his land. The key has changed, making the mood more dramatic, as though he was battling Beethoven, trying to get us back to his side. Just listen to that resolve at 5:44, the sign of victory in a brutal battle.
At 7:03, Schubert re-introduces us to that wind melody from the beginning. Not Beethoven’s wind melody, but his own. If you think back to the beginning of the song, Schubert threw in his own delicate wind melody to contrast that initial boisterous theme. By this point though, who can keep it straight? Does he really expect us to remember his own delicate wind melody even after he throws in a Beethoven Nine reference? The truth is, yes! Schubert’s purpose behind this movement was to simply wrap up everything that he introduced to us before in the first, second, and third movements (which are not posted on here). Schubert’s own motifs from earlier movements are so distinct that even the average person should be able to pick up on their fragments in this finale. The reference to Beethoven’s Ninth was simply a red herring that Schubert found necessary to include. After all, Beethoven’s Ninth had premiered only a year before Schubert began crafting his own ninth symphony. So blame me! This movement might be slightly confusing to follow without listening to the previous movements.
The rest of the movement is much easier to follow because Schubert just keeps repeating that main motif, in different forms of course. The closing section of this movement, beginning at 10:03, is one of my favorite parts of this piece. In fact, this part is what led me to use this song as my “Song of the Week.” The ending is simple, yet so driving. He uses that same old motif from the very beginning to build up to this majestic, and dramatic, arpeggio at the end. The arpeggio is a simple C-C-E-G-C (for those instrumentalists out there). However, this five-note arpeggio is more than just an arpeggio, it is the driving conclusion to Schubert’s ninth symphony. The symphony is so long, that Schubert himself called it “the Great” because of its length. If this were a Beethoven piece, there is no doubt that the ending would have been elaborated on much more. But I am not complaining. Perhaps Schubert’s simplistic approach to this ending is what makes it so great!
-Live and love your life!
Song of the Week
Lovefool by The Cardigans
All I can comment on about this song is the nostalgia behind it. This was my jam back in the late 1990s! I remember many a day in the summers of 1998 and 1999 when this song would come on the radio and I would just start dancing. It’s such a wonderful song! It’s so up-beat and light…I love it! I also remember this song coming on the radio ALL the time when we were in the car. It was a very famous song. I haven’t heard it on the actual radio in quite a while, which is why I decided to post it on here.
I’ve been thinking about my childhood a lot lately. I often wish I could go back to the 1990s. Life was great back then! Life is still great, but it’s definitely become more challenging. I guess that’s what adulthood is like though. Growing up is certainly not a bad thing, but it’s not easy either. I’m glad this song played on my Pandora station yesterday. The whole time it played, all I could think about was my past. I could sit here and provide the “same-old musical analysis” that I try to provide each week, but I don’t think that’s necessary. I’m sure everyone remembers this song, and I’m sure it means something different for everyone. For me, it means youth and innocence, and it will always symbolize youth and innocence. How ironic, considering this song was featured on the “Romeo + Juliet” soundtrack! Who remembers that one???? Great movie!
By the way, sorry I didn’t post last weekend. I got this horrible sinus infection last Saturday that I’m STILL trying to get over. I still have a cough, and that icky mucous, but I’m feeling much better. Oh, and the weather over here in the mid-west (I still don’t know why Michigan is considered a mid-western state!!) is gorgeous! High 60s and sunny. Although it did make it into the 8os this past week. Gosh I love May! Enjoy Spring, this time of rebirth, everyone! I will once again use one of my favorite quotes that I used in another recent blog post: “Spring is nature’s way of saying, ‘Let’s party!’ ~ Robin Williams.
-Live and love your life!
Song of the Week
Symphony No. 1, Mvmt. 4 in C Minor by Johannes Brahms
Gosh I love this piece! I write this as a I listen to the middle section of this piece (about 6:00). I’m certainly not saying that that is the best part of this piece, because it’s not. In fact, there is no best part of this piece. The entire movement is brilliant. No. Correction. This entire symphony is brilliant. However I don’t expect somebody to spend an hour listening to a whole symphony while visiting my blog, so I’m just posting my favorite movement.
Brahms has always been a favorite of mine. Even though nobody can outdo Beethoven, Brahms came very close. Brahms was totally conscientious of this too. It took him 2o years to finally decide to write a symphony. He once said, “You have no idea how it feels to hear behind you the tramp of a giant like Beethoven.” Well Brahms, you were not the only one. I think any musician, conductor, music listener, etc. can agree that even today we still hear the giant steps of Beethoven behind us as we embark on any music journey. Unfortunately for Brahms though, Beethoven had only been dead for about 50 years when Brahms embarked on his first major music journey: the crafting of this first symphony in c minor.
Brahms takes us on a musical journey with this movement. In fact by the end of it, many may forget the main motif or idea behind this movement. In all honesty, I’ve spent the last week listening to this song, and the last four hours immersed in the score while listening along of course, and I still haven’t completely figured out which motif should be the main motif. The lovely horn melody at 2:23, the wistful trombone and bassoon chorale at 3:40, or the amiable hymn-like melody at 4:50?
I think Brahms intended that all three themes get equal attention, even though the hymn-like melody at 4:50 seems to be Brahms’s primary focus for most of the movement. Brahms ensures that the other two themes are not forgotten though, especially at places like 6:21 where Brahms reminds us of that lovely horn melody, except this time the flute has it. For the next five minutes Brahms plays with these three themes. He makes them unrecognizable. They appear to us in manipulated forms. So manipulated that the only way you can identify them is by the notes or by the instruments. For example, take the trombone chorale motif. The trombones do not have a very prominent part in this movement overall. So, I assume that any time we hear a trombone between the time of the chorale and the end, Brahms is referencing not just the chorale, but the sadness and despair that the chorale evokes. Because of Brahms’s lacking mention of this motif, it makes me think that perhaps it is the most important motif. After all, there is a reason why he suspended the motif until the end.
Finally, the part that we’ve all been waiting for…. 15:28!!! GOOSEBUMPS GALORE!!! And of course Brahms leads us into the long-lost (but not forgotten) trombone chorale motif with chords made up of the same notes of the horn call motif at 2:23. Coincidence? I think not! Most importantly though, when we hear the trombone motif this time, it has completely metamorphosized before our ears. The rhythm is the same. However, it’s in the key of C Major rather than C Minor… a HUGE difference. It also involves more instruments: the contra-bassoon, the horns, and the trumpets. Another HUGE difference.
And just listen to those strings in this coda section. Aren’t they gorgeous???? And if you listen very carefully at 16:25, you’ll hear this pesky, “almost-arpeggio,” in the trombones. Brahms probably chose the trombones since they were the ones that introduced us to that lovely yet ominous chorale in the beginning that we had to wait 15 minutes to hear again! This pesky, light-hearted “arpeggio-like” part serves to counter that chorale.
The best aspect of this movement is the development, which Brahms was a master of. In fact most romantic composers were. They really elaborated on their ideas, creating lovely and diverse blends. I get into many arguments with other musicians over this. Actually, over Brahms in particular. Many say that Brahms was a classically-contained composer. Yes, I agree based on SOME aspects. For example, Brahms follows the sonata form in most of his first and fourth movements, just like classical composers. Although this movement lacks a development section. Brahms’s symphonies also require a smaller orchestra – most romantic composers composed pieces that required larger orchestras. But Brahms kept it simple, and just based on this movement, the orchestra may be simple, but the piece itself is certainly not! Hopefully after listening to this movement, you’ll realize the intricate string and woodwind parts, coupled with those simplistic yet broad brass parts. What a perfect combination! And just listen to some of those chords and intervals! I hate to get all “musical” here, but nearly 136 years ago, the music world received this masterpiece thanks to Brahms.
Thank you, Brahms! You certainly proved yourself to the musical geniuses before you!
-Live and love your life!
Song of the Week
We’ll Meet Again by Vera Lynn
This is the first time that I’ve posted a song like this. Most of the music I share is classical or pop. This song though is certainly an oldie but a real goodie. I first heard this song about seven years ago while waiting in the Tower of Terror line in Disney World. When I first heard it, it sounded kind of eerie, probably because it was being played in the Tower of Terror – hence the picture slideshow, which doesn’t belong to me. During my last visit to Disney World and to the “Hollywood Tower Hotel,” I heard this song while waiting in the line. When I got home, I decided to dive into this song a little more. I looked up the lyrics and some of its background information.
The song was performed by Vera Lynn, who’s still living at 90 something years old. We’ll Meet Again tells a story of a woman sending her man off to war. Lynn performed this song in 1939, right in the middle of World War II. If you listen carefully, you’ll notice that the lyrics have to do with those war-time feelings of the 1930s. World War II was one of the worst wars ever fought in world history. The fatalities were monstrous thanks to advances in weaponry, technology, and transportation. Like any war, people who have loved ones fighting don’t really know what the outcome will be. They constantly live in angst, hoping that they won’t get the message that their loved one has been injured or killed. But as anyone who has loved ones serving knows, the hardest part is saying goodbye.
If you look beyond the eerie sound of this piece, beyond the connection to the Tower of Terror, you’ll notice that this is simply a popular 1930s war-time song that people listened to to keep them in good spirits. “Let’s say goodbye with a smile dear, just for a while dear we must part. Don’t let this parting upset you. I’ll not forget you, sweetheart.” I envision a woman singing this song to her husband or boyfriend as they stand by the train. She’s preparing to send him off to war. Perhaps the instrumental part is when he boards the train, and the reprise is when the train slowly begins to move away. She follows it, runs with it until she can’t keep up anymore. And then finally…. “But I know we’ll meet again some sunny day,” the train disappears off in the distance, leaving the woman with her positive thoughts. It’s her way of making the best of the situation. What beautiful lyrics. They’re so positive and light-hearted. And what a great voice to transform these lyrics into music.
So yes, this may be one of the “creepy” songs played in the Tower of Terror line that nobody gives two hoots about, but we must look beyond that. As much as I love the Tower of Terror, it kind of gives this song a bad reputation. But don’t let it! We can love the Tower of Terror and still love this song for the true meaning that it possesses.
Happy Easter!
To celebrate Easter, listen to this wonderful, spring-like song: Charles Ives’s Symphony No. 2, Finale. For the past few years, I’ve made it a tradition to listen to this song on Good Friday. This year however, Good Friday was so hectic because we had just returned home from Florida that I forgot to listen to my Easter anthem. So, in honor of Easter and Ives, I’ve decided to listen to Symphony No. 2 today! What a lovely piece! I hope the weather everywhere is as fantastic as it is here in Michigan – why can’t it be 30 degrees warmer?!?! Still in Florida mode, I guess. Enjoy, and Happy Easter!
Song of the Week
Let Me Be Your Star by Megan Hilty & Katharine McPhee
Talk about originality! Listen to these gorgeous voices! I’ve been hooked on “Smash” for the past few months, and I encourage anybody who doesn’t watch it, to start watching. It is a fantastic show. It focuses on a broadway show in the making, which celebrates the life of Marilyn Monroe. The unique part of ”Smash” is that it dives into the “behind the scenes” aspect of the show. It stresses the agony that everyone involved in the show endures while producing the show. As a member in multiple bands, and as a theatre wannabe, I think the writers do a fantastic job portraying this agony.
I’ve had this song stuck in my head for the past week. While vacationing in Disney World there were many times when I broke out into song, serenading the maids and the Disney park staff with this piece. Just kidding! But I did sing it almost everyday when I was alone in the hotel room. I like this song so much because it has that nostalgic 1950s chord that I enjoy so much. I don’t know what it is about that chord, but it really strikes me. Maybe I just like nostalgia too much. I’m in quite a nostalgic mood right now. I’m still trying to conquer those “after vacation blues feelings.” I was also lovestruck while on vacation, so I’m also waiting for that to wear off as well. This song makes me think about all of those emotions, and in a way, it kind of helps me feel better. Perhaps because it was my vacation anthem?
I really like Megan Hilty and Katharine McPhee’s voices! They are the two main characters in the show. They have such strong voices, something that we barely come across in the music industry today. Their strong voices mixed with those nostalgic chords and instrumental accompaniments, equals a near perfect blend. I like how the first section of the song features each singer individually, and then they come together in the last section of the song and harmonize beautifully. I get instant goosebumps on my arms, and my spine turns into a big ice cube. The lyrics tell a wonderful story too, however I’m not much of a lyric person. It’s how the voice transforms those lyrics into music, that’s the important part, and it is beautifully demonstrated here by McPhee and Hilty.
As much as I wish I was back in Disney World, I’m going to try to conquer this after-vacation blues and this love sickness. Perhaps I just have to keep listening to this song as well as reminding myself that the weather will get warmer now that spring has kicked winter out the door. As for the love sickness, maybe me and mystery girl will cross paths again soon… I doubt it! But as Robin Williams once said, “Spring is nature’s way of saying, ‘Let’s party!’” So, now that most of us have spring fever anyway, let’s party!
I Love Vacations
I do not remember the last time I was this sad about coming home from vacation. In fact, I don’t ever remember being this sad about coming home from a vacation. We flew out of Orlando yesterday late-afternoon, and got home at about 8 last night. The whole flight and car ride home I was so upset and distraught. My heart felt heavy, my facial muscles were tense, and I was short of breath. I had no idea why I was so distraught. I hadn’t felt that bad about something in… I don’t even remember when.
When I got home, my whole family was cheery and glad to be home, however I was depressed and not glad to be home. I spent months looking forward to this Disney vacation and now it’s over. It wasn’t the longest vacation – we flew out last Sunday afternoon and came home yesterday evening. We had three full days in Disney, which is plenty of time do stuff, but once it was over I felt like I didn’t even have a vacation. Life lesson learned here: spend at least five full days on vacation. Three full days is just not long enough.
I will say though that I did have a FANTASTIC time! And I knew just how great of a time I had when I began bawling my eyes out as I unpacked. I just couldn’t handle it! I so desperately wanted to fly back. I got really angry at myself. I felt as though I didn’t allow myself to enjoy the vacation and that it was my own fault why it felt so fast. After a long shower, I told myself that I made the best out of those three days. I’m still trying to believe it, however it’s so hard to get into that mindset. All I can think about is the warm and sunny weather, and our beautiful resort, and the theme parks, and all of the rides. I keep thinking about the days building up to the vacation, the days I spent daydreaming about how great this vacation would be.
Well I didn’t waste my time daydreaming, because the vacation was just as great as I imagined. Just TOO short! We stayed at Saratoga Springs Resort. It was our first time there, as we usually stay at the Old Key West Resort. The resort was gorgeous. It was based on Saratoga Springs, an upstate New York retreat very popular in the summers of the 1920s and 1930s! Disney sure did a wonderful job recreating the mood of the place. The architecture was very quaint, the courtyards very majestic, the rooms, beautiful! The rooms were slightly smaller than the Old Key West resort’s rooms, however they were just as comfortable.
I made it to all four theme parks: the Magic Kingdom on Sunday night from 9:30 pm to 2:30 am (gotta love extra magic hours), Animal Kingdom on Monday from 3:00 pm to 4:45 pm, Animal Kingdom, Hollywood Studios, and Epcot (extra magic hours for Epcot) on Tuesday, and Hollywood Studios on Wednesday from 7:00 pm to 12:30 am (extra magic hours). I rode some rides that I have never been on before, and I rode some rides that I have been on many times before. For example, the Tower of Terror in Hollywood Studios. Over the past 10 years, I think I’ve ridden that ride about 1o0 times. This past time my brother and I rode it seven times! I took 15 pictures of it, and a few videos. Gosh, am I obsessed or what?? In fact, we weren’t even supposed to go to Hollywood Studios on Tuesday. We were only supposed to go to Animal Kingdom and then to Epcot for magic hours. When we got out of the Dinosaur ride at Animal Kingdom, it was only 6:30 and Epcot’s magic hours didn’t start until 9. I was having Tower of Terror withdrawals since we arrived on Sunday, so I talked my brother into going to Hollywood Studios just to ride Tower of Terror. Success… well, almost. We took the Disney shuttle bus from Animal Kingdom to Hollywood Studios, but of course our park passes, which we thought were park hoppers, were not actually park hoppers. My brother was able to get into Hollywood Studios fine, for he had another pass, which was a park hopper. I however only had the “fake” park hopper. So we had to buy a day pass for $90 just so I could get into the park. It was well worth it!!! As soon as I saw the Tower of Terror, I was NOT leaving! So we got in, I took my pictures and videos, and we rode the ride. Twice!
After that we had to go back to Saratoga Springs so I could get the other park hopper pass, and then we headed to Epcot. My brother absolutely hated Epcot. He complained about the set-up and he said that the rides were not worth the wait. We started off with Spaceship Earth, that’s the ride inside of the Epcot ball, and it was great! I hadn’t been on that ride in about 10 years, so it was great to see all of the updates. Plus, because of my obsession with history I was freaking out at some parts! I was hitting my brother, shouting “Oh my gosh! Look! Look at that 1960s living room with the retro TV and furniture! And the mom’s vest and beehive hair! Look at the Beatles records by the TV, and the show that they’re watching!” Of course he sat there trying to look amused, probably just to humor me. Although he preferred to text his friend for most of the ride. We then waited nearly two hours for Soarin’. It’s a neat ride, however it’s certainly not worth a two-hour wait. But we were there anyway, and we weren’t going to be chased out of the park by a long line. After Soarin’ we headed over to Test Track, a ride that I had never been on before. It was about 11:00 pm when we walked in line. We were tired, sore, hot. Then something really interesting happened to me: I was lovestruck!
I saw this gorgeous girl in line. She was tall (seven inches taller than me), blonde, and tan. She was perfect! We made eye contact and of course, there it was, the infamous “spark” that we hear about in the movies and in the books. I hate calling myself a hopeless romantic, but I definitely do have that side to me. I glanced away quickly, but then I had to go in for another stare, and there she was, still staring at me! Finally when we got to the pre-ride loading docks, I looked for her again and found her. She was at the other loading dock, and saw me again. And then of course we stared at each other for a few seconds. After the ride, I was on cloud nine. I wanted to see her again, but we were headed back for the shuttles. I kept thinking about her for the rest of the night and I had this strong feeling that I was going to see her again. It just didn’t seem right if I never saw her again.
On Wednesday’s excursion to Hollywood Studios for its magic hours, my gut and my common sense told me that I would see her again. If she was at Epcot’s magic hours, then chances are she’ll be at Hollywood Studio’s magic hours. After riding the Great Movie Ride and Rock n’ Rollercoaster, my brother and I journeyed to the Tower of Terror. Sure enough as we were walking to the line I saw her and her friend walking to Rock n’ Rollercoaster. Later, on our third time riding the Tower of Terror, we walked up to the line and there she was! We were behind her and her friend and I was so close to talking to her… SO close. Of course this group of jocks came in line behind us and they spotted her and her friend. All of them were daring this one kid to go and talk to her the whole time while in line. Once we got into the building the girls separated from us until the boarding process, when I was right behind them again. I was pushing myself to talk to them before the jocks came back, but then one of the ride operators asked for a party of two, so the girls were gone. I lost my chance. I would never see neither of them again.
I was so upset. I never mention anything like this to my family because it’s embarrassing, hence why I’m venting on here (I still have to tell my best friend)! I think that that was another reason why I had such a hard time leaving Florida. I wanted to stay in Disney and see her again! Well, I’m back home now. I have no idea what her name is. I have no idea where she’s from. I know absolutely nothing about her. I can’t even look her up on Facebook or Google. I just know the tingly feeling I felt when I saw her. I like to think that she felt the same way, but I guess I’ll never know… unless of course our paths cross again. I cannot help but relate my scenario to Gatsby’s situation in The Great Gatsby. He loved Daisy so much, but he couldn’t have her. And unfortunately, his love for her eventually led to his demise. I also cannot help but think about what I would be doing if I were still in Disney World right now. Perhaps I’d be riding the Tower of Terror again, or perhaps I’d be at the Magic Kingdom for the magic hours, searching for mystery girl. Oh the things us teenagers go through! I finally understand why Elizabeth Perkins laughed in Tom Hanks’s face when he asked her to be a teenager again at the end of the movie, “Big.”
Check out some cool pictures from Disney!
Looking down Sunset Blvd. at the Tower of Terror... Gosh I wish I could ride it again!!
Hollywood Studios landmark
I love this picture! The sun is setting, the palm trees are standing tall, and the Tower of Terror is beaming brighter than ever! I love the glistening pond in the picture too!
Kali River Rapids water ride in Animal KIngdom. The hill is really deceiving because it only went down like two feet on the other side!
Expedition Everest at Animal Kingdom. This ride is so much fun... not as fun as the Tower of Terror of course!
I really like this picture. I was in line for the Tower of Terror (this was Tuesday). I always forget how tall it actually is!
Spanish Garden at Tower of Terror. The Disney Imagineers sure did a wonderful job capturing the mood behind the hotel: Southern Californian design, stucco exterior, terra cotta roofing... Gosh I love it!
Night shot of the Tower of Terror. I took this Wednesday night while in the Rock n' Rollercoaster line. I got some great pictures of the building while in the two hour line!! 
Really cool sign at Hollywood Studios. I took this as my brother and I were walking out of the park on Wednesday night! It's kind of a creepy sign.
The very famous Epcot ball. I always forget how big this landmark is too! There's actually a ride inside of the Epcot ball. It's called Spaceship Earth.
Our resort, Saratoga Springs. What a great place! Can't wait to go back!
Our complex was called "The Springs."
Our bus stop. One of the great things about staying on Disney grounds is that you're provided with free transportation!
One of the many Disney busses picking up at the bus stop. Not sure which park this one was headed to.
This is one of the ponds near our complex. The stone half-wall in the back is the back of the bus stop. Each complex has its own bus stop. That one is ours.
This is our courtyard. I took this picture while standing on our balcony. I really like the statues all of the courtyards had!
Another view of the courtyard.
The view of the pond outside of our complex.
I hope I’ve inspired everybody to take a trip to Disney World. Or at least to take a vacation somewhere! I still have a few more months until my next vacation. Until then, this love-struck teenager is going to reflect more on his vacation and try to make the best out of being home.
-Live and love your life!
Song of the Week
Academic Festival Overture by Johannes Brahms
I know my Song of the Week post is slightly late, however this tardiness has given me a chance to get to know this brilliant piece better. When I think of romanticism Brahms and Tchaikovsky come to mind. Of course both were different nationalities: Brahms was German and Tchaikovsky was Russian, which entails totally different styles of music. Brahms was also a happy man. He was self-actualized. He was like one of those grandfather figures that everyone enjoys being around. Tchaikovsky on the other hand was depressed for most of his life. But unlike classical Beethoven and Mozart who are quite well-known, Brahms was quaint. Having only composed four complete symphonies, Brahms’s success would certainly seem lighter, however it was nearly as great as Beethoven’s or Mozart’s.
Just listen to this piece! Appreciate Brahms’s intricate harmonies and melodies. This song is based on many different melodies. Brahms composed this piece in the 1850s after being awarded a doctorate in music from a well-known college. To return the favor, the college asked Brahms to compose a piece, something simple and Mozart-like that would still wow the crowd. Brahms based the piece on melodies that were played or sung by the boys at the college. He combined these melodies together, creating this smooth yet rambunctious overture, one of the most well-known pieces in orchestral repertoire.
Perhaps the Academic Festival Overture is a contradiction in itself. After all, I’ve contradicted every adjective that I used. Smooth yet rambunctious. Simple yet awe-inspiring. Think of the title. The ACADEMIC Festival Overture. When listening to this piece, academic is the last thing that comes to mind. However once you consider youth and boyhood this piece wouldn’t be so surprising.
Brahms dedicated this piece to the young men at this college. Being a comedian and a rambuntious character himself, Brahms knew that no matter how “academic,” every boy still has that wild side. Just like Beethoven’s many messages to struggling Europe, Brahms’s Academic Festival Overture is a message relaying those pleasant feelings of youth, specifically boyhood. But do not be turned away from this song because of the boyhood aspect. Journey beyond Beethoven and Mozart and listen to the magic that Brahms creates with this romantic masterpiece. After all, the key to composing a brilliant song is to be original!
I hope the weather everywhere is as fantastic as it is here in Disney World! Gosh I never get tired of this place!
Song of the Week
Don’t Worry Baby by The Beach Boys
Music underwent major changes in the 1960s. Artists began journeying away from the doo-wop of the 1950s. New bands were formed, and new chords were developed. In fact, the music we have today is most closely related to the music from the mid-1960s.
I often consider The Beach Boys and The Beatles overrated. I feel as though people don’t look beyond these two groups enough. After all, if it weren’t for the doo-wop of the 1950s, The Beach Boys and The Beatles would not have been half of what they were. As an illegitimate musicologist, I find it fascinating how music builds off of itself. The same chord progression used in this song by The Beach Boys, was probably used in some form by Beethoven or Mozart or Bach.
Of course that is not the only way that music builds on itself though. Each era has its own style of music. But since its beginnings, music has never really been original – especially after the Middle Ages. Composers and artists over the past three centuries have borrowed musical attributes from previous musical forms. For example, Mahler (a late romantic/early 20th century composer), borrowed many musical ideas from the classical and early romantic periods. Many people look down on Mahler for doing this. They fail to realize though that most composers did this. Mahler’s “borrowing” was just slightly more obvious.
Most musicologists/theorists would agree that this “borrowing” is really just development. Like any other field where ideas develop over time, music holds the same concept. Music has developed so much over time. This is a really cool concept for listeners to understand, but it is a challenging concept for composers and artists to grasp.
Think about it: how many classical music composers can you name from the 21st century. Probably only one hand’s worth. The truth is that classical music, as most of us know it, really doesn’t exist anymore. The classical music that we hear either comes from the classical, romantic, or 20th century periods. Composers nowadays struggle to write classical music. Probably because we have had a major culture shift (most people listen to rock, rap, and pop), but also because there really isn’t anything left to work with. Composers today would ultimately find themselves “borrowing” from other composers from the past. And unfortunately (unlike pop or rock music), it is really hard to keep classical music original.
But I digress. “Don’t Worry Baby” is a song that was written during one of the biggest culture shifts in history. As I mentioned earlier, artists of the mid-1960s were experimenting with different styles and chords. Doo-wop (unfortunately) was a lost cause. This song features a similar chord progression to the 1950s progression, however it was heavily altered. Because of this alteration, pop was reinvented.
If you are a lover of today’s pop music, you have The Beach Boys to thank.
HAPPY SPRING EVERYONE!
Song of the Week
Triple Concerto for Violin, Cello, and Piano, Mvmt. 3 by Ludwig van Beethoven
Beethoven composed his Triple Concerto in 1803, right around the time he composed his brilliant ”Eroica” Symphony. The Triple Concerto is amongst some of his greatest works. It features three instruments that we usually don’t hear perform together: violin, cello, and piano. A typical classical piece of music, this piece is perfect for the bizarre trio. The motif is so simple, yet Beethoven takes it to another level as usual. The spotlight remains on the trio for most of the piece, as they constantly communicate with each other and with the orchestra.
The violin, piano, and cello control the orchestra, and have done so for the past 2oo years. Beethoven takes these three leaders and has them correspond with each other, just like our president corresponds with foreign leaders all over the world. It’s almost as though Beethoven is trying to make a point.
Europe was in shambles in 1803. Most of the countries were in debt, weak, and conquered by the infamous Napoleon, including Germany, Beethoven’s homeland. Perhaps in this movement, Beethoven was trying to make light of what was going on in Europe, as most of this movement is light and ”bouncy.” However it does have its “mood swings,” symbolizing Beethoven’s discontent at the time. I think Beethoven was getting tired of the horrible state Europe was in, but at this point in time, he was carefree and knew that Europe would eventually climb out of this tough spot. At this period in his life, Beethoven was not only struggling to keep his nationalistic pride, but he was also struggling with his untimely deafness. In fact, most of Beethoven’s works throughout the 1800s advocate overcoming struggles.
The ending of this movement assured Beethoven’s audience that Europe has not given up yet. And the violin, cello, and piano are the advocates for what Beethoven is trying to say, regardless of the hopelessness.
Of course because Spring begins in only THREE MORE DAYS, this song also serves as my reminder that Spring is almost here. So listen to this song and get ready for Spring, the most beautiful and busiest time of the year!
