Haydn: Concerto for Trumpet and orchestra

The trumpeter Anton Weidinger, a member of the Vienna court orchestra at the end of the 18th century, did not feel comfortable with the instrument of that time, which was not capable, for example, of producing the sounds of a chromatic scale, the one including semitones. Faced with such a severe limitation, he devoted several years to finding a solution, achieving in 1792 the invention of a trumpet with keys that allowed it to produce semitones. Though the new device reduced the quality of its timbre, the instrument could sing melodiously, as well as a clarinet or a flute.
A friend of Joseph Haydn, Weidinger asked the old Austrian master to compose a concerto to try out his new instrument.

Concerto for trumpet and orchestra
By that time Haydn had ceased to serve in the palaces of the Esterházy family (with whom he remained for 30 years). And his last efforts were devoted to the production of great choral works (The Creation oratorio, among them) rather than the elaboration of pieces for solo instrument. However, he felt intrigued by Weidinger's request, and by the autumn of 1796, he had finished composing the Concerto for trumpet and orchestra in E flat major, the only concerto that the maestro composed for this instrument, and at the same time, the first one written for a trumpet capable of playing chromaticism.

Premiere and reception
A diligent instrumentalist, trumpeter Weidinger spent four years practicing his invention with minor works until he felt capable of tackling the novel contribution to the repertoire that emerged from Haydn's inventiveness. And so the master's most celebrated solo concerto was premiered at the Burgtheater in Vienna on March 22, 1800, with Weidinger on trumpet, as expected. It was a successful premiere. However, the manuscript was never published during the composer's lifetime. Nor was it later. It disappeared for decades, until it was rediscovered in the late 19th century by a trumpeter of the Chicago Symphony Orchestra. (Its first recording dates only from 1938).
Weidinger's invention was surpassed as early as 1813, with the invention of the three-piston trumpet, the germ of the current trumpet in use in symphony orchestras.

Movements

Brilliantly orchestrated, the concerto fully serves the new technical capabilities of the instrument, in its three movements: in the Allegro, with a new stock of notes in the low register; in the second movement, it exposes its lyrical and expressive potential; in the last movement, it allows the soloist to display all his skill with the new technical effects.

00:00  Allegro

06:41  Andante

09:48  Finale. Allegro

The rendition, superb, is by jazz trumpeter (and much more, as it turns out) Wynton Marsalis, very young, accompanied by the Boston Pops Orchestra conducted by the brilliant film music composer John Williams.

S. Revueltas, "Sensemayá", a tone poem

 
A song to kill a snake
 "Sensemayá" is a symphonic poem by Mexican composer Silvestre Revueltas inspired by some verses of Cuban poet Nicolás Guillén, which bear that title accompanied by the apostille "canto para matar una culebra" (song to kill a snake). Originally written for chamber ensemble in 1937, a year later the author transcribed the work for wind and string orchestra with the participation of no less than fourteen percussion instruments. A paradigm of rhythmic complexity, it is the author's most performed work worldwide and a highlight of his musical production, to which he dedicated only the last ten years of his short life.

United States and Mexico
In fact, Revueltas began to compose "seriously" at the age of thirty. Born in 1899 in a municipality in the state of Durango, he began his violin studies at the age of eight, and as a teenager, he completed his musical training in violin and composition in the United States. Before committing himself to musical creation, he visited Mexico on multiple occasions offering recitals until 1929, when his fellow countryman Carlos Chávez invited him to take over the position of the assistant conductor in the Symphony Orchestra of Mexico, recently created by Chávez and of which he was its director.

Silvestre Revueltas (1899 - 1940)

A musician and intellectual
He remained in that position until 1935, when both artists broke up. Revueltas, a musician and intellectual, defender of the rights of musicians and workers, chose to create his own orchestra, which had a short life. He would then intensify his activity as a composer, although without much effort to disseminate it: during his life he published very little, practically nothing. At his death, he was virtually unknown outside Mexico. His last years were marked by discouragement and consequent dipsomania that led him to spend time in sanatoriums.

Pablo Neruda
Now considered one of the most original musicians of the 20th century, Silvestre Revueltas died poor and forgotten. But not for everyone. The Chilean poet Pablo Neruda attended the funeral ceremony and read there a poem dedicated to him that would later become part of his monumental Canto General. The "minor oratorio" – that is what Neruda called it – ends with these words:

"Ahora son las estrellas de América tu patria
y desde hoy tu casa sin puertas es la Tierra"

(Now the stars of America are your homeland / and from today your house without doors is the Earth)

The work
From 1930 onwards, Silvestre Revueltas produced more than ninety percent of his catalog, which includes orchestral pieces, vocal, chamber, and theater music. Also, around 1935 he successfully ventured into music for the cinema (Mexican, naturally).
He is the author of six symphonic poems, the last of them, Sensemayá, a little less than seven minutes long, and which for its effectiveness in musically illustrating a ceremony (the Cuban rite of killing a snake) has been compared to what Stravinski achieved with respect to pagan Russia with The Rite of Spring.

Hobart Earle conducts the Odessa Philharmonic Orchestra, in July 2012, with an illustrative introduction.

Igor Stravinsky, a brief story / "Firebird" ballet - Finale

Igor Feodorovich Stravinsky was the third of four children of a famous singer of the Russian Imperial Opera and a mother to whom he "only felt duties", according to his own confession. His siblings bored him to the extreme, so little Igor had to manage to find a note of joviality in an oppressive childhood. His only joy seemed to come from the care of his wet nurse, whom he kept an emotional memory of all his life and whom he mourned more than his own mother when she died.

The Music, or the Law
Fortunately, the family's musical evenings provided a fruitful breath of life and encouraged his taste for music. At the age of 9, he began his first piano lessons, and at 11 he was dazzled when he attended the opera for the first time. Soon after, he was present at the premiere of Tchaikovsky's Pathétique Symphony, and this time, he was spellbound. At the same time, he was composing his first pieces. Everything seemed to be going wonderfully for the young Igor to make music a career. Still, the ominous fate of the young Russian musical promises stood before him and he had to enter the Faculty of Law at the age of eighteen.

The master Nicolai
Only his acquaintance with the composer Nicolai Rimsky-Korsakov saved him from his juridical fate. Although he frowned upon his first works, he finally took him into his home for three years to teach him the trade, introducing him to musical forms and their language, and supporting him in the orchestration of his own piano scores. Master Nicolai, perhaps unwittingly, thus became the only musician from whom Stravinsky later acknowledged having learned something.

Igor Stravinsky (1882 - 1971)

Meeting Diaghilev
The year 1908 he already had several scores to his credit, applauded by the public and critics. All that was missing was a bit of luck. This came in the form of a concert where two of his works were performed and attended by an attentive spectator, Sergei Diaghilev, the creator of the Ballets Russes, the latest sensation in Paris at the time. Sergei did not delay in asking Stravinsky to orchestrate Chopin's music for a projected future ballet to be called The Sylphides.

The Firebird
Igor was happier than ever. Even so, he did not imagine that celebrity was just around the corner and that he was going to conquer it overnight. Indeed, in the late summer of 1909, he received a telegram from Diaghilev commissioning him to write the score for the ballet The Firebird, scheduled for the next season of the Ballets Russes. Despite the short deadline granted, Igor completed the work on time, which premiered on June 25 of that year at the Paris Opera, not without some setbacks. The frenetic rhythm of the music unsettled some dancers, so much so that the famous Anna Pavlova refused to dance "such barbarities". Tamara Karsavina (in the "photo") had to replace her.

Le tout Paris was immediately seduced by Stravinsky's music and by the costumes and the innovative sets of the staging. The dazzling and enchanting music of the young 28-year-old master will greatly influence the choreographic activity, revitalizing an art that seemed exhausted, due to so many pas de deux. The Firebird will put an end to them forever, taking the tutus with him in passing.

Listening "with other ears"

The rendition, as a suite for orchestra, is by the Vienna Philharmonic conducted by Pierre Boulez, and features the last tableaux: Danza Infernal, Berceuse, and Finale (the whole ballet lasts fifty minutes, circa).
One last word. It is not easy to distinguish in this music tunes that can be hummed, but as it is already more than one hundred years old, I think it is time to make an effort to listen to it "with other ears". To do so, we should abandon for a few minutes the sonorous and harmonic schemes of the 19th century and earlier.

Igor Stravinski, the pianist / Petrushka - Three Movements / Yuja Wang

For a Russian composer temporarily settled in Paris in 1921 and facing the rigors of the post-war period, the offer of five thousand francs for the composition of a piano piece was not negligible. That was the sum the piano virtuoso Arthur Rubinstein promised Igor Stravinsky for a Russian character piece in which he could display his grandiose technique.

Three Movements from Petrushka

Stravinsky recalled the pieces he had sketched in 1911 for an orchestral piece with prominent piano participation, which he had reoriented into a ballet at the behest of Russian impresario Sergei Diaghilev. Those sketches and excerpts from the ballet eventually formed the solo piano piece Three Movements of Petrushka, ten years after the debut of the successful ballet starring Petrushka, the puppet that comes to life, in the Russian tradition.

Stravinsky, the pianist

Rubinstein, the dedicatee of the work, was highly pleased with it, performing it on numerous occasions. Of course, he was also interested in making known the piano work of the Russian composer, whom, until today, we do not easily relate to piano writing, although Stravinsky was an extremely talented pianist who, during most of his adult life, devoted half of each year to giving concerts and the other half to composing.

The Path
Prior to the undertaking that culminated in the Three Movements, the future author of The Rite of Spring and The Firebird had surprised musical circles in his twenties with a piano sonata in 1903. Then came, in 1908, the Four Studies of opus 7, which already showed maturity and a piano language full of promise. But the significant new contribution to the piano will come in 1921 with this brilliant "reduction" of the ballet Petrushka, plagued with difficulties, and which, despite the nearly one hundred years since its invention, is still today among the most "spectacular" works of the piano repertoire.

The three movements

The work is known for its enormous technical and musical difficulties. Almost without respite, they capture its three movements with a great display of polyrhythm, extensive and fast jumps, very fast scales, as well as glissandos and tremolos everywhere. Its parts are:

00:00  No 1 Danse russe (Russian Dance)

02:29  No 2 Chez Pétrouchka  (Petrushka's Room)

06:48  No 3 La semaine grasse (The Shrovetide Fair)

The rendition, dazzling, is by the brilliant pianist Yuja Wang.

Mozart, Horn Concerto 3 in E-flat major

The horn, or French horn, is one of the wind instruments that the child Mozart heard more than once at home, in Salzburg, when Leopold met with his friends to make chamber music. From then on he loved its timbre, which, together with the flute or the oboe, was more "pastoral" than the harpsichord or even the stringed instruments. And from that time, too, dates his closeness to Joseph Leutgeb, the most skilled horn player of his time, an essential guest in the evenings Leopold organized at his home in Getreidegasse.

The enterprising "horn man"
The four horn concertos composed by Mozart in Vienna between 1783 and 1791 are dedicated to Leutgeb. The horn player had left his position in the Salzburg court orchestra in 1771 to start a commercial "venture" in Vienna in his forties. It was a store specializing in cheese and related foodstuffs, but as the story goes, without giving up music altogether. The venture was partially financed by Leopold through a loan that Leutgeb was never able to repay, despite the continuous reminders of the debt that Mozart read in the letters he received from his father. The horn player had failed, irretrievably, but Wolfgang was there to support him and return him to music.

Wolfgang, the playful one

The friendship and affection professed were great. But this does not detract from the fact that, in the vein that characterized the Salzburg genius from childhood, he made healthy fun – if one can say so – of the unsuccessful entrepreneur. Surprising – to say the least – are the singular invectives in Italian that Mozart allowed himself to intersperse in the autograph pages of the four concertos. He called him a thousand names: seccatura di coglione, trillo di pecore, porco infame, are a few of them. Leutgeb did not take it badly. He understood that the brilliant son of his friend Leopold was having fun with him, not at his expense.

Horn Concerto No. 3 in E-flat major, K. 447
The four horn concertos (plus a quintet he composed later for horn and strings - K. 407) are masterpieces for the instrument, brilliant and solid, which enriched horn music, not very abundant at the time. The concerto K. 447 in E flat major is the third that Mozart composed for Leutgeb. Its solo parts abound in passages that are quite a challenge for the interpreter, even more so if one considers the precariousness of the instrument of the time.

Movements:
00:00  Allegro
08:10  Romanza. Larghetto
12:54  Allegro

The performance is by the Czech instrumentalist Radek Baborák, accompanied by the RTVE Orchestra, under the baton of the Russian-born French conductor Jean Jacques Kantorow.