Paganini, Violin Concerto No 4

None of Niccolo Paganini's six violin concertos was published during his lifetime. The famous violinist and composer from Verona used to take care of the orchestral parts zealously, to the point of providing the scores to the orchestra on the same day of the rehearsal. At the end of the session, he would carefully remove them, one by one, to deliver them again on the performance's day, when he would repeat the maneuver, and then take them with him. This attitude did not help much in the diffusion of his work, of course, but it happens that in a world with author's rights in its infancy, it was necessary to take care of the material that allowed him to live.

Living a good life
Paganini, actually, made a good living from his work. At a very young age, he left his father's home to launch out on his own as a virtuoso violinist. Soon his fame and talent allowed him to travel all over Europe, with public appearances that were eagerly awaited and attended with delirious enthusiasm, worthy of any rock star of our times. Besides the myth of the pact with the devil, it was also said that inside his instrument he had hidden the spirit of some trapped maidens who would sing for him.

Niccolo Paganini (1782 - 1840)

Violin Concertos 
According to today's scholars, it was a virtuosity lacking in content. That is why few of his works are performed today. And of his six violin concertos, it has been said that it is only one with some variations. A bit overstated, but there is some truth in it, for it was impossible for the master with a busy schedule to come up with something completely new every time. Besides, "his audience" enthusiastically attended his concerts to hear the great virtuoso of the time working wonders with the instrument, not necessarily to hear works at first hearing.

Violin Concerto No. 4
And of course, for those familiar with Violin Concerto No. 1, the similarities that Violin Concerto No. 4 has with it are obvious (and also with No. 2). But as has already been said, Paganini lived off his audience. He knew what they liked, and he acted accordingly.

The work was composed during a tour of Germany between 1829 and 1830 after the triumphant debut he had achieved in Vienna in 1828 with the three previous concertos.

Movements

00        Allegro maestoso  -  The orchestra exposes the main themes, as usual. At minute 3:32 the solo violin makes its appearance.

17:23  Adagio flebile con sentiment  - Lyrical and light (flebile), with an overtly Italian character.

24:13  Rondo galante - Andantino gaio   -  At 32:06, the rondo gives way to a joyful andantino (gaio). Brilliant ending.

The version (audio only) is by Italian maestro Salvatore Accardo and The London Philharmonic Orchestra conducted by Charles Dutoit.

Édouard Lalo, Spanish Symphony

Deeply satisfied with Pablo de Sarasate's performance of his 1873 Violin Concerto, the French composer of Spanish descent Édouard Lalo decided to dedicate to him a piece that would pay homage to "the Spanish spirit" and, incidentally, to his friend's compatriots and his own ancestors. Thus, he added an objective element to the widespread and firm vocation of those years to make music with some degree of "exoticism", which drew mostly on Spanish airs. The result was the work for violin and orchestra that Lalo entitled Sinfonía Española, premiered with Sarasate as soloist in February 1875, a month before the opera Carmen, by Bizet, was to be staged.

The author
Born in Lille, in the north of France, in 1823, Édouard Lalo left his father's home at the age of sixteen with the clear determination of becoming a musician, avoiding the military career for which his father had been preparing him.

Settling in Paris in 1839, he studied violin at the Paris Conservatory, and composition, privately. For many years, as a composer, his work was of secondary importance, although he actively participated in the impulse that some circles were trying to give to French chamber music, a genre for which he felt especially prepared, and for which he created a work that was well received in his time.

Edouard Lalo (1823 - 1892)

The recognition

But it was not until the 1870s that Lalo gained massive recognition after Camille Saint-Saëns in 1871 promoted the foundation of the Societé Musicale de Paris, an association aimed at promoting contemporary composers by providing them with a space for the premiere of their works. Saint Saëns' idea brought benefits to authors such as César Franck, Massenet, Fauré, and of course, Lalo. Thanks to the Societé Musicale, Lalo was able to venture with greater dedication and confidence into orchestral music, giving as a result, only in the 1870s, the aforementioned Violin Concerto, the Cello Concerto and the Spanish Symphony.

Spanish Symphony for violin and orchestra - Movements
Rather than a symphony, the work is today considered a concerto, or rather a suite, for violin and orchestra. Its parts are as follows, although the intermezzo is sometimes omitted:

00        Allegro non troppo
08:05  Scherzando - Allegro molto 
12:44  Intermezzo - Allegro non troppo
19:10  Andante
25:44  Finale - rondo

The performance is by L'Orchestre National de France conducted by Cristian Macelar, with Augustin Hadelich on violin.

Puccini, Turandot - aria "Nessun dorma"

Although without surpassing the popular appeal of Brindisi from La Traviata or La donna è mobile from Rigoletto, the aria Nessun Dorma from the opera Turandot by Puccini has lately become the workhorse of aspiring celebrities in every America's got talent contest held anywhere in the Western world.

The modern popularity of the piece is mainly due to the Italian tenor Luciano Pavarotti who, despite rarely performing it on stage, from a 1972 recording accompanying the coverage of the 1990 World Cup soccer championship in Italy, turned it into the famous aria with which non-professional singers try to win the main prize and, subsequently, be launched to fortuitous stardom.

Turandot
The aria belongs to the third and last act of Turandot, the last work that Giacomo Puccini approached and left unfinished because he died while working precisely in the third act. For its posthumous premiere, in April 1926, the conductor Arturo Toscanini stopped the work at the last bar written by Puccini and, addressing the audience, murmured "here the maestro died".

The work was completed by the composer Franco Alfano. Still, Puccini had already written the famous aria, entrusted to the co-star, Calaf, the prince whose name is unknown to Turandot, the protagonist.

Giacomo Puccini (1858 - 1924)

The aria
The play is set in Peking, a millenary China. Princess Turandot, as beautiful as cold and distant, has decided to behead any suitor who cannot answer to three riddles of her invention. Calaf successfully overcomes the test, but the princess backs out. Calaf proposes to Turandot that she guess his name. If she succeeds she can roll his head, if not, she must marry him.
Turandot orders that no one sleeps in Peking until she finds out the name of the daring suitor. Calaf assures that no one will be able to find out, that only Turandot will know it when he "says it over his mouth", at dawn, victorious: All'alba vinceró.

The concert version is by Luciano Pavarotti, in Los Angeles, 1994.

Aaron Copland, "Salón México"

After spending three years in Paris, from 1921 to 1924, studying with the famous pedagogue Nadia Boulanger and immersing himself in European musical culture, the American composer of Russian descent Aaron Copland returned to the United States with the idea of playing a central role in American music, in the triple facet of composer, music promoter and audience educator. He fulfilled it at length. As a composer of popular scope, his Fanfare for the Common Man, from 1942, attests to this. As a promoter and educator, he is the author of the short volume How to Listen to Music, a gem of popularization published in 1939, which had been reprinted five times by 1975.

In 1932 he traveled to Mexico and among many other activities he visited a dance hall. The salon had opened its doors in April 1920 and included a hall of mirrors and three dance floors classified according to the social class dancing there: "Mantequilla" for the upper class, "Manteca" for the middle class, and "Sebo" for the poor, who also like to dance, of course. Curiously – despite the current political situation or, perhaps, because of it – they all gathered in the same place, dancing, let's say, together but not scrambled.

Aaron Copland (1900 - 1990)

The work

"It was not the music I heard but the spirit I perceived there that attracted me," he would later say when he finished the work based on popular Mexican themes that he decided to write after his experience in the ballroom. Completed in 1936, he titled it with the name of the venue, El Salón México, a symphonic work in one movement incorporating fragments of recently published Mexican music, such as the popular tunes El Palo Verde, La Jesusita, El Mosco, and El Malacate.

The rhythm

Rhythmically, the piece makes extensive use of the "huapango", a Mexican rhythm consisting of a 6/8 time followed by a slightly more accentuated 3/4 time.

The rendition is by the Frankfurt Radio Symphony Orchestra, conducted by the Mexican maestro Carlos Miguel Prieto.

Chopin, Rondo a la mazur, opus 5

 
Some scholars speculate that Chopin was especially fond of the number four since he composed four ballades, four scherzos, four impromptus, and four rondos. But we must attribute it to pure chance because next to this undeniable count are the twenty nocturnes, the twenty-seven etudes, the fourteen waltzes, the twenty-six preludes, the fifty-seven mazurkas and a very long etcetera that has nothing to do with the aforementioned number.

Paris, 1832: nocturnes instead rondos
But it is also true that, as far as the production of rondos is concerned, Chopin wrote the fourth and last of them in 1832, when he was only 22 years old. Having just settled in Paris, it is likely that his audience, that of the salons of the rising bourgeoisie and fading aristocracy, rather than typically "classical" musical forms, would have celebrated with greater enthusiasm his more melodious and novel nocturnes or preludes, with which Chopin was establishing his most genuine musical personality in the composition of pieces with an intimate character.

Rondo a la mazur op 5 in F major
The rondo a la mazur (that is, in the style of a mazurka, a typically Polish dance) is the second rondo written by Chopin. At the time, 1826, the author was sixteen years old, was living with his parents and sisters in Warsaw and was about to take his maturitas – Latin exam to become a bachelor – which would open the doors to the university, or to the Conservatory. Chopin would prefer the latter. At the recently opened Warsaw Conservatory he would have lessons in harmony, counterpoint and composition, because his piano teacher, the violinist and harpsichordist Wojcieh Zwyny, had no more to teach him by the time Chopin turned twelve.

Published in 1827, the work is dedicated to his pupil Countess Alexandrine de Moriolles. (Indeed, Chopin had pupils at the age of sixteen.) Quite demanding, it presents two contrasting themes, lively and graceful the first over a mazurka rhythm, quiet and cantabile the second (1:35). The piece closes with a brilliant finale.

The performance is by Bulgarian pianist Evgeny Bozhanov, while participating in the International Chopin Competition, in Warsaw, 2010.