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Examining My Recent Obsessions
March 3, 2025
March 3, 2025
This month, I spent a considerable amount of time learning more music theory to deepen my appreciation of the pieces I listen to. I have also read the book "What to Listen for in Music by Aaron Copland" and studied the elements of music such as harmony, tone color and musical structures such as fugal forms, sonata forms and free forms. I got more aware of the depth of the music (especially when I learned what fugue really means). I also decided to delve into the historical backgrounds of the compositions I keep listening to. So it was a very informative month. I also continued to explore new pieces and listened to them over and over again. The following two concertos were definitively two of the pieces that I frequently listened to and they are in contrast to each other in many perspectives: Brahms' Piano Concerto in D Minor and Ravel's Piano Concerto in G Major.
Brahms: Piano Concerto No. 1 in D Minor
The first movement starts with a long orchestral introduction resembling an earthquake. It gets calmer yet stronger again back to the initial theme where it merges with the sound of the piano. Unlike what one might expect, the piano does not burst forth with grandeur but instead enters in a melancholic manner, carefully and slowly makes its way into the orchestra. The movement is very long about 25 minutes which is longer than the second concerto for this month, Ravel's Piano Concerto in G Major. What I like in this movement most are the octave trills and also the arpeggiated chords. Particularly the parts in which the piano introduces and plays the trills then the motifs get stronger with the development by the orchestra.
The second movement is in A-B-A form. It is a slow, religious movement with "Benedictus" melody, and also a short yet emotionally intense cadenza conveying a sense of awe and reverence. These elements make the second movement an expressive one with holiness. When I first listened to the third movement it sounded very different than the rest of the concerto. I thought it was one of Bach's Keyboard concertos. Later, I learned that Brahms had a hard time coming up with a suitable closing movement for his concerto. Ultimately he used some ideas from Beethoven's Piano Concerto No.3 in C minor. The third movement is in the Rondo form. It has beautiful themes, surprises and variations and I think this lively movement concludes the concerto nicely. I got the chance to listen to this concerto live this month which encouraged me to analyze it more and write about its reflections on me.
Ravel: Piano Concerto in G Major
In contrast to Brahms' long and heavy concerto, I will now tell you about Ravel's short and light concerto. Ravel himself believed that certain concertos—such as Brahms’—were written against the piano rather than for it. I thought it would be beneficial to listen and try to understand these pieces simultaneously. By doing that I was able to distinguish the technical and structural differences between these two composers.
The first movement introduces a diverse spectrum of themes from different inspirations. I think the slow, dark meno vivo parts sound like some Spanish melody. This could make sense because I know he frequently uses Spanish rhythms and melodies in his other works. Moving on to the second movement, in an interview I have watched (unfortunately I do not remember which one), the pianist said that the second movement is the heart of the concerto. The movement starts with a long solo until the orchestra comes into the piece. It includes dreamy, mysterious passages. Especially in the solo piano part, there are parts where only a few notes carry an immense depth of feeling. I regard it as one of the most beautiful slow piano sections in all piano repertoire. Throughout the movement, the heavenly sound of woodwinds accompanied by piano just creates a moment of sheer beauty. An example can immediately be seen after the completion of the piano solo part:
The final movement is like a toccata, a short and happy show-off with composer's idea of adding an element of jazz which is quite joyful to listen to.
A Few Observations and The Emotional Tapestry
I can try to write about my understanding of music for each section. But Copland writes in What to Listen for in Music: "If you want to understand the music better, you can do nothing more important than listen to it.". Therefore, I think a detailed analysis is not necessary for this blog. However, after I met with Ravel's G Major Piano Concerto I observed something about my taste in music I want to share.
The piano concertos I have written about and I have mostly listened to are almost all early works of composers (take for example, Chopin Piano Concertos, Prokofiev G Minor Piano Concerto...). I have been thinking that since these are early works of the composers, they are trying to prove themselves by pushing boundaries —whether through technical innovations, unorthodox melodies, or virtuosic piano writing. Beyond their lyricism, romanticism and brilliance perhaps this sense of ambition is another element that captivates me. Ravel's G Major Piano Concerto enabled me to think this way because, unlike the aforementioned concertos, it was one of his later works. I soon realized I had never analyzed a piece from a mature composer. On the other hand, being a perfectionist Ravel himself desired to write a work that would be remembered, rather than being overshadowed by his more popular compositions, which he sometimes considered musically weaker. Thus, this hints to me the element of ambition is always there regardless of the age or maturity of the composer. In any case, it seems that my search to find what I like in music will continue.
For the coming month, I want to listen to Brahms' 2nd Piano Concerto in B-flat Major to see the evolution of the composer as there is so much time between two concertos. Ravel's Left Hand Concerto will also surely be in my daily listening too. He also has other majestic piano pieces which I will explore more. Let's see what else I will discover in the upcoming month!
February 3, 2025
February 3, 2025
My obsession with piano does not seem to be decaying any time soon. Let alone decaying, it exponentially amplifies. Having observed this fact on me, I asked myself. What could be better than a piano? The answer was obvious—two pianos! Therefore, we start with Rachmaninoff: Suite No. 1 Op. 5 (Fantaisie-Tableaux) for 2 pianos.
Rachmaninoff: Suite No. 1 Op. 5 (Fantaisie-Tableaux)
The suite is written in G minor and dedicated to Tchaikovsky. Rachmaninoff was only 20 when he wrote this piece, which I find quite remarkable. The name Fantaisie-Tableaux was well chosen, as in each movement there are vivid pictures in my head, from bird chirps to ringing bells. The movements are
1) Barcarolle (~boat music) on Lermontov's poem.
2) La nuit... L'amour... (The Night... The Love...) on Lord Byron's poem.
3) Les Larmes (The Tears) on Tyutchev's poem.
4) Pâques (Easter) on Khomyakov's poem.
I love musical works where I struggle to choose a favorite section, and this suite is certainly one of them. Apart from all of that, the work was dedicated to Tchaikovsky, which makes it even more prominent for me. Additionally, each movement corresponds to a piece of poetry, adding another layer of depth to the music and encouraging me to read the poems.
Chopin: Ballades
Moving forward, I have been deeply immersed in Chopin's Ballades. Among these, my personal favourites are the widely celebrated No. 1 and the ravishing No. 3.
No. 1, with its dramatic and evocative nature, has rightfully gained immense popularity and makes its place as one of the unforgettable pieces in all classical music. Interestingly, there is an arrangement of No. 1 for violin and piano by Eugène Ysaÿe, which is quite delightful to listen to and offers a fresh perspective on this masterpiece. I should say it looks even harder on the violin. I should also mention that it is in G Minor, hinting at my possibility of having a soft spot for the G Minor key. On the other hand, the lengthy development and resolution sections of No. 3 make it particularly beautiful to me, as they unfold in a captivating and organic manner.
Tchaikovsky: Symphony 5
This is the first non-piano piece on this list, as I felt the urge to add at least one symphonic work. I first listened to this music live whichs immediately gave me chills.
This work has become one of my most-loved symphonies in a remarkably short period. The work prominently features a particularly fascinating principal theme, first heard in the 1st movement and then reappearing in the following sections, creating a unifying and grand feeling. Besides this principal motto theme, the work boasts a plethora of breathtaking melodies, particularly in the finale, with its Allegro vivace section played by the violins (marked feroce) characterized by its intensity of emotion. It also has a very famous and beautiful French horn solo part in the second movement. In contrast to its powerful and brilliant closing, it has received criticism in a variety of corners, including even Tchaikovsky himself. Nevertheless, I view it as a vastly grand and passionate conclusion, filled with an unrelenting and theatrical intensity that I can hardly resist.
The Emotional Tapestry
While I immensely enjoy the piano works of Rachmaninoff, Chopin, and Prokofiev, I also want to further explore works by Scriabin, Shostakovich, and of course Bach and Mozart. These works present an alternative view of artistic intensity, challenging me to seek out and become involved with new sources of stimulation. For instance, the baroque piece Bach’s Keyboard Concerto No. 1 has quickly illuminated me and allowed me a deeper grasp of counterpoint and structures which I have not encountered in the romantic era piano pieces. Hopefully, I will be able to write about it next month. Scriabin’s works, on the other hand, are nothing short of majestic. However, I feel that I need to devote even more time to a deep, nuanced, and thoughtful grasp of them. I believe every work is a mystical journey, and I have no doubt that, with enough patience, my enjoyment of them will become even deeper.
January 3, 2025
January 3, 2025
In the last few months, my relationship with music has been almost exclusively occupied by piano concertos. I invite you to join me as I explore the works that have held my fascination and why.
Prokofiev: Piano Concertos Nos. 2, and 3
Among the piano concertos of Prokofiev, his second one has captivated me like no other. It has four movements unlike the usual three movements form. The opening Andantino begins with an melancholic introspection, as the piano weaves a lyrical melody over the orchestra. This quickly escalates into dramatic tension, culminating in the thunderous cadenza — a towering monologue of technical and emotional intensity. Also, the beautiful repeating pattern on the finale is on my tongue throughout the day. I especially recommend listening to Evgeny Kissin's recording, which is also part of the winning album in the Grammy.
The 3rd Concerto in C major includes very unusual melodic ideas. The interplay of fanciful, almost sarcastic themes with moments of profound lyricism brings out the best in Prokofiev. These concertos, full of biting rhythms, luscious harmonies, and unrestrained energy, never fail to excite me.
Rachmaninoff: Piano Concertos Nos. 2, 3, and 4
The music of Rachmaninoff will be undated. His piano concertos are the finest examples of Romantic expression. We all know his 2nd and 3rd Piano Concertos are just amazing. But my heart is with the 4th Piano Concerto in G minor. Often considered undervalued, this concerto speaks with a much more modern and introspective voice than its companions in the Rachmaninoff catalog. The jazzy melodies, most prominent in the Allegro vivace section, reveal a fresh and deeply personal side of Rachmaninoff. This work deserves more recognition, and to me, it represents an excursion into a more complex emotional landscape.
Chopin: Piano Concertos Nos. 1 and 2
The piano concertos by Frederic Chopin are considered poetic masterpieces. The fact that he wrote these masterpieces at the age around 20 is just incredible. In particular, the 2nd Piano Concerto in F minor, stands out as uniquely distinguished. The first movement, Maestoso, immediately plunges the listener into an ambience of grandeur and passion. The dramatic introduction leads to the entry of the piano, which introduces the unmistakable lyricism of Chopin. When the movement reaches its end, with its breathtaking and virtuosic climax, I am spellbound. The way the piano and orchestra converse in this movement is one of the most satisfying in all music.
Rachmaninoff: 13 Preludes, Op. 32
Rachmaninoff's preludes are worlds of emotions and beauty. Of these, the 10th Prelude in B minor is my personal favorite. This piece, much loved by Rachmaninoff himself, was inspired by Arnold Böcklin's painting The Homecoming. It reflects the feeling of longing and nostalgia depicted in the picture with its hauntingly beautiful melody and intricate harmony. Each note exudes an almost spiritual depth, making it one of the most important piano pieces I have ever heard and holds a special place in my heart.
Chopin: Études
Chopin's Études are a call to the piano's infinite ability to express a full palette of emotions. These pieces explore a whole gamut of feelings, from longing to triumph. Each Étude is a condensed dramatic story, and every time I listen to them, I am always amazed at how Chopin manages to distill the essence of the human experience into these miniatures.
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