Classical 16: Tchaikovsky’s Sleeping Beauty – Pt. 2

(A) Introduction

Aurora’s been pricked and put to sleep by Carabosse’s curse, and the rest of the kingdom falls asleep with her.  The Canadian Opera Company did a nifty little effect at the end of Act I to show the forest encroaching.  A century passes.

 

(B) Sleeping Beauty, Op. 66 (Acts II and III)

 

Act II

 

A hundred years later, Prince Florimund (sometimes called Prince Desire – either way, a lousy name for a guy) is at a hunting party but he’s wistful and forlorn.  The Lilac Fairy appears to him, showing him nude pics a vision of Aurora.  He’s smitten, and the Fairy guides him to the sleeping kingdom.  He defeats Carabosse, kisses Aurora, and proposes to her.  The guy moves faster than I do…

Classical 15: Tchaikovsky’s Sleeping Beauty – Pt. 1

(A) Introduction

After listening to the madness of Edgar Varese I’m ready to retreat back into more traditional territory.  Last winter I went to see my very first ballet, at my fiancée’s behest.  I thought I was doing it to indulge her, because the whole notion of ballet didn’t really seem very exciting to me.  A bunch of doll-like ballerinas and pantyhosed men prancing around on stage?  Feh.

 

By the end of it, I was surprised at how entertained I was by it.  Good God, I’m a ballet fan!  Don’t tell my headbanger friends!

Classical 14: Varese’s Arcana and Deserts

(A) Introduction

A 13-year-old Frank Zappa got interested in Varese because he’d read an article describing his music as “weird jumble of drums and other unpleasant sounds”.  Funny, that’s more or less what got me interested in Zappa’s stuff…

 

Here’s what Zappa has to say about his first Varese record, which he’d hunted high and low for: “I would sit there every night and play it two or three times and read the liner notes over and over. I didn’t understand them at all. I didn’t know what timbre was. I never heard of polyphony. I just liked the music because it sounded good to me. I would force anybody who came over to listen to it.”

 

I don’t know what timbre or polyphony are either, but I’m willing to give the music a shot.  Here we go!

Classical 13: Intermission

After the talking statue I need to take a break and look back on what I’ve listened to so far.  I started out with Yngwie Malmsteen and ended up at Don Giovanni.  I’ve listened to concertos, an opera, symphonies and string quartets.

 

One of the biggest things I’ve noticed is that Classical Music isn’t the amorphous Lovecraftian mass I’ve always thought it to be.  I didn’t know the difference between a concerto and a symphony, and the only way I knew something was an opera was because of the high-pitched wailing.  It really did all sound the same to me.

Classical 12: Mozart’s Don Giovanni – Pt. 2

(A) Introduction

Lust!  Masked conspirators!  Talking statues!  Vengeance!  All right!

 

(B) Don Giovanni, K. 527 – Act II

At the end of Act I, Don G has tried to seduce Zerlina, only to get run out of his own ballroom by the other guests.  At the beginning of Act II, Don G has just caught his breath… and tries to seduce Elvira’s maid.  That knave!

Classical 11: Mozart’s Don Giovanni – Pt. 1

(A) Introduction

 

I’m getting a little sick of the string quartets.  I’m starting to realize I like my classical music to be big, bombastic and emotional.  Like my rock music – I want it loud.  And what is bigger, more grandiose and more emotional than an opera?

 

Mozart seems to be considered one of the greatest opera composers.  Mind you, he’s considered one of the greatest anything composers.  I’ve been listening to his homage to a fellow composer, so now let’s listen to his homage to a world-renowned playa.

Classical 10: Mozart’s “Haydn” quartets

(A) Introduction

In a scene from Last Action Hero, Jack Slater (Arnold Schwarzenegger) confronts John Practice (F. Murray Abraham, who also played Salieri in Amadeus), who just betrayed him to the bad guys:

 

Jack Slater: “Danny told me not to trust you.  He said you killed Mozart.”

John Practice: “Moe who?”

Jack Slater: “Zart.”

John Practice: [thinks for a bit, shrugs] “You know, I kill a lot of people, I can’t remember half of them.”

Yes, this is the memory that comes to mind whenever I hear the name “Mozart.”  Hey, it’s better than Rock Me Amadeus.

Classical 9: Haydn’s String Quartets – Pt. 2

(A) Introduction

I’m going to continue listening to Haydn’s string quartets, again using a review of them on the Flying Inkpot.

 

(B) Quartets 29-34: Opus 50, the “Prussian” quartets (1787)

These were dedicated to King Fredrick William of Russia.  But what’s really interesting is what they say about the relationship between Haydn and Mozart.  Haydn and Mozart were buddies – they even played in string quartets together sometimes.  Can you imagine having those guys in your house band?  Sweet Lords of Kobol!

 

Two years earlier Mozart had written his “Haydn” quartets as an homage to his friend and fellow composer.  Haydn returned the favour with this set of quartets, which were written in a Mozartian style.

Classical 8: Haydn’s String Quartets – Pt. 1

 (A) Introduction

Haydn was a productive guy.  Not only did he father the symphony, but he also sired the string quartet.  Indeed, he’s known as the father of the string quartet just as much as he’s known as the father of the symphony.

 

A string quartet is, as you may suspect, a musical ensemble of four string instruments.  Works written for these guys are also usually called string quartets.  So, the term “string quartet” applies equally to the piece of music and to the guys playing it.  How postmodern.

Classical 7: Haydn’s Symphonies – Pt. 2

(A) Introduction

Haydn spent about three decades in the service of the Esterházy family.  But he didn’t only write for his patron.  His popularity steadily increased throughout his career, and he got several commissions from outside the court.  One of the more notable of these were the Paris symphonies.  Parisians were big fans of Haydn, and performances of his works there were big hits.

 

In 1790 Prince Nikolaus died, and his successor had no interest in music.  He dismissed the orchestra and sent Haydn off with a pension.  Suddenly Haydn was free to wander around and do whatever he wanted, with a steady income from his pension.  Sweet!  Haydn went to London to write and conduct.