What Does Music Mean? ~ Bernstein

On January 18, 1958 Leonard Bernstein began presenting his television series What does music mean?  The series ran for 53 programs.  Some of the episodes can be found below:

Part 1 What is Classical Music?

Plot: Bernstein conducts Handel’s Water Music and cites it as an indisputable example of classical music. “Exact” is the word that best defines classical music, Bernstein says and he demonstrates with musical illustrations from Bach’s Fourth Brandenburg Concerto, Mozart’s Concerto No. 21 in C Major and The Marriage of Figaro, and Haydn’s Symphony No. 102.

The decline of classical music at the end of the eighteenth century is tied to Beethoven’s innovations and the Romantic movement, and Bernstein conducts Beethoven’s Egmont Overture.


Part 2 What is Melody?

Plot: Bernstein discusses the different forms melody can take, including tune, theme, motive, melodic line and musical phrase. He illustrates by conducting the orchestra in excerpts from Tchaikovsky, Wagner, Hindemith, and Brahms.


Part 3 What is a Mode?

Plot: Bernstein discusses scales, intervals, and tones, and analyzes several pieces, including Debussy’s Fêtes, Rimsky-Korsakov’s Scheherazade, and music from the Kinks and the Beatles, to illustrate different modes.

An excerpt from Bernstein’s ballet Fancy Free is also performed.

 

Bargemusic

Another small break from Christmas music since we went to Bargemusic in December 2015:

Bargemusic is a classical music venue and cultural icon founded in 1977,  housed on a converted coffee barge moored at Fulton Ferry Landing on the East River near the Brooklyn Bridge.  I took this picture of the NY skyline and Steinway piano from the second row seating.

bargemusic

On Saturday afternoons at 4, Bargemusic is free!  Such a deal.  The nighttime performances cost a bit but still reasonable.

Founder and director, Olga Bloom was interviewed about the floating concert hall under the Brooklyn Bridge she converted from an old coffee barge. The video includes excerpts from one of the chamber music concerts typical of the Bargemusic programs, and features classical music artists, Ida Levin, violin, Anton Nel, piano, Thomas Hill, clarinet, Ronald Thomas, cello. A Greenpoint Video Project production. Supported through a grant from NYCEF, New York State Council on the Arts.

One of our performers was Mark Peskanov, Bargemusic President, Executive & Artistic Director.  He talked a little about the program, about Bargemusic in general, and introduced the pianist and cellist for today.  Each played a Bach solo and the 3 played  Piano Trio No.4, Op.90 by Antonín Dvořák.

Here, it’s played by another trio:

 

Christmas Countdown: Tchaikovsky’s Nutcracker

 

nutcracker

A few years ago, we went to see Tchaikovsky’s Nutcracker

From http://www.nycballet.com/Ballets/N/George-Balanchine-s-The-Nutcracker.aspx

During the holiday period, the entire Company is immersed in activities surrounding George Balanchine’s The Nutcracker. All 90 dancers, 62 musicians, 32 stagehands and two casts of 50 young students each from the School of American Ballet join forces to make each performance as magical as possible. Children of all ages from New York City and the nation fill the David H. Koch Theater to be captivated by the lure of Tschaikovsky’s music, Balanchine’s choreography, Karinska’s sumptuous costumes, and Rouben Ter-Arutunian’s magical sets. George Balanchine’s The Nutcracker, based on the Alexandre Dumas pere version of E.T.A. Hoffmann’s tale, The Nutcracker and the Mouse King (1816), demands a full-scale production.

The elaborate stage elements and intricate lighting unleash the viewers’ imagination by providing visual effects that are extraordinarily grand. The most famous example is the one-ton Christmas tree that grows from a height of 12 feet to 40 feet, evoking audible gasps of disbelief from the audience at each performance. Other notable feats include the comic figure of Mother Ginger — 85 pounds and nine feet wide, the costume requires handling by three people once it is lowered by pulley over the dancer’s head — as well as the continuous flutter of the purest, crystal-shaped snowflakes (which are swept up and conserved after each performance for reuse).

While these technical achievements are wonderful fun, it is Balanchine’s choreography that sustains the ballet through two acts. Act I introduces the characters — the Stahlbaum children, Marie and Fritz, Herr Drosselmeier and his Nephew — and also begins the transition from reality into fantasy with the concluding Snowflake Waltz. Act II offers the complete transformation. We have entered the “Kingdom of the Sugarplum Fairy” and there is no turning back.

George Balanchine’s The Nutcracker™ is one of the most complex theatrical, staged ballets in the Company’s active repertory. The popularity of the ballet is immense and it provides an unforgettable spark to everyone’s holiday season.

Although the original production was not a success, the 20-minute suite that Tchaikovsky extracted from the ballet was. However, the complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in North America. Major American ballet companies generate around 40 percent of their annual ticket revenues from performances of The Nutcracker.

Tchaikovsky’s score has become one of his most famous compositions, in particular, the pieces featured in the suite.

 

 

Leonard Bernstein: What Does Music Mean?

On January 18, 1958 Leonard Bernstein began presenting his television series What does music mean?  The series ran for 53 programs.  Some of the episodes can be found below:

Part 1 What is Classical Music?

Plot: Bernstein conducts Handel’s Water Music and cites it as an indisputable example of classical music. “Exact” is the word that best defines classical music, Bernstein says and he demonstrates with musical illustrations from Bach’s Fourth Brandenburg Concerto, Mozart’s Concerto No. 21 in C Major and The Marriage of Figaro, and Haydn’s Symphony No. 102.

The decline of classical music at the end of the eighteenth century is tied to Beethoven’s innovations and the Romantic movement, and Bernstein conducts Beethoven’s Egmont Overture.


Part 2 What is Melody?

Plot: Bernstein discusses the different forms melody can take, including tune, theme, motive, melodic line and musical phrase. He illustrates by conducting the orchestra in excerpts from Tchaikovsky, Wagner, Hindemith, and Brahms.


Part 3 What is a Mode?

Plot: Bernstein discusses scales, intervals, and tones, and analyzes several pieces, including Debussy’s Fêtes, Rimsky-Korsakov’s Scheherazade, and music from the Kinks and the Beatles, to illustrate different modes.

An excerpt from Bernstein’s ballet Fancy Free is also performed.

 

Christmas Music: Tchaikovsky’s Nutcracker

nutcracker

A few years ago, we went to see Tchaikovsky’s Nutcracker

From http://www.nycballet.com/Ballets/N/George-Balanchine-s-The-Nutcracker.aspx

During the holiday period, the entire Company is immersed in activities surrounding George Balanchine’s The Nutcracker. All 90 dancers, 62 musicians, 32 stagehands and two casts of 50 young students each from the School of American Ballet join forces to make each performance as magical as possible. Children of all ages from New York City and the nation fill the David H. Koch Theater to be captivated by the lure of Tschaikovsky’s music, Balanchine’s choreography, Karinska’s sumptuous costumes, and Rouben Ter-Arutunian’s magical sets. George Balanchine’s The Nutcracker, based on the Alexandre Dumas pere version of E.T.A. Hoffmann’s tale, The Nutcracker and the Mouse King (1816), demands a full-scale production.

The elaborate stage elements and intricate lighting unleash the viewers’ imagination by providing visual effects that are extraordinarily grand. The most famous example is the one-ton Christmas tree that grows from a height of 12 feet to 40 feet, evoking audible gasps of disbelief from the audience at each performance. Other notable feats include the comic figure of Mother Ginger — 85 pounds and nine feet wide, the costume requires handling by three people once it is lowered by pulley over the dancer’s head — as well as the continuous flutter of the purest, crystal-shaped snowflakes (which are swept up and conserved after each performance for reuse).

While these technical achievements are wonderful fun, it is Balanchine’s choreography that sustains the ballet through two acts. Act I introduces the characters — the Stahlbaum children, Marie and Fritz, Herr Drosselmeier and his Nephew — and also begins the transition from reality into fantasy with the concluding Snowflake Waltz. Act II offers the complete transformation. We have entered the “Kingdom of the Sugarplum Fairy” and there is no turning back.

George Balanchine’s The Nutcracker™ is one of the most complex theatrical, staged ballets in the Company’s active repertory. The popularity of the ballet is immense and it provides an unforgettable spark to everyone’s holiday season.

Although the original production was not a success, the 20-minute suite that Tchaikovsky extracted from the ballet was. However, the complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in North America. Major American ballet companies generate around 40 percent of their annual ticket revenues from performances of The Nutcracker.

Tchaikovsky’s score has become one of his most famous compositions, in particular the pieces featured in the suite.

 

What Does Music Mean? Leonard Bernestein

January 18, 1958 ~ Leonard Bernstein began presenting his television series What does music mean?  The series ran for 53 programs.  Some of the episodes can be found below:

Part 1 What is Classical Music?

Plot: Bernstein conducts Handel’s Water Music and cites it as an indisputable example of classical music. “Exact” is the word that best defines classical music, Bernstein says and he demonstrates with musical illustrations from Bach’s Fourth Brandenburg Concerto, Mozart’s Concerto No. 21 in C Major and The Marriage of Figaro, and Haydn’s Symphony No. 102.

The decline of classical music at the end of the eighteenth century is tied to Beethoven’s innovations and the Romantic movement, and Bernstein conducts Beethoven’s Egmont Overture.


Part 2 What is Melody?

Plot: Bernstein discusses the different forms melody can take, including tune, theme, motive, melodic line and musical phrase. He illustrates by conducting the orchestra in excerpts from Tchaikovsky, Wagner, Hindemith, and Brahms.


Part 3 What is a Mode?

Plot: Bernstein discusses scales, intervals, and tones, and analyzes several pieces, including Debussy’s Fêtes, Rimsky-Korsakov’s Scheherazade, and music from the Kinks and the Beatles, to illustrate different modes.

An excerpt from Bernstein’s ballet Fancy Free is also performed.

 

Christmas Music, Part 23 ~ Tchaikovsky’s Nutcracker

nutcracker

We also recently went to see Tchaikovsky’s Nutcracker

From http://www.nycballet.com/Ballets/N/George-Balanchine-s-The-Nutcracker.aspx

During the holiday period, the entire Company is immersed in activities surrounding George Balanchine’s The Nutcracker. All 90 dancers, 62 musicians, 32 stagehands and two casts of 50 young students each from the School of American Ballet join forces to make each performance as magical as possible. Children of all ages from New York City and the nation fill the David H. Koch Theater to be captivated by the lure of Tschaikovsky’s music, Balanchine’s choreography, Karinska’s sumptuous costumes, and Rouben Ter-Arutunian’s magical sets. George Balanchine’s The Nutcracker, based on the Alexandre Dumas pere version of E.T.A. Hoffmann’s tale, The Nutcracker and the Mouse King (1816), demands a full-scale production.

The elaborate stage elements and intricate lighting unleash the viewers’ imagination by providing visual effects that are extraordinarily grand. The most famous example is the one-ton Christmas tree that grows from a height of 12 feet to 40 feet, evoking audible gasps of disbelief from the audience at each performance. Other notable feats include the comic figure of Mother Ginger — 85 pounds and nine feet wide, the costume requires handling by three people once it is lowered by pulley over the dancer’s head — as well as the continuous flutter of the purest, crystal-shaped snowflakes (which are swept up and conserved after each performance for reuse).

While these technical achievements are wonderful fun, it is Balanchine’s choreography that sustains the ballet through two acts. Act I introduces the characters — the Stahlbaum children, Marie and Fritz, Herr Drosselmeier and his Nephew — and also begins the transition from reality into fantasy with the concluding Snowflake Waltz. Act II offers the complete transformation. We have entered the “Kingdom of the Sugarplum Fairy” and there is no turning back.

George Balanchine’s The Nutcracker™ is one of the most complex theatrical, staged ballets in the Company’s active repertory. The popularity of the ballet is immense and it provides an unforgettable spark to everyone’s holiday season.

Although the original production was not a success, the 20-minute suite that Tchaikovsky extracted from the ballet was. However, the complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in North America. Major American ballet companies generate around 40 percent of their annual ticket revenues from performances of The Nutcracker.

Tchaikovsky’s score has become one of his most famous compositions, in particular the pieces featured in the suite.