0:37:52
Svidirov: 9 songs on Lyrics by Alexander Blok: The Weathercock
Elena Obraztsova w/ Georgy Svidirov (Melodiya, 2015)
0:40:54
Prokofiev: Piano Sonata No. 2 in D Minor, Op. 14, III. Andante
Natalia Trull (Sorel Classics, 2017)
0:47:01
Kalinnikov: Tsar Boris: Entracte to the Second Act
Evgeny Svetlanov: USSR Symphony Orchestra
(Melodiya, 1991)
0:53:10
Shostakovich: Piano Quintet in G Minor, Op. 57; I. Prelude
Fitzwilliam Quartet w/ Vladimir Ashkenazy
(London, 1986)
0:57:51
Silvestrov: Diptych; I. The Lord’s Prayer
Mykola Hobdych: Kiev Chamber Choir
(ECM New Series, 2009)
1:02:14
Rachmaninoff: Trio élégiaque No. 1 in G Minor
Borodin Trio (Chandos, 1992)
1:18:07
Prokofiev: Violin Concerto No. 2 in G Minor, Op. 63; I. Allegro Moderato
Jascha Heifetz w/ Charles Münch: Boston Symphony Orchestra
(RCA, 2005)
1:27:33
Svidirov: Music for Chamber Orchestra; I.
Yuri Serov: St . Petersburg State Symphony Orchestra
(Naxos, 2017)
1:40:45
Glinka: The Lark
Evgeny Kissin (Sony Classics, 2002)
1:47:01
Schnittke: Cello Sonata No. 1; III. Largo
Alexander Ivashkin (c) & Irene Schnittke (p) (Chandos, 1998)
1:58:06
Ustvolskaya: Trio For Clarinet, Violin & Piano – 2. Dolce
Patricia Kopatchinskaja, Markus Hinterhäuser, Reto Bieri
(ECM New Series, 2014)
2:02:18
Kancheli: Vom Winde Beweint, III.
Kim Kashkashian (viola) w/ Dennis Russell Davies: Beethovenhalle Orchestra
(ECM, 1994)
2:12:17
Shostakovich: 7 Songs on Alexander Blok Poems; No. 7, Music
Elisabeth Söderström w/ the Fitzwilliam Quartet & Vladimir Ashkenazy
(London, 1986)
___________________________________________
:00:57
Frederic Chopin (1810-1849) : Ballade No. 4 in F Minor
Emmanuel Ax
from Chopin: The Four Ballades/Scherzos/Mazurkas (Sony, 2005)
___________________________________________
:12:57
Dobrinka Tabakova (1980- ) : Cello Concerto, II.
Kristine Blaumane w/ Maxim Rysanov: Lithuanian Chamber Orchestra
from String Paths (ECM New Series, 2013)
___________________________________________
22:05
Darius Milhaud (1892-1974) : String Quartet No. 1, Op. 5: I. Rhymique
Arriaga Quartet
from Milhaud String Quartets 1 & 2 (Koch, 1997) ___________________________________________ 29:09 Samuel Barber (1910-1981) : “A Nun Takes the Veil” Cheryl Studer and John Browning from Barber: Complete Songs (Deutsche Grammophon, 2011)
___________________________________________
30:51
Nikolai Miaskovsky (1881-1950) : Sonata No. 2 in A Minor, I. Allegro Moderato
Wendy Warner (cello) and Irina Nuzova (piano)
from Russian Music for Cello and Piano (Cedille, 2010)
____________________________________________
40:46
Virgil Thomson (1896-1989) : Louisiana Story, Pastoral Suite
Ronald Corp: New London Orchestra
from The Plow That Broke the Plains/Louisiana Story (Helios, 2004)
_____________________________________________
47:23
Gyorgy Ligeti (1923-2006) : Ballada si Joc
Irvine Arditti and David Alberman
from Ligeti: Works for String Quartet (Sony, 1997) _____________________________________________ 49:30 Bohuslav Martinu (1890-1959) : Piano Quartet, III. Andante Daniel Adai (p), Isabelle van Keulen & Rainer Moog (v), Young-Chang Cho (c) from Martinu: Chamber Music (Naxos, 1996)
_____________________________________________
58:13
Ralph Vaughan Williams (1872-1951) : The Lark Ascending
Michael Bochmann (violin) w/ William Boughton: English String Orchestra
from Vaughan Williams and Delius (Nimbus, 1992)
______________________________________________
1:12:51
Gyorgy Kosa (1897-1984) : Trio for Flute, Viola and Cello, I.
Tatjana Ruhland (f), Dirk Hegemann (v), Fionn Bockemuhl (c)
from Chamber Music with Viola, v. 2 (Hungaraton, 2017) _____________________________________________ 1:24:44 Rebecca Clarke (1886-1979) : Viola Sonata Philip Dukes (v) and Sophia Rahman (p) from Viola Sonata/Dumka/Chinese Puzzle (Naxos, 2007) _____________________________________________ 1:50:01 Peter Gregson: Touch from Touch (Sono Luminus, 2015)
_____________________________________________
2:00:21
Edgar Meyer (1960- ) : Violin Concerto, 1st movement
Hillary Hahn, violin, w/ Hugh Wolf: St. Paul Chamber Orchestra
from Barber & Meyer Violin Concertos (Sony Classical, 2000)
_____________________________________________
2:10:50
Zbignew Preisner (1955- ) : Requiem for My Friend, pt. 1.8: Lacrimosa
Kasprzyk Rewakowicz: Sinfonia Varsovia, et. al.
from Requiem for My Friend (Erato, 1999)
______________________________________________
2:14:24
Ana Milosavljevic (?- ) : Reflections
Ana Milosavljevic (violin) and Terezija Kukrov (piano)
from ANA (Innova, 2010) ______________________________________________ 2:20:54 Arvo Part (1935- ) : Swangsong (2013) Kristjan Jarvi: Estonian National Symphony Orchestra from live performance: 2 December 2016 (Youtube) ______________________________________________ 2:27:36 Gloria Coates (193?- ) : Noon is the Hinge of Day (from Lyric Suite) Peter Sheppard Skaerved (v), Neil Hyde (cello), Roderick Chadwick (p) from Coates: String Quartet No. 9/Violin Sonata/Lyric Suite (Naxos, 2010)
16:09 Rudolph Tobias (1873-1918) : Agnus Dei Arete Teemets (Soprano, Estonia) & Ines Maidre (Organ) from Tobias: Complete Organ Works
(Toccata Classics, 2015)
22:00 Heino Eller (1887-1970) : Koit (Dawn) Neeme Jarvi: Royal Scottish National Orchestra from Music from Estonia
(Chandos, 1987)
30:23 Eduard Oja (1905-1950) : Silent Moods for Piano Vardo Rumessen from Vaikivad Meeleolud = Silent Moods (Estonian Classics, 2008)
36:52 Ester Mägi (1922- ) : Bookolika (Bucolic) Paul Mägi: SO of Estonian Academy of Music and Theatre from Ester Mägi: Orchestral Music
(Toccata Classics, 2007)
45:04 Eduard Tubin (1905-1982): Ballade in the form of a Chaconne Roland Pontinen from Tubin: Chamber Music
(BIS,1994)
55:10 Arvo Pärt (1935- ) : Cello Concerto 1966, “Pro Et Contra” – 1. Maestoso Frans Helmerson (cello) w/ Neeme Järvi: Bamberg Symphony Orchestra from Symphonies 1-3/Cello Concerto, Pro et Contra
(BIS, 1992)
1:00:15 Raimo Kangro (1949-2001) : Lihtne Sümfoonia, Op. 18 – 1. Leedu Kammerorkester: Estonian NSO from Piano Concerto, Op. 22 / Lihtne Sümfoonia, Op. 18 / Viiulikontsert (Melodiya)
1:03:44 Jaan Rääts (1932- ) : Virumaa Suite for Piano and String Orchestra Hando Põldmäe: Virumaa Youth Orchestra Edition 49
1:16:54 Veljo Tormis : “Izhorian Epic:A Sword from the Sea” Tõnu Kaljuste: Estonian Philharmonic Chamber Choir from Forgotten Peoples
(ECM, 2000)
1:20:28 Lupo Sumera (1950-2000) : Cello Concerto, 1st movement Paavo Järvi : Estonian NSO from Sumera: Symphony No. 6/Cello Concerto
(BIS, 2003)
1:29:32 Arvo Pärt : Silhouan’s Song Juha Kangas: Ostrobothnian Chamber Orchestra from The Heino Eller School (Finlandia, 2008)
1:35:30 Jaan Rääts : Piano Sonata No. 9 Nicolas Horvath from Raats: Complete Piano Sonatas, v. 1 (Grand Piano, 2017)
1:44:11 Erkki-Sven Tüür (1959- ) : Architectonics VI The NYYD Ensemble from Architechtonics
(Finlandia, 1996)
2:00:30 Tõnu Kõrvits (1969- ) : “The Night is Darkening Round Me” Risto Yoost: Tallinn CO & Estonian Philharmonic Chamber Choir from Moorland Elegies
(Ondine, 2017)
1:56:39 Ester Mägi : Vesper (Part 1 of 2) Estonian National symphony Orchestra from Ester Mägi: Orchestral Music
(Toccata Classics, 2007)
2:06:30 Arvo Pärt : Tabula Rasa Gil Shaham, Erik Risberg, Etc.; Neeme Järvi: Gothenburg Symphony Orchestra from Arvo Pärt : Tabula Rasa
(Deutsche Grammophon, 2012)
With one exception, all of the composers in this mix were Jews murdered by the Nazis in World War II. Their names were Pavel Haas, Erwin Schulhoff, Hans Krása, Viktor Ullmann, Gideon Klein and Zikmund Schul. Five were Czech, one Austrian. They were from middle class or wealthy families, influenced by what young composers were excited by in the 1920s: Bartok, Dada and Surrealism, American jazz (through a distant and oblique lens)… Two were in their twenties and deprived of the chance to develop their potential, while four were men in their forties with fairly large bodies of work performed all over Europe (and, in the case of Schulhoff, America). Three died in the gas chambers at Auschwitz – likely in the same hour if not the same chamber since they all got off the train from Terezin (Theresienstadt in German) together – and that was Haas, Krása and Ullmann. One, Schulhoff, died in the Wülzburg concentration camp in Bavaria; another, Schul, died of illness in Terezin. And the last, the younger Klein, died in the Fürstengrube labor camp a few months after his trainmates at Auschwitz were sent to the gas chambers. (The exception in the playlist is Gorecki, the Polish composer who was born in 1933 and was a child while the Nazis systematically annihilated his country’s Jewish population, and whose third symphony is his memorial to the tragedy of the Holocaust.)All images by Bedrich Fritta, Terezin inmate and Auschwitz victim
There is nothing ghoulish about this – it is, if anything, life-affirming music to me. It was composed in a cauldron or in prison, but the music on this mixtape is brilliant regardless of its origins and context. These were genius composers who need to be remembered. Thanks to the commitment of record labels (like Toccata Classics), contemporary performers (like the Pavel Haas Quartet) and Youtube contributors, the music of these senselessly slain artists is a lot easier to find in the 21st century than it was in the decades after the war. And thanks to websites like those run by ORT/Music and the Holocaust (holocaustmusic.ort.org) and James Conlon’s OREL Foundation (orelfoundation.org), it is easy to learn about their lives – both sites have well-researched bios on many composers and essays on their profoundly fucked-up times.
It would be disingenuous to say the history behind this story is not part of the point, though. While I have no interest in the psychosis that leads to wanton murder on any scale, whether it be a killer clown with a corpse-lined crawl space or a state-sanctioned genocide machine, I am extremely interested in how a culture with such profound greatness in its past could fall so low, so fast. Each of the composers on here, along with 12 or 13 million innocent people like them, died because the citizens of a powerful, modern nation allowed themselves to be hypnotized by a madman spouting conspiracy fantasies and age-old racist tropes. Hitler emerged from capitalism in freefall, with Germany reeling from a million per cent inflation and global money interests exerting WAY too much pressure for debt payments and reparations. Germany had every right to be pissed. But it had no right to inflict Hitler upon the world.
At any rate, I have long believed that on some kind of metaphysical level appreciating the works of any deceased artist means that artist is still alive in a meaningful sense, and so this mixtape is sort of like my insignificant little way of saying FUCK Hitler.
:00 Concentration Camp Theme
________ :51 Pavel Haas (b. 21 June 1899 [1941]d. 17 October 1944, Auschwitz) String Quartet No. 2 “From the Monkey Mountains”, Op. 7 (1925): I. Landscape (Andante) Pavel Haas Quartet from Janacek and Haas Quartets (Supraphon, 2006)
________ :11:01 Henryck Gorecki Symphony No. 3, 1st movement Dawn Upshaw w/ David Zinman: London Sinfonietta (Nonesuch, 1992)
________ :25:33 Erwin Schulhoff (b. 8 June 1894 [June 1941] d. 18 August 1942, Wülzburg) Cello Sonata (1914): II. Langsam und getragen Yvonne Timoianu, Cello, & Alexander Preda, Piano Live recording: Austrian Cultural Forum, April 2014, Rome, Italy
________ :30:58 Hans Krása (b. 30 November 1899 [10 August 1942]d. 17 October 1944, Auschwitz) Kammermusik for Harpsichord and 7 Instruments (1936), mvt.1 Zuzana Růžičková, harpsichord, & Czech Nonet from Hans Krasa: Complete Chamber Music (Praga Digitals)
________ :46:01 Viktor Ullmann (b. 1 January 1898 [8 September 1942] d. 18 October 1944, Auschwitz) Piano Sonata No. 1 (1936), 1st movement. Jeanne Golan from Viktor Ullmann: Complete Piano Sonatas (Steinway & Sons, 2012)
________ :52:01
Zikmund Schul (b. 11 January 1916 [30 November 1941]d. 2 June 1944, Terezin) Two Chassidic Dances for viola and cello (1941-42) Julia Rebekka Adler, viola, and Thomas Ruge, cello from Keepsake of the Modern Age(Neos, 2013)
________ :57:08
Pavel Haas Study for String Orchestra (1941-42) Gerd Albrecht: Czech Philharmonic Orchestra from Musica Rediviva (Orfeo)
________
1:05:33
Gideon Klein (b. 6 December 1919 [December 1941] d. January 1945, Fürstengrube) Partita (Trio for Violin, Viola and Cello) arrangement for chamber orchestra by Vojtěch Saudek Nada Matose Vic: Orchestra di Padova e del Veneto from Youtube
________ 1:22:14 Zikmund Schul “Mogen Ovos” Renan Koen, soprano; Metehan Pektaş, baritone; Naile Ilgaz, organ from Youtube
________
1:25:08 Pavel Haas Sinfonia (1940-41) (orchestrated by Zdenek Zouhar) Israel Yinon: Brno Philharmonic Orchestra from Haas: Orchestral Works (Koch, 1997)
________
1:51:56
Hans Krása Passacaglia and Fugue for string trio (1944) Members of the Kocian Quartet from Hans Krasa: Complete Chamber Music (Praga Digitals)
________ 2:00:55
Viktor Ullmann Piano Sonata No. 7, 3rd Movement (1944) Jeanne Golan from Viktor Ullmann: Complete Piano Sonatas (Steinway & Sons, 2012)
________ 2:09:14 Gideon Klein Lullaby (words by Shalom Charitonov & Emmanuel Harussi) (1943) Bronislava Tomanová, soprano, with Aneta Majerová, piano from Lullaby: Music of 20th Century Jewish Composers (Arta)
Ask an American – perhaps one of 100 chosen at random off a busy downtown sidewalk in Kansas City at noon on a sunny day – what “May Day” means and if he’s old enough he might say a distress call for airplanes that took some Nazi flak in black and white movies. Or maybe, if he’d been traumatized in childhood, something about kids dancing circles around a 16-foot high phallus in a field of long grass and daisies, tethered by crepe-y streamers or ribbons of gauzy fabric.
It’s conceivable one of those hundred downtown Kansas City Americans would mention that May Day is an international holiday honoring workers. Or perhaps I am guessing too high. I have it from a reliable source – my twice-a-year cohost on Orchestral Maneuvers (ashevillefm.org) – that in European countries May Day is celebrated as a genuine holiday. Without advertising.
Stop and picture that: No advertising at a large-scale public gathering. Can you imagine?
I was surprised to learn May Day was in fact an American invention. May 1, 1886, was the first May Day and it saw a mass strike at a McCormick Reaper factory in Chicago. Two days later, violence erupted: a bomb was thrown into the midst of a crush of police and the police retaliated with bullet fire, killing at least 8 and wounding at least 40. (https://www.iww.org/history/library/misc/origins_of_mayday)
The composers on this briefer-than-usual and narration-free mixtape were all committed socialists, if not communists, several hardcore, and at least one of them paid for his convictions with his life. Aaron Copland, on the other hand, managed to morph into a Norman Rockwell figure of a kindly Jewish composer by his lauded life’s end.
This is an expanded version of the May 1 edition of my radio show, which (somewhat ironically) took place during a fund drive and so had long talking segments. (The show episodes are at the following site: https://www.mixcloud.com/deafmix3/ and there are complete playlists with full information on performances and labels at ashevillefm.org > shows> orchestral maneuvers.) It’s an upgrade of the show, too – the selections by two of the composers are better than the broadcast ones “IMHO” and there are two composers featured on this mix we didn’t have time for amid the pledge pleas. The huge error was not playing a Luigi Nono piece, since he was a vocal Communist Party member and a composer of pointedly political work. On this mix, most of the pieces reflect the ideology, while some (10 Verses of Emily Dickinson, e.g.) obviously don’t…
The “knowledge” I purvey (a pleasing word to say slowly – pleasing for the neck bones) comes from reading reference books, liner notes and websites over and over until it’s imprinted. Mostly now (since the books are essentially memorized, at least until my brain sinks a lot closer to total memory loss than it is now.) I learn from websites. The possibility that a substantial portion of the facts I present could be fabrications doesn’t really alter the world I’ve created in my head, just as it does lend the proceedings an air of mystery, in much the same manner as my dullish mispronunciations of composer and performer names and titles lend a DIY charm to the radio show. Or not.
I’m doing the best I can.
Again, no intros but there is complete information below…
:00 Concentration Camp theme
__________ :51 Conlon Nancarrow: Study for Player Piano #37 (1965-1969) from Studies for Player Piano (Wergo (DE) 1999)
The pride of Texarkana, Nancarrow (1912-1997) left the U.S. to fight against the fascist Franco in the Spanish Civil War, and then, upon returning, left for good after learning many of his comrades in the Lincoln Brigade were being harassed mightily by the U.S. government. He moved to Mexico in 1940 and became a Mexican citizen in 1956. Best-known for his laborously-punched player piano rolls, of which he wrote/punched over 50, Nancarrow was “discovered” late in life; Gyorgy Ligeti (one of the four godhead figures for this show, the Theodore Roosevelt of the Mount Rushmore) called him “the greatest discovery since Webern and Ives.”
__________ 4:32 Erwin Schulhoff: Five Pieces for String Quartet Quatours Voce String Quartet, from Lettres Intime: Bartok, Schulhoff and Schulhoff (Alpha Classics (FR), 2016)
The Prague-born Schulhoff (1894-1942), praised by Dvorak and a student of Debussy and Max Reger, among others, was a devout communist who applied for citizenship in the USSR and made a 37-minute cantata out of Marx’s Communist Manifesto. He was arrested by occupying Nazis not for his Jewish faith but for his communist sympathies. The fact that he had fought with the Germans in WWI was an irony he shared with scores of thousands. He died in the Wülzburg camp in Bavaria, succumbing to tuberculosis. He left behind him a lot of genuinely brilliant music that is played and recorded with (what seems to me) increasing frequency.
__________ 18:02 Hanns Eisler: Cantata on the Death of a Comrade (1937, text: Ignazio Silone) 1. Die Nachricht. 2. Die Verhaftung. 3. Die Ermordung. 4. Der Nachruhm Roswitha Trexler, soprano w/ Leipzig Chamber Ensemble from Eisler – Songs And Cantatas In Exile (Berlin Classics, 1996)
A card-carrying Communist Party member, Eisler (1898-1962) was expelled from the U.S. in 1948 and returned, deeply embittered, to Germany, where, prior to the Nazi scourge, he had collaborated w/ Bertold Brecht on multiple musicals. In the U.S., he had befriended Charlie Chaplin, Aaron Copland, Leonard Bernstein and Igor Stravinsky – all of whom participated in benefit concerts to raise funds for Eisler’s legal defense after he was among the first artists tried to be as a communist agent. To no avail. Once back in East Germany, Eisler composed the GDR national anthem.
After establishing himself as a revolutionary architect in Paris – his home after his political views got him expelled from Greece – Xenakis (1922-2001) began composing in earnest only in his thirties. He’d lost an eye and had the left side of his face mangled fighting occupying forces (Nazis by most accounts, British by one) in Greece during WWII. He applied mathematical and architectural principles to his music and the results – oddly enough – are more often than not fun to listen to, and I don’t use that word lightly. I hear melodies all over, in molecular form. It gives me a feeling of giddiness, even, and it is beautiful the way all of nature is beautiful. It is, really, all there, if you concentrate.
__________ 37:26 Cornelius Cardew: Revolution is the Main Trend in the World Today (1974) Fausto Bongelli, piano
The British Cardew (1936-1981), admired by “art rockers” like Sonic Youth (perhaps for his visually compelling scores – ovals, loops and circles in Calder-like arrangements) – was such a committed communist (“Com-Com” henceforth) that he quit writing music altogether to devote himself to the revolution that would never come in the years prior to his death at the hands of a hit-and-run driver who was never found. Of course, some suspect MI5 (the British CIA) foul play, though they must’ve had something on him heretofore undisclosed because Cardew had not changed the world with his music. But then, that would be early Thatcher-era…
Cardew: Scores more interesting than sounds?
Cardew was a Maoist and evolved from writing borderline improv pieces for ensembles to short ditty-type songs glorifying the Great Leader and adapting Chinese anthems for piano. Aside from his piano pieces, I can not find much in his music that I like a lot. I don’t understand Maoists; One question: how can anyone portray the Cultural Revolution as something other than genocide, with thinking people its targets? I shared an apartment with a Maoist once, out of necessity; I could not speak with him about anything beyond rent and utility payments, so greatly did we despise one another. I don’t believe Marxism has ever been instituted by anyone beyond human monsters, and so, to me, it can’t be judged historically. I’ve never read anything from Marx (all of that in shards, due to its dull density that I didn’t completely agree with, assuming I understood it. In other words, the economics are, to me, impenetrable and nothing my utterly money-crippled brain would work to remember.) Stalin, Lenin, Mao – they were all demons who embraced cruelty and genocide. Desecrate their tombs with your feces and your urine!
__________ 59:38 Giacomo Manzoni: Verses of Emily Dickinson (1988)
Lilia Shalomei, soprano, w/ Echo Ensemble Daniel Pacitti: Chamber Orchestra of Moldavia from Manzoni: Doktor Faustus, etc. (BMG Ricordi (IT), 1999)
Giacomo Manzoni (1932- ), a contemporary and friend of dedicated red Luigi Nono, wrote the opera La Sentenza about a person’s responsibilities to his community and turned to folk – the people’s – music for forms and inspiration. I mainly include this because I am an Emily Dickinson fan. She achieved a starkness and clarity of mind that is the polar opposite of the mindframes we live inhabit. Mine now, at any rate, is a wobbly and wavering frame. Which has everything to do with politics.
Seriously, people are going to need to get active in a way they’re not used to if this is going to change. The people running the government now, along with their Congressional minions, do not give a flying F*CK about anyone outside their social circle. I suspect I would feel, upon reading of one of their – Paul Ryan’s, say – death-by-assassin in a full-page NY Times obituary, almost exactly as distraught as he feels when he reads of a kid being shot in the back while walking away from cops. Which is to say: Not. At. All.
Like Nancarrow, Nono was hardcore. One of his first major successes was an opera-like piece (in English, The Suspended Song) in 1958 honoring the victims of fascism and included executed political prisoners’ letters home for its text, among other things. They say Nono had a way of making atonal music sound emotional and involving not seen since Webern, but I wouldn’t know because Webern was an enthusiastic Nazi and so fuck that shit. I would not waste my time on someone who supported Nazi Germany even if I loved his music. This piece is an interesting proposition, essentially three different pieces of music running concurrently but deliberately connecting in places, music performed in microtones and featuring magnetic tape as an instrument in itself. One of the threads is a Chinese revolution anthem “The East Is Red” (which Cardew set for a rather jaunty and insipid piano tune). Nono dedicated it to his second daughter.
__________ 1:21:46 Aaron Copland: Our Town Suite for Piano (1940) Eric Parkin from Copland: Piano Music (Silva America, 1995)
Copland (1900-1990), remembered as the avuncular and gentle dean of American composers – I saw him conduct a 4th of July patriotic pops concert on the White House lawn in Reagan’s first term, e.g. – was a full-on fellow traveler during the Great Depression, stopping short of joining the Communist Party but endorsing candidates for office from that party and, like several of the composers on this tape, adopting folk and ethnic idioms and eschewing forms that might challenge a 100 IQ as he matured. His score for the film version of Thornton Wilder’s Our Town is built around one of the most beautifully melancholic melodies ever written. Today it suggests a lament for a time when people’s ideals were less polluted. Our minds are completely polluted.
One of the best-known and most-admired composers today, Kaija Saariaho, like all women composers of her day (the ’70s), faced an uphill slog to earn recognition for her work. Discouraged by sexism and alienated by the then doctrinaire 12-tone method forced upon students in her native Helsinki, she heard a new direction in 1980 at Darmstadt when she attended a concert of music of the French spectralists Gerard Grisey and Tristan Murail. She moved to Paris and studied with them at IRCAM, the underground sound lab in the Pompidou Center which was (and is) a center for the exploration of acoustic/electronic interplay. She met Jean-Baptiste Barriere, an electronic music pioneer and her husband of three-plus decades, there as well. This mixtape focuses on Saariaho’s early (1980s) compositions, when she worked at IRCAM, along with great works by Grisey, Murail and Barriere. There is no narration beyond the introduction: this is a straight mixtape. (Cover: Alvar Gullichsen’s “So Far.”)
:00 Concentration Camp Theme __________ :51 Saariaho: Verblendungen (1982/1984) Jukka-Pekka Saraste: Avanti ! Chamber Orchestra from Kaija Saariaho – Verblendungen – Lichtbogen – Io – Stilleben (Finlandia, 1989) __________ 14:00 Spoken Music of Paavo Heinenen __________| 21:06 Gérard Grisey: Partiels For 18 Musicians (1975) Stefan Asbury: Asko Ensemble from Gérard Grisey – Les Espaces Acoustiques (Kairos, 2005) __________ 42:59 Tristan Murail: Désintégrations (1982-83) Tristan Murail w/ Orchestra National de France from Murail: Gondwana / Desintegrations / Time & Again(Naive, 2004) __________ 1:05:35 Saariaho: Lichtbogen, for 9 musicians and live electronics (1985/1986) John Whitfield: Endymion Ensemble from Endymion Ensemble: Works By Lindberg, Kaipainen, Hameenniemi & Saariaho (Finlandia, 1989) __________ 1:24:51 Jean-Baptiste Barrière: La Chute Jean Baptiste Barriere– Pandémonium: Non, Jamais L’Espérance (Atem, 1979) __________ 1:34:52 Saariaho: Io for orchestra, tape and live electronics (1986/1987) Jukka-Pekka Saraste: Avanti ! Chamber Orchestra from Kaija Saariaho– Verblendungen – Lichtbogen – Io – Stilleben
__________ 1:52:02 Saariaho: Im Traume, for cello, piano and electronics (1980/1988) Anssi Karttunen (cello) and Tuija Hakkila (piano) from a live performance/Youtube __________ 2:01:08 Pandémonium Featuring Jean-Baptiste
Barriere – “Situations Extremes” from Jean Baptiste Barriere– Pandémonium: Non, Jamais L’Espérance (Atem, 1979) __________ 2:11:36 Saariaho: Nymphea Meta4 from Saariaho: Chamber Music for Strings, Vol. 1 (Ondine, 2013)
People in America do not understand the Soviet Union – what started it, its initial promise and its swift degeneration into nightmare, the way its thought evolved over its history – much at all. Which is understandable: we don’t know ANY history, thanks in large part to a de-emphasis on civics and history instruction in public schools (which is certainly by design!) But beyond that the USSR was, for seventy years, the Bogeyman or Nemesis, a dark shadow that consumed half the globe. Its name was spoken with a shudder. And justifiably so: Lenin used state terror to galvanize his new country, while his successor Stalin was genocidal – against his own people. (The current Putin intrigues represent an inflatable backyard swimming pool to the Black Sea of Leninist/Stalinist evil…) And it was literally and metaphorically impenetrable in its darkest hours – the Soviets controlled the media and who could leave and for how long. When George Orwell wrote Animal Farm to cast light on the horrors of life in Stalinist Russia, many Western leftists had drunk the vodka-laced koolaid and were having none of it. They could later apologize, and get a bit of a pass, that they simply hadn’t known.
In short, I think the USSR should be studied for what it can tell us about political leaders’ worst impulses gone unchecked. It was reading about the Soviet Union in the Stalin years and listening to Dan Carlin’s podcast series about the Eastern Front in WWII (which was a 3-pronged Nazi attack on Stalin, and where the war, for Hitler, was lost…) that got me to listen to Shostakovich in the first place.
I’m not saying that I understand the USSR in any meaningful sense, and my knowledge five or ten years ago was extremely embarrassingly limited. But I’ve read a lot and listened to a lot in the last couple years. This mixtape is the first of a trilogy (presuming I don’t die first) on the classical music of the Soviet Union, and it focuses on the period immediately after the Revolution in 1917. It might be news to you – it was to me to a large extent – but the period from the 1917 Revolution up until Stalin had eliminated enough of his perceived enemies that he turned to aesthetic criticism in the mid-’30s was one where artistic experimentation and freedom prevailed. The music on this tape represents some of the avantist of the avant garde in the 1920s, aligned with artistic movements like Constructivism and Futurism.
It didn’t last. If you had to pick an unequivocal endpoint to artistic optimism in the Soviet Union, it would be the 1936 Pravda denunciation of Shostakovich – and anyone with genius or imagination – two days after Stalin saw Lady MacBeth of the Mtensk District (which debuted in 1934 and was more or less an established hit). The second-to-last track on this mixtape is the opening to that great opera, Shostakovich’s last. A lot of the music on this mixtape was lost or barely survived. So thorough was Stalin’s need to control every aspect of the narrative that many, if not most, of the 1920s works by the composers included here were “disappeared” in post-facto purges in the ’30s. Most of the composers themselves were censored, removed to far-flung specks The notable exception is Shostakovich, whose international fame was too great for Stalin to quash outright and whose ’20s opi remain intact. Without exception, though, the composers included here were constrained to the point of ruin or near-ruin in the late ’30s and beyond. More on that next time.
I announce the tracks this time around; complete track info can be found by scrolling up the blog and, abridged somewhat, on the Mixcloud site. The music playing behind the narration is from Alexander Scriabin, an inspiration for young Soviet composers who died just before the Revolution. The show closes with his Black Mass Sonata. Subsequent tapes will focus on later periods – from the “Muddle Not Music” Pravda review of Lady Macbeth in ’36 up to Stalin’s death in ’53, and from the glimmer of hope that arose after the funeral up to the collapse of the Soviet Union in 1989.
1. 00:51
Alexander Mosolov (1900-1973): The Iron Foundry, Op. 19, from the ballet Steel (1927)
Johannes Kalitzke: Rundfunk-Sinfonieorchester Berlin (Capriccio)
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2. 04:25
Alexander Scriabin (1872-1915): Piano Sonata No. 7 “White Mass” (1911)
Peter Donahoe (SOMM)
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3. 08:39
Mosolov: “Four Newspaper Announcements,” Op. 26 (1926)
Natalia Pschenitschnikova, soprano (Capriccio)
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4. 13:40
Nikolai Roslavets (1881-1944): “Meditation for Cello and Piano” (1921)
Lachezar Kostov, cello; Viktor Valkov, piano (Naxos)
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5. 21:47
Gavriil Popov (1904-1972): Chamber Symphony in C Major, Op. 2; 1st mvmnt (1926-27)
Alexander Lazarev: Bolshoi Theater Soloists Ensemble (Musica Non Grata/Melodiya)
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6. 29:43
Dmitri Shostakovich (1906-1975): Two Fables of Kirov, Op. 4a (1922)
Virpi Räisänen, mezzo-soprano (Youtube)
18-year-old Dmitri Shostakovich in June, 1925.
7. 38:04
Shostakovich: Music from The New Babylon (1928)
Reel 6, The Barricade: The 49th day of defence
James Judd: Berlin Radio SO (Capriccio)
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8. 51:22
Alexei Zhivotov (1904-1964): “Fragments For Nonet” (1929)
Alexander Lazarev: Bolshoi Theatre Soloists Ensemble (Musica Non Grata/Melodiya)
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9. 59:43
Boris Lyatoshynsky (1895-1968): “Reflections”, Op. 16 (1925)
Boris Demenko, piano (Taras Bulba Entertainment)
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10. 1:14:49
Arseny Avraamov (1886-1944): Symphony Of Factory Sirens (Public Event, Baku 1922)
Leopaldo Amigo and Miguel Molina (dir.) (ReR Megacorp)
Symphony of Sirens, Moscow performance on November 7, 1923. Conductor visible on the roof.
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11. 1:46:36
Shostakovich: Lady Macbeth of the Mtsensk District; Act I, Scene 1 (1930)
Galina Vishnevskaya, soprano, w/ Rostropovich: London PO (EMI/Melodiya)
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12. 1:53:43
Scriabin: Piano Sonata No. 9 “Black Mass” (1914)
Peter Donahoe (SOMM)
Concentration Camp 