by guest blogger Julie Berridge
On November 7, Benjamin Grosvenor plays Mozart, Debussy, Brahms, Berg and Ravel.
Appeal, imitation and inspiration
“Teeming with dissonances” is how Brahms described the first Intermezzo in Opus 119. In a letter from May 1893 to Clara Schumann, Brahms wondered if the piece would please her palate. He wished “they would be less correct, but more appetizing and agreeable to your taste”. Clara must have found it appealing because she wrote back, that the piece was “grey, pearl-veiled and very precious”
Brahms’ appeal is timeless and not just for lovers of classical music.
While doing research for this post I came across a 2000 blog post about an article titled “Santana really should acknowledge Brahms”. The writer points out the similarities between “Love of My Life,” played by Santana featuring Dave Matthews & Carter Beauford, from Santana’s 1999 album, Supernatural, and the third movement (III. Poco allegretto) from Johannes Brahms’ Symphony No. 3 in F major, Op. 90. Here is a link to the article. Scroll down to hear audio clips of the two pieces. What do you think? I tend to agree with the writer. It seems audibly obvious. And both are lovely. I wonder if Santana ever did acknowledge Brahms?
On a less lovely note, the first movement of Mozart’s Sonata in B-flat Major, K.333 was performed by Frank Zappa’s back up band, the Mothers of Invention at the Royal Albert Hall in 1969. The band members did what was described as a “grotesque parody of the art of ballet dancing” as part of the “performance”.
Debussy’s L’après midi d’un faune was inspired by and is a musical depiction of a Mallarmé poem. In the poem, a faun sleeping on a sunny slope awakes from a dream and tries to realize the dream by pursuing the nymphs that he dreamt about. After playing a soliloquy on his flute he realizes that he is unable to bring the dream to life, and he goes back to sleep. It’s been said that Debussy found a way to break with orthodoxy when he “passed into the symbolist domain of Stéphane Mallarmé”. To Mallarmé, then we are forever grateful.
Ravel’s Gaspard de la Nuit is based on a poem by Aloysius Bertrand which features a mermaid a monster and a corpse. Ravel’s composition is in three movements. Listen for the seductive whispers and cheerful laughter of Odine the mermaid, the slight swaying of the hanged man in the repeated B-flat and the frenzied appearances of the evil dwarf Scarbo, waiting to pounce and scare. Gaspard de la Nuit was first published in 1842, one year after Bertrand’s death. The poem was reprinted in 1908 in the Mercure de France which was where Ravel may have first encountered it.