April Is in My Mistress' Face

Thomas Morley was a person one can't help but respect, especially if that one is a musician. In an attempt to make their living by writing music many choose the path of the least resistance and compose what is demanded – needless to say, it usually means simplyfying things much. Morley, over against, had managed to create accessible and genuinely loved compositions – mainly madrigals, – which were distinguished by sophisticated counterpoint – a notable fusion of technique and depth without sacrificing any of them.

Morley's works were created more than five hundred years ago – he was born in 1557 and died in 1602, – but they sound refreshing even today, and I believe this quality is very rare to find. Last but not least, his music is so pacifying it could almost be considered a stress-reliever, and a very effective one at that. Here is Morley's April Is in My Mistress' Face – enjoy!

I Puritani. Ah! Per sempre by Bellini

Just a few hours earlier I had a conversation about role of the melody in music in general and in opera in particular. Many would agree it is hard to underestimate, but let's be honest: anyone seeking for exquisite melodies wouldn't most likely find a plenty in modern music. I remember a quote by Giacomo Puccini where he complained that people don't seek for good melodies in opera anymore and for that reason it is at death's door as a genre. All this discussion made me think about Vincenzo Bellini, an outstanding melodist of the early 19th century, whose works even now do not lose their luster – with his immense gift in composing vocal melodies he somewhat compensates for other composers' inattention. Download one of his arias here: I Puritani. Ah! Per sempre, for Voice and Piano.

Aria 'Dove Io Credea le Mie Speranze Vere'

Talking about rare sheet music, not so long ago particularly hard to find were the scores written by women – there just wasn't a lot of composers among them. Luckily, these days the situation changed, and one of those who we should be thankful for that I believe is Francesca Caccini. Not only she is one of the most highly-regarded female composers, in addition to being that (and also poet, singer, and lutinist), she as well have went down in history as the first woman ever to compose an opera (La liberazione di Ruggiero dall’isola di Alcina). Download one of her amazing arias (for piano and soprano) here: Aria 'Dove Io Credea le Mie Speranze Vere'.

My Country. Vltava by Bedřich Smetana

Comprising six symphonic poems, a set Má vlast by Czech composer Bedřich Smetana is quite interesting by itself: not many composers were working in a very form of symphonic poem – consider it more or less exclusive to its originator, Franz Liszt, – plus it is enriched by beloved to Smetana national Czech motifs. What stands out in this set, to my view, is the second poem – in this amazing composition Smetana did his best describing the course of the river Vltava by the means of music. If I were a flutist, I wouldn't pass by the following score: My Country. Vltava (The Moldau) – Flutes Parts, T.111 – even listening to this melody is an exceptional pleasure, and I'm almost jealous of those who will have a chance to play it! Below is a performance of a poem by Japanese musicians – very beautiful indeed.

J.S. Bach – Little Organ Book, No.40-45, Arrangement for Piano

One of the most important things a musician can do to progress faster is listen to a lot of diverse music and analyze it. Value of this can't be underestimated: if one doesn't limit him- or herself to a certain genre, it sparks both range of view and creativity. Of the same importance is trying different techniques of playing – it too makes one more versatile performer. In this behalf, arrangements may be immensely helpful – when one is playing a piece originally written for a different instrument it is a completely refreshing experience.

As concerns Johann Sebastian Bach's organ works, everything is great about them. However, one wanting to hear them in all their glory usually had to visit a nearby church. Yes, walking is good for health, but what to do with those who have to practice at home and don't have much spare time? Well, they didn't have much choice until August Stradal arranged Bach's Little Organ Book for solo piano. Selected works can be downloaded here: Little Organ Book, No.40-45. Arrangement for Piano, BWV 639-644 – enjoy!

Alte Kameraden by Carl Teike

Carl Teike definitely is a very interesting composer: facts like there were 14 children in his family and that he composed more than 100 marches alone are worth something. To be honest, he almost didn't compose anything but them, and for a right reason – 20 of his dances – a genre new to him, – have been lost over time. It is unknown whether Teike forefelt that or maybe just was wise enough to realise that jack of all trades is master of none – one way or another, his Alte Kameraden is almost the only march that is famous worldwide (popularity of most is limited to the areas of their origin). Download it here: Old Comrades. March.

The Red Sarafan by Alexander Varlamov

It can't be underestimated how important it is for man to find his own place in life nor it can be predicted how great consequent results may be. When a man is really enthusiastic about something he can do much more than the one doing the same out of neccessity or to make a living. Why I'm telling you that? Well, to make it clear how composer Alexander Varlamov managed to create some of the finest and the most authentic folkloric Russian songs – he simply understood at some point that it – and not sacred and secular music that he used to compose as well, – is something he is particularly good at. I can't help but agree with his decision to focus on it foremost – many of Varlamov's works are exemplary Russian folk songs, for instance The Red Sarafan, a lyrical and beautiful composition.

Shine, Shine, My Star

Too often good music can't find its way to the listener, but luckily this isn't always never-ending. Such is the case with Shine, Shine, My Star, a beautiful Russian romance – for the first part of the twentieth century no one but Soviet censorship committee was aware that this piece exists at all! Even though it was composed in 1847, and bears little to no connection to a 1915 – a year the grammophone recording was made, – political situation, this romance was under a ban until 1944.

Now, when everyone can easily find a sheet music of Shine, Shine, My Star, I can't help but celebrate it – it is truly one of the finest Russian folk songs. Download sheet music here: Shine, Shine, My Star, or, if in doubt, watch a video below first – a slide show of illustrations by Isaak Levitan make listening especially rewarding:

The Cuckoo by Tchaikovsky

Comparing composers seems unfair and devoid of any sense – at the end of the day it is the matter of the personal preference who likes whose works best, – yet I feel an urge to do that. Why? Because if we were to tell who has written most pieces named after birds, no doubt of two candidates (Pyotr Ilyich Tchaikovsky and Olivier Messiaen), the latter would win. Still, this blog is focused on rare music, and here Tchaikovsky definitely takes the pas with his Op.54 No.8 called The Cuckoo. I think this brilliantly illustrates that what is an advantage in one situation could easily be a disadvantage in another and that indeed competitions do not matter much.

Talking about The Cuckoo, it is a piece of series written specially for children. As there is not that much of classical music for them, I think it would be nice to pay attention to that existing. Sheet music of a piece is available here, enjoy: The Cuckoo, TH 104 Op.54 No.8.

Kathleen Mavourneen

Now, after music industry established and mass media grew big, we sometimes really feel that not always a songwriter can express himself to the fullest – for the reason that radio-friendly edits exist, songs have been shortened, bad words in lyrics have been an object of censorship and cover art has been sometimes heavily altered, so that to get rid of anything controversial.

What an irony: these edits are nothing compared to what was done to a version of the song by Frederick Crouch called Kathleen Mavourneen in several self-titled films of the early 20th century. Censored version had neither lyrics nor… music at all! Before you start thinking about how cruel it is in relation to this beautiful song, I should make a remark: absolutely all compositions in three versions of Kathleen Mavourneen’s soundtrack were treated this way. I know how confusing it sounds, so here I should make things clear: actually it happened due to these being silent films and not some conspiracy whatsoever.

I think the time has come for Crouch’s piece to be heard – download sheet music of it arranged by Brinley Richards here: Kathleen Mavourneen.

Dios Nunca Muere by Macedonio Alcalá

Writing for this blog, even the title of which assumes it has something to do with rarities, I simply can not leave aside Macedonio Alcalá who was known to play an instrument so out-of-the-way that even to me its name didn't say anything (and I have always been interested in exotic things like hang drum or didgeridoo!). This instrument is called ophicleide and looks not as unusual albeit still elegant; it belongs to a brass family. In addition to ophicleide Alcalá played violin and viola, piano, flute, and cello. It doesn't appear that he was very prolific, but one of his works deserves a place on pedestal of finest Mexican compositions. Download it here: Dios Nunca Muere.

Las Hijas del Zebedeo by Chapí

If you happen to like operetta and for some reason aren't yet familiar with the genre of zarzuela then it's the best time to learn more about it. Zarzuela originates from Spain and merges choreography with vocal and orchestral music. While solos and choruses are sung, the genre is also full of spoken scenes and interludes. Talking about composers without whom zarzuela wouldn't be what it is now, I feel like Ruperto Chapí should be mentioned foremost. Occasionally his works are staged, and if you are given an opportunity to see something of his in the concert hall, try not to miss it. Alternatively, for home recital Las Hijas del Zebedeo would be a good choice. Find the piano score of this piece here: Las Hijas del Zebedeo.

Egyptian Nights by Anton Arensky

Anton Arensky was a Russian composer, pianist, conductor, and pedagogue, who, as if to prove the words from Nikolai Rimsky-Korsakov's biography (where the latter wrote that Arensky is soon to be forgotten), is not well-known nowadays. Still, without having an intention to question Rimsky-Korsakov's authority, I can't help but mention the fact that his fellow countryman and composer equally great (to say the least!) was under the strong impression of Arensky's works, one of which – Dream on the Volga – even brought tears to his eyes. Here I'm talking about Pyotr Ilyich Tchaikovsky; among other admirers of Arensky's talent was Leo Tolstoy, and his pupils include Sergei Rachmaninoff and Alexander Scryabin (expelled for poor grades from the composition course).

Here is one of large-scale works of this composer which is called Egyptian Nights. Suite for Orchestra, Op.50 (movements 1 to 3 from 7). Quite rarely one can see Russian composer turning to Egyptian motifs, and perhaps for this reason it is such a reasonably interesting piece.

Adagio for Clarinet and String Quintet – Baermann

Seldom do composers write their opuses for a particular musician or singer, and if it happens, it means a lot. Honestly, I’m not aware of many such cases – Fyodor Chaliapin comes to mind and I can assume that if there had been many composers of vocal music in the seventies and eighties, they perhaps would make a good use of Freddie Mercury’s four octave range (given the agreement of the latter, of course).

On this subject – of pieces written specially for a certain performer, – Heinrich Baermann had had many such, receieved from Carl Maria von Weber, Felix Mendelssohn, and others. Baermann was a German clarinet virtuoso and, interestingly, a composer himself. Among his own works my favorite is Adagio for Clarinet and String Quintet, Op.23 – a sincere and profoundly melancholic slow-tempo piece. Download it here: Adagio for Clarinet and String Quintet.

Works for Organ and Harpsichord by G. Böhm

The more I learn about organ music, the stronger is my feeling that it relies on improvisation more heavily than any other branch of classical music. I mean, it’s not that all pianists play reading notes on sheet music; however those exceptions to the rule have been belonging to a jazz camp as a matter of fact.

The composer I want to write about today is Georg Böhm, German Baroque organist and one of the primary contributors to the genre of the chorale partita. In the first instance Böhm is notable for writing in the stylus fantasticus – a method of composing which is not unencumbered with conditionalities. Invented by Athanasius Kircher, the first man to see microbes with his own eyes, this style gives rare freedom to a composer, comparable to such provided by white verse to a poet. What is also interesting about Böhm’s works is that in the most cases they can be played on various instruments, depending on a musician’s preference – for example, organ and harpsichord. One such can be found by the following link:

Complete Works for Organ and Harpsichord. Book I

Enjoy!

Poet and Peasant. Overture (by Franz von Suppé)

Rarely heard in the concert halls nowadays, Austrian composer Franz von Suppé would have been surprised to know that his pieces are very popular among cartoons’ creators. Quite a few of his overtures were used in Mickey Mouse, Bugs Bunny, and Popeye – namely and in corresponding order, overture to Light Cavalry, Morning, Noon, and Night in Vienna, and Poet and Peasant. As concerns the last one, originally symphonic, it was brilliantly arranged for piano by Clemens Schultze-Biesantz and is a great addition to repertoire of a performing pianist. Download it here: Poet and Peasant. Overture (Arrangement for Piano).

Thirty Etudes by Louise Farrenc

As far as I remember, I haven’t yet written a single word about female composers in this blog. This is the mistake that needs to be corrected – perhaps there is not a plenty to choose from (OK, in relation to classical music – nowadays it is simpler), but quite a few names definitely stand apart.

One of my favorites is Louise Farrenc, French composer, teacher and virtuoso pianist. It makes me really happy to know that some of her works are performed even these days. Particularly popular is her chamber music, however no pianist should overpass her etudes. By the following link you will find a great collection of these: Thirty Etudes in All Major and Minor Keys, Op.26. Enjoy!

Sonata No.3 'Norse' by Edward MacDowell

Personally, when I think about American composers to mind come those associated with minimalism and early electronic music. Talking about the latter, most synthesizers – its typical instruments, – originate from the United States and sometimes even were developed in association with composers (e.g., the ideas of Morton Subotnick were always attentively taken into account by Don Buchla, a creator of complex and organically sounding modular systems).

However, this is what comes to mind first and it doesn’t mean I’m not aware about American classical music – otherwise, hearing good Romantic pieces from the US always fascinates me. Very notable in this sense is Sonata No.3 by Edward MacDowell – a piece I would remorselessly rank among the best in the genre. Unfortunately, his works are not especially well-known nowadays, and with this post I want to remedy the situation. Here is MacDowell's Sonata No.3 'Norse', Op.57 – I hope it will instigate you to explore more of his oeuvre.

Vasily Kallinikov – Elegy

When an umbrella-shaped viburnum serves a part of a composer’s monument, you catch on without further ado: this must be someone you have to learn more about. A monument I’m talking about perpetuates Vasily Kallinikov, Russian bassoonist and composer. For those not having a copious vocabulary of Russian words it may be not obvious what a viburnum have to do with him, but everything is explained simply: his surname is a derivative of “kalina,” i.e. “viburnum” in Russian.

Kallinikov's music at all is hard not to be associated with nature, trees, and pastoral landscapes. Folk motifs strike the eye in his oeuvre; even symphonic works of Kallinikov bear their imprint. Elegy is his entrancing solo piano piece, a true pleasure to play and listen. Download it here: Elegy.

Gounod – Faust. Even Bravest Heart May Swell, for Voice and Piano

Those who like classical music usually have an eye for a good literature as well – a classical music generally involves a good taste. There is a number of books are as immortal as pieces of Beethoven or Tchaikovsky. Referring to the most important matters of existence, those works do not age; even though Goethe’s Faust was written centuries ago, it is still as relevant and thought-provoking as it has always been. Thanks to Charles Gounod, a French composer of opera, ballet, and even a national anthem of Vatican City (concurrently, Vatican State), we can not only read this amazing tragic play, but see it on stage. Here is Gounod’s Faust. Even Bravest Heart May Swell, for Voice and Piano – enjoy this fine piece of music.

Psyché – a song by Émile Paladilhe

Despite his name doesn’t seem to be well-known nowadays, Émile Paladilhe was quite a conspicuous figure during his lifetime. First of all, he was the youngest composer to win the Prix de Rome – a French award granting a privilege to live in Italy for three to five years. Just to note, some of the better-known composers (and men of art in general) failed to receive an award, with one of them – a painter Jacques-Louis David, – being so desperate to consider suicide. It’s not David coming in depression over nothing – Eric Satie also had been feeling sore for the same reason; the Prix de Rome was quite an indicator of recognition back in days.

Another fact of Paladilhe’s biography that deserves a special mention is that he died exactly after composing his last opus. Download a piece by this gifted and dedicated ‘til the very moment of his death composer here: Psyché (for piano and voice).

Violin Concerto No.9 by De Bériot

Rarely if ever have I met a composer of mainly violin music who was equally, if not to say more, good at piano. However, in the nineteenth century it seemed to have been more common: Belgian violinist and composer Charles Auguste de Bériot was also a pianist, and, which is particularly impressing – a virtuosic one.

Fate of this Romantic composer is quite tragic. Deafness of Beethoven is well-known even to people with little to no interest in classical music, but not many know that by the end of his life, De Bériot became blind and, perhaps even worse, a paralysis of the left arm made him unable to play an instrument. Be that as it may, he composed a lot of violin works before that to happen. Among them are educational music and violin concertos, and the latter are being almost entirely forgotten these days. Both time and neglect are impuissant to affect their value still: these have always been among the finest violin works of Romantic era. Here is De Bériot’s Violin Concerto No.9, Op.104 (Score for Two Performers).

Wieniawski – Kujawiak for Violin and Piano

As Polish violinist and composer Henryk Wieniawski had been alternately living in different countries, such as Russia, Belgium, and France (more exactly, Paris; he was studying in the conservatoire there) , one might think he was not especially persistent kind of person. Well, in terms of abiding-place it may have been so; as for his instrument of choice, his devotion was inconceivable – acknowledged virtuoso, Wieniawski had been writing almost exclusively for violin, and his works are now considered among the most notional in the repertoire.

Furthermore, not only Wienawski was good at drawing a bow across the violin’s strings but also in strumming the strings of the soul: parents of his bride discommended their marriage, but a work he composed made them temper justice with mercy. Here is Wieniawski’s Kujawiak for Violin and Piano – enjoy.

Kol Nidrei – Max Bruch

As you may have noticed, in this blog I mainly focus on an unfairly overlooked music – one that collects dust on shelves, figuratively speaking. No matter what, during revisions it is always possible to find something unexpectedly interesting at the attic. The same with music – sooner or later listeners start appreciating what they were abandoning before and find themselves wondering why they haven’t heard such a marvelous piece before.

As today I’m going to write about Max Bruch, quite well-known Romantic composer, many of you may wonder what kind of neglect his music met at all. Well, I don’t say it happened to all of it but as for Kol Nidrei, this piece was not present in a concert repertoire for quite long. Despite Bruch himself was neither Jew nor did he considered this his work to be Jewish to the core – he only was influenced by Hebrew motives, – it was forgotten since National Socialists came into power, for reasons quite obvious. Still Kol Nidrei is a very recommendable work, and I want to bring to your attention an arrangement for violin or cello and piano (originally it was written for cello and orchestra). Here it is: Kol Nidrei (Arrangement for Violin or Cello and Piano), Op.47. Enjoy the music.

Thirty Studies for Flute Solo – Karg-Elert

Having no intention to repeat truisms, I still can’t help but write about my attitude towards virtuosity: virtuosity doesn’t cost a thing if playing doesn’t come from a heart. Contrariwise, if music is sincere, it need not be technically complex; a piece can be simple in its structure or harmony yet be regarded as a masterpiece.

As for an adjective best describing studies and what they usually aren’t, it is perhaps “interesting.” While learning, one usually thinks not about enjoyment but rather about how exhausting exercises will be rewarded handsomely in the future. Still some studies can be a real pleasure to play – take Thirty Studies for Flute Solo, written in a form of capriccio, a form quite lively and cheerful. German composer Sigfrid Karg-Elert composed them for his friend, a flutist and recruit, to make the latter's military service less dead-alive. Thanks to his good intentions, Studies now are pretty much a part of every aspiring flutist’s repertoire. Download them here: Thirty Studies for Flute Solo, Op.107.

String Quartet in A Minor – Robert Fuchs

This far, I don’t know many composers, neither living nor departed, extensively lavish in their praise towards their colleagues. This is explicable: if they had been complimenting them right and left, the latter would quite possibly write far weaker works, having a fair conceit of themselves and convinced in own would-be genius. Nevertheless, there are exceptional cases, when it is hard to keep silence, and even those most terse say everything openly; to this category I put Erik Satie and Johannes Brahms: the former, known for his acrimonious nature, appreciated music of Igor Stravinsky and even wrote two articles about his pen pal.

As concerns Brahms, he was judging own works so strict that destroyed those of imperfection – no wonder he was not inclined to speak straight from the shoulder, rating other people’s oeuvre. However, there was a man who made Brahms use adjectives such as “fine” and “splendid,” and the name of this man was Robert Fuchs. Strong point of this Austrian composer is his chamber music, and I particularly like his 62nd opus. Download this piece here: String Quartet in A Minor – Parts, Op.62.

Symphonie espagnole by Édouard Lalo

Édouard Lalo is one of the most original French composers. His music was inspired by Richard Wagner and is characterized by ingenious orchestration and memorable melodies. Due to having style unlike anyone else’s Lalo didn’t meet much success until his late forties, but it was worth it: at least he had never sacrificed his aesthetic ideals and had always been composing in the manner naturally inherent to him – something that anyone with strong personality can do justice to. In Lalo’s case not just anyone, but Tchaikovsky himself: great Russian composer was impressed with his Symphonie espagnole to such extent that wrote one of the best known violin concertos of all time (namely, Violin Concerto in В major, Op. 35). Well, if even Tchaikovsky didn’t remain indifferent towards it, you shouldn’t be disappointed as well. Download Lalo’s opus 21 here: Spanish Symphony in D Minor (for Violin and Piano).

Souvenir de Porto Rico by Gottschalk

Louis Moreau Gottschalk was an American composer and pianist who failed to apply to the Paris Conservatoire for reason no other than his country being a country of steam engines. That was Pierre Zimmermann who said that (and rejected Gottschalk’s candidature thereafter); however, browsing YouTube once I stumbled on a steam-powered synthesizer – the incident that proves thinking steam and music don’t have anything in common is not relevant anymore. Be that as it may, American composers shouldn’t be flung aside: even though the most significant contribution they made was to contemporary, rather post-war, music (minimalism being the prime example), likes of Gottschalk prove that Romantic music was more than a match for them as well. See for yourself – here is sheet music for his Souvenir de Porto Rico and the video is below:

Flower Songs by Gustav Lange

Even though I’m not in any way affiliated with The Guinness Book of World Records (nor did I hold it in my hands in the last couple of years), I’m well familiar with a few of its record-breakers, just because of my avid interest towards classical music. Say, Georg Philipp Telemann – with about 3,000 original works he is the most prolific composer ever lived. However, if we were to judge by extant works, Telemann would appear less of a person who hadn’t been sleeping and eating for a whole composer’s career (really, how do you produce oeuvre as tremendous to the nth degree as it is otherwise?) – about 800 of his pieces survived. Thus it is easier for other composers, such as Gustav Lange (with a number of 500), to breath down his neck. The latter was also born in Germany – probably the very air of this country boosts up creativity. Here is one of his finest pieces: Flower Song, Op.39. Enjoy!

A Bird upon a Rosy Bough

American composer John Knowles Paine had made a long way to become as respected and influential person as he was. To be as precise as possible, not only long but also cross-continental: for a while he was studying organ in Berlin. Never before him were American composers getting considerable recognition for their large-scale orchestral works but Paine changed the rules of the game. Also he was among the first acknowledged professors of music, worked in Harvard and, among other things, wrote a few books, such as The History of Music to the Death of Schubert. A Bird upon a Rosy Bough is one of several Paine’s songs. Download it here: A Bird upon a Rosy Bough, Op.40 No.1.

Poème de l'amour et de la mer

Have you ever wondered how many of those who work full-time in offices could have become great composers? Not many? Well, maybe, but there always is a chance. Decades before going down in history as author of some of the most refined pieces ever written, Ernest Chausson was working as a lawyer. However, he always felt he should devote himself to art, and his 2-year employment history proves his feelings were unadulterated – sincerity and lyricism were at all an inseparable part of both his person and his oeuvre. When it comes to Chausson’s vocal music, he was especially punctilious, trying to merge voice and instrumentation together. His Poème de l'amour et de la mer is available for download here: Le temps des lilas, Op.19.

Gavotte No.2 – Popper

Perhaps, all performers and composers have their listener and even those of them who are not known to a wider audience still have an enclave of admirers. Take David Popper: his name may not sound familiar to everybody, but for cellists he is a person of indisputable authority. Only a few musicians – Mstislav Rostropovich, for example – were able to play certain cello pieces of Popper without apparent effort. This prolific Bohemian composer is among those who proved that cello is very versatile instrument and showed its true potential. Here is one of Popper's splendid pieces, Gavotte No.2 for Cello and Piano, Op.23.

Highlighting Cyril Rootham

Some music gets less recognition than it deserves – this is the point I’m trying to convey in this blog. With all its seeming evidence many people forget the main thing: emergence of interest towards lesser-known composers is not a natural phenomenon, there always is someone who has his (or her, which too isn’t rare) hand in it. Abstracting from classical music, John Peel took a huge part in future success of post-punk band The Fall and is also known for broadcasting Nirvana way before they became world famous.

This is now Handel and Mozart are big names, with the latter being willy-nilly heard by absolutely everyone. However, some of their works were out of the spotlight until Cyril Rootham, a composer, organist, and educator, introduced them to the repertoire. Unfeigned music devotee, Rootham was never guided by selfish motives and thus didn’t put too much effort promoting own works. Nevertheless, not only his musical catalogue is surprisingly extensive (given all the activities he was involved in), but also dignified and ingenious. Bypassing his works is a crime, no less. How could you, knowing that they were composed by a contributor to the growth of Arthur Honegger, the man who imitated the sound of a steam locomotive in one of his symphonies?.. So don't give the go-by and download Suite for Flute and Piano.

Le Lac de Côme by C. Galos

It never hurts to know the details behind creation of the piece – what inspired a composer to begin working on it; whom he dedicated his work to; and, finally, where was he at the moment? Talking about Le Lac de Côme by C. Galos, it is unknown whether it was composed under a momentary impression or over time in another country – wait, we don’t even know whether its author was man or woman. Still this pell-mell makes things complicated rather for biographers than listeners and musicians – at least we can conclude that a composer didn’t remain indifferent towards the deepest and most beautiful lake in Italy, and that may be enough. Download this exquisite piano piece here: Nocturne No.6 'Le Lac de Côme' (Lake Como), Op.24.

Sept chants de terroire

Vincent d’Indy was a French composer and teacher. It’s very hard to describe him and everything he was involved in in short – only a story about a school he founded is priceless, not to mention everything else, – but I’ll try. D’Indy was heavily influenced by Wagner and wrote a book about him where named the latter a savior of French music. And as even foreigners had participated in musical life of his homeland, d’Indy couldn’t remain indifferent himself and founded the Schola Cantorum de Paris – the first private music school in the country.

Schola is absolutely unique phenomenon in sense that it had been criticized for conservatism yet its graduates included Eric Satie and Edgard Varèse – composers who were breaking all conceivable musical rules on a permanent basis! As concerns this very critique, do not pay much attention: d’Indy wasn’t a retrograde by nature and in the beginning opposed to the musical establishment himself (once again, he dared to found independent music school). He had a strong personality and didn’t belong to neither impressionists nor academics. Here's his Sept chants de terroire, op.73, a piece enjoyable and, now that it is scored for piano four hands, uniting.

Piano Trio by Ignaz Lachner

What is the most curious about Ignaz Lachner is that his brother was friends with Franz Schubert and benefited from it, making his mark. Ignaz, in turn, was less lucrative and hence less famous. Still he was a great composer – prodigy even – and prominent conductor. Lachner is mainly known for his chamber music and was a novator in this field in sense that several of his trios feature the unusual instrumentation – violin, viola, and piano. These his works certainly deserve close attention, and you may find one of them – op.58, to be exact – here: Piano Trio No.3 (Full Score). I hope you won’t remain indifferent towards this masterpiece!

Fugue on the Hymn of the Virgin

Live and learn, for real: just yesterday I wrote that I don’t know much about organ music – and today I stumble on article about French organ school – a centuries-old tradition with own rules and own form, established by composers who were in constant search of new possibilities of self-expression by the means of music.

If we would take Baroque or Romantic styles, they are much like huge music continents, and schools – be it New German or French Organ school, – are like islands: they’re smaller in size but exploring them isn’t any less fun. Talking about New German school, names of Liszt and Wagner are familiar to everybody, but not many know about it as a separate movement in art music.

The same thing happened to me: I heard some pieces of Jean-François Dandrieu, the only thing is I didn’t know he was a part of certain - French Organ, in our case - tradition. There is a lot of French organists I’m not familiar with still, but I can vouch for works of Dandrieu. Exceptionally good is his Fugue on Hymn to the Virgin; you may download it here: Pieces for Organ. Book I. Fugue on Hymn to the Virgin.

Josef Rheinberger - German organist and composer

Let’s face the truth: we know awful lot of great pianists and piano composers, but are mostly unaware of gifted and prolific organists. At least so was I until recently – of course, I listened to organ music, but with rare exceptions (like Olivier Messiaen) it wasn’t written by dedicated organists. When I first heard a piece by Josef Rheinberger – it was Organ Sonata No.13 – I felt that a man who wrote it should have spent a considerable part of his life playing organ: without that, I thought, it would be impossible to create a sound that rich. As it turned out, I wasn’t mistaken – Rheinberger played organ since the age of seven and was admitted master of counterpoint. You may find his opus 161 here: Organ Sonata No.13, Op.161.

Salvator Rosa - A Man of Many Talents

There is a Chinese proverb going “Man of many talents is master of none”, and it is perhaps taken way too seriously by many - we don't know a lot of gifted persons who participate in different activities. However, men of many talents and masters of more than one existed – take Leonardo da Vinci or Salvator Rosa. Even though Rosa is not a person of the same caliber as his legendary predecessor (also Italian, by the way), he is the only painter, poet, satirist, and in the same time composer I know. Selve, voi che le speranze is his small but very amiable piece, and it can be found by the following link: Selve, voi che le speranze, for Voice and Piano.

Poème élégiaque by Eugène Ysaÿe

Eugène Ysaÿe was a composer, conductor, and violinist. He was born in Liège, Belgium in 1858 and during his life never hesitated to amuse people: say, Pablo Casals, one of the greatest cellists ever, insisted that Ysaÿe was the only violinist to play in tune he has heard. To justify those other violinists we can assume that Casals had a perfect pitch and it was more inaccurate tuning than their own fault; however, that doesn’t affect the fact that Ysaÿe was outstanding musician – even an international violin competition was created as a tribute to his mastery. Here is his twelfth opus for violin and piano: Poème élégiaque in D minor, Op.12.

Etude No.2 in F Major by Edmund Neupert

Edmund Neupert was a Norwegian pianist, composer, and pedagogue. For his piano skills he was compared to Franz Liszt, but playing was not only one his talent - he was also a good teacher. It is well known that even though many people can play well, they not always can transfer their knowledge to others. Neupert, however, could. Here and now he is unable to help anyone with phrasing or articulation because of force majeure circumstances (such as his death in 1888), but his works live through the ages. For anyone who wants to master the skill of piano playing here is one of his etudes: Etude No.2 in F Major, Op.17.

Sonata No.6 by Zinck

Hardenack Otto Conrad Zinck was a German-Danish composer who had probably passed all requirements to be called a child prodigy when he was five – while his peers barely knew a difference between harp and lute, he already performed for the head of Danish state and concurrently alcoholic Frederick V. Zinck’s teacher was Carl Philipp Emanuel Bach who gave him singing lessons. Between this and then he was playing piano, flute, and violin. And when Zinck instructed the choir members, people gathered nearby to listen – what is it if not intravital recognition? Being not very well-known today, he deserves postmortem fame as well, and I suggest downloading one of his piano sonatas. Sheet music of the sixth can be found here: Sonata No.6 for Piano in D minor. Enjoy!

O mio Piccolo tavolo ingombrato - Aria by Leoncavallo

Ruggero Leoncavallo was an Italian opera composer. He was born in 1857, and his first major work, Pagliacci, was performed in 1892. It had some success, but certainly didn’t bring Leoncavallo universal recognition. However, as of today, it is the only staged work of him – even Chatterton, arguably the first record in the world to sell a million copies, is forgotten. Given that Leoncavallo is considered one of the greatest Italian librettists, ignoring his other works is somewhat disrespectful. Take, for example, Zazà – yes, certain arias from this opera can be heard time to time, but what if even they will fall into oblivion? I think all I can do is act to prevent and inform more people about Leoncavallo's music. Here's his aria O mio Piccolo tavolo ingombrato from Act III of Zazà.

Concerto for Cello and Orchestra by Ernst Levy

Born 1895, Ernst Levy was a Swiss pianist, composer, and pedagogue. A title of Forgotten Genius, a compilation of him playing Liszt and Beethoven, speaks volumes – as well as listeners’ comments: they concur that Levy’s interpretation of great composers’ sonatas is outstanding. For all its atypical freedom (Levy was often ignoring accents and other nuances), they sound fresh and unblemished, giving no reason to criticize performer’s approach.

Unlike many contemporaries, Levy, who paid little attention to accredited norms (including supremacy of serialism), managed to stay accessible – his works are borderline: they sound recognizably modern within the framework of their tonalities and without sliding into emotionless postmodernism cross-cutting the second half of the 20th century. Albeit Levy is virtually unknown to a wide audience, his Concerto for Cello and Orchestra had its premiere in New York, where it was warmly received. Sheet music of this notable piece is available here: Ernst Levy - Concerto for Cello and Orchestra.

Three Melodies for Piano, Op.21

Hans Huber was a Swiss Romantic composer, primarily influenced by Liszt, Brahms, and Schumann. Like his foregoers, he composed in a broad range of works – from operas and symphonies to piano concertos. And the same as Franz Liszt, who had been ignoring formal rules and composed a single-movement concerto, Huber had his own vision how many movements should they have. In his opinion, four was optimal. Also he was a chorister and a pianist. You can find a cycle of Huber's earlier works here: Three Melodies for Piano, Op.21

Sonata No. 1 by Zelenka

Jan Dismas Zelenka was a Czech composer, born in 1679. I really liked what Wikipedia writes about him: “The most appreciated Zelenka's sacred works are represented by masses” – isn't that quite fun that his masses are appreciated by masses?..

Works of Zelenka were twice rediscovered, twice in sixties: in the nineteenth and twentieth centuries respectively. But even this belated recognition can’t anyhow affect the fact that we don’t have a decent portrait of a Baroque master of counterpoint. It seems nonsense (we know all great composers by sight!), but it’s true: we can make assumptions of what a man Zelenka was only listening to his music. It is even more interesting in this way, though.

Zelenka’s Sonata No. 1 is available for download here: Sonata No.1 for Two Oboes (or Two Violins), Bassoon and Basso Continuo, ZWV 181.

Technical Studies for Cello by Klengel

Many composers preferred piano to any other instruments. It’s understandable: keys on piano are arranged by groups, and hence it’s easier to take a chord – one doesn’t need to memorize placing of notes on fret. Piano is very handy in terms of composing: it’s easy to play some tune and after that decide is it worth to be included in the next measure of a piece.

Pianists have lots of studies, composed by likes of Chopin and Czerny. But other musicians – cellists, for example, – need to practice too, and here comes to help Julius Klengel. His invaluably helpful etudes are available for download here: Technical Studies for Cello (Volume I).

Scherzo in D Major for Violin and Piano

Louis Spohr was born in Germany in 1784 and spent a big part of his life proving that he is one of the best violinists of his time. Even though no one can be compared to Paganini in terms of mastery, he breathed down the latter's neck - public didn’t remain indifferent after Spohr played at Paganini’s homeland. Spohr was also a conductor and as a composer had a significant impact on German music drama. His lifetime fame was even comparable to one of Beethoven. Spohr is especially known for his scherzos – download one here: Scherzo in D Major for Violin and Piano, Op.135 No.2.

La Navarraise by Jules Massenet

Jules Massenet was a French composer who was born in 1842. Outstanding melodist and harmonist, he woke up as early as 4 AM to compose music (perseverance wins, right?) and, interestingly, did it rather in mind than on piano. That's mainly operas that brought Massenet fame, and even his first one (La grand'tante) features quite interesting plot, where protagonist marries his great-aunt trying to hook in his great-uncle’s inheritance. For some time Massenet's works were forgotten, but in the 1970s they were rediscovered. La Navarraise is a one-act opera based on La cigarette, novel written by Claretie. Its events take place in the time of the Third Carlist War in Spain, and it’s quite breathtaking. The score is available here: La Navarraise (Act I).

Sonatina in C Major, Op.36 No.3 by Clementi

Muzio Clementi was a pianist, composer, piano teacher and manufacturer. I think it was a good move to combine these two things – you teach someone to play and then unobtrusively sell them an instrument. The maneuver proved its effectiveness, and Clementi died rich.

Clementi is considered father of modern piano technique, but he has more children – he is credited for creating the classical form of piano sonata, for example. Clementi influenced Beethoven and even Mozart (despite the latter didn’t especially like him and never hesitated to let somebody hear that he considers Clementi a charlatan who declares to play in one tempo but actually plays slower). However, Mozart used tune that he borrowed from Clementi in one of his pieces – and this means more than backbiting and aversion.

Clementi's Sonatina in C Major is available for download here: Sonatina in C Major, Op.36 No.3.

Piano Trio in E Flat Major, Op.101 No.1

What I like most about music, including classical, is that there are always new striking names to discover. I remember how I was fecklessly trying to understand why my mood wasn’t all that great for some period. At some moment I had a brain wave: that’s because I didn’t pay attention to my record library and was tired of listening to the older stuff only.

If you faced something like that, let me introduce to you George Onslow, an Anglo-French composer. Unlike other personas who I was writing about, he only flounders about in the waters of forgetfulness and haven't completely went down: in 1984, during the celebration of Onslow's bicentennial, people rediscovered his amazing works. A pure gem is his Piano Trio in E Flat Major, especially if you like piano trios as much as I do. Download it here: Piano Trio in E Flat Major, Op.101 No.1.

Rhythmic Training for the Fingers for Piano

One needs lots of practice to execute difficult piano passages rapidly and accurately. Camille-Marie Stamaty’s methods may be a good start – in addition to being a composer and pianist he was also a teacher. One of his pupils was Camille Saint-Saëns, and, you know, it’s not just anybody. Stamaty’s etudes and exercises develop techniques which he learned from Friedrich Kalkbenner, principal of a Factory for aspiring virtuosos in Paris who established himself as one of the most cunning European pianists. Stamaty’s method may be downloaded here: Rhythmic Training for the Fingers for Piano, Movement I, Op.36

Piano Concerto No.4 Barcarole by W. Bennett

I remember reading an interview with Joseph Brodsky, where he said that he doesn’t know any writers or poets who were incredibly talented, being unpublished in vivo. That may be correct in regard to composers either. But what is really bad, despite works of many of them were praised for some time, now they are overlooked. This happened to William Sterndale Bennett, one of the most innovative and passionate Romantic composers. Bennett doesn’t have a tenth of fame of his contemporaries, and it’s a real shame – I believe that his Piano Concerto No.4. Barcarole is just amazing. Sheet music of this piece is available for download here: Piano Concerto No.4. Barcarole.

Alpine Flower by Carl Bohm

Born in Germany, Carl Bohm was one of the key German composers. His chamber music and songs were always in demand and indirectly helped Brahms to gain recognition – works of the latter were published in virtue of Bohm’s earnings. Carl Bohm was well-known while alive, and, ironic as it is, while his namesake (Karl Böhm) is regarded as one of the most acknowledged conductors of the previous century, he is unfairly forgotten nowadays.

Bohm's Alpine Flower. Edelweiss is leisurely and mellow solo piano piece, salon music at its finest. It is available for download here: Alpine Flower. Edelweiss, Op.279 No.1.

Kikimora by Anatoly Lyadov

Kikimora is a symphonic poem of Anatoly Lyadov. Russian folkore is naturally a storehouse of curiosities, and many composers borrowed from it: both Lyadov and Mussorgsky have program pieces named after rebarbative old woman, living in a forest (Baba Yaga). Kikimora is another legendary villain, pygmy and meager. She is a wrecker, misanthrope, and exceptional vermin – one may die only seeing it. Kikimora is less reclusive than Baba Yaga, but having never heard of hygiene routines they spot the same fashion: dirty clothes and unkempt hair.

Watch devilishly spellbinding performance of Lyadov's piece below.

Full score is available here: Kikimora, op.63 sheet music.

Piano sheet music

Piano is a musical instrument like no other. No one has doubted its importance and unlikely ever will: piano is ageless, and that says it all; it’s hard to imagine what qualities instrument should possess to supplant piano. Expressive and versatile, it may sound vociferous or whispering, strident or restrained, depending on a performer’s mood and choice of composition. There is an incredible amount of piano sheet music to suit taste of everyone now: exercises for beginners, complicated etudes, and heartfelt compositions. You can browse the most popular scores and discover new names here: piano sheet music.

Nocturne in A Major by Alexander Mackenzie

Today we’re going to talk about Alexander Mackenzie, but before that I want to write a few words about Ignacy Jan Paderewski. What’s interesting about him? He was a composer and the second Prime Minister of Poland. What he has to do with Mackenzie? Well, Mackenzie was a composer and the second Prime Minister (only of Canada), too. Some people however disagree, thinking he wasn't a composer but Prime Minister only. Third parties claim that he was born in Scotland in 1847, composed oratorios, pieces, and folk music, and never visited Canada, not talking about any political activity which was alien to him.

Ambiguous as it is, everybody’s right. Alexander Mackenzie really was a Prime Minister of Canada, but there was another Alexander Mackenzie – Romantic composer, conductor, and character of our story. Thanks third parties, we know main facts of his biography. The only mismatch is a statement about him never crossing the border of Canada: Alexander Mackenzie visited several cities in 1903.

Mackenzie’s works inspired Canadians to found 11 choral societies and created incentives for musical renaissance in 19th century Britain. For all his merit he was knighted, even though he wasn’t a second Prime Minister of Canada (who was offered the same title but refused it thrice).

Sheet music of Nocturne in A Major, his classical piece, is available here:
Nocturne in A Major, Op.15 No.2.

A Night in Spring by Leopold Godowsky

People who don’t have much time to read biographies of composers think that case of Mozart who started composing when he was five years old is unique. But many wunderkinds were born since then – take Leopold Godowsky. By the age of five he had written several pieces and was accomplished violinist and pianist – mostly self-taught, by the way.

Godowsky is mainly known for his transcriptions of Chopin’s etudes; he attempted to make them more difficult and had success in that. He was one of the most respected pianists – his skill was admired both by listeners and colleagues. Busoni, for example, thought that no one but Godowsky contributed to piano technique and writing to such an extent after Liszt. For all that he did Godowsky deserves a greater recognition than he already has.

A Night in Spring, one of his classical pieces, is available for download here: A Night in Spring, Op.15 No.2

Polka for Piano by Mily Balakirev

Mily Balakirev was a virtuoso pianist, composer, and leader of The Five – a circle of composers united by intention of playing music which doesn’t borrow elements of European music and refers to traditional Russian motifs. Balakirev’s creativity was appreciated among the most talented of his colleagues: his Islamey was one of Franz Liszt’s favorites due to its challenging difficulty. Balakirev defined Russian orchestral music and used innovative techniques of composition. His pieces are melodically rich, subtle and beautiful.

Polka for Piano is an excellent introduction to Balakirev's legacy – score of this marvelous composition is available here: Polka for Piano.

Quatuor concertant No.2 by Jean-Baptiste Davaux

Unlike all today’s Earth population, Jean-Baptiste Davaux knew about the Bastille being assaulted firsthand rather than century later. Revolutionary-minded violinist, he spent 28 years composing his 13 symphonies concertantes (1772-1800) and was perhaps very happy when the riot eventually led to a prison wreck just a year before his baker’s dozen of symphonies was completed. All in all, Davaux’s heritage is quite rangy: after constructing a device forerunning modern metronome he proved himself not only as a composer but inventor, as well. Still, music was on the first place for him and, I guess, for us, too.

Davaux's score is available here: Quatuor concertant No.2

Been forgotten, but revived

Johann Pachelbel was almost unknown to the wide public until 30s of the XX century though he won a reputation of a talented organist, composer and teacher already during his lifetime. It is notable that his piece Canon in D major became popular 1877, far ahead all his other works, having been completely neglected at time of its origin.

Sheet music of Pachelbel's Canon scored for three violins and cello is available for download here: Canon in D for Three Violins and Violoncello.