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.