Mozart Piano Sonata No. 11, Movement 2

If we think of the first movement of this piano sonata as a quiet, thoughtful and reflective morning kept to oneself, then this second movement is sort of like the day/afternoon. The happy theme that the movement begins with seems to illustrate the normal, happy interactions with others in everyday life. This theme (don't laugh :P) reminds me of playing pokemon on a gameboy when you are walking around a town and the chipper music is playing in the background.
However, not everyday can be completely pleasant. When you walk through the grassy sections in a pokemon game, you can be called into a battle by a wild pokemon, and the music changes to the battle music. The chipper happy beginning theme of this movement sometimes takes a turn into A minor, perhaps representing a little drama or problem amongst everyday life- but, like a pokemon battle, it isn't major drama and is quickly resolved.

So there you have it- Pokemon: Inspired by Mozart!
Well, just kidding about that.... but you never know...
Again, Mitsuko Uchida with movement 2: Menuetto

Mozart Piano Sonata No. 11, Movement 1

The introspective, yet mainly optimistic feel to this piano sonata is a real treat to listen to. This first movement is played as a theme with six variations that follow it. The main theme which everything is based off of is simple, quiet and reflective.

The first variation is a more bubbly and bright version of the theme and leaves the listener satisfied. The second variation is still more bubbly that the original theme with perpetual sixteenth notes, but keeps the same introspective quality of the beginning. The third variation takes a turn into A minor and is a little darker, but is kept moving by perpetual sixteenth notes again. The fourth variation is similar to the first variation in the fact that is also bubbly, but the fourth variation also sounds very springy. The fifth movement is also optimistic, but also is usually played a bit slower and has the same reflective element from the original theme and sounds more lyrical than the other variations. Now, if we were to combine the reflective quality of the original theme, the bubbly feeling of the first variation and the springiness of the fourth variation- plus a little extra pizazz, I think we end up with the sixth variation which finishes this movement with a simple cadence.

A friend of mine once said that Mozart's music is: simple plus elegant with a touch of fun. I think that this piece of music embodies that description exactly.

Here is Mitsuko Uchida's interpretation of this sonata:
I. Allegretto Grazioso Part 1
I. Allegretto Grazioso Part 2
Please stay tuned for the second and third movements (:

Overture to "Candide"

This first time I heard this piece of music, I wasn't completely taken by it. The first time I played it, I absolutely loved it. Maybe it was something about being there in the middle of the music and being able to feel the energy in the hall. This piece is high-energy, but I think that with this piece of music specifically (although some people will argue every piece of music) experiencing it live in a concert hall gives you the full effect.

You may be acquainted with the satirical novel "Candide" or sometimes known as "Optimism" by Voltaire, from which this music is modeled after. Like the literature, Leonard Bernstein's composition is full of musical "jokes" and lots of little themes seem to spring up randomly throughout the piece, as if someone had been talking and then been distracted. The percussion lays down lots of big bangs and crashes, but they are always offset by a cheerful melody in the strings or woodwinds. This music is certainly optimistic and sometimes romantic, just like Voltaire's character, Candide.

Here is the Overture to Candide with the London Symphony Orchestra conducted by the composer himself, Leonard Bernstein.

A Night on Bald Mountain

This piece of music reminds me of a graveyard. Does that sound weird? Well if you have ever seen the original Fantasia movie, perhaps it doesn't. The animation shows lots of spirits flying around during the night. This piece of music has two very distinct parts to it. The first part sounds somewhat scary and is a sort of fast dance. The second part sounds like a reverie and begins with bells. The flute and clarinet melodies accompanied by a harp in this section are just absolutely gorgeous.

In the Fantasia animation, when the bells chime, the spirits go back from where they came from so they are gone before dawn. I suppose it's like Halloween in a way- the spirits come out at night, but disappear before a certain time the next day.

I have played this piece before with one of the youth orchestras I took part in. Leonard Slatkin of the DSO came in to conduct us during one of our rehearsals on this piece, it was quite exciting! And of all the violinists he could have called on to play the col legno part (where you bounce the wood of your bow against the strings)- he called on me! I was a little nervous, but it was totally worth it. Not many people my age can say they have worked with a conductor like Leonard Slatkin- definitely a memory I will never forget.

Here is Modest Mussorgsky's night on Bald Mountain played by the philharmonic orchestra of Ural at Nantes conducted by Dimitri Liss

And also, here is the Fantasia animation of the same piece

Tchaikovsky Symphony No. 6, movement 4

Tchaikovsky could have ended his symphony right there after the third movement and left everyone feeling happy and satisfied. However, I don't think that Tchaikovsky was that kind of person, and thus, he leaves us with his last movement of Pathetique.

Did you think that such sadness as we heard in the first movement would be forgotten? That a naive, triumphant theme could steal the show after such mourning and loss? Here, the answer is no- and besides, the naive theme was just that: naive. Tchaikovsky sends us the first chord of this movement, and it hits us like a crashing wave- with impact. The orchestra grieves again, but now they are worn out (no, I don't mean the players, although they might be..) and even through hopeful efforts, real happiness is still absent. Near the end of the movement, things get significantly quieter. The energy of the orchestra slowly wears down to just a heartbeat and fades. Not a happy ending, but perhaps a more suitable one than the end of the third movement.

Again, Yuri Temirkanov with the Orchestra del Teatro alla Scala of Milan
IV: Adagio Lamentoso

Tchaikovsky Symphony No. 6, movement 3

So according to my album sleeve, the third movement of Tchaikovsky's Pathetique symphony is a "spirited march (with it's underlying tarantella theme in 12/8 time) represents the triumph of previous success" It's easy to hear the triumph and excitement in this movement, however, the beginning of this movement shows a trace of uncertainty and sadness mixed in with the celebrations. By the middle of the movement, all unhappiness is completely forgotten and the triumph of this movement is in full swing. Tchaikovsky builds the excitement and happiness until we reach a big bang finish, and we could almost stop right there- but no we don't. There's one more movement to come yet.

III. Allegro Molto Vivace

Tchaikovsky Symphony No. 6, movement 2

So after a little uncertainty about what to write for the 2nd through 4th movements of this symphony, I think I have a better idea today. This afternoon I bought a recording of the symphony by the Russian Philharmonic Orchestra :) According to the album sleeve, this second movement is supposed to "illustrate the transient pleasures of everyday life" It is written as a trio in 5/4 time- weird! (but really cool) The unusual time signature gives the music a sort of strange lilt.

The beginning of the movement sounds very country-like and pleasant to me, but I think between the parts where the main melody of this movement is heard- the unusual time signature helps to show hints of stress and disruption beneath the pleasant everyday life. This is can be heard especially during the middle section of this movement at: 2:40
The timpani, again, provides that sort of somber heartbeat. After this middle developmental section, life continues- and so does the cheery melody from the beginning of the movement. The end of the movement is a little strange; we hear the stress of the middle section illustrated by the cellos and brass, while it is answered reassuringly by the horns and winds. Again, we have the theme of hope as the movement comes to a quiet close.

Same recording as last post
Movement II: Allegro Con Grazia