music

Silent film “One Week” rescheduled

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My livestreaming of the Buster Keaton short “One Week,” with live accompaniment by me, is rescheduled for Wednesday, June 26, at 8 PM Eastern time. I still haven’t solved the problem with my laptop, but if I can’t fix it in two weeks, I should turn in my computer science degrees.

Thanks and apologies to everyone who showed up yesterday.

Spohr’s “Die letzten Dinge”

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This is the second in what I can now call a series of blog posts on works by Louis Spohr.

Die letzten Dinge (The Last Judgment) deals with a big topic, but it’s a small-scale oratorio. It takes a little over an hour to perform, and it isn’t very difficult. Choral societies might find it a good addition to their repertoire. There are no solo numbers or fancy vocal passages; what’s needed is four vocalists who can blend well with each other and the chorus. The text is based on the Book of Revelation, so we’re in for a wild ride. The work is oriented more toward drama than deep religious feeling.

The work is listed as WoO 61, even though it was published during his lifetime. It was a huge success at its first performance in 1826 and later in England.
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Spohr’s Quintet, Opus 52

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Louis Spohr is among my favorite obscure composers, and I wish I could make his music better known. One way to do this might be to write analyses of some of his works. It’s possible that someday a musical organization will look for information on a Spohr piece and come across my posts. In case it happens, I’ll make this article available under a Creative Commons BY-NC license. That says you can use it however you want — for instance, in program notes — provided you give me credit by name and aren’t making money off it. (If you are making money, that’s fine, but I expect a cut. Talk to me. Handouts in a concert run by a non-profit organization are non-commercial for this purpose, even if admission is charged.)

I’m no musicologist, just a music lover. Take this article accordingly.
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Silent movie update

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Presenting and accompanying a silent movie a month on Twitch hasn’t worked out as well as I’d hoped, so I’m making a couple of changes. I’ve also added a silent movie schedule to this website. Feel free to bookmark it or link to it.

First, I’m moving to YouTube. While I’m not thrilled with attaching myself too much to Google, it looks like a better choice than Twitch. There’s little live music anymore on Twitch; it’s mostly gaming, DJs, and talk. It pushes content creators toward a weekly schedule, which isn’t practical for the stuff I do. YouTube is a more popular choice for live concerts, not to mention Ben Model’s silent film watch parties. In experimenting on YouTube, I’ve found some other advantages. Twitch doesn’t support private test runs; I’ve already done one on YouTube to work out the details of streaming with OBS Studio. YouTube lets you post links to events in advance, which I find very nice. Finally, YouTube livestreams stay up indefinitely if I want them to.
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Elbphilharmonie concert, May 5, 2024

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Another “off-topic” post, this one about a wonderful concert I attended while I was in Germany. It was at the Elbphilharmonie in Hamburg on May 5. That’s a significant date, just two days short of the 200th anniversary of the first performance of Beethoven’s Ninth Symphony.

The two pieces were Schoenberg’s A Survivor from Warsaw and the Ninth. Alan Gilbert conducted the NDR Elbphilharmonie Orchestra and the Runfunkchor Berlin. Soloists were Susanna Phillips (soprano), Gerhild Romberger (alto), Maximilian Schmitt (tenor), and Michael Nagy (baritone).
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The numbering of musical works

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The other day while driving, I heard a familiar-sounding piano sonata on WCRB. It was one I’d heard before, in fact one I was familiar with. I could accurately anticipate the music, which was obviously Mozart’s, in some spots. But I couldn’t place the damn thing! When I reached my destination, I stayed in the parking lot and kept the radio on to the end. The announcer said only that it was Mozart’s “Piano Sonata No. 2.” This wasn’t very helpful, since there are different numberings in different editions.

The numbering of musical works is tricky in general. For many composers, there are generally accepted numbers, but Mozart’s sonatas aren’t the only case where there’s confusion. Schubert’s symphonies are usually numbered 1 to 9, even though No. 7 is just a sketch. The “Unfinished” is No.8 and the “Great C major” the 9th in this scheme. Some lists, though, have just eight symphonies. They make the “Unfinished” the seventh and the C major symphony the eighth, or vice versa.
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Peer Gynt at Symphony Hall

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What’s a concert review doing in this blog on writing? Well, it’s increasingly become a blog on whatever I think people will enjoy reading about, so why not? I’ve blogged about accompanying silent movies, and incidental music for a play isn’t that far removed.

Symphony Hall in Boston has been the site of a lot of great experiences for me. Some are faded in my memory. It’s likely that there’s one which, if you could remind me of it, would make me say, “Of course! Nothing could top that!” Right now, though, I can’t name one that was more breathtaking than last night’s presentation of Peer Gynt.
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The Lost World and Gertie the Dinosaur

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My next silent movie night will be on Wednesday, March 13, at 8:00 PM Eastern US time. Once again, I’ll provide live, improvised keyboard accompaniment. Live accompaniment is what makes silent movies special to me. You can react in real time in chat and even (gently!) criticize my playing.

The main feature will be the 1925 The Lost World. It’s based on the Conan Doyle novel of the same title, and he makes a brief appearance at the start, effectively putting his stamp of approval on the movie. The main character, Professor Challenger, is as smart as Sherlock Holmes but his opposite in temperament. Holmes is always calm and analytical, but Challenger has an explosive temper, especially when anyone doubts his claims. His present claim is hard to believe; he says he’s discovered a land in the upper Amazon basin with living dinosaurs. He organizes an expedition to go back there with two aims: to bring back proof and to find the missing member of the earlier party.
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“Too many notes, Mozart”

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Upon hearing Mozart’s Singspiel The Abduction from the Seraglio, Emperor Joseph II is alleged to have said, “Too many notes.” The claim increased in popularity when Peter Schaffer put those words in his mouth in the travesty Amadeus. Quotations are tricky things, though. If I gratuitously claim someone said something, how do you know they didn’t? It’s the old issue of proving a negative.

The quotation, or something like it, has a source that long predates Schaffer. It’s the 1798 biography of Mozart by Franz Xaver Niemetschek. The full title is Leben des K.K. Kapellmeisters Wolfgang Gottlieb Mozart nach Originalquellen beschrieben (life of the music director Wolfgang Gottlieb Mozart, written based on original sources). The attribution given there is:
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