music


Accompanying Buster Keaton films   Recently updated !

This post is for the Buster Keaton Blogathon run from the Silent-ology blog.

I accompany silent movies. Four times a year, I accompany one for a live audience at the Plaistow, NH Library. In addition, I post public domain silent films with my accompaniment on YouTube. In just a few days I’ll accompany One Week as part of the library’s 25th anniversary in its present building. In July I’ll be accompanying The General at the library. In 2023 I accompanied Steamboat Bill, Jr.
(more…)


Spohr’s string quartets 31-36   Recently updated !

After a long gap, Spohr wrote six final string quartets. The numbering gets confusing because he withdrew the last two, having rewritten one of them in a different key. There’s a detailed discussion by Keith Warsop of these quartets on the Spohr Society’s website.

Important composers are generally expected to produce some of their best work, or at least their most adventurous, toward the end of their lives. Spohr had done his best writing long before. He even lost confidence in his own writing, withdrawing or abandoning several pieces, including the Requiem and the Tenth Symphony. He may have seen himself as a relic. When he died in 1859, Brahms wrote that he was “probably the last of those who still belonged to an artistic period more satisfying than the one through which we now suffer.”

But he wasn’t completely finished! These quartets explore new directions and are less exhibitionistic, and some are rewarding to listen to.
(more…)


Spohr’s string quartets 20-30   Recently updated !

The year was 1826. Beethoven was revolutionizing the string quartet. Spohr was no musical revolutionary, and he much preferred Beethoven’s Opus 18 quartets to the late ones. His quartets improved in quality and offered some surprises, but he never ventured far from Haydn’s model. This doesn’t mean they aren’t worth listening to; it was a long time before any major composer matched Beethoven’s level of experimentation. Jan Swafford’s biography of Brahms says, “By mid-century the string quartet like the symphony appeared a moribund genre despite the dozens of composers writing them.”

This is the third installment in my blog series on Spohr’s 36 string quartets. Just as a reminder, I’m only a musically literate amateur, and these are my opinions usually based on one or two hearings. Each day I try to listen to one and add some comments on it to this draft, so my mood from day to day can affect my reactions. It’s a tour, not an in-depth analysis.
(more…)


Silent film: A Message from Mars

The silent film era had quite a few movies about Martians. It’s fun to look at how filmmakers of the early 20th century envisioned them. I’ve uploaded the 1913 film A Message from Mars to YouTube, with my improvised accompaniment.

The film, based on a stage play, concerns a man whom the Martians have dubbed “the most selfish of mortals.” He’s a middle-aged man named Horace who likes being left alone and is stingy with his money. One of the Martians, as penance for an unspecified crime, is sent to Earth to reform Horace. His technique consists of bullying him into having a sudden, inexplicable change of character. A 1903 short film with the same title may have been the earliest movie to feature Martians; it’s currently assumed lost.
(more…)


The Lost World can be found again

My counterclaim against the takedown of the public domain film The Lost World, was successful. The video is back up on YouTube.

I’m inclined to let sleeping dogs lie, so I won’t say much more. I hope that someday a court ruling will clearly establish that restoring an out-of-copyright film to its original state doesn’t create a new copyright on it, but I’m not the person to pursue the fight.


Spohr’s string quartets 11-19 1   Recently updated !

This is the second installment in my overview of Louis Spohr’s string quartets. I’ll update this post to link to the other parts as I post them. Here I talk about the ones numbered 11 through 19.

Just how many quartets Spohr wrote is an interesting question. I came across a discussion of the quartets’ numbering while trying to find information on the missing opus numbers. According to the article, Spohr published 34 quartets with opus numbers, and there are two quartets in the WoO section of the catalogue, both of which Spohr numbered 34. Both of the WoO quartets exist in two different versions. That makes 36 distinct quartets. I’ll look at the last ones more closely when I get there.

(more…)


Spohr’s string quartets 1-10 5   Recently updated !

Louis Spohr wrote 36 string quartets, more than Mozart or Beethoven, and none of them are very well known. Fortunately, all are available for listening, thanks to a complete set from Marco Polo recorded by several different groups. I’ve started listening to them in numerical order, with plans to write a little about each one. As far as I’ve been able to tell, there’s no such overview on the public Web. Probably someone has written a graduate thesis on the quartets, but I can’t find anything.

While I’m not a professional musician, I’m one of the more activate Spohr fans on the Internet, so I’m giving it a try. The scores on IMSLP and Clive Brown’s Louis Spohr: A Critical Biography have been very helpful.

This post covers the first ten quartets, published between 1807 and 1814.
(more…)


Spohr’s Seventh Symphony

Spohr’s late symphonies, the Seventh through the Ninth (or the Tenth, counting the one which he withdrew but didn’t destroy), don’t have the appeal to me of the earlier ones. Still, a complete understanding of his music needs to include these symphonies, and they have some interesting features.

The Seventh, written in 1841, follows an unusual plan. The title is “Irdisches und Göttliches im Menschenleben: Doppel-Symphonie für zwei Orchester” (earthly and godly in human life: double symphony for two orchestras). It’s a kind of concerto grosso, with a small orchestra and a full orchestra. There are three movements, each with its own title.
(more…)


Spohr’s Des Heilands letzte Stunden

A new release of Spohr’s oratorio, Des Heilands letzte Stunden (the Savior’s last hours), is out from Carus-Verlag. The solo singers are Florian Sievers, Johanna Winkel, Maximilian Vogler, Arttu Kataja, Thomas E. Bauer, Felix Rathgeber, and Magnus Piontek. The chorus is the Kammerchor Stuttgart, and the orchestra the Deutsche Kammerphilharmonie Bremen. It covers the same ground as Bach’s Passions, from Judas’s betrayal of Jesus to his crucifixion. A booklet in English and German contains Johann Friedrich Rochlitz’ full text with a loose translation, as well as detailed notes.

This oratorio came after Die letzten Dinge, also with text by Rochlitz. It premiered in Kassel in 1835. The earlier oratorio is a disaster movie in music. This is a more introspective work. Unlike Bach’s Passions, this “passion oratorio” tells the story primarily from the perspective of Jesus’s followers. The numbers are mostly dedicated to showing their reactions to his capture, trial, and crucifixion. Bach tells the story from a cosmic perspective; Spohr’s oratorio gets very close to the people portrayed. Even Judas is somewhat sympathetic as he expresses his terror over the situation he’s gotten himself into.
(more…)