In times like these, we turn to the things that comfort and reassure us. You know, mac and cheese, "The Great British Baking Show." Maybe mac and cheese while watching "The Great British Baking Show." Music is also a solace. My class on Beethoven, March 29, has been postponed -- as has my last class this season, April 26, on Schubert -- because of the coronavirus, but I wanted to share three Beethoven videos we would have heard. They are wonderful, of course, but they also make me smile, calm me down and give me hope for humanity.
Here is the last movement of the first piece Beethoven ever published, the Piano Trio in E-Flat Major, Op. 1, No. 1. The legendary Beaux Arts Trio performs. Listen to that cheeky, jumping theme.
Here is the sublime vocal quartet from his only opera, "Fidelio." This is one of the first times a composer has four characters express four different emotions using identical music. Marzelline speaks of her new feelings for a stranger, Fidelio; Leonore is anxious about the danger she finds herself in; Rocco, the loving father, sees Fidelio as the perfect match for his daughter; and Jacquino despairs that Marzelline will ever love him. The tune is 32 bars long and each singer enters after the first eight bars have been sung by the previous singer.
The singers in this Metropolitan Opera production from 2000 are Karita Mattila (Leonore), Jennifer Welch-Babidge (Marzelline), Matthew Polenzani (Jaquino), René Pape (Rocco). James Levine conducts.
Lastly, I hesitated to include this because the novelty of flash mobs has worn off, but this one is different. I had tears in my eyes, as I believe Beethoven would have had, knowing the effect his music continues to have on new generations, now going on 300 years. The video is from Sabadell, Spain, near Barcelona. The 100 performers are from the Vallès Symphony Orchestra, the Lieder, Amics de l'Òpera and Coral Belles Arts choirs.
Stay well, dear friends.
Everybody knows that Mozart was a genius — a child prodigy who wowed kings and queens with feats of keyboard magic. A whiz kid who started writing symphonies age 8.
But how did his genius work? In my next music appreciation class, we explore eight key facets of Mozart’s “divine gift.” Playful Mozart, Fierce Mozart, Brooding Mozart, Tender Mozart, Pensive Mozart, Delightful Mozart, Perfect Mozart and Genius Mozart.
Join us as we seek a closer understanding of one of the most extraordinary musicians in history.
3 p.m. Sunday, Feb. 16, Classic Pianos, 3003 S.E. Milwaukie Ave. (503-546-5622) next to the Aladdin Theater at the corner of Milwaukie and Powell Blvd. $20 at the door.
Video: Vienna Philharmonic, Fabio Luisi, conductor
Sorry for the terrible pun. I hope everybody had a wonderful holiday and are poised for a great new year.
For my next class, Jan. 5, we look into one of my favorite composers: Franz Joseph Haydn.
Everybody knows Mozart's name, while Haydn is often a kind of also-ran. Modest, sweet-tempered Haydn was never as flashy as the wunderkind Mozart, but Haydn's music holds a special place for those who know it. With perfect technique, clear layout, rich harmonies and an impulse to surprise, withhold, anticipate and postpone, he leaves listeners optimistic, buoyant and engaged.
Join us as we dive into the best of Haydn in our continuing survey of the great composers. From the chill-inducing moment at “Let There Be Light” in his oratorio, “The Creation,” to the thrilling finale of the great “Oxford” Symphony, we will hear exactly why Haydn gives us so much pleasure.
I hope to see you there!
3 p.m. Sunday, Jan. 5, Classic Pianos, 3003 S.E. Milwaukie Ave. (503-546-5622) next to the Aladdin Theater at the corner of Milwaukie and Powell Blvd. $20 at the door.
Video: "Oxford" Symphony: NDR Elbphilharmonie Orchester, conductor Thomas Hengelbrock.
Mezzo-soprano Joyce DiDonato sings Handel's "Lascia ch'io pianga" ("Let Me Weep") from the opera "Rinaldo," accompanied by Il Pomo d’Oro.
Heads up, Handel fans. My next music appreciation class, Nov. 3, dives into the grand and gorgeous music of George Frideric Handel. We will take an imaginary royal outing up the River Thames, accompanied by his "Water Music," we'll thrill to his "Fireworks" music -- but without a pavilion catching fire! -- and we will hear the most intimate arias about love and pain.
We can’t discuss Handel without mentioning Bach. Both were German Baroque composers, born five weeks apart not 200 kilometers away. Both studied and copied other composers, both used Italian and French styles, both went blind at the end of their lives and both stand as two of the greatest composers in history.
But their differences are significant: Bach came from musical family, Handel’s father was a surgeon and intended his son to be a lawyer. They both had something to prove. Bach never set foot outside of Germany, Handel traveled widely to Italy and England. Bach was a man of the church, inward-turning and studious. Handel was a man of the world, entertaining kings and queens, bold and outgoing in nature. Bach wrote for whatever performers he could scrape together. Handel wrote for the best singers of the day.
After his death, Bach’s grave was all but forgotten and his music neglected for 75 years, whereas Handel was buried with state honors among the English pantheon in Westminster Abbey. His music has never gone out of style. Bach wrote learned counterpoint, Handel used simpler expression, meant for immediate effect. He was more of an entertainer with a gift for clear sonorities and gorgeous melodies. Between them, they helped define Baroque music.
I hope you can join us!
3 p.m. Sunday, Nov. 3, Classic Pianos, 3003 SE Milwaukie and Powell, next to the Aladdin Theater in southeast Portland. $20 at the door. davidstabler.net.
A 2014 Waterfront concert with the Oregon Symphony. Photo by Randy Kashka.
We had a good crowd and a lively time sharing comments, asking questions and listening to Bach, yesterday. Thank you for attending and making the class so enjoyable. We covered a lot of ground, including why Bach is the Great Consolidator, how he expanded the possibilities of instruments such as the Baroque trumpet, how he painted words with exquisite poignancy and why his music is like catnip to arrangers.
Next class is all about his contemporary, George Frideric Handel, Nov. 3. Hope to see you there.
John Eliot Gardiner, English Baroque Soloists:
Come with me as we begin a musical journey I know you will enjoy on many levels. Starting Sept. 15, I will trace the history of Western music, beginning with Bach and moving through three centuries to composers of today.
By the last class, you will know how and why each composer fits into the great, musical Milky Way.
Why a music history class? Lots of reasons.
First, we will hear the greatest music by the greatest composers. Why begin with Bach? His noble and sublime music summed up so much of what came before.
Second, by devoting one class to one composer, we can dive deeply into the music and find out what makes it stand out, how it fits into its time and how it influences composers who follow.
Third, who were these guys? What were they like? How did they live? How did they compose? How did their first audiences respond?
Fourth, we will see how music develops over time. Why does Beethoven sound different from Brahms, who sounds different from Debussy?
Fifth, we will demystify terms, revealing what all the fuss is about orchestration, harmony, texture, form, phrasing and counterpoint.
Sixth, we will learn why this music keeps turning up in concert halls around the world. Why don’t we get bored with it? Why does it still move us?
Seventh, learning this stuff will make you a better listener and better listeners enjoy music more.
Eighth, it will bring some beauty to your life. Not some, a lot of beauty.
Ninth, we’ll have fun and you’ll get to meet some wonderful people who love music as much as you do.
This will be a fascinating, and, at times, surprising, journey, I promise.
3 p.m., Sept. 15: Johann Sebastian Bach — The river to which all other composers are tributaries.
3 p.m., Nov. 3: George Frideric Handel — He embraced the full range of human experience.
3 p.m., Jan. 5: Franz Joseph Haydn — No one possessed such cheerful optimism, delightful wit and superb craftsmanship.
3 p.m., Feb. 16: Wolfgang Amadeus Mozart — Perhaps the most extraordinary musician in history.
3 p.m., March 29: Ludwig van Beethoven — Here comes the revolution.
3 p.m., April 26, 2020: Franz Schubert — If Beethoven grabs listeners in a half nelson, Schubert's music unfolds like a dream.
Each class is on a Sunday afternoon in the Recital Hall at Classic Pianos, 3003 SE Milwaukie, next to the Aladdin Theater, at the corner of Milwaukie and Powell Blvd. Cost per class: $20, at the door. No advance registration needed.
I haven't explored musical form too deeply in previous classes, but that's about to change! Don't be put off by the word "form." We won't be digging into boring names or diagrams or formulas. Instead, we're going to listen to some exquisite music to show why one certain form -- sonata form -- has enchanted and challenged composers and audiences for 200 years.
My next music class is approaching and I know you’re going to find it fun as well as useful. A bonus! I’m calling it “Musical Magic Formula."
Have you ever listened to a symphony and found yourself feeling lost? Where are we? Where are we going? What’s happening? Step by step, we'll explore why sonata form contains so much psychological power. You will never feel lost, again.
4 p.m., Sunday, April 7, Classic Pianos, 3003 SE Milwaukie and Powell Blvd. $20 at the door.
Hope to see you there.
Three different versions of a Chopin Nocturne. One is slow and dreamy. One is fast and direct. And one is by the man who inspired the Oscar-winning film, “The Pianist.” You won’t forget them.
I'm calling my next class "Music in the Mirror" because we will explore different versions of piano pieces, cello pieces, opera arias, choruses, songs and symphonies. Some of these pieces will be familiar and some may not be, but we’ll get to know them in new ways. I thought it would be interesting to compare performances of single pieces as a way to talk about how meaning and emotion change depending on how the performer makes the music come alive.
4 p.m. Feb. 10, Classic Pianos in Portland, 3003 SE Milwaukie and Powell Boulevard.
Here's one example: In 1944, a German officer found Wladyslaw Szpilman hiding in an abandoned building in Warsaw. He asked Szpilman if he would play something on a nearby piano. Szpilman played Chopin's beautiful Nocturne in C-Sharp Minor. The officer told him where to hide in a better place and brought him food. Szpilman inspired Roman Polanski's film, "The Pianist" and, in 1997, recorded the same Nocturne:
We had a great class of holiday music, ranging from bawdy 17th-century England, to Shapenote singing to an Orthodox carol to the ethereal beauty of Morten Lauridsen's "O Magnum Mysterium." Thank you to everyone who attended. If you have your own unfamiliar favorites, please share!
Here are the videos:
American composer Christopher Rouse's "Karolju":
From Cuba, "Toquen presto a fuego" by Esteban Salas (“Play fast and fiery”), from 1786:
Orthodox monks from the Sviatohirsk Monastery in Ukraine:
Shapenote singing: "Star in the East" by Norumbega Harmony, a choral ensemble organized at Wellesley College in 1976:
"The Lamb," John Tavener, 1982, sung by the Erebus Ensemble from Bristol, England:
"O Magnum Mysterium" by Beaverton-raised composer Morten Lauridsen, King's College Choir:
"Hey for Christmas," a bawdy song from 17th-century England, performed by the Baltimore Consort:
"Night of Silence: Silent Night" by Daniel Kantor/Frans Gruber, with the St. Olaf Choir performing in Norway:
If you’re tired of “Santa Baby” — and who isn’t? — I have a gift for you. I'm going to share my favorite yule-time music with you. This is music you may not know, but I'm sure you are going to love: Gorgeous carols from Appalachia, the sassy, swaying Navidad of Spain’s Joaquin Rodrigo and the heart-stopping beauty of Morten Lauridsen’s “O Magnum Mysterium.”
We'll hear shapenote carols, Ukrainian carols, Orthodox carols and the brilliant, joyful Karolju of Christopher Rouse, plus three lovely Hanukkah songs.
I'm also delighted that the Oregon Cultural Trust will be present to talk about the Trust’s vital work in sustaining culture throughout Oregon.
If you’re looking for a little grace this season, you’ll find it here.
Note the unusual time: 12:30 p.m. Sunday, Dec. 2, Classic Pianos, 3003 SE Milwaukie and Powell Boulevard. Cost: $20 at the door. 503-546-5622.
David Stabler is a teacher, writer, dad and cyclist. He's working on a novel based on his childhood years living in Africa and rode across America with his brother in 2017.