Max Reger
Pushes the boundaries of counterpoint, to a level, which it has become his signature. The idea of imitating the sound of the organ, gives strength to his wicked imagination and love for multiple voices. His Telemann variations are a great example of his obsession with counterpoint, and the use of many layers to create thick textures. It is this development of counterpoint and layers that help the growth throughout the baroque motif. On a lighter note, the 9 Bunter Blatter for piano shows the German mans more humorous side with a much lighter theme, and tonality that is easier to follow than the epic Variations. Mild German comedy at its best.
Saint-Saëns
One word that seems to come to mind when listening to the music of Saint-Saëns is ‘Charming’. His melodies, use of harmonies, just fit so perfectly to create a very listening, lounge experience. He manages to create the ease that Mendelssohn has in ‘Song Without Words’, but with maybe a little more flair. You can see with his piano concerti, he loved the idea of virtuosity also proven by how well music that fits well under the hands. He was a gifted pianist himself. His six etudes, op. 111 however, do not quite have the same flair and creativity as the likes of Liszt, but they do attain that passion, and melodic line heard in early Rachmaninoff and Scriabin etudes. Not often played.
Rapsodie d'Auvergne, Op. 73 and Variations on a theme by Beethoven, Op. 35 demonstrates the mans love for color and for the sound of the piano. Both are very characterful and charming pieces. The Beethoven shows Saint-Saëns humorous side possibly poking fun at Ludwig’s temper? A joyous piece nonetheless.
No comments:
Post a Comment