The Future of Music - Hidden Reflections

Four years ago I set out on a journey. I was going to college to be trained for a profession that doesn't exist so I set my ULTIMATE GOAL: to figure out what was the "next step" for classical music. I thought of everything, from ways to compose music in a more communicative manner and changing the performance settings to the audience's role and possible ensembles. After several intense years I collected a massive amount of ideas from brainstorming and started a new concert design. There was only one major problem with the new design, it was missing something. It was so frustrating. The one major element which would later become the centerpiece of my master plan. (I sound like a mad scientist...)

Then one day this past summer while I was sitting on a pier in Italy I figured it out. Wow...it really came out of nowhere, I was thinking about the metaphysical nature of the Scriabin Fantasy Op. 28. How the characters in the piece may actually be interacting or if they only fantasize a reunion of the souls. All of a sudden the idea of classical music or any art form having a concrete effect on audiences surfaced. I'm not really sure where that idea came from, but it exploded in my mind (POOFF!). I just stood up and started to smile, then laugh, and then cover my eyes while speaking to myself as I realized that I figured it out. That minature thought morphed my thought process into an avalanche.

Before I realized I had returned to The States with the knowledge to help me officially start my career as an artist. I started putting together an advisory board and compiling resources. I was going to start a company! An Artist Collective company that would bring together all types of artists in order to create a performance no audience will EVER forget. Just take a second to imagine a company which employs every type of artist (Dancers, Musicians, Painters, Poets, Sculptors, Photographers, Actors, Composers, and so many more). Collectively these creative masterminds will perform shows that challenge interactive audiences and push the definition of artistic collaboration to the absolute limit. Improvisation, humor, and genius are just a few of the elements that will run through the concerts which may occur in ANY type of venue - anywhere: OUTSIDE? WHAT?...

I know it sounds impossible or "too good to be true". That's the same thing that came into my mind as I imagined it all. BUT WAIT!!! The amazing news is that TODAY is Day 1 of Hidden Reflections LLC. As a company we are preparing for performances this summer in Atlanta and New York. All the artists are recruited and I can confidently say that I have an incredible group in each city. Keep an eye out for videos this summer after our performances, as well as a website and SO0oo much more...

I can guarantee that by drastically changing our s t a l e performance tradition Hidden Reflections LLC will illuminate the artistic world which has slowly been buried under our feet.

Here's our promotional video for the New York performance:

Hidden Reflections - "Unleash Your Imagination" from Julian Toha on Vimeo.

This is a promotional video for my newest project. We are uniting all art forms to create a concert that is rich visually and aurally. We plan to revolutionize classical music performance as well as create a stronger bond between all art forms. At the same time, all the artists involved are recruited from the cities which we perform in. This allows each performance to not only be unique, but more importantly rooted in the traditions and culture of that city. Concerts are being organized this summer (2010) for Atlanta and New York. For more information visit www.juliantoha.com or www.hidden-reflections.com.

More blogs on Hidden Reflections to come...

Give it a chance.

The dark fate unknown

Locked in the voice of the wind

Cries through the twilight

-Julian Toha

A haiku, a Japanese art form, that probably originated over a thousand years ago, but became popular in the 17th century. I find pleasure in writing these in my spare time for their ability to

s t r e t c h your mind and to give you a sense of peace. Okay, that sounds a little hippy, but I'm not going to argue. For me, this mindset is very very similar to the music that the American composers of the late 20th century were writing.

Composers like John Cage, Henry Cowell, and George Crumb were all guys who knew that they wanted something different for music. It's easy to group the music of most late 20th century composers and just call it bad. Is every single one of Beethoven's 32 sonatas a masterpiece? No way, not even close.

The 16 sonatas and 4 interludes for prepared piano by John cage were at the time, something new. They call for performers to put objects inside of the piano and it's almost in recipe format. I have recently played a piece for prepared piano (music for Marcel Duchamp) and this was a new thing to me. Before this I saw John Cage's works as a waste of paper. I don't think I have made a complete turnaround, but I have found some aspects that I enjoy in his music (notice I call it music). After listening to all of the sonatas and interludes there are a few that stick out as pieces that I would enjoy playing. They are the sonatas 5, 10. and 12. There are no good videos of 5 (I have a short excerpt of a guy preparing the piano and playing a short section of it)or 12, but you're in luck because I found a guy who has a passion for number 10.

Excellent performance of this piece: Sonata X

oh wait!! Here is the newest thing to hit Hip-Hop

That second video (when he plays) sounds like some kind of latin-hip hop track from the radio. It makes you think . . .

Henry Cowell a late 20th century composer, who has no relation to this guy (see below) was another revolutionary in extended piano techniques.

So what are "extended techniques" for piano. Anything that you can think of. No, really, anything. Punching the piano, kicking the piano, screaming into the piano, plucking the strings, you get the point. Cowell was known for his work inside of the piano. Pieces like the banshee are a prime example.

Sounds you NEVER thought you would hear from a piano

This technique along with clusters are being used by composers today, but only as effects, not the centerpiece of the work.

George Crumb is in a way, a summation of the 20th century. His compositional style includes everything from the ideas of Debussy, Mahler, and Bartok to the extended techniques of Cowell. Picking and choosing from these composers, Crumb created a sound that is recognizable and new. Born in 1929, he is still alive today and active as a composer.

The Home of the Brave

I thought it would be nice to use a picture that I took myself to start this one. This is by my grandmother's house in New York state. It's stunning, that's what I thought the first time I can remember being there. So much of my time, growing up, was spent in a suburban area or city and during summers I would escape with family to this serene place.

That same constant bombardment with city life attacked American composers like Aaron Copland, Elliot Carter, and Samuel Barber (once he moved to The City). This is one of the biggest influences in their music, which can be heard in all the "ugliness". Hold Up! Ugly music? . . .Yep, this is what these guys were experiencing in everyday life, so they transferred the concept to their music. Let me give you a prime example:

Horowitz on a good day!!

That was the one and only, Barber Piano Sonata (1st movement). Amazing work! Now, if you didn't notice, it has a great deal of dissonance, percussive sounds, and overall aggression. It is not the least bit pretty, but it is still a great work of art. Why? It displays heavy emotions and creates piercing affects that an audience will have trouble escaping from. Just because it doesn't have a lyrical aria-like sound of a Mozart opera or a lush melody from a Tchaikovsky symphony doesn't mean it is unable to MOVE an audience. Interesting.

Barber also wrote a piano concerto which I love. From the first time I heard it, I knew it was a great piece. Strangely, it never gets performed. No, I am serious, like maybe 5 or 6 times a year; worldwide. That's unfortunate. It was commissioned by the publisher G. Schirmer for their 100th anniversary. John Browning was the pianist who rocked out on it. There is a great story behind this premier and I plan to do an entire blog on it. Well, here is a kid who's doing his best with it:

This should be performed more
(who's the guy playing piano?)

Apart from the sonata and concerto, Barber does have a couple good small pieces. If you ever get a chance to listen to or learn the Ballade or Nocturne, do it. The are very nice!!

Copland, another major American composer, was also one who highlighted dissonance and used the piano in a percussive manner. Besides his Variations and the Piano Sonata, Copland came up a little short for piano repertoire. One easier piece is the Four Piano Blues. This work was just another one of Aaron's many phases as a composer. If you take each of his piano works and analyzed them, they ALMOST seem like all different compositional styles. This guy couldn't make up his mind.

Last, but certainly not least, is the WORLD'S OLDEST MAN. Well almost. Elliot Carter (100 years old) has already lived over 3 times the span of Franz Schubert's life. Wow! Modern medicine is a miracle. The best part . . .wait for it. . . he is still composing. Huh? This guy doesn't quit. By the time I get to that age (if I do) I can't even imagine having enough energy to blink. Blinking at 100 is probably highly taxing. I really need to stop badgering this guy. His biggest works for piano include his Piano Sonata and his Night Fantasies. Both of these are almost never played and this is probably because they're painfully difficult. I wonder if he can play them. Speaking of night fantasies, I need to go to bed.

Night Night!

The Teacher: A man who had a fetish with Birds / The Student: A man who thought he was bird

Take one look at the picture above. It's the grave of Oliver Messiaen. It's actually quite a nice grave. The bird tombstone is a little off, but after I tell you about Karlheinz, Messiaen's student, you'll think that this is very normal.

Karlheinz Stockhausen could be called many things, but one of them is definitely not normal. From his outlandish ideas on human evolution to his Helicopter String Quartet, things didn't go right for this guy when he was growing up. Maybe his mother put her stomach in a microwave, who knows? Here's that Helicopter piece:

Rehearsal time must be expensive

I think they might have been a little off. It's hard to tell. Now his teacher, Oliver, has a handful or two of good works for the piano. I have always been familiar with his 4 rhythmic studies and how they work very well as a set. Recently, I have learned about the 2 hour long piece that he wrote about Jesus, also known as the "Jesus Pieces". That is a very technical term which must always be applied to this work. Within the two hour nap, I mean, piece, you have several good movements. My favorite of the set is the Regard de l'esprit de Joie. With a haystack of flashy octaves and interesting sounds, it has potential as an audience pleaser. The final set of his that I have always loved is his 8 preludes. These deserve more attention from performers and I also think that there is much to learn from these pieces. Take a look at one of the preludes:

Last one of the set - Un reflet dans le vent

Nice, isn't? Well, I am not really sure what he was teaching to Karlheinz, but his music didn't come out like that prelude. About Stockhausen, I think that his music is tolerable and even at times somewhat interesting, but it is made more for study and less for performance. Well, why don't you be the judge:

Would you sit through 14 minutes of this

I think that as we move further into the 21st century, composers are slowly getting away from this style of composition. Although some "stubborn" individuals will always compose like this, most of the good ones are realizing that this type of music ALIENATES audiences and makes many performers turn the other way. Without an audience and performers where would music be?

(Stockhausen's Grave)

Harry Potter and the Russian Virtuoso

So J.K. Rowling (the author of the Harry Potter Series) hasn't told anyone yet, but there will be an 8th book called Harry Potter and the Russian Virtuoso. HaHaHaHaHa!!

Oh my, this photo is SOooo priceless. I just couldn't resist when I saw it. Well if you haven't already figured out who this is, it's Dimitri Shostakovich, also known as Shosty. Well when he isn't fighting other wizards with his "chosen one" powers, Shosty composes. Okay, I need to stop with this Harry Potter business. Here we go, most often Shosty is associated with the image of the suppressed composer who fought against the Stalin regime. This is very true and might be even a little sad. Was he hampered as a composer? Maybe, I don't think so. His writing might have been worse has he not been so watched. After his opera Lady Macbeth of the Mtsensk District, which caused a HUGE problem because of one sex scene, he was more closely watched. He tried to justify the scene by saying that it represented pre-revolutionary Russia. That didn't work too well.

His piano music, just like his other music, is very distinct and contrapuntal. After listening to all of his preludes and fugues one day, several years ago, I came to a conclusion that about 4 of the 24 are worth learning. With that said, he isn't as consistent as Bach, but . . . who is? Of those 4 that I liked, the final one, number 24 stuck out the most. Why, you ask; well for starters it's in D minor. I think I enjoy the symphonic writing and the simple subject in the fugue. With this one, he just got it right. Sometimes that happens.

So the next question is who is the Russian virtuoso?

(see pimp below)

Prokofiev was the man. I shouldn't even have to write anything about this guy. Have you heard any of his music? Let's take a random piece, how about, the second piano concerto? This is the cadenza, go listen and then get an ice pack for your brain:

Berezovsky having a rehearsal

This is just the tip of the iceberg with Prokofiev. His great works are uncountable. From his "war" sonatas to his etudes to his singles like the toccata, he dominates the piano repertoire. As you can tell, I like his music.

The Outcasts. . .who are these guys?

Let me break it down to the way I see it. There are MILLIONS of pianists in the world. Right? On average, at any one time, I think that it is safe to say you have at least 50% working on Bach, Beethoven, or Chopin (it's probably way more, but let's be safe). Then how much percent of those people play these composers:

Szymanowski, Poulenc, Hindemith, or Ginastera:

Probably a fraction. I know from my own experience, I have played piano for 9 years, and I have only played one piece by Szymanowski and one by Ginastera. In fact, both of those pieces came in the last two years. The first is Ginastera's Suite de Danzas Criollas. Wonderful set of dances/character pieces that can really work well as a recital piece. There are several captivating moments, including a monster ending. It takes a big sound, good octave technique, and a fun personality to pull off. The other is Szymanowski's Variations Op. 3. I like his early music much more than his later stuff, with the exception of the Sonata no. 3. The variations are, again, a great crowd pleaser and they are written in B-flat minor. What more do I have to say? They have a very "epic" sound and when pulled off correctly, they can be put up against almost any other 10 minute piece.

See for yourself

Poulenc is a composer that I have run into just recently; in the past 2 years. I played his Sonata for Two pianos, which, if I may say, is great. It has moments that could be the intro to someones rap CD . . .Luda! =) He does have one piece for piano that gets some play time. His Napoli Suite is probably his most played work. It's alright, I don't think I will be playing it within the next 50 years, but, I might find sometime after that for it; probably not.

Hindemith is another composer like Szymanowski who wrote a good amount of pieces that no one plays. I have seen his sonatas, as well as his "Suite 1922" on some programs. His music can sometimes be harsh or heartless and this might scare some people away.

Just as the GREAT Toru Takemitsu once said, "sayonara".

Different Beginnings

By comparing the lives of these two VERY prominent composers you can't help but notice that they came from two very alternate universes. Although Stravinsky grew up in Russia, which is not completely different than Hungary, you have to break it down to the details to really notice it.

So Bartok first. He grew up in a village called Nagyszentmiklós, with his mother, father, and sister, who didn't really have much more to offer besides their love and piano.

So that's exactly what Bartok did; piano. He actually got quite good. So good that by the time he was 8 he was studying with a student of Liszt at the Royal Academy of Music in Budapest. The rest is history; from there Bela just worked his way up the ranks until he took over the world as one of the 5 Best composers of the 20th century (a future blog)!

Now Stravinsky took a slightly different path, but still ended up on my list of the 5 Best composers of the 20th Century. Brought up in St. Petersburg, Russia Stravinsky's has been quoted as having a bad childhood, but I disagree with him. He wasn't getting medicine from the Witch Doctor for his deadly rash (Like Bartok did for most of his early years. Which he probably contracted from playing outside with the gypsy kids in his village). So, like I said, Stravinsky grew up in St. Petersburg where things were probably not too bad. One unfortunate event that occurred early in his life (by the way, he lived forever - 90 years!!) was the passing of his father when he was about 20. This is one commonality between Stravinsky and Bartok. Bartok's father died when he was 8. Another commonality is the fact that both were accomplished pianists by a young age. Interestingly, Stravinsky actually went to law school (forced by his parents) for a while, until his Blood Sunday. From thereon he concentrated on music. His turning point came when he ran into Nikolai Rimsky-Korsakov. From there Stravinsky was set as a composer and musician.

Now output of the piano works by these two greats is slightly unbalanced. Bartok has a relatively large output for piano. With pieces ranging in difficulty from his piano sonata or piano concerto no. 2 all the way down to his first book of Mikrokosmos, he covered every level. Stravinsky on the other hand, who is known more for his ballets and orchestral works, has a lesser output for the piano.

Bartok's Piano Sonata is definitely one of the best pieces of the twentieth century piano repertoire. It has a rhythmic drive and percussive nature that can greatly effect audiences. It was originally used by Bela as one of his performance pieces. Today, it has become a constant on the concert stage (along with his Out of Doors Suite). At one point I used to watch this video everyday:

Zoltan plays this better than anyone

Stravinsky also has one exceptional piece for piano which is, well, not even originally written for piano; three movements from Petrushka. This can best be decribed as a "virtuosos delight". With wide reaches, blazing tempos, and scary leaps this is a very difficult piece. With that said, if you can pull it off, you have yourself an amazing competition/recital piece and don't let it escape your fingers! Besides this transcription, Igor also wrote a couple of sonatas, a set of etudes (these are good), and a tango! The only other piano work, which I really really love, is his Concerto for Piano and Winds. I am starting to learn it currently and it cannot be decribed as anything else, but INCREDIBLE (sorry to use such a big word). Go to the library and find a recording of Boris Berman playing it, it will make you want to learn it.

Until Next time. . .Toha OUT!

Two Hungarians and a Czech guy walk into a bar . . .

A man walks up to the only other guy in a bar (wobbling) and asks if he could buy him a drink.

"Why of course," comes the reply.

The first man then asks, "Where are you from?"

"I'm from Hungary," replies the second man.

The first man responds, "You don't say, I'm from Hungary too! Let's have another round to Hungary!"

"Of course," replies the second man.

"I'm curious," the first man then asks, "Where in Hungary are you from?"

"Budapest," comes the reply.

"I can't believe it," says the first man. "I'm from Budapest too! Let's have another drink to Budapest."

"Of course," replies the second man.

Curiosity again strikes and the first man asks, "What school did you go to?"

"The Budapest Academy of Music," replies the second man, "I graduated in '04."

"This is unbelievable!", the first man says. "I went to the Budapest Academy of Music and I graduated in '04, too!"

About that time in comes Leos Janacek, a regular at the bar, and he sits down.

"What's been going on?" Leos asks the bartender.

"Nothing much," replies the bartender. "Kodaly and his buddy Dohnanyi are drunk again."

Not only did some of these composers live during the same time as each other, they knew each other well. Dohnanyi, before he came to the states, was a conductor and pianist who was a big promoter of Kodaly's works. Along with Bartok, who will be the next post, all these guys stuck together and were educated in the same country that they were born in. Interesting.

I think that it is safe to say that a pianist can have a great career and never play any of the works by the following composers. I don't even know any works by Kodaly, so with that said, let's move on to the other two guys.

Leos Janacek (pronounced Lay-O-Shh Yan-Ahh-Check) has a handful of works for piano. Three are crucial. The most important is his Sonata X. 1905. Check out the title - "From the Street". Doesn't that sound like an album by Ludacris or DMX. Amazing. It gets 4 stars **** from me for its unique sound and several great moments.

I found a decent recording of it CLICK HERE

So that leaves us with Erno. Well, the one set that he has that I thoroughly enjoy is his set of 6 etudes (Op. 28). The fourth one is a killer piece. It comes with one massive climax that is at Rachmaninov's climax level. Did I mention that it's in B-flat minor. Come on, what more could you want? Unfortunately I don't have a recording of this one, but I do have one of the 6th (more popular). This is very impressive. How about a recording . ? .

Try this one out for size

GAME OVER

Chucky Vs. Chucky - Round II

No no no, not this guy. I meant the two Americans named Charles. Ives and Griffes are their names. However, their music at times can sound like some of the soundtrack to Chucky's movies. Take Griffes' Piano Sonata for example, it has an almost savage third movement which comes to a racing close. So here it is, spend a minute (well it's fifteen minutes long) and listen to some of it:

Here is part I

Here is part II

Now if you listen to the very beginning you'll notice it has quite the "Bite". Before you start to play it the first thing you notice is the tempo or expression marking; feroce (scary). Like I already said, it sounds like something from one of Chucky's movies. I really have an affinity for this work and would like to hear it more. I think that it would be great on anyone's program who is needing some 20th century work. Apart from the KILLER sonata, Griffes wrote his Op. 7 or Roman Sketches. This set includes two very nice pieces: The White Peacock and The Fountain of Acqua Paola. These shorter works are very impressionistic and work well for competitions and recitals. For studying, the White Peacock has some rhythm difficulties as well as performing it as a whole (this piece has an overarching shape that must be outlined for the audience).

So what about Ives? He had a great deal of ideas. For one, as a child, he listened to his father's marching bands. This constant sound of brass and percussion made a big impact on his compositional style. It really did! His concord sonata is his main piece for piano. I wouldn't say that I would play it, but I think that it is an interesting composition. Coming in at about 45 minutes, it could take a chunk out of your recital program. Is it worth it? Well, you can decide that.

The Swine Flu of Music: Serialism

Take one look at this picture of the Alps. LARGE. Austria. . . known for Wiener schnitzel and mountains. In the footsteps of Schubert, Haydn, and Mozart you would expect the next Viennese school to come in with fire. Well they came with something, but was it fire. Their music doesn't have the raw passion that came with most late romantic compositions. They just decided to start their own system.

First off, I would like to say that I am not a specialist in serial music. I have listened to a good amount of it and the concept has been applied to pieces that I have played. To make a solid opinion, I think that I would say that it was important to the 20th Century and steered many composers in the right direction. Now, the next question is: Is it good? For listening, probably not, but for study or expanding your horizons as a musician/person; yes it's good.

First up is the daddy of "atonal" music; Schoenberg. Of these three composers he composed the most and has probably the best output in the genre. His piano concerto is definitely worth a listen. Here take a break and listen to a sample:

The greatest Japanese Pianist EVER

Besides his concerto he also has five pieces from Op. 23 which are definitely recital program material. His suite Op. 25 is in the style of a baroque suite (which kind of makes it Neobaroque), but he stays true to himself in the compositional style.

Alright so his two students were Anton Webern and Alban Berg. These guys only wrote one piece for piano each, but both of those get much play time in concerts. The Berg Sonata Op. 1 is almost Romantic in style and recalls the writing of Brahms. I really like this work and coming in at 10 minutes, it is has much appeal. Webern on the other hand . . . well his variations are a little less audience friendly, but they can work as a performance piece. Just recently I saw them performed and it was slightly engaging. Between the two I would recommend the Berg, it is a better composition for the piano.

So was serialism, in the end, a good thing. It was good UNTIL it got to be too much. Once total serialism came around and composers were fully in control of their music, it fell apart. Music without room to move (room for interpretation) is not fun for performers. The concepts that worked with serialism were taken and added to the arsenal of composers. That is where serialism belongs, as a tool to be used, not as a way to take control of everything. No one wants to wants to be told what to put on their Wiener schnitzel (see below) and the same goes for music.

Stache to the 3rd Power!!

Mexican food is pretty good, now the only thing else from Latin America or Spain that rocks my socks is. . . the music. Sorry, I am not talking about Ricky Martin, Enrique Iglesias, or Marc Anthony. Nope, I am referring to the piano music of Issac Albeniz, Enrique Granados, and Manuel De Falla. Some of their works are very very nice. They definitely have their place in the literature and can be used to create great recital programs and even competitions pieces.

To begin let us look into the works of Issac Albeniz. WELL, what I really mean is let us look into Iberia by Albeniz. Besides his Iberia there is a Suite Espanola, but thats about it. So, Iberia: it is seperated into 4 books and it has 3 movments in each book. These works are, at times, highly virtuosic (just like the composer played) and have a very distinct sound. In fact, I don't think I could confuse his music with any other composer. You really can't go wrong with any of the books, they surely will give you a new set of pieces to use. They have a hint of liszt and debussy, but for the most part, it sounds like Albeniz. Good stuff!

The next amigo is Enrique. De falla has a rather small output for piano, just like his other compadre Issac. However, he does have one MASSIVE work for piano; Goyescas. Coming in at about an hour, this seven movement work can pass some time. It is based on paintings by Goya. You know, I wonder if they named the food company after him. . .probably not. Take a look at him:


Just like I mentioned in the Rachmaninov post, a picture speaks a thousand words. Go listen to Goyescas.

Last but certainly not least is De Falla. Pronounced Day-Figh-Yah he is . . . the final amigo. I really want to mention his concerto, mainly because its his best work involving piano. He did write Fantasia Bética, but hmm, how should I say this, . . .listen to his concerto. Okay, so Nights in the Gardens of Spain for piano and orchestra. This is one work that comes with a ton of ensemble problems, but IT'S WORTH IT. If you're learing it, stick with it. It deserves more performances and really should be considered a more important work. Here's a video of this:

De Falla's Noches en los Jardines de España
(please click me)

Time for me to go. . .Ciao Ciao!!

My impression on Impressionism

In soleil levant by Claude Monet, a person may get several different views of what is actually in the painting. There is water involved, a boat, a sun, and MAYBE some trees. My point is that Monet gives the person looking at the painting, a faint or blurry view. He leaves the rest up to them to decide. The other aspect is the idea that there is nothing blarring or sharp. Every color works with the other colors to softly enter the eye. This doesn't mean that there are no prominent parts of the painting, well, because there are: the sun.

To me, this painting runs parallel to many of the works by another Claude. Claude Debussy. As a composer he is very interesting. He doesn't follow the same path that say Mozart or Beethoven did. He actually didn't start composing original material until his late 20's. So, for anyone out there who is looking to start, why not? He was a great pianist who from a very early age gave concerts and learned highly difficult works. This would eventually show up in his own compositions (Some preludes, Images, and Etudes). In his compositions he works a great deal with colors, very similar to the way Monet does. There is not much tension in the music and when there is, it usually comes in as fast as it goes out. Although everyone knows his Clair de Lune, one interesting short piano piece is L'Isle joyeuse. Coming in at about 5 1/2 minutes, it carries quite the punch. The ending climax is one for the ages and will definitely leave a mark on any audience.

He would later move on to using modes and other scales (octatonic, whole tone, pentatonic) in a very excessive manner (compared to his predecessors). This resulted in very fine music that spans several different mediums of ensemble. His music is very special to most pianists and his compositions are at the top of the piano repertoire. Don't forget to check out his chamber music!

So when I think of Debussy, the next name that hits my mind is Ravel. Even though he has music that is quite different and eventually neo-classical. I have always thought that there is something in the waters of France that makes these guys compose like this. Who can argue with Gaspard? Or can any one fight with the beauty of his pavane for a dead princess? Ravel's compositions are maybe the most consistent of any composer besides Bach. His sets are amazing and his concerti are some of the best. His concerto for the left hand has a climax that ranks up there on the list of best climaxes EVER. Besides the climax it also has humor and makes you want to jam on it. Jam on it . . .? You know

Jam on it!!

Anyways, with that said, I have no more to say about these guys. But looking over this, I really have nothing negative to say. My only complaint is that I wish they could have composed EVEN more! Until next time. . .

A picture speaks a thousand words . . .

Just like an early Emperor of the Xia Dynasty in China about 4,000 years ago once said; the above statement is so true for this picture. After a mere glance at this photo of Rachmaninov, you can tell what he was like as a composer. His music is powerful, emotional, and physical. He also adds just a touch of class to it. It is very neat and well kept, but it still carries a raw attack (which is hidden at plain sight). So, what does all this mean?



To break it down even further, Rachmaninov's music to me is signified in one object: a rock. Like I already mentioned, it is powerful and physical and holds an abundance of emotion. Wait. . .rocks have emotion? Naw, but when a boulder sits in the sun all day, it absorbs a great amount of energy (from the sun) and that warmth will radiate out from that rock when the sun goes down. The same goes for his music. From the start of the piece, the work (and performer) gain emotion or energy and just when it reaches that point (maybe sundown) the energy is released (resulting in a enormous climax). To me this is all of his music. Taking a step away from piano repertoire and looking at his songs (he wrote like 80), check out Vocalise. There are no words and this helps to highlight the earth-shattering climax that erupts towards the end of the piece. To me, this is the best song ever written . . .ever. These are the characteristics that make his music SO attractive and top notch.

With that said, what about Scriabin? Hmm . . .for starters, he was quite weird. I really enjoy his music. It has a unique quality that runs through every piece giving it a certain emotional response from the audience. He is also one of the few composers who had drastic changes in his compositional style from his early opera (sonata No. 2) to the late ones (Vers la flamme). Check out Horowitz rocking out on this crazy work:

A slow rising flame, consuming everything. A darkness spreading . . .

Merry Christmas to all and to all a good night!
Toha - Out!

So what is the link between Britney Spears and Tchaikovsky?

Drum roll please
(see figure below)

Did you guess Ballet? Well, that's it. Before her big break with the Mickey Mouse Club, sometime around Christmas, Britney was putting on her costume for the Nutcracker. Yeah, that ballet that Tchaikovsky threw down around Christmas 1892. So what else did he compose besides the most well-known ballet of all time. . ? . . heaps. For starters he wrote 6 symphonies, Swan Lake, 3 Piano concerti, the 1812 overture, a Violin Concerto, and a really nice trio in a minor.

So besides being in his ballet, now spears can say she has done Tchaikovsky one better. According to National Public Radio she now has a ballet about her life:

All Things Considered: January 31, 2008 · Pop icon Britney Spears' story is now the subject of a new modern ballet. Meltdown premieres Friday night in London and traces the rise and fall of the singer and tabloid favorite. According to the show's choreographer, he was inspired by every detail of Spears' life and how her story had become a "modern tragedy."

Who knew? Well, to carry on, Tchaikovsky's piano music output is quite slim (mostly short character pieces) compared to say Brahms, but he does have one or two pieces that I fancy. One that sticks to me is Dumka Op. 59. It's about a nine minute piece in C minor which can really move some audiences. I also like some of the movements out of the Seasons. I think that it might work on a recital program as a whole, but I would be one of those people who would fall asleep. There isn't really enough good and consistent material to work with for 45 minutes. But you should really listen to June, not just cause it's my birth month, but because it's beautiful. Okay, so besides seasons and dumka what else does he have? He wrote a couple of sonatas and the rest are short pieces . . .so is there anything else worth learning? Yeah, check out the second piano concerto which definitely is a gem overshadowed by the first. Also there is a great transcription of the nutcracker by Pletnev. This is a virtuoso delight. Don't touch it unless you have learned your scales and arpeggios to blazing speeds. It's also fun.

Besides Tchaikovsky another famous Russian is the drunk Mussorgsky. He wrote pictures . . .that's all. . .Wait! Speaking of pictures . . .what do you know?

That's all folks!

That Belgian guy with the long thumbs, Ravel's teacher, and the composer of the most overplayed concerto in High School.

Where do I start? Let us begin this with the Belgian organist, Cesar Franck. He is not a one hit wonder as many of you out there may think. Although his main work performed by concert pianists is the Prelude, Chorale, and Fugue, he also wrote a long list of great works for organ. But wait! Don't forget about his devastating violin sonata, piano quintet (in f minor), or his D minor symphony. He is quite a cool guy once you get to know him. Now, about that piano piece . . . it can eat your brain when it comes to memorizing. I have seen it engulf the best of us. To me, the middle movement, the chorale, makes the work what it is.; a nickel short of amazing. It definitely has a place on the concert stage because of what it can do to the listener. It really pulls them in and takes them to another place. Sounds kind of hippy. . .let me rephrase that. It allows the listeners imagination to start up and play a movie. No I don't mean you're going to fall asleep. This "movie" thing is a positive. Besides the middle movement, the outer movements are kind of like stairs that lead you to and from that section. So without them, the listeners couldn't appreciate the chorale as much as they would. I think it's the intensity that is what builds until you just arrive at the middle movement. This is a must listen:

Richter having his way with this piece

Before I found out that Faure composed for the piano, I heard a ton of his songs. Then one day I came across this nocturne of his. No, not the one nocturne that people play (No. 6), I listened to the last one (No. 13). All I have to say about it is that it is a work of art. A brilliant composition that deserves 10 times as many performances as it gets. No. 6 works, but it doesn't change the way I think or my outlook on music. . . No. 13 does. DO yourself the favor and find an excellent recording just incase you get stuck on a deserted island.


And then there was Grieg. Hmm, well, for starters he wrote a haystack of lyric songs. Have you ever thought that he looks like Albert Einstein? Just a little? Anyways, besides his songs he has a Ballade, which has been described as "quite lovely" from this British pianist who I asked one time. I would agree. It is a chore to listen to, but worth the 18-20 minutes of your time. First off, it's in G minor, who could disagree with that? It's in variation form, which has been passed down from generation to generation . . .its been around for a while. Finally, it sounds good (that's a simple way to look at it). I found a great video of Leif playing it. I like this guy, there's also a video of him playing the concerto on mountain. The other cool thing about this guy is that you can refer to him as the Leif the pianist, since he is the only concert pianist in the world with the name Leif.

Here he is playing on a mountain
(I am so jealous of this guy)

Oh and take a peak at this performance

What's with this German guy writing all these intermezzi?

Look at this guy. This guy could have been a model for Gucci, but instead he became a composer of some of the best classical music on the planet. The early solo piano works of Johannes Brahms are the longest pieces of music you will hear until Sorabji. That doesn't mean that they're not good, . . . just a little lengthy. Especially Op. 4, the F minor Sonata. The first time I heard it I couldn't make it through in one sitting. I absolutely love the opening theme of the first movement. After the huge opening comes a processional-like second idea that carries the listener all the way into the development. I don't know, I think that the first sonata has a better pair of themes, but this still works. It's quite grand.

The best works that he has to offer come later on. Besides his Op. 1 (C Major Piano sonata) and the Op. 8b trio (I also like the Op. 10 Ballades, but they are not the cream of the crop), his best works take some time to come out. These start with his Op. 79 Rhapsodies (which are great short romantic pieces) as well as the Op. 116 fantasies and going to the zenith point with the opera 118 and 119. I mean, Op. 117 has its moments, but it can't hold a candle next to its younger brothers opera 118 and 119. The funny thing to me is that before Brahms wrote all these short works, he was documented saying that he "run out of all his creative ideas". Thank God he was wrong.

Until next time,
Have a good one. . . Toha-Out!

Franz jumps to Super Saiyan 3

So if you're looking for the most difficult piece you've ever played (technically that is) well then look no further than Liszt's Reminiscences on Don Juan. You need super human powers to play this. Kind of like Goku who is hovering in the picture above. Who wants to mess with that guy? Reading through Don Juan is not only impossible, it's depressing. When Alex tried to learn this piece he ruined his right hand. You know Alex right? His last name was Scriabin. Anyways, as a result all of Alex's compositions contain left hand passages that are twice as hard as the right hand. Thanks Franz. I must say that despite the technical difficulties, if you can pull it off some jaws may drop, so do it. The only person who I have seen play this that doesn't break a sweat is Lang Lang (in Carnegie). I think it has something to do with the way he practices. Check it out:

Watch Lang Lang Gone Mad!!

Let me carry on. Well, the 3 books of pilgrimage have great music. There are some really great compositions, but let's face it, Franz rocks the house with his sonata. This B minor massacre is a one of a kind. I don't care if Clara and her crazy husband didn't like it, it's on the top of my list of pieces I plan to do in the next 5 years, right up there with Rachmaninov's Second Sonata and the Barber Piano Sonata. Up until this point in piano literature, there might not be a more unstoppable piece. I think that Luigi Beethoven's Appasionata comes close. From the form he used to the harmonic tension, it is not only his greatest work, but the greatest work of the 19th Century piano literature. Just like Luigi he uses many small motives that are twisted and turned until the whole composition closes with a whisper. It's said that Brahms fell asleep when he first heard it. I find that funny because Brahm's slow movement from the f minor sonata is a piece I use to fall asleep. Whatever. . .I like it.

Liszt: "Da Piaump"

So this piano "grand master piaump" is mainly responsible for traditions that we, pianists, use today. He was a huge supporter of the idea of "Masterclasses" and that has carried on. He also was a pioneer in playing solo piano music from memory. A rock star in his day, current day musicians have continued his tradition of the musician who is a womanizer/Casanova. Women would faint or simply throw their panties on stage during his concerts. Who knows what happened after the concerts?

His music, well, most of it is very excellent. I consider him to be one of the more consistent composers for piano. Most of the compositions have a great audience appeal. This is due to the fact that he was composing for himself and needed the music to captivate the audience and at the same time display his virtuosic abilities. Unlike Schumann, his later works are his best.

His Transcendental etudes are amazing compositions and included in this series is No. 10 (No title). This etude in f minor is one of the better ones, musically, in the set and carries the technical task of the left hand chords that become somewhat of a physical burden. Fun times.

La campanella is yet another great etude that he composed. It is part of his Six Etudes After Paganini for piano. It is definitely the most played out of the set and for a good reason. It incorporates virtuosity with a great work of music.

Auf dem Wasser zu singen is a transcription of a Schubert song which is a barcarolle. It is quite nice. This and the Gretchen transcriptions are my favorites.

His Hungarian rhapsodies bring liszt’s love for gypsy and folk melodies to the forefront. Between numbers 2, 6, and 12 these works are often performed by pianists.

cLiCk HEr: This is my Dogg Berezovsky Playing the f minor etude