#159 Musings Beyond the Bunker (Saturday October 2)
Good morning!
A few weeks ago, I referenced the “From the New World Symphony,” by Dvorak. It is an example of a foreigner able to encapsulate the mood, music, and physical beauty of another country and culture. That symphony drew upon folk songs, Negro spirituals and Dvorak’s sense of wonder during his time in Iowa, informing this magnificent celebration of the land and people of America.
With a tip of the hat to Milli Vanili, much music actually does borrow from other, prior, sources (but, of course, it most cases it is with attribution and/or pulled from folk sources). A lot of folks don’t like Symphonic music for the lack of subject matter or a feeling of the inapproachability of the music. Some people think of it is little more than background music (but if you want to take a nap during Mahler’s Ninth, feel free). Some pieces, however, have stories behind them (e.g., Peer Gynt, the Firebird). Others are a particular composer’s “borrowing” of folk music he or she has heard.
There are a number of classical pieces that are based upon folk music and dances. Some are by folks of the same nationality; others are relating the music of a different culture (cultural appropriation?). Here are a few of my favorites:
“Capriccio Italiene,” by Tchaikovsky
“Slavonic Dances,” by Dvorak
“Hungarian Dances,” by Brahms: Here is #5, well known from many film scores: https://www.google.com/search?q=hungarian+dances+brahms&rlz=1C5CHFA_enUS738US738&oq=hungarian+dances&aqs=chrome.1.69i57j0i512l4j46i512j0i512l4.5168j0j4&sourceid=chrome&ie=UTF-8
“From the New World Symphony,” by Dvorak
“Romanian Folk Dances,” by Bartok, played by the New England Conservatory:
“Dance Polonaise,” by Chopin:
“Capriccio Espagnol, by Rimsky-Korsakov, conducted by Bernstein:
“American Rhapsody,” by Dohnanyi (note the beginning, starting with “On Top of Old Smokey”):
And, of course, Copland is the master of capturing American music, sentiment and history in “Rodeo,” “Appalachian Spring” “Lincoln Portrait” and “Billy the Kid.” Probably his best (or at least best known) is “Fanfare for the Common Man” (which I’ll feature next week).
POETRY
Invictus
By William Ernest Henley
Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll.
I am the master of my fate:
I am the captain of my soul.
Have a great weekend,
Glenn
From the archives: