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<h1 class="post-title p-name" itemprop="name headline">Going Big with Bruckner [Bruckner]</h1>
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<time class="dt-published" datetime="2021-10-08T00:00:00+03:00" itemprop="datePublished">Oct 8, 2021
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<p>It’s always the same.
A quiet, mysterious opening, slowly picking up intensity and volume.
Growing louder and louder, increasing in complexity - new sounds slowly file in.
And somehow, it snuck up on you - you’re bathed in symphonic might, overflowing with emotion.
It’s the Bruckner symphony.</p>
<p>I’ve come to hear the music of Anton Bruckner when following the path of Mahler, and the two do share many similarities - both hail from the proud German-Austrian traditions of Romantic music, and both brought the symphony to previously unforeseen scale. Their music, however, remains quite different.</p>
<p>Anton Bruckner’s symphonies are massive in scale, sound and length - Bruckner often repeats himself, and the tempo is quite slow. Somewhat unusually, they all share a very similar structure and even orchestration - Bruckner had a style and he stuck to it.</p>
<p>Earlier in my classical journey, I was drawn to fast, virtuousic music - and so did not dwell long on Bruckner. As I grew into more diverse style, Bruckner crept up on me.</p>
<p>If you can spare the attention span to listen to him, you will be richly rewarded.</p>
<p>I’ve read online somewhere that ‘<em>Bruckner is not to be understood - but to be experienced</em>’.</p>
<p>His works are extremely rich in texture - the orchestra does not remain idle, and there’s always something going on - the whispering of a wind instrument, low hums of strings, ringing brass. There’s always an atmosphere to decipher, continuously building up and growing bigger, bolder.</p>
<p>And when you reach the core of each phrase, you are surrounded with pure, clean emotion.</p>
<p>And while it may sound all very conservative, Bruckner has some surprisingly modern tricks up his sleeve. He is not afraid to suddenly ditch pleasant tonality, rise suddenly in volume and force, and change the mood at a whim. The third symphony is a good example of this - even relatively early, it sounds very different from a conservative Classical era symphony.</p>
<p>Bruckner was a devout Catholic and an organist, and even though music historians complain that “Bruckner the man has very little to do with Bruckner the composer”, I can hear these influences in his music. There’s always a divine aura to the symphonies, and if you close your eyes, at times you can almost imagine sitting afoot a massive organ, awed by its sound. At other times, it sounds like something of a movie soundtrack, whether released today or in the last decade. Finally, if you’re not aware, you’ll be caught of guard with much more colorful modern maneuvers.</p>
<p>Anton’s music contrasts greatly with many of my favorites - Brahms being particularly different. Where Brahms uses the orchestra in moderation, and constructs powerful and sudden phrases with sudden might - Bruckner builds up the entire orchestra. It also greatly differs from the music of Mahler, who saw Bruckner as a contemporary (and said of him he is a “Half simpleton, half God”) - Mahler’s vast symphonic scale is fickle and intense, while Bruckner’s is restrained and carefully presented. The music of both is amongst the mightiest I’ve ever heard.</p>
<p>Nowadays, I really enjoy listening to Bruckner - it’s somewhat of a break from the rest of the music into the familiar structure of his symphonies - which never fail to awe me in their unique voice.</p>
<p>Just listen to the Adagio of the sixth and see if it does not touch something within your soul.</p>
<p>I heartily recommend giving the 3rd, 4th, 6th, and 7th symphonies an attentive listen.</p>
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<p>Classical season has started earlier this month, and I’ve been having a blast - attending two concerts, as well as a rehearsal - which have all been outstanding. As awesome as those have been, tonight has been particularly spectacular - I had the great priviledge of inviting my parents to listen as well.</p>
<p>I’ve known for some time experiencing classical live is a big part of it, but it’s amazing just how much of an impact it’s had on my journey in such a short time - even recordings I already know and love sound totally different!</p>
<h1 id="classicals-not-dead---its-edgier-than-ever">Classical’s Not Dead - It’s Edgier Than Ever!</h1>
<p>The programme this year is about <em>bringing unique, less-often performed pieces to the public</em> - and while I don’t know how objectively true that is, it’s certainly been quite spicy.</p>
<p>The opening was a performance of Tchaikovsky’s brilliant Violin Concerto (played by Joshua Bell), and no other than the (allegedly) riot-inducing <em>Rite Of Spring</em> by Stravinsky.</p>
<p>Now, the violin concerto is a piece I really like (and as I’ve learned, many people of the public and music students strongly dislike), and it was a heartfelt, lively performance followed by a tasty encore of the first of Chopin’s nocturnes (on violin! I didn’t know that was a thing!). While savouring the joy of hearing this familiar piece, I inevitably fell to smugness ( <em>this can’t get better</em> ) and was completely blindsided by <em>The Rite of Spring</em>.</p>
<blockquote>
<p>It began while I sat in the hall during the break - I love watching the players warm up and trill - when they rolled in <strong><em>the gong</em></strong>.</p>
</blockquote>
<p>That’s right - <strong><em>The Gong</em></strong>.</p>
<p>It. Was. Unbelievable.</p>
<p>From the strange, entrancing call of the basoon, the sudden harsh <em>growling</em> of the strings laced with tense pizicatto, to one of my new favourite bits of music - the gong.</p>
<p>The gong-man just <em>smacks it</em> and the concert hall bows to submit, heraled by the LOUD cry of strings and wind - absolutely mesmerizing!</p>
<p>The room quivered with power and emotion like I’ve never felt by any work of art.</p>
<p>On my way out, I heard a mother asking her teenage son what he thought of the Rite of Spring.</p>
<p>‘The opening was good’, he condescendingly ruled.</p>
<p>You don’t know where it’s at, kid!</p>
<h1 id="tchaikovski-and-chill">Tchaikovski and Chill</h1>
<p>The next endeavour was a public rehearsel of Tchakovski’s magnificent Fourth Symphony, which has always been one of my very favourites. All the players, as well as the conductor, just waltzed in with their jeans and flip-flops and played the hell out of that symphony.</p>
<p>Hearing a piece I am deeply familiar with was really exciting, and digging into it with the conductor’s corrections was even better.</p>
<p>I learned a lot by how he corrects the orchestra - you’re not <em>rising</em> smoothly here, going <em>too fast</em> there, and suddenly seeing it improve was eye opening.</p>
<p>It was also amusing listening to the complaints of my neighbours (It’s too long! why are they rehearsing for so long!, Oh, look, it’s going to get loud, he’s bringing in the cymbals!).</p>
<p>To top it off, since the concert hall is near my work place, I got some time to go photograph pigeons in that nice fountain and drink green tea. Really helped process things.</p>
<h1 id="classical-next-generation">Classical: Next Generation</h1>
<p>Finally, tonight me and my folks went to hear another concert.</p>
<p>The day had all the makings of disaster spelled all over it: both my folks were busy beforehand (lil’ bro won an award! yay!), I dragged them out too early (no regrets), and the pieces to be played were particularly spicy which my father tends to dislike (describing them as <em>white-hot combs searing into the flesh</em>). We hear Ligetti’s Atmospheres, Bartok’s Viola Concerto and of course, Tchaikovski’s magnifienct fourth. I didn’t spoil anything!</p>
<p>Things went… far better than expected.</p>
<p>The conductor (charismatic Lahav Shani) promptly explained the concept behind Ligetti’s piece - playing all of the sounds at once and using them to manipulate mood - which helped it ‘click’ both for me and my folks. It was a slower piece, and I expected them to be disappointed - only to be suprised to find them pleased.</p>
<blockquote>
<p>It wasn’t <em>comby</em> at all! it makes sense! it’s really cool!</p>
<ul>
<li>Dad</li>
</ul>
</blockquote>
<p>Bartok’s Viola concerto was a stellar performance by Pinchas Zuckerman, and it was amazing to see both my folks suddenly intrigued at the edge of their seats</p>
<blockquote>
<p><em>It’s so beautiful!</em></p>
<ul>
<li>Mum, silently to herself.</li>
</ul>
</blockquote>
<p>But much like Stravinsky did to Tchakovski, Tchaikovski did tonight to Bartok - The fourth symphony ticked all my boxes. It was rich, passionate, exciting - it was the sypmhony at it’s best. I listened to it with my eyes watering, and my parents were sucked right in. Their eyes lit up like I haven’t seen in a good while.</p>
<p>They each told me they’ve never been to a concert before, and if it weren’t for me they likely would not have gone. Tonight, I was able to give them something back, and share a great passion of mine with them - and see it really connect. I’ll never forget this feeling.</p>
<p>Both have eagerly expressed will to go again, but even if this was a one time thing - I’m overjoyed I was able to give a little something back.</p>
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<time class="dt-published" datetime="2021-10-27T00:15:00+03:00" itemprop="datePublished">Oct 27, 2021
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<p>In progress</p>
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<p>Following the great sweep of symphonic pieces I have heard thanks to the Philharmonic’s season opening, I find myself straying back to one of my favourites subgenres of classical music - the string quartet. A successful spin of the great classic tradition, I feel the string quartet embodies the best classical has to offer in a unique, heartfelt form.</p>
<p>As I likely mentioned before, I feel at home listening to symphonies. However, a symphony can feel overwhelming - overflowing with emotion, volume and texture. For me, that’s when the quartets come in.</p>
<p>I find string quartets fascinating because, to me, they represent about as close as you can get to mainstream music from the classical realm. I like to think of quartets (and their cousins, the quintets and sextets) not unlike a band - a few players with their instruments playing a smaller scale of music.
Coming from mainstream music, you can easily dismiss the difference between mainstream and classical sound by pointing out the orchestra (‘Well, we’re not gonna sound like <em>that</em> - there’s a whole bunch of players!’) or the unique instruments (no one here rocks a tuba). Quartet-wise, it can be argued that if you think of a contra bass as a big, twiddly bass guitar, you’re <em>almost</em> there - and now the difference in what you’re hearing is much more likely to stem from the music itself.</p>
<p>But what are you hearing?</p>
<p>The string formations restrict themselves to a single subset of classical sound - there’s string, and that’s it - in stark contrast to both the back-and-forth of strings and wind instruments often heard in symphonic works, and to the virtuousic, often brooding nature of solo piano works. There’s a certain balance that must be kept, and there’s only one type of sound to keep it with.</p>
<p>As a result, string quartets/quintets/sextets are often <em>very</em> harsh on the ear for those who are not familiar with them (and sometimes, to those who <strong><em>are</em></strong> familiar with them - Shostakovitch’s and Bartok’s quartets are prime example) - they screech, squeal and creak, unable to be disguised in the large formation of orchestras nor in the elegance of the piano. Once you surmount that initial repulsion, however, there’s something really special to be heard.</p>
<p>The best example of this I can think of is Dvorak’s <em>very</em> well known (for good reason!) quartet #12 - the American quartet. He composed it while in the United States, and listening to it instantly transports you the the States of that time - think rustic, wide open spaces, a new and optimistic world, with smidgens of Native American melodies. Dvorak pursued the Native melodies beautifully in this quartet and in his Ninth Symphony (also incredibly popular) and predicted many others will follow, which they unfortunately did not. What a shame!</p>
<p>String quartet 12 is the single most atmospheric piece I know.</p>
<p>To illustrate the difference between this form and the symphony, you can compare this quartet to Dvorak’s own ninth, which was written around a similar time and around a similar thing. Both attempt to convey the same feeling, ableit from different directions - the quartet looks inward to the new world from an European view, while the symphony looks back home to Europe ‘ <em>from the new world</em> ‘. The symphony is far richer - right at the opening, it conveys a deep nostalgia - and it meanders about a range of emotions until finalizing in a great triumph in the finale.</p>
<p>The quartet is much more gentle - the opening transports you to the wide open spaces, and it feels much as though you’re overlooking great plains and rolling hills. Rather than expoding with sudden intensity as the symphony does, the mood in the quartet rises and falls much more gradually.</p>
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