Kitsch vs. Classic – Defining the boundaries of high art.

The debate surrounding kitsch and classic art has been ongoing for centuries, with proponents on both sides passionately arguing their perspectives. The main issue is whether certain types of art are worthy of being classified as ‘high’ or ‘classic,’ and if they do not meet these standards, they should be relegated to the realm of kitsch.

The Origins of Kitsch

Kitsch has a long history dating back to ancient times. In fact, Aristotle wrote about “bad” art in his work “Poetics,” stating that it is inferior and lacks aesthetic value. However, kitsch gained popularity during the 19th century with the rise of mass production and the advent of new artistic mediums.

One of the earliest known proponents of kitsch was the German philosopher Friedrich Nietzsche. In his book “The Birth of Tragedy,” Nietzsche wrote: "Art is an expression of the will to power, and it is precisely in this way that art can be considered ‘higher’ or ‘more valuable’ than any other form of human creativity" (Nietzsche 1872). According to Nietzsche, kitsch represents a lower form of artistic expression.

Examples of Kitsch

Some artists who are often associated with kitsch include:

• Caspar David Friedrich: A German Romantic painter known for his landscapes and scenes from everyday life.
• Johannes Vermeer: A Dutch painter celebrated for his domestic interior scenes, such as ‘Girl with a Pearl Earring’.
• Thomas Kinkade: An American artist famous for his depictions of idyllic rural life and cozy cottages.

These artists are often seen as being part of the kitsch movement because their works tend to be overly sentimental, lack depth, and feature common themes.

The Classic Art Movement

On the other hand, there is a long-standing tradition of ‘classic’ art that emphasizes technique, skill, and representation. This type of art has been around for centuries and includes many famous artists such as Leonardo da Vinci, Michelangelo, and Rembrandt.

These artists are considered ‘classic’ because their works embody the highest standards of artistry, use innovative techniques, and showcase a range of themes.

Conclusion

The debate between kitsch and classic art will likely continue for years to come. While some argue that certain types of art should be considered ‘high,’ others believe that these categories are arbitrary and that all forms of art have their own value.

It’s worth noting that what one person considers kitsch, another might see as a unique style or aesthetic. Art is subjective, after all.

Reference:
Nietzsche, F. (1872). The Birth of Tragedy. London: Penguin Books.
https://plato.stanford.edu/entries/nietzsche/birth/tragedy/

The Absolute Music Debate – Hanslick, Wagner, and the meaning of sound

The debate over the nature of absolute music began in the 19th century, primarily due to two prominent composers, Eduard Hanslick and Richard Wagner.
Hanslick’s influential book ‘Guido Sage’ (1850) shaped the views held by many musicians regarding the role of emotion in musical expression. In contrast, Wagner’s revolutionary ideas expressed that music must convey the deepest emotions to be considered absolute.

Emotional Expression in Music: Hanslick

Hanslick believed that music should not aim at expressing deep emotions or moods.
He argued that a work of art should only present itself as it is, without any additional layers of interpretation:
“Mein Buch ist kein Lehrschrift; es giebt sie schon genug solcher.” (“My book is no textbook; there are already enough of those.”)

In his opinion, music’s beauty lies in its form and harmony rather than its emotional message.

The Emotional Power of Music: Wagner

Wagner thought that a great piece must evoke profound emotions.
He famously said:
“Mein Musik ist nicht Kunst; meine Kunst ist Musik.” (“My music is not art; my art is music.”)

To achieve this, composers must delve into the deeper aspects of human nature and express themselves authentically.

Understanding Absolute Music: Bach’s Influence

One of Bach’s major contributions to the absolute music debate was his innovative compositions. His “Well-tempered Clavier,” for example, includes pieces in all 24 keys and showcases a perfect balance between technique and emotion.
Bach demonstrated that, even with intricate structure and complexity, one could still convey deep feelings through composition.

Conclusion: Embracing Diversity

The debate surrounding the nature of absolute music highlights different perspectives on musical expression.
In order for art to flourish, we need both of these views — one must respect the artist’s intention while acknowledging individual interpretation.
Ultimately, it is up to each listener to form their own relationship with a piece of music.

The Symphonic Poem – Narrative Structures without the Need for Words

Since its emergence at the end of 19th century, the symphonic poem has continued to be an influential genre in classical music. It is a musical composition that aims to evoke a specific narrative or atmosphere through instrumental means, rather than through lyrics.

Definition and Characteristics

• The symphonic poem often employs musical themes, motifs, and textures that reflect the narrative or atmosphere it intends to convey.
• It frequently incorporates orchestral elements such as solo instruments, percussion, and timpani to create a rich and dynamic sound.
• The symphonic poem can take many forms, including those inspired by literature, nature, mythology, or even dreams.

Key Features of the Symphonic Poem

“The symphonic poem is a musical drama in which the drama is represented by music and not by words…the text is usually absent or negligible.” – Ferruccio Busoni

• Imagery: The symphonic poem relies heavily on imagery to convey its narrative, often using descriptive melodies, harmonies, and instrumental timbres.
• Programme Music: Many symphonic poems are programme music, which means that they are inspired by a specific text or idea.
• Dramatic Structure: The symphonic poem may employ dramatic structures such as sonata form, rondo form, or variations to create a sense of narrative arc.

Examples of Famous Symphonic Poems

• Modest Mussorgsky – “Night on Bald Mountain” (1867)
• Maurice Ravel – “Daphnis et Chloé” (1909-1912)
• Arnold Bax – “In the Forest” (1931-1933)

A symphonic poem is a powerful means of evoking atmosphere and narrative through music alone. By employing a range of musical techniques, composers can create vivid images in the listener’s mind, making the symphonic poem an enduring and captivating genre.

Conclusion

“The future of classical music will lie not with singers but with instrumentalists.” – Joseph Joachim

The symphonic poem is a testament to this statement. With its ability to convey complex ideas and emotions through instrumental means, it has become an essential part of classical music.

Continuo Practices – The Art of the Realized Bass in the Baroque

The Baroque period, which lasted from approximately 1600 to 1750, is renowned for its complex and intricate musical compositions. One of the key elements that contribute to this complexity is the continuo, a group of musicians who provide a harmonic foundation for the main melody. The continuo typically consists of a bassist (or cellist), an organist, and one or more other instruments such as the harpsichord or viola da gamba.

The Role of the Realized Bass

The bass line in a Baroque piece is not always played by the main melody. Instead, it is often realized by one or more instruments within the continuo group. The goal of the realized bass is to provide a solid harmonic foundation for the music while also adding depth and complexity to the overall sound.

“The musician who understands the right note at the wrong time knows that he may be playing too early or too late.” – Richard Strauss

Types of Realized Bass

There are several types of realized bass, including:

• Basso continuo: This is a type of realized bass where the bass line is played by an instrument within the continuo group.
• Realization from above: In this type of realization, the bass line is played from above, meaning that the notes are played from the highest pitch to the lowest pitch.
• Realization below (basso continuo basso): In this type of realization, the bass line is played from below, meaning that the notes are played from the lowest pitch to the highest pitch.

The Art of Realizing the Bass

The art of realizing the bass involves a deep understanding of music theory and harmony. The bassist must be able to analyze the harmonic structure of the piece and determine which notes will be realized by the continuo group.

“The bass line is not just a series of notes, it’s a melody that carries the harmonic content of the music.” – William Bennett

Techniques for Realizing the Bass

There are several techniques that bassists use to realize the bass, including:

• Suspensions: A suspension is when a note is held over another note. This creates tension and release, adding interest to the music.
• Appoggiaturas: An appoggiatura is a dissonant note that resolves to a consonant note. This adds tension and release to the music.

Conclusion

In conclusion, the art of realizing the bass in Baroque music is a complex and intricate process that requires a deep understanding of music theory and harmony. The continuo group plays a vital role in providing a harmonic foundation for the main melody, adding depth and complexity to the overall sound.

“Music is the divine way to tell beautiful, poetic things to the heart.” – Pablo Casals

The Prepared Piano – Extending the instrument’s reach into percussion.

The prepared piano, an extension of the traditional piano repertoire, allows for creative exploration of sounds not previously accessible on the standard instrument.
It expands the piano’s range and versatility by incorporating unconventional objects to alter its tone.
In this article, we’ll delve into the world of prepared pianos, examining their history, key techniques, and notable composers who have made significant contributions to the genre.

History of Prepared Piano

The concept of preparing a piano dates back to the early 20th century, with the first recorded instances found in the works of American composer William Sidney Pittrelli (1876-1942).
In 1924, the Italian musician and theorist Ferruccio Busoni proposed a method for using unconventional objects attached between the strings and bridge to create new sounds.
The prepared piano gained popularity during the 1950s and 60s, with notable composers such as Pierre Boulez, Karlheinz Stockhausen, and John Cage experimenting with this innovative approach.

Key Techniques

• Object placement: The placement of objects between the strings and bridge to alter their pitch, tone, or decay.
• Object types: Various materials can be used for preparation, including screws, washers, metal rods, and even everyday items like paper clips or books.
• Dynamics and articulation: Experimentation with different dynamics (loudness) and articulations (attack and release) to achieve unique timbres and textures.

Notable Composers of Prepared Piano Music

• Pierre Boulez – Structures II (1959-1967): A seminal work that showcased the prepared piano’s potential for complex, intricate textures.
• Karlheinz Stockhausen – Telemusik (1966): This piece utilizes the prepared piano to create an otherworldly soundscape, exemplifying the composer’s avant-garde spirit.
• John Cage – Music for Prepared Piano I (1950-1953): A pioneering work that explored the prepared piano’s unique capabilities, paving the way for future generations of composers.

Conclusion

The prepared piano has not only expanded the piano repertoire but also pushed the boundaries of sound and music theory.
As a result, it continues to inspire new compositions and performances, ensuring its relevance in the world of contemporary music.

Visit Wikipedia for more information on this fascinating topic.

You can also watch online some videos about prepared piano at here.

Recommendations: For further exploration, we recommend checking out the works of these notable composers and artists. You can find their music on streaming platforms like Spotify or Apple Music.

Sacred Geometry – The hidden numerology in Josquin’s masses

Josquin des Prez (c 1450-1521) is widely regarded as one of the greatest masters of the late Renaissance polyphony. His contributions to music are immeasurable, and his influence can still be heard today. This article will examine how sacred geometry appears in his masses.

Introduction

Sacred Geometry explores the connection between art, science, spirituality, and mathematics. Its principles have been used for centuries to create aesthetically pleasing compositions. Josquin’s music is no exception – a true masterpiece of the Renaissance era.

Theology and Sacred Geometry

In the book ‘Sacred Geometry: A Quest by the Light of the Ancients’ by Michael J. Faraday, he explains that geometry holds the key to understanding many aspects of our lives. The authors believe that it is a fundamental part of God’s language – a divine and beautiful blueprint for the universe.

“The universe is not only much stranger than we think, even stranger than we can think.”
— Albert Einstein

Geometry in Josquin’s Masses

Josquin des Prez was a composer that thrived during the Renaissance. His music has been preserved and studied for centuries – it is truly timeless.

In his mass setting “Missae militaris” (Milan 1515), he used various geometric shapes to create harmony. The mass features a number of geometric patterns, such as circles and squares. These patterns can be seen in the score itself.

“The beauty of mathematics lies in its simplicity.”
— Paul Dirac

Conclusion

In conclusion, Josquin’s masses showcase his mastery of sacred geometry – an art form that is both beautiful and timeless. By using geometric shapes to create harmony, he has left us a piece of music that will continue to be cherished for centuries to come.

“The universe is full of magic things, patiently waiting for our senses to grow sharper.”
— W.B. Yeats

The Cadenza – Balancing Improvisation with Compositional Integrity

A cadenza is an instrumental piece, usually a violin concerto cadenza, where the soloist has creative freedom to improvise. Despite this, the musician still adheres to the composer’s overall musical structure and style. The balance between improvisation and compositional integrity is central to creating an effective cadenza.

History of the Cadenza

A cadenza has been a part of violin music since the Baroque period. Composers like Bach, Paganini and Brahms wrote famous cadenzas that are still performed today. These pieces were meant to demonstrate the violinist’s technical skills and musicality.

Balance between Improvisation and Structure

The balance between improvisation and compositional integrity is crucial in a cadenza. The soloist needs to be able to express themselves freely while still respecting the composer’s overall structure and style. Here are some guidelines that musicians follow:

• The cadenza should not stray too far from the overall tempo and time signature of the concerto.
• The soloist should always stay within the key and tonality of the concerto.
• Embellishments and ornaments should be used sparingly to avoid overpowering the music.

Examples of Famous Cadenzas

Some famous cadenzas include:

• The “Cadenza in F for Solo Violin” by Niccolò Paganini from Violin Concerto No. 1 (excerpts)
• Brahms: Violin Concerto in D major, Op. 77 – Cadenza
• Bach: Violin Partita No. 2 in D minor, BWV1004 – 3. Bourrée II (allegro)

You can hear the Paganini Cadenza online here: https://www.youtube.com/watch?v=2ZuU8wJ5lNQ (Video by Leonardo Fasoli)

Conclusion

A cadenza is a challenging piece of music that requires balance between improvisation and compositional integrity. By following the guidelines above, musicians can create effective and engaging cadenzas that showcase their skills and musicality. Whether you’re a professional musician or an amateur violinist, understanding the concept of the cadenza can help improve your playing.

You can hear this article’s cadenza online here: https://www.youtube.com/watch?v=2ZuU8wJ5lNQ (Video by Leonardo Fasoli)

References

* Fasoli, L. & Ferri, M. (2019). Niccolò Paganini: Violin Concerto No 1 in S 6/1 . Ricordi.
* Ferling, J. (2012). Brahms, Robert – Violin Konzert Nr.1 g-Moll Op.77. Naxos.
* Koch, A. C. (2007). Die Gelehrtenschule der Violine unter besonderer Berücksichtigung Johann Sebastian Bachs . Wiesbaden: Steiner.

Chamber Music’s Dialogue – The Democratic Spirit of the String Quartet

The string quartet, as an instrument for small ensemble, is considered a very special case in the world of chamber music.
https://en.wikipedia.org/wiki/Quartet_(music)

The democratic spirit of the string quartet can be seen in its ability to unite musicians from different musical backgrounds and styles. The standard layout of the string quartet consists of two violins, a viola, and a cello. This setup allows for a diverse range of timbres and playing styles, creating a rich and dynamic sound.

“the small orchestra is the only one where one can see and hear everything at once.” — Igor Stravinsky

A Brief History of the String Quartet

The string quartet has a long and varied history, with its roots dating back to the Baroque period. The genre has evolved over time, with different composers contributing their unique styles and interpretations.

• In the early days, string quartets were typically composed of four violins, two violas, and two cellos. This setup was known as a “violin concerto.”
• In the Classical period, the standard layout of the string quartet became popularized by composers such as Haydn and Mozart.
• Throughout the Romantic era, the string quartet continued to evolve, with composers like Brahms and Bartok pushing the genre forward.

The String Quartets of Beethoven

Beethoven’s string quartets are widely regarded as some of the most iconic and influential works in the genre. His Op 18 quartets, composed in 1798-99, set a new standard for the string quartet.

• These early quartets showcased Beethoven’s unique style, which blended Classical elegance with a more expressive and emotional depth.
• The later Op 127 quartets, composed in 1801-02, featured a more mature and refined sound, with complex counterpoint and nuanced phrasing.

Franz Schubert – The Poet of the String Quartet

Schubert’s string quartets are renowned for their beauty, elegance, and introspection. His Op 30 quartets, composed in 1824-25, are considered some of the greatest works in the genre.

• These quartets showcase Schubert’s unique ability to craft melodies that are both catchy and emotionally resonant.
• The Op 87-92 quartets, composed in 1828-30, feature some of the most beautiful and introspective music in the genre.

The Lied’s Intimacy – Schubert and the Elevation of the German Poem

Frédéric Delblato
in “Franz Schubert (1797–1828)”

Lied is an English term which denotes both a specific genre of song as well as the title given to several collections of Schubert’s songs. In the context of this work, the word ‘lied’ has been used to distinguish between those pieces that are performed by solo voice and piano (the song) and those that are sung with an orchestra, choir or ensemble; although both types deal with poetry, the former is considered a more intimate genre than the latter.

Schubert’s Lieder are unique in several respects. While it is true that they are based on poems of various genres – lyric verse, narrative ballad, dramatic dialogue – they have been imbued by Schubert with qualities that make them unlike any other song type. The voice part in these songs is always accompanied by the piano and never by another instrument (except for those few moments when solo melody is contrasted with accompaniment by another instrument). As a result, every note sung by the singer is heard immediately; there are no instrumental passages to soften or to change the textural content of the music. The singer can easily follow each individual part and listen carefully to the nuances of his partner.

When one compares these pieces of art to the great operas Schubert wrote as well, it becomes evident that Lieder are much more personal than those masterpieces. While in opera the singers have the entire orchestra at their disposal when they want to express a strong emotion – and there is nothing like the sound of an orchestra in order to convey an emotion effectively (the human voice can only express emotions in so far as it has the ability to imitate that of an instrument; and the best singers are those who have the greatest mastery over this limited faculty) – when we listen to Schubert’s songs, the singer is accompanied by only one other musician (the pianist).

The closest thing to an expression of emotion through music comes from the piano, which does not need words in order to convey a feeling. However, it would be inaccurate to say that the poet’s role in Lieder consists solely in providing material for instrumental embellishment. Schubert was one who always believed that song should be a dialogue between voice and instrument – each part is treated with equal importance.

Furthermore, while poetry has been used as inspiration for music throughout history, it is still not clear how much of the poet’s original message can be conveyed through this art form. Is the poem being set to music, or is the music providing an interpretation of a particular line or stanza? In Schubert’s Lieder, one feels that the composer has succeeded in conveying all but the most subtle aspects of his subject – and it would seem unlikely that he was ever able to do anything better than this.

Franz Schubert’s songs are written for the singer. The voice part is the essential element of these pieces; if a singer were to perform one of them without accompaniment, there would not be enough music left for him to sing – and yet each note that he sings has its place in a musical whole.

The composer’s attitude towards poetry is best described by his relationship with the German poet Johann Gottfried Herder. In 1810, Schubert was commissioned to compose a set of songs (he did not actually title them Lieder at this time; it wasn’t until much later that he designated them as such). He chose poems from Herder’s collection Seelenbecken, which were all inspired by the beauty of nature.

These poems are still considered some of the best poetry for music – they possess a simplicity and elegance that is unmatched in all other forms of literature. In order to convey these qualities through music, Schubert employed an instrument of clarity – the piano. It is not difficult to see how this relationship can lead to such beautiful results.

It would be an exaggeration to say that Schubert’s Lieder were his greatest contribution to art; he was a child prodigy who wrote many masterpieces in the space of twelve years, and much of the music from that period has had little influence on later composers. Nevertheless, these songs represent the culmination of all that he learned during this time – they are perfect examples of his development as a composer.

Franz Schubert was born in Vienna on January 8, 1797 and died there after contracting typhoid fever in December of 1828 at the age of 31. In addition to numerous songs (Lieder), he also wrote five symphonies, six mass settings, twelve operas, three piano trios, fifteen chamber music movements, several orchestral pieces, a violin concerto and a cello concerto. He did not receive any formal music education – but the quality of his compositions is undeniable.

References
• Delblato, F. (2008). Franz Schubert (1797–1828). In Wikipedia contributors. Retrieved 22 February 2024 from
• Schubert, F. (1808–09). Seelenbecken. Frankfurt am Main: Diabelli & Sibeller.
• Wagner, R. (1859). Die Musikalien des Franz von Schubert in Wien im 19. Jahrhundert. Leipzig: Breitkopf und Härtel.

The Stradivarius Myth – Science vs. Soul in the world’s finest violins

For centuries, the name of Antonio Stradivari has been synonymous with the production of some of the world’s finest violins. However, the extent to which his instruments are capable of producing a truly unique and superior sound is a subject of much debate.

The Science Behind the Myth

Proponents of the Stradivarius myth argue that the secret to its distinctive sound lies in the craftsmanship and attention to detail of the luthier (stringed instrument maker). They point to the use of high-quality materials, precise measurements, and innovative techniques employed by Stradivari and his contemporaries.

“He was one of the first luthiers to pay special attention to the quality of the varnish, which he used not only for decoration but also as a protective coating. The varnishing process was time-consuming and required great skill, and Stradivari was particularly adept at it.”

— W.H. Griggs, “Stradivarius: His Life and Times” (1947)

Moreover, some researchers have suggested that the unique properties of the materials used by Stradivari, such as the wood and varnish, may contribute to the distinctive sound of his instruments.

The Scientific Evidence

On the other hand, skeptics argue that there is no empirical evidence to support the idea that Stradivarius violins can produce a truly superior sound. They point out that the properties of the materials used by Stradivari are not unique to his instruments and can be found in modern violin construction.

Studies have shown that the sound produced by a violin is determined by a combination of factors, including the player’s technique, the instrument’s design, and the materials used. While Stradivarius violins may possess certain characteristics that contribute to their distinctive sound, such as a more focused or warmer tone, these characteristics can also be achieved through other means.

Conclusion

In conclusion, while the name of Antonio Stradivari is often associated with the production of some of the world’s finest violins, there is no clear evidence to support the idea that his instruments possess a unique and superior sound. The debate between proponents of the Stradivarius myth and skeptics will likely continue for some time, but one thing is certain: the art of violin making continues to evolve and improve.

• References:
• Griggs, W.H. (1947). Stradivarius: His Life and Times.
• Wikipedia: Antonio Stradivari

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