“Why fit in when you are born to stand out” is an ‘Elephant-in-the-Room’ quote often attributed to children’s author Dr Suess.
It could be applied to Johannes Brahms for whom Beethoven was the ‘elephant-in-the-room’ when it came to symphonic writing. Living in the shadow of Beethoven, Brahms was reluctant to compose a symphony for fear of it being compared to those of Beethoven. Hence it took him at least fourteen years to complete his first symphony.
It could be applied to Gabriel Fauré when he composed music for that classic ‘elephant-in-the-room” subject “death”. Faure’s Requiem is unique. He doesn’t comply totally with the traditional text. The anguish, loss and horrors of Death and Judgement Day, common to musical settings by other composers, are left by the wayside. Fauré concentrates on the true meaning of the word "Requiem", or "rest". His Requiem is about peaceful acceptance and release, and the music is serene, elevating, comforting.
Beethoven’s own ‘elephant-in-the-room’ was his ‘Septet for Wind and Strings’. The concert-going public loved it so much to the detriment of their acceptance of other works of his - works which Beethoven considered superior - that he could not bear to talk about it. “I wish I had burnt it”, he is reputed to have said of the Septet.
For your interest and enjoyment here are the links to the notes and recordings for these and other works which occupied us in the month of August.
Session Notes 9th August
Introduction to Academic Festival Overture
Brahms - Academic Festival Overture
Beethoven - Septet
Webern - Langsamer Satz
Mozart - Piano Concerto No. 12
Session Notes 23rd August
Beethoven - Prometheus Overture
Brahms - Symphony No.1
Faure Requiem - Netherlands Choir
Faure Requiem - Kings College Choir
Faure Requiem - Latin to English Text
Bill Squire.
It could be applied to Johannes Brahms for whom Beethoven was the ‘elephant-in-the-room’ when it came to symphonic writing. Living in the shadow of Beethoven, Brahms was reluctant to compose a symphony for fear of it being compared to those of Beethoven. Hence it took him at least fourteen years to complete his first symphony.
It could be applied to Gabriel Fauré when he composed music for that classic ‘elephant-in-the-room” subject “death”. Faure’s Requiem is unique. He doesn’t comply totally with the traditional text. The anguish, loss and horrors of Death and Judgement Day, common to musical settings by other composers, are left by the wayside. Fauré concentrates on the true meaning of the word "Requiem", or "rest". His Requiem is about peaceful acceptance and release, and the music is serene, elevating, comforting.
Beethoven’s own ‘elephant-in-the-room’ was his ‘Septet for Wind and Strings’. The concert-going public loved it so much to the detriment of their acceptance of other works of his - works which Beethoven considered superior - that he could not bear to talk about it. “I wish I had burnt it”, he is reputed to have said of the Septet.
For your interest and enjoyment here are the links to the notes and recordings for these and other works which occupied us in the month of August.
Session Notes 9th August
Introduction to Academic Festival Overture
Brahms - Academic Festival Overture
Beethoven - Septet
Webern - Langsamer Satz
Mozart - Piano Concerto No. 12
Session Notes 23rd August
Beethoven - Prometheus Overture
Brahms - Symphony No.1
Faure Requiem - Netherlands Choir
Faure Requiem - Kings College Choir
Faure Requiem - Latin to English Text
Bill Squire.
