Nobody understands me …

Well, Berlioz, let’s start with your hair. With a haircut like that, nobody is going to take you seriously!

Forget my hair! The hair is nothing. What I want is for people to understand my music!

Fair enough. So, what sort of music do you have for us today?

Ah, it’s my Damnation of Faust! I just adore this book by Goethe, even though it’s by a wretched German. As soon as I read it, I knew I had to write music for it.

Sounds good! So what did you write? a Faust Symphony like Lizst? an opera like Gounod?

Of course not! It has soloists, a choir, an orchestra …

Ah, so you wrote an oratorio! You know Schumann did that too …

Absolutely not an oratorio! Nobody wants another bloody boring cantata. My audiences made that clear when they first heard my masterpiece.

An opera then?

Well, it’s … eh … sort of … a “dramatic legend.”

Ok. So it’s an oratorio.

No, it is much more than that. My roles are to be acted and lived, not merely sung.

Ok, so let’s make it an opera.

We tried that already. My music is too magnificent to be brought down to the level of mere tomfoolery on a stage with idiotic costumes. *sigh* nobody understands me …

*pause* Well then, let’s talk about ways you might improve your hairstyle.

You’ve heard Carmina Burana before – everyone has, thanks to the opening chorus. People can’t get enough of this one. You can find it in movies, video games, commercials, sports events, and flash mobs (I was there!) It’s an awesome romp through the carnal pleasures of spring – some of the poems are quite erotic, some philosophical, some are brutal mockery, some are just plain weird, and yes, there are even fart jokes.

Poor Carl Orff – he was 40 when he composed Carmina (1936), and after it became so popular, he asked his publisher to destroy all his previous work, so that Carmina would be the beginning of his career, not the midpoint (or end?). The work was so well received that the Nazis allowed it to be performed, even though they disapproved of the erotic subject matter. The work’s popularity might be attributed to: 1) most movements follow simple song formats which are melodic and easy to remember, which was in stark contrast to much of the Art Music written at the time 2) a HUGE orchestra and chorus make this rock! 3) who doesn’t like a good dirty poem now and then?

This movement from Carmina is a poem about spring. I put “merry” in quotes because, if you didn’t know the text, you might think it was about something else – something much more somber and serious.

The final movement of Bach‘s St. Matthew Passion is a tearful lullaby to Jesus: “rest sweetly, good night!” There is a figure that Bach uses over and over again to emulate the sound of sobbing – you can hear it clearly at 2:26, but it is found throughout the piece.

But the best part of this piece is the 7-8 suspension that happens at every important cadence!

if you have no idea what that means, let me explain:

A cadence is a stopping point. A suspension is when you expect a certain note at a certain time, but the composer delays that certain note to intensify the feeling of resolve that you get when you finally hear said note.

So, at 4:48, we expect to hear:
sol fa me re DO

but instead we hear:
sol fa me re TI DO

And that TI, it hurts, but it hurts so good.

This version is very tastefully done. If I ever get to conduct this piece, I assure you I will make that suspension as tasteless as possible.