Everyone seems to want a piece of May 1st. Is it just about spring, or is it a religious festival, or day to celebrate the labor movement?

It’s a bit confusing, but then again, so is the Second Symphony of Dimitri Shostakovich. Written when the composer was barely 21 (which means, as a Russian, he was had been drinking vodka legally for only 9 years), it portrays the story of the October Revolution – not about May, but about the Soviet revolution, and therefore the labor movement. Shotakovich himself was a bit confusing, too, since he started his career as the Bolshevik poster boy, then he was shunned by the Soviets, then he was loved again, then he was hated again. Then he joined the communist party. Whatever, I’m confused; but so were audiences when the Second Symphony was first performed. The Russian laborers were baffled by the modernist, murmuring beginning that was void of any traditional melody or harmony – but were moved by the rousing revolutionary chorus that concludes the piece. Meanwhile, western European audiences loved the progressive beginning part, but were turned off by the cheesy revolutionary chorus.

Now I’m completely confused. I’m going to go back to circling a Maypole.

Rainbows! (did you expect something else?)

American composer Christopher Theofanidis‘ best known work is Rainbow Body. Its title comes from Buddhism, when an enlightened soul becomes one with the universe at death.

What I find important about this piece (as well as much of Michael Daugherty‘s works) is its blatant dismissal of the Art Musical styles that dominated the latter half of the 20th century. Gone are the games of playing with dice to write music, number grids and matrixes, electronic beeps and farts; these pseudo-intellectual approaches to composition had slowly eroded away the Art Music audience by the late 70’s.

Rainbow Body shows a real attempt to reconnect with audiences who had become suspicious of modern music (it’s Copland-esque at times), but also has some neat effects which mark it as new and forward looking.

Quite frankly, nobody can even come near Shakespeare in his mastery of language. He is to English what Bach was to counterpoint, Tchaikovsky to melody, or Mozart to form and balance.

Anyone who sings in a choir knows the name John Rutter. He might be considered one of those “crossover composers” – writing music that is hard to place as purely “classical” or “popular”. Naturally, this has made him disliked by many elitist musicians who seek reasons to turn their noses up at composers who are actually successful during their lifetimes. But once you get over that bit of nonsense, you’ll find that he is a master composer with impeccable technique (solid & interesting vocal writing) who knows how to please his performers and audiences with honest, unpretentious music.

“Blow, blow, thou winter wind” is a song found in Shakespeare’s “As you Like It“. I am particularly fond of this text, and find comfort in it when I’m having a bad day. Rutter’s setting is perfect. It flows like a popular song, has a sweeping melody (with a couple fantastic 9-8 suspensions!) and some harmonic twists that give it a bite – like a winter wind: not so unkind as man’s ingratitude.