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What Are You Listening To Right Now?


Guest Black Lotus

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  • 2 weeks later...

More classical thoughts and listenings.

 

World War I changed everything for "art music" (as distinguished from "popular music, though the line between the two has eternally been a blur), and one of the artists it changed most for was Sergei Rachmaninoff. An aristocrat who would retire to rural Russia every summer to compose, the collapse of the monarchy and the rise of Communism forced him into permanent exile in 1917. For almost nine years he wrote very little music, supporting himself on his highly successful career as a concert pianist. He eventually settled in New York City, became an enthusiast of orchestral jazz, and attended the premiere of the Rhapsody in Blue in 1924. When he finally resumed composing, the sea changes in the musical scene seemed to have obsoleted the style of his most famous works (the second symphony and the second and third piano concertos). In 1926 he debuted his fourth piano concerto in Philadelphia.

 

It landed with a profound thud. Critics were scathing. Rachmaninoff, who never handled criticism well, withdrew the work. He was never satisfied with it, and made two attempts to revise it, the last in 1941 just before his death. When he revised his major works. it usually turned out to be to their detriment.

 

So why do I love the Fourth so much?

 

There is, for one thing, a restless energy throughout, especially in the piano part. It's clear where that came from when I looked at the historical context, as the work of a composer wondering what his place was in the new world that was emerging (and indeed whether he had a place at all in it). It's as if his conservatism had not yet come to grips with everything else that was going on, in the world of music and in his own life. But dour though he could be, there is also a sort of optimism as well. Rachmaninoff had lost a great deal -- his home, his security, members of his family -- but he had not lost everything.

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Online singers love Disney songs, don't they?

 

 

Interestingly this artist (a man named Jonathan Young) restored Hugo's vision a little -- in the original novel Notre Dame de Paris, Frollo was a priest, not a lawyer, and his terror of his own sexuality was par for the course for clergy of his day.

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I still think that the original is a stronger piece, and one that surprised me that it was allowed to be in a Disney movie in the first place.

 

 

Hunchback of Notre Dame is not your normal Disney musical. A writer in Alarums & Excursions described it as "a dagger to the heart of the Religious Right". It's all about the conflict between aggressive, overt dogmatism (Frollo) and genuine spirituality (Quasimodo). And Frollo is one of the best villains ever in a Disney film because his evil is so real, palpable, and human. I can see a lot of people in the news right now who bear a strong resemblance to Frollo, and a lot of parallels to his obsessive hatred of "gypsies" and other "vermin". Of course, the parallel really comes full circle when we see Frollo's personal hypocrisy.

 

The guy who did the fantastic score also scored The Prince of Egypt, Dreamworks' attempt to get in on the Disney Renaissance. It told the story of the Exodus (one of the earlier covers in this thread is from that film). He's pretty much one of the go-to guys when you want to do a musical about religion. And he also wrote the score to Wicked.

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