Journal Entry #2

For my second journal entry I listened to Padre Anotonio Soler’s Works for Harpsichord. This disc is composed of nine harpsichord works. Most of the works are sonatas with the exception of one concerto and a fandango. Each piece is anywhere between three to nine minutes in length. Before listening to Soler’s harpsichord works I kind of expected to hear the regular old baroque style of harpsichord playing. To my surprise, I was quite wrong.

As I played “Fandango en re menor” I was blown away. I could not believe that harpsichord music could be so beautiful. The thing I like the most about the fandango is the process it goes through as if it is racing to the end. I had to listen to it a couple of times to try and catch everything. It starts simply, with clear triadic chords, ornamented with trills, that alternate between the tonic and the dominant. All of the sudden, this complex rush of polyphonic notes and chords comes breaking through to deliver the first theme of this piece. The piece later proves to have many variations between slow and fast rhythms. Because of my previous perception of the harpsichord, I feel as though I am not even listening to the same instrument anymore

Each piece after the fandango greatly differs from one another. It sounds like Soler took traits from the Baroque style of music, such as ornamentation, and applied it to a new style of music. He was still able to make each piece have its own unique stylistic features and feeling. His style of music is very pleasing to the ear, especially with his execution of Spanish characteristics and qualities. In some sections of specific pieces the harpsichord almost sounds like a vibrant Spanish guitar-or a couple for that matter.

In “Sonata en fa sotenido mayor” he begins with a clear chromatic ascension of notes. When he gets to the top he plays around a bit and then comes back down to a middle range and hangs out for awhile. He then proceeds down to low and heavy “thumping”sounding chords in the bass. Soler then moves his back to the top and basically does this back and forth for a while. He soon repeats the beginning all over again and the song ends on one low “thumping” chord. I think it is amazing to be able to put all of this into a one-instrument piece, especially when that piece is the harpsichord-which I used to think was limited to the Baroque style. My favorite thing about his works is listening to one song that makes you feel a certain way and immediately being tugged to feel another way by the next piece. In “Sonata en do sost menor” he begins with a light Spanish-sounding harmony and rhythm accompanied by a varied “alberti bass.” He then moves to an abrupt polyphonic style, quickly returning to his light Spanish-sounding characteristics. In this piece he becomes so quiet that it sounds like a million tiny, little men plucking at strings in the harpsichord and follows it immediately with loud, heavy chords.

The last two pieces in this compilation are a part of a concerto called, “Concerto en sol mayor para 2 claves.” In this piece I was mainly trying to listen for significant differences from his sonatas. I found that in his concerto he has a much more developed form. I could pick out themes better in this piece than in the other pieces. One thing that kept my attention was when he switched to minor key in the middle of it and then back to major. I could not exactly tell you where he switched back into major because it was gracefully written. In this concerto, I am somewhat reminded of Mozart. He often repeats in the left hand what he played in the right hand and vice versa. His chords are also much more clear.

I cannot understand why this collection of musical works is not included in the Canon. I feel as though his works represent a shift in music. The characteristics of pieces show where music was going. I do not know a whole lot of information about the harpsichord but I assume that since composers were beginning to have access to more keyboard instruments than just the harpsichord they were beginning to move away from that Baroque style of keyboard music. As keyboard music evolved, the harpsichord was still used and the result was an interesting, new sound on the harpsichord. With Soler, it could have been that nobody knew what kind of keyboard he intended his works to be played on. So, for his harpsichord music to all of the sudden possess something different than its usual or typical style really shows what was going on in the world of music. Soler’s era was in the late 18^th century preceding the Romantic period. For these reasons I feel as though Soler should have received more recognition and praise. Really, I think his music should have been a part of the Canon.

Overall, I feel like I really learned something from these harpsichord pieces. Mainly, I realized how much the harpsichord has to offer. For an instrument to be manipulated in a way that one would think of it as not just a harpsichord but a musical machine is pretty incredible.

Journal Entry #1

For my first journal entry I chose to listen to selections from American Psalmody, Make a Joyful Noise. The whole disc is about 48 minutes long. All of the selections are early American choral compositions by various composers. Each of these hymn-like, a capella songs is filled with homophony and consonance. Each piece is typically written for four voices- soprano, alto, tenor and bass. As I began to listen to this collection of songs, I realized how familiar it was to me.

When I played the first song on this disc of unruly choral masterpieces, I was taken back to high school choir. Rehearsals were right in the middle of the day after lunch. The choir conductor frantically tried to teach 60-some chatty students while I am still tried to digest my three cookies and square-shaped pizza from lunch. The songs we were learning? The names I cannot remember but they sounded much like those included in this compilation. Most of the songs I sang in high school choir sounded exactly like this list of American classics. It was not the best impression.

As I began to make it through the whole disc, I got over my cynicism and actually started to enjoy the music. I realized that there is nothing abrupt in this genre of music which can be very nice. It allows me to not have to think too hard while listening. In “Chesterfield” by William Billings, the harmonies are quite beautiful in the way the sopranos project their voices on high notes an octave above the bass while everyone else in between slowly circles around 3rds and fifths. This song is set in a minor key which is wonderful text-painting considering the text is based on a psalm that pleads for God whilst in the absence of him. You can almost predict what chord will come next but that is part of it’s beauty. It is so simple that it somewhat resembles that of a chant. Another song of Billings, called “Washington,” does exactly the opposite of “Chesterfield.” It is still homophonic and strophic, yet it is fast-paced and is sung in a round, vividly text-painting the Lord ascending, angels, chariots and the glory of God. It is still incredibly simple which, again, makes it nice to just rest and listen.

Something I found interesting about the American composers who were prevalent at the turn of the 19^th century was that they were not necessarily musically educated. They were not classically trained on an instrument. This group of composers were basically writing music off the top of their heads. They began by writing one part and then creating other voices based off of that one part. For the most part they used their ear and if it sounded nice, without dissonance, they kept it. There was no significant influence from Europe and what it had to offer. Instead, these composers were influenced by one another and the culture of America at that time. Composers who fit in this category include Supply Belcher, William Billings, Daniel Read, Timothy Swan, Jacob Kimball, Amos Bull and Oliver Holden, all of whom are included on this disc. To me, this type of writing brings about two differing ideas. One is authenticity. The music is pure and genuine because it really comes from a place of truth within one’s heart and soul. These composers were probably not trying to impress their peers nor were they trying to be outrageously unique. This music was created out of gladness and to be enjoyed. The second is without complexity music becomes redundant and boring. I feel that if you have heard one of these songs you have heard them all. However, this does not mean that I do not find pleasure in listening it. It just means that there is really not much to follow throughout these compositions other than being entertained by what the music brings you as an individual.

One way in which I can gauge whether or not I think any of the compositions from this collection should be included in the canon is by trying to imagine one of these pieces being performed nowadays. I have a hard time trying to put myself in the midst of the 19^th century because life at that time was so much different than today. The reality is I cannot see the majority of these pieces being performed professionally today, with the exception of one or two pieces. There are too many compositions that possess the same qualities and traits that these pieces possess but with much more to offer, like dynamic and variations in harmonic chord progressions. I feel like these compositions were only representative of the time in which they were written and that is where they will stay. It is somewhat unfortunate because they were written about lovely things and ideas. However, the music just did not stick. That is not to say that I was not moved by some of them. “Chesterfield,” “Crucifixion” and “The Dying Christian’s Last Farewell” put me in the spirit of worship because of their harmonic textures. They did make me feel sorrow and rejoicing at the same time and they did move me to take a second listen. However, there are too many other pieces out there that do the same thing in a much lovelier, complex way.

My opinion on this early American genre may seem a bit harsh, but it is only because I have grown bitter due to past experiences with long choir rehearsals, nagging conductors and the desire to take a nap after a well-balanced, filling lunch. Although I am a bit biased, I still appreciate the music from this genre because it represents a carefree and pure way of creating music. It would be nice for other composers to take this attitude just once in awhile.