The Diabelli Project is about offering my weekly flash-composition sketches freely to all. Like Antonio Diabelli's theme, these sketches aren't great music. But perhaps (as in Diabelli's case) there's a Beethoven out there who can do great things with them.
About a month ago I posted the first woodwind quintet to emerge from the Diabelli Project flash compositions sessions (see: Diabelli Project 140). This week a second one began to take shape.
It's possible that this might be a companion slow movement to the earlier sketch. The idea here is pretty simple: begin with simple block chords and gradually (and gently) have them break apart. The primary notes in the bassoon repeat. If I were to continue that pattern, this could very easily become a ground -- and perhaps it will.
As always, you can use any or all of the posted Diabelli Project sketches as you wish for free. Just be sure to share the results. I'm always curious to see what direction someone else can take this material.
Monday, February 27, 2017
Friday, February 24, 2017
041. Flag Pole
In the instruction sheet, this was mislabeled a "Fag Pole," but we'll stick with the correct version here. This was not a difficult build, although the wooden collar holding the two dowels together isn't all that strong.
Even if you could, raising and lowering the flag would be too much for that single connector. The illustration isn't very clear. I wasn't sure if I was to use the fiberboard collars or the wooden discs at the top of the pole. I opted for the discs as it helped make a more secure connection for the rope (in this case, florist's wire).
Wednesday, February 22, 2017
October 31 wasn't officially fixed as Reformation Day until the 19th century. Nevertheless, as early as 1617 many German states were using the first Sunday after October 31st to commemorate Luther's establishment of the protestant church.
Whether celebrating Reformation Sunday or the Feast of St. Michael (also around the same time), these five cantatas are fine examples of Telemann's sacred writing. The works span about fifty years, and development of Telemann's style is dramatic.
The earliest work, "Jesu wirst Du bald ersheinen" is a relatively sparse and conservative work from 1711. The use of cornet and trombone harkens back to the renaissance, giving the cantata an air of ancient timelessness. The basis of the work is a tune by Martin Luther, "Es ist gewisslich an der Zelt." The soloists' material is tuneful but restrained.
What a contrast to the 1757 "Welch’Getümmel erschüttert den Himmel." If "Jesu wirst Du bald" was unassuming and introspective, "Welch' Getümmel" is unabashedly celebratory and triumphant. In this cantata, trumpets and tympani provide flourishes and fanfares. The bass soloist sings highly ornamented arias. The choral writing is a blend of imaginative counterpoint and full-bodied harmonies.
The other works also have their merits, not least of which are the performances of the soloists. Soprano Simone Schwark and bass Markus Flaig deliver a seamless duet in "Wertes Zion," their voices blending beautifully. And alto Johanna Krell's warm, intimate singing of "Kraft und Worte" I found especially charming.
The Kammerchor der Erlöserkirche Bad Homburg has a smooth, rich ensemble blend and sometimes sounds bigger than it is (a real plus for "Welch’Getümmel").
Four of the five works on this release are world premiere recordings, and I think they all deserve a hearing. Telemann's best known for writing a lot of music. This release, featuring works spanning his career, reminds us just how good most of it is.
Georg Philipp Telemann: Ein' feste Burg ist unser Gott
Festival Cantatas of the Reformation
Simone Schwark, soprano; Johanna Krell, alto; Hans Jörg Mammel, tenor; Wolfgang Weiß, Markus Flaig, bass
Kammerchor der Erlöserkirche Bad Homburg; Johann Rosenmüller Ensemble; Arno Paduch, director
Christophorus CHR 77405