Posts Tagged ‘Modern Classical’

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Kayo Dot – Choirs of the Eye

Monday, March 29, 2010

Choirs of the Eye (2003)

This has to be the weirdest, most confusing album I own.

And where to start?

Extremely experimental meets post-rock meets classical meets jazz meets metal. None of those things should go together. But somehow, Kayo Dot have managed to do it. Whether that leaves you with something listenable is debatable. Personally, it leaves me dumbfounded that it has been done so well.

I got Choirs of the Eye because I’m such a huge fan of maudlin of the Well. I was expecting much of the same. While there are some similarities, Kayo Dot takes it to a whole new level of experimentation and challenge.

I’ve owned this music two and a half years. To this day, I haven’t wrapped my mind around  it. The music is an explosion of every instrument imaginable, from trombone to flute to heavily distorted guitars to strings to drums. It’s violence cuts, its numbness subdues, its ethereal beauty entrances. Like other maudlin of the Well music, the lyrics are sheer poetry, when you can understand what Driver is saying. He croons like Jeff Buckley and Thom Yorke (though is not as talented as either).

But it isn’t for the singing that you listen to Kayo Dot. It’s the fact that it’s insane, not only for its extreme intensity, but also for its laid back moments where it almost grooves, lulling you into false sense of security before it blows up on you again.

Choirs of the Eye, at least for me, is a musical challenge unlike any other. What it accomplishes has likely never been done before. Sure, there is avant-garde music. Maybe there’s even avant-garde music that’s been blended with metal, jazz, and classical. But I doubt that it’s been done with as much success as Kayo Dot did with Choirs of the Eye.

Before listening to Choirs of the Eye, I never would have believed music like this could exist. For at least this one thing I can consider Kayo Dot’s Choirs of the Eye a success.

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Gustav Holst – The Planets

Wednesday, March 24, 2010

Gustav Holst (1874-1934)

When Gustav Holst completed the The Planets, he thought it was failure. But what resulted is among the most popular, beloved, and recognizable classical music.

Get a good recording of this. You wouldn’t think it makes a huge difference, but it does. I have the Berlin Philharmonic, which is solid.

Being in band in high school, my relationship with Gustav Holst began with forced listening of “Mars” and “Jupiter,” the band directors pointing out how similar the former was to the Gladiator soundtrack (we played Gladiator for our marching band show). To my young, musical mind, I couldn’t fathom the comparison. All I knew was that this song was one of the most B.A. things I’d ever heard.

It wasn’t until college that I got my own copy of The Planets. In depressing times, all I had to do with listen to the Jupiter chorale to instantly feel better. I guess Holst didn’t call that movement the Bringer of Jollity for nothing.

“Mars” starts the suite off intense with its off-putting 5/4 time signature. Listeners will instantly draw parallels with John Williams and Hans Zimmer – after all, Holst seems to be the main source of inspiration for all soundtracks in moviedom. Personally, I get the image of an epic battle on the surface of Mars between aliens and humans involving AT-ST’s from Star Wars. Nerd alert.

But my favorite movement has to be “Saturn.” It is slow, methodical, and clashing. It’s soft, spacey, and then screams anger and confusion breaking from silent repression. The notes pummel you, leaving you bewildered and shocked, like the first time you wake up to discover that you’re old, truly old, or the first time the quiet kid everyone picks on lashes out like a rabid animal. “Saturn” is haunting and icy, and signifies a departure from the more upbeat planets of before, diving into the moodiness of “Uranus” and “Neptune.”

The Planets has actually inspired an idea for a novel within my head. This music feeds my imagination and makes me think. Who needs words?

The Planets is a great introduction to classical music for the newbie. It’s accessible, and the movements are not long at all (the longest may be about seven minutes or so). It has been a great pleasure in my life – and a few times a year, I find myself listening to it again.

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Shotakovich – Symphony No. 5

Saturday, February 28, 2009
Symphony No. 5 (1937)

Symphony No. 5 (1937)

I’m not a huge fan of classical. Not that I don’t like it, I just don’t know that much, outside Bach, Beethoven, Mozart…you know, the standard stuff.

Shostakovich though is probably my favorite classical composer. He is Russian and therefore dark (yes, therefore). He wrote during the communist era (mostly) when there were strict limits on what Soviet music could express.

Though he wrote to the state’s specifications, underneath was obvious criticism and discontent with life in the Soviet Union. Instead of being allowed to freely express himself, he was censored.

Symphony No. 5 was Shostakovich’s compromise with the state – he wrote what he personally wanted as far as the state would allow. The symphony itself was redeemed s by the “positive” fourth movement, played in F Major, but it’s probably more accurate to say it sounds more like its in d minor, a very sad key.

Shotstakovich’s 5th is among the most powerful music ever written. I particularly love the 1st, 3rd, and 4th movements. The tension built up in the first, when it is finally released around minute ten or so, almost never fails to give me chills.  The 3rd movement is perhaps one the saddest pieces of music ever composed – true despair without any hope. Shostakovich masterfully conjures this nightmare. I’ve heard that during the premier the entire audience was moved to tears.

The fourth movement, “Allegro non troppo,” is considered to be Shotakovich’s magnus opus by many. For good reason – it’s just downright amazing. Conductor Larry Livingston once said that Shotakovich was the rock and roll of the classical world. Nowhere is this more evident than this movement.

Anyone looking for something classical, but not the cliche kind that’s really happy and relaxing sounding, something heavy and brooding, darker and colder than a Russian winter, with plenty of bass and dissonant chords while retaining eerie melodies, you couldn’t find a better place to start than here.