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On Music: Le Sacre du printemps

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For those who don't yet know Igor Stravinsky's Le Sacre du printemps (The Rite of Spring), I envy you because you're about to be introduced to one of the most stupendous, complicated, arousing pieces of music ever penned. If you're like me, you might just spend the next 10 years of your life listening to as many different recordings as you can get your hands on and reading everything there is to read about this seriously complex score.

What you absolutely must know about the work:

  • It was commissioned by Diaghilev's Ballet Russe and premiered in 1913.
  • Nijinsky did the choreography.
  • A combination of the primal, earthshaking music and primitive choreography caused something of a riot at the Théâtre de Champs-Elysées where the piece was premiered. Some laughed, some hissed, others whistled. Debussy, who was in the audience, said it was "an extraordinary, ferocious thing."
  • It is the most famous, often-played piece by Stravinsky, and one of the most often performed pieces written in the 20th century.
  • Much of the piece was later used in Disney's Fantasia.

Rather than post different snippets, I thought I'd use Le Sacre as a way to show off one of classical music's most unique attributes: the variety of interpretations that can, and should exist. With classical music, it's as if every orchestra in the world is a cover band, with each conductor doing their own version. Listen to these soundbites, which are from five of my favorites recordings, all taken from approximately the same 30-seconds of Le Sacre.

This first clip is one of Leonard Bernstein's many recordings of the piece, this time with the Israel Philharmonic. Lenny liked to emphasize the weight of the instruments and, as a result, played it heavy and slower than most. But you really get to hear the space between the beats, which is super interesting.

In this one, Zubin Mehta takes the Los Angeles Philharmonic on a tight, syncopated trip at first, but then lets it all hang out toward the end.

This one is by Valery Gergiev and the Kirov in Russia. Nice, crisp, punchy brass!

Here's one by Stravinsky himself. Igor was always quick to emphasize the staccato in his own pieces, for better and worse. Yes, it's dry and mechanical at times, but I like how Stravinsky's personality comes out in it.

Lastly, here's the Chicago Symphony and Seiji Ozawa. Talk about a conductor on Ritalin!

I'm curious to know which you like best and why?????

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5 Legendary Keyboards (and the Songs They Made Famous)
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[This post was originally published on August 4th, 2008]

These days, there's no distinguishing one keyboard from the next because all they really do is act as computer trigger devices. But in the 60s, 70s, 80s, and even the early 90s, keyboards and their manufacturers were known for signature sounds. Here are five of my favorites:

1. The Mellotron

Though not nearly as famous as the others on this little list, the Mellotron is perhaps the coolest keyboard ever invented. Like our modern-day keyboard controllers that trigger computer samples, the Mellotron was really nothing more than a sample trigger-er, too. But because it was invented in the early 60s, the samples were actual tape loops! By depressing a key, a keyboardist was putting a tape of, say, a choir, or a violin section into motion on that particular pitch. So each of the 35 keys had its own, distinct, 8-second tape loop ready to play in the belly of the keyboard. Mellotrons never really caught on, though, because they were a) always breaking down, and b) the tapes, just like cassette tapes, lost their edge over time. Imagine playing an 8-second cassette tape over and over in a loop for hours on end. Think about how quickly scratches and hiss would take over.

But it was and still is one of the most musical of all early keyboards. Its sound is unmistakable, heard here on the two very famous excerpts below.

"Strawberry Fields Forever" by the Beatles. (The opening flute quartet is classic Mellotron at its best.)



"Nights in White Satin" by the Moody Blues. (Those lush strings aren't real! Well, technically they are, but as sampled and played back on the Mellotron.)



Be sure to check out "And You and I" by Yes, as well as "The Rain Song" by Led Zeppelin for more great Mellotron.

2. The Hammond Organ

HammondB3.jpgOriginally intended for churches, the Hammond line of organs, invented by Laurens Hammond in 1934 and manufactured by his Hammond Organ Company, became very popular in the 60s and 70s with rock and blues bands, especially the Hammond B3, pictured here. Whether you know the Hammond or not, you definitely know its legendary sound. Check out the examples I've picked here and revel in that "a-ha moment."

"Amsterdam," by Coldplay "“ One of my favorite songs by Coldplay. Listen how the Hammond coming in under the piano just opens the whole song up and takes it to another level.



Ah, yes: "A Whiter Shade of Pale" by Procol Harum. Can you imagine how different the song would feel if the chord progression and tune were plucked out on, say, a piano?



The Hammond completely defines this great Steve Winwood song, "Gimme Some Lovin":



3. The Minimoog

Minimoog.JPGA lot has been written about Bob Moog and his Moog Music empire. One cool fact, which often gets forgotten, is that the Minimoog is actually monophonic, which means it can only play one note at a time. You can't even play a simple C major chord on the Minimoog, let alone accompany yourself with the left hand plucking out a bass line on the lower part of the 44-key synth. It's also one of the first keyboards to feature the now ubiquitous modulation and pitch-bend wheels.

One of my favorite examples of the classic Minimoog is the following solo in Pink Floyd's song "Shine on You Crazy Diamond."



4. The Synclavier

synclavier.jpgAlong with the Fairlight synthesizer, the Synclavier, made by New England Digital in 1975, was one of the very first keyboards that allowed musicians to sample sounds and store them in on-board computers. In fact, if you're an old fart like me, you might remember Stevie Wonder showing off this very sampling ability on his Synclavier in an episode of The Cosby Show (the one where the kids get into a car accident with him).

One really amazing thing about the Synclavier, other than its ability to sample the human voice or anything within a microphone's range, was its amazingly high sticker price. Costing upwards of a quarter of a million dollars (much less than the price of my parent's 3-bedroom apartment in Center City Philadelphia purchased around the same time), some Synclaviers even fetched closer to half-a-million.

Other noteworthy facts about the Synclavier: It was created at Dartmouth College by the team of: Sydney Alonso, who developed the hardware designs, Cameron Jones, who developed the software, and Dartmouth faculty member and composer Jon Appleton, a musical advisor to the project.
Other than the Cosby episode, which I can't find on YouTube, if you'd like to hear the Synclavier in action, check out one of the most famous samples in music history below (the gong at the beginning of "Beat It," by Michael Jackson):



5. The Fender Rhodes

rhodes.jpgAll I have to say is: the theme song from Taxi, and you should instantly know the sound of the Fender Rhodes. Ubiquitous throughout the 70s and 80s in dozens of maudlin ballads (which we'll sample momentarily), the Rhodes is named for its inventor, Harold Rhodes, who was a piano teacher before joining the Army Air Corps during WWII. It was there that he was asked to provide musical therapy, bedside, for the wounded and wound up inventing a small keyboard using aluminum pipes from the wings of B-17 bombers.

The pipes created such a pleasing sound, and Rhodes' therapy sessions became so well-known, he received the Medal of Honor after the war. Soon he was manufacturing a larger version, and, over time, new, improved versions. Eventually, the Rhodes was bought out by Fender, which is why people forever call it the Fender Rhodes.

In addition to the below clips, the Rhodes can be heard up and down Chick Corea's Light as a Feather, Miles Davis' In a Silent Way and Bitches Brew, as well as on most of Weather Report's albums and Herbie Hancock's, too. It was a jazz-fusion staple for a couple decades there.

"Just the Way You Are" by Billy Joel



"Angela (Theme from 'Taxi')" by Bob James



Ed note: The gorgeous Stevie Wonder keyboard pic (on the homepage) is by Al Satterwhite, via kalamu.

Check out past On Music posts here >>

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Shazam, Shlemiel, Shlimazel
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I've used Shazam on and off over the years to I.D. songs I either forgot the names of or just never knew. But the real test of any music recognition software is whether or not it can tell me what's playing on a classical music station. This is where you really need the app to come through because, let's face it, it could be 30 minutes or more before the piece ends and the radio announcer comes back on to tell you. Sadly, every time I've tried, the app has come up empty. I've even tested it with well-known pieces, like Barber's Adagio for Strings. Instead of coming back with at least "The theme from Platoon," Shazam says the piece is "unrecognized." What would Samuel Barber say?

Deciphering classical music presents a lot of challenges. For starters, recordings are indistinguishable when you're talking about a 12-second sample size. For example, there are more than 200 recordings of Beethoven's 5th Symphony! Not quite like learning the beat of a B52s song, is it?

Tempi vary wildly from recording to recording and, as I understand it, it's the tempo/beat mapping that Shazam is really working off of. But technology will improve, rest assured. The Shazams of the future will surely be able to not only distinguish between Mozart's Requiem and Berlioz's Requiem, but the hundreds of recordings of each. Until then, well, I guess the beat goes on...

Have any funny or interesting experiences with music recognition software? Let us know in the comments below.

Check out all the ON MUSIC posts here.

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