Toward the Flame(2)
The fresh morning air and the alluring glow of the sun summoned Alexander, who could not resist the urge to embrace nature. Tracing the circumference of the lake with his foot, Alexander suddenly encountered an unfamiliar man.
Curious about the man’s identity, Alexander asked: “What is your name?”
“I am Sergei”, the man replied, glancing towards the horizon, “it was only a few days ago when I settled at this place.”
Thinking that Sergei would stop talking, Alexander opened his mouth again, but he was no match for Sergei’s trembling voice.
“My brother, I have come all the way here from the ruined city of Vladivostok, just in time to have my reprieve here, the Krasnoyarsk Krai. Anyway, have you not heard of the impenetrable fire that followed me on my northbound journey?”
At this very moment, both Alexander and Sergei were suddenly startled, as if they were deer exposed to headlights. They looked up, the colours above had been substituted by a more upbeat sky blue, but without warning, a distressing shade of light-grey suddenly veiled the atmosphere, causing the sun to ooze a poisonous orange light. The once lively pair of exalted birds were suddenly teeming with fluster: their song had ceased seemingly aeons ago, and their relaxed and controlled dance morphed into agitation and delirium. Perhaps, they had instinctively detected something much more perilous than the changing colours above.
There was no need to look back. A peculiar smell soon crept up their nostrils. Having settled in such a placid place for years, Alexander could not recall the last time he had inhaled something so unfamiliar and something so inauspicious. He almost choked. However, it did not take Sergei so long to recognise the smell, the odour of his new worst fear: a raging fire.
Before the fast approaching flame, the pair stared into each other’s wide-open eyes. In a spot of panic, Alexander became firmly rooted to the ground, unable to move a single muscle. Sergei vanished. Hope laid within Alexander himself. He alone controlled fate. He was briefly a god.
He saw it now. The raging wall of flame threatened him with its velocity: one moment, the inferno roared atop a hill, and the next it crackled at the bottom. Under the illumination of such a fierce flame, the sky was violently dyed a poisonous orange. The once idyllic lake boiled into a deathly smudge, hosting glaring flashes of brightness that dance with hypnotic blobs of black mass.
The cracking of the dead branches, the crackling of the blaze, the crunching of every single plant produced a devlish cacophony that stupefied Alexander - he had never heard a noise so wicked or fearsome.
Alexander’s back tingled dreadfully. He was struggling to breathe. The overpowering blaze was savagely stealing oxygen away from his innocent lungs as it selfishly indulged itself in all available fuel, just like how the Cyclops Polyphemus had once consumed men.
He was alone. He only possessed a house by the lake. His plan of escape, if he had any, was doomed to fail. The fire was simply unconquerable. Having raged across most parts of the world, it had finally come to this place. Human civilisation was doomed to fail, let alone a feeble being in the shape of Alexander.
In an act of impulse, he walked towards the flame.
After “Vers la Flamme” by Alexander Scriabin
Towards the Flame (1)
The calming breeze gently murmured, as the tender swooshing and brushing of the curtains awoke Alexander prematurely. His peaceful state lingered despite the sudden vanishing of his languid dream. His eyes smarting from the abruptness of his waking,he found it impossible to close his eyelids again.
Glancing outside, Alexander could not help but marvel at the finely calibrated cerulean colour of the firmament. Faintly glowing stars glimmered, embodying ever-changing patterns: a soaring dove, a blossoming flower, a cascading fountain…
Outside his room, the world began to spring to life. The lush trees were just beginning to display their liveliness, with their shade of relaxing moss green gradually fading. Resting on a branch gracefully were two charming birds, whose vivid purple feathers outlined the shape of their majestic bodies, as if governing a prosperous empire. Their soothing duet impressed Alexander even more than their appearance because of the birds’ sweet tones and their intertwining melodies that crafted an ingenious fugue. The birds’ graceful dance complemented their lyrical voices, which fused a spellbinding sensual experience.
Completing this heaven of a sanctuary was a sapphire lake. Its undisturbed surface depicted a vivid image of Alexander when he glanced down. Alexander was 43, whose bright and auburn hair had once scintillated under the sun, but since the Fire started, only his grandiose moustache could . He relished this magnificent patch of facial hair, for he had tended it since it had first appeared, carefully keeping its symmetry and its handsome upward curl. Ever since his birth, Alexander’s innate feebleness had prevailed - his muscles were never instructed to grow; all his peers surpassed him in height by the length of his head. He had always loathed the shape of his body.
Alexander remembered setting off for this remote place months ago. He was a resident of Sochi, whose convenient seaside location enabled its people to be well informed about The Fire. The image of a beautiful Sochi, whose wonders used to melt Alexander’s heart, was vividly ingrained in his brain.
With the increasing emission of greenhouse gases, heatwaves and droughts had become an ever-present annoyance. Gradually, wildfires became more common and fierce, while the firefighters became more ineffective with the passing of each day. This trend seemed unstoppable to Alexander when he had received the news that a fire had broken out nearby. It would inevitably reduce his city to a pile of ruins. Deeply terrified, he fled the place he had called home for so long to northern Russia.
My Favorite Recording:Feinberg’s performance of Scriabin’s Fifth Sonata.
A performance can either make or break a composition. To my disappointment, top-quality modern recordings are few and far between, which is why I’ve always gravitated toward older recordings.
I am a follower of the difficult-to-define Grand Manner pianism. Unlike the rigid performances of many modern pianists—often constrained by competition judges and the need to appease the public—recordings in the Grand Manner feature an innate interpretative fluidity. Instead of merely replicating the composer’s art, Grand Manner pianists create their own.
You may ask, what exactly constitutes a fluid interpretation in the Grand Manner? This is best exemplified by my favorite recording: Feinberg’s performance of Scriabin’s Fifth Sonata.
Don’t be put off by the poor sound quality; beneath it lies a work of genius.
The most striking feature of this interpretation is Feinberg’s rubato. At first, it may sound erratic to someone accustomed to modern pianism, yet it brings a sense of originality, intrigue, and cohesion.
In fact, in every other area where a recording can be judged, Feinberg is both bolder and more effective than any other pianist. He offers a unique flavor. From dynamics and phrasing to tone and voicing, everything is so sublime that words hardly do it justice.
The best way to truly understand why this is my favorite recording is simply to listen to it.
Piece Collage: Clairieres dans le Ciel by Lili Boulanger
Titled Clearings in the Sky, this is Lili Boulanger’s only song cycle composed in her short life. With 13 songs in total (corresponding to the number of letters in the composer’s name), this set is based on Francis’ Jammes poems Tristesses that depicts the protagonist’s unrequited love.
The composer’s selection of 13 poems captures the emotional development of the protagonist, from the reminiscent happiness in the first poem Elle était descendue au bas de la prairie to the hopelessness in the final poem Demain fera un an. In these 13 intricately painted tableaux, the mood shifts subtly at every turn, and in the end, Boulanger weaves a tapestry of emotions, much like the poet Jammes himself.
My favorites include:
1. Elle était descendue au bas de la prairie (She reached the base of the meadow). This is one of the happiest pieces in the cycle, as the protagonist recalls a joyful memory of the girl frolicking in a meadow. The entire song has a magical quality, truly evoking a sense of a clearing in the sky.
2. Les lilas qui avaient fleuri (The lilacs which are still flowering). This piece depicts two lilacs, serving as a metaphor for the lovers. The harmonies in this song teeter between consonance and dissonance, reflecting the inner turmoil of the protagonist as the mood of the cycle shifts toward sadness.
3. Demain fera un an (Tomorrow will be a year). As the final song of the cycle, it references much of the material Boulanger used earlier. Here, the cycle culminates in a despairing climax as the protagonist questions the purpose of life with a nihilistic tone. At 9 minutes long, this piece expands beyond a miniature and develops into a complex, profound work.
This cycle is best experienced in one sitting.
My favorite Classical Music YouTube Channels
Seigneur Reefshark. I primarily watch their content for the Medtner pieces featured on the channel. There’s already an impressive collection of works available—such as all the piano sonatas and concertos. With several different recordings of the same pieces, it’s also a great way to discover new interpretations and pianists. The visual art accompanying the musical exhibits adds a really nice touch as well.
2. Momrad Carko, also known as Wide Godowsky, is a fellow Scriabin fan, just like me, so his channel offers a great selection of Scriabin pieces. His primary focus, however, is on pianists, and all the videos he uploads showcase top-quality recordings. What sets him apart is that he exclusively uploads score videos, meaning there’s always sheet music accompanying the performance. This makes it much easier to follow what both the pianist and the composer are doing.
3. Dream_boat. This channel focuses on old recordings. Although there is no sheet music accompanying the performances, the recordings uploaded are truly one of a kind. Most of the pieces he shares can’t be found on Spotify or YouTube, so his channel has introduced me to countless rare gems and deepened my appreciation for many pieces I had previously overlooked. The highlight of the channel is definitely the Medtner recordings, with Edna Iles’ interpretations being particularly valuable to me.
Three Special Scriabin music Recordings
Scriabin’s music is written in a way that invites a wide range of interpretative possibilities. Some pianists prefer to adhere closely to the score, following Scriabin’s directions with precision. Others, however, infuse their own personal touch into their performances, and it’s often this individual flair that makes their interpretations so captivating.
What fascinates me most is how Scriabin’s pieces seem to evolve through each pianist’s vision. A single work can feel completely different depending on who’s performing it—some might emphasize the mystical qualities, while others bring out its more turbulent emotions. This interpretative freedom is what keeps Scriabin’s music endlessly fascinating for me. Whether it’s a strict rendering or one filled with creative liberties, every performance reveals something new about the piece and the artist behind it.
Vers la Flamme Op.72 (Scarpini)
he key to this recording is the tempo. At just 3 minutes, it’s likely the fastest rendition of the piece available. While faster doesn’t always mean better, in this case, the brisk tempo adds a satisfying intensity that perfectly captures the cataclysmic nature of the piece, as if the world is being consumed by flames.
2. Poeme Op. 59 No. 1 (H. Neuhaus)
The uniqueness here doesn’t stem from any extravagance in Neuhaus’ intensity or speed, but rather from the tone in his playing. Perhaps it’s the vintage recording quality, the character of the piano, or simply the skill of the pianist, but the crystalline clarity of the melodies truly captures the essence of the piece.
3. Piano Sonata 9 “Black Mass” (Bakk)
The most special recording is saved for last. In every aspect—rubato, dynamics, phrasing—the interpretation is strikingly unconventional. It’s this very unconventionality that gives the piece a dark energy, making its title feel all the more fitting.
Three best Medtner Poems
Medtner’s Poems are all short vocal works set to poetry. He primarily draws inspiration from Russian poets like Pushkin and German poets like Goethe, using their verses as the lyrical foundation for his compositions.
Nikolai Medtner, a Russian late-romantic composer
Insomnia Op. 37 No.1
Insomnia (a poem by Tyutchev) is perhaps the most well-known of Medtner’s often underrated Poems. Set firmly in a minor key, it conveys a bleak, almost hopeless sadness throughout. The simple texture introduced in the left hand at the start persists throughout the piece, mimicking the relentless grinding of train wheels. The buildup and climax are among the most evocative moments in Medtner’s music, overwhelming the listener with emotional and melodic brilliance. The vocalizing section at the end is equally genius, bringing the piece to a proper conclusion through the satisfying interplay between the voice and piano melodies.
2. The Angel Op. 36 No.1
The Angel follows a structure similar to other joyful and celebratory poems, such as The Muse (Op. 29 No. 1). It’s a lovely touch that Medtner leaves the key in C Major—the purest of all keys, reflecting the purity of angels. To open the Op. 36 set, Medtner creates a sense of comfort with consonant harmonies and textures that set a peaceful mood. As the text mentions ‘Satan,’ the harmonies become increasingly dissonant, but they resolve as the angel’s positive force prevails. The climax is undoubtedly the highlight, with the relatively chromatic scales in the left hand contrasting beautifully with the consonance of the singer’s melody. The piece concludes with an eruption into a joyous, harmonious finale.
3. Arion Op.36 No.6
Arion is one of Medtner’s most emotionally complex Poems. The song tells the story of a sailor who sings aboard a ship, only for a storm to arrive, scattering the people on the shore. Eventually, the sailor washes up alone as the weather clears, yet he continues to sing the same song. The calmness at the beginning somehow evokes a peaceful night, with the textures resembling gentle waves. The climax during the storm is one of the most tumultuous and complex passages Medtner has ever written, with constant shifts in mood and intensity. The emotional depth of the piece is fully realized when the sun returns: although the sailor sings the same song, amidst the joy and brightness of the major key, there is an unmistakable sadness beneath it all. I’ve never heard a piece that blends happiness and sorrow so seamlessly.
Three Underrated Scriabin Etudes
Op. 8 No. 4
This short etude evokes the feeling of relaxing by a pond filled with blooming water lilies in summer. It serves as a study for the challenging 4/3, 5/3, and 5/4 polyrhythms that frequently appear in many of Scriabin’s other works. These polyrhythms create a unique texture that is deeply satisfying to listen to. Additionally, the piece offers the performer an opportunity to bring out hidden voices and shape the top melody in distinct ways throughout certain sections. There’s also plenty of room for expressive rubato. The melody in the middle section, in particular, is especially sweet and delicate.
2. Op. 8 No.9
This etude opens with galloping octaves that evoke the image of a sprinting horse. The A section unfolds in short, energetic phrases that end with a flourish, as if the horse is accelerating with each stride. The slower middle section feels completely different; at first, I even thought the etude had ended after the initial A section. This lyrical middle part provides a beautiful contrast. But soon, the tempo picks up again, leading to a satisfying recapitulation of the A section as the octaves resume their galloping. This etude is a true test of a pianist’s octave technique, while Scriabin still leaves plenty of room for rubato and subtle dynamic nuances.
3. Op. 42 No. 4
Appearing just before the mammoth No. 5 in the set, No. 4 is arguably one of Scriabin’s easiest etudes technically. However, it is exceptionally beautiful and demands subtle touches to achieve dynamic and temporal perfection. The wavy texture creates a gentle oscillation, entrancing both the pianist and the listener. As a work from Scriabin’s middle period, the highlight of this etude lies in its harmony, striking a perfect balance between consonance and dissonance. It’s a shame that this lovely little piece is often overshadowed by the titanic No. 5.
My Favorite Medtner Sonatas
Night Wind Sonata, Op. 25 No. 2
Preferred Recording: von Eckardstein (9.5/10)
This is Nikolai Medtner’s most colossal work, inspired by Tyutchev’s poem of the same name. Despite not having a reputation for writing memorable melodies, the first melody from the introduction is arguably one of the best he ever composed. The piece itself is rich in musical variety, with moments of intensity and fast runs as the wind gathers strength, contrasted by quieter passages when the wind dies down.
2. Sonata Romantica, Op. 53 No.1
Preferred Recording: Gvozdetsky (9.25/10)
The Sonata Romantica is unmistakably a mature work, paired with the Sonata Minacciosa in the Op. 53 set. The highlight of this piece lies in its brief but powerful climaxes—two in the first movement and one in the finale. The second movement, with its high energy and intensity, is probably my favorite scherzo. The short third movement offers a nice moment of respite. This piece excels in its use of varied harmonies, powerful dissonances, and complex textures, creating momentous ebbs and flows throughou
Image of Medtner
3. Sonata Reminiscenza, Op. 38 No.1
Preferred Recording: Gilels (9/10)
To begin the Op. 38 set of forgotten melodies, Medtner chose the sonata reminiscenza that introduces the motifs used in the proceeding miniatures. THe sonata creates a melancholic mood that looks back to an almost tragic past, reminiscing a golden age that has passed. Naturally, the piece features many moments of extreme delicacy, and an intense and wailing climax at the end of the development section. This is perhaps one of Medtner’s most emotionally powerful pieces, yet it is simultaneously fairy-tale-like.
4. Sonata Tragica, Op. 39 No.5
Preferred Recording: Tozer (live) (9/10)
I would choose this piece to introduce someone to Medtner’s music, as it is brief, brilliantly constructed, and so intense that one can easily be absorbed by its flow and the sonata form. The word that best describes this piece is intense. As the final work in the Op. 39 set, it intriguingly recycles a motif from the Op. 39 No. 4 Canzona in a mellow manner that feels completely at odds with the piece’s overall intensity. The coda is especially epic, as the music builds into an overwhelming explosion by the end.
Debussy’s Images and Estampes: a Tierlist
Introduction
In this tierlist, two suits for solo piano, namely “Estampes” and “Images” by the French composer Claude Debussy will be covered. The reader should note that the basis of this tierlist is not based on the quality of music, but instead my enjoyment of the pieces.
The suite “Estampes” (Prints), L.100 consists of three movements, which will be ranked separately.
They include:
Pagodes ("Pagodas") – approx. 4-5 minutes (B major).
La soirée dans Grenade ("Evening in Granada") – approximately 51⁄2 minutes (F♯ minor → F♯ major).
Jardins sous la pluie ("Gardens in the Rain") – approximately 31⁄2 minutes (E minor → E major)
The suite “Images” (images), L.110 and L.111 for books I and II respectively, consists of six movements collectively, with three in each book. These will also be ranked separately
They include:
● Book 1 (L. 110)
1. "Reflets dans l'eau" (Reflections in the water) in D♭ major
2. "Hommage à Rameau" (Tribute to Rameau) in G♯ minor
3. "Mouvement" (Movement) in C major
● Book 2 (L. 111)
1. "Cloches à travers les feuilles" (Bells through the leaves) in B whole-tone (the middle section is in E major)
2. "Et la lune descend sur le temple qui fut" (And the moon descends on the temple that was) in E minor
3. "Poissons d'or" (Goldfish) in F♯ major
Comments
Pagodes
As suggested from the title, the first from Estampes depicts the tableau of a pagoda, an East Asian tower built for religious purposes. Marked moderately animated, the composer presents beautiful and melodic themes and deploys a syncopated and animated rhythm, eliminating an emphasis on downbeats. (Notably, Scriabin also does this, as shown in the prelude Op.11 No.1).
Interestingly, Debussy skillfully imitates the Gamelan Scale, one originated from Indonesia, thus he immediately through the harmonic language hints the oriental image that is depicted throughout the piece.
To create a moderately animated, and thus relaxed atmosphere, Debussy used repeated congruent chords, my favourite form of texturing. In addition, this mood is created by the way in which the primary motif, marked with presque sans nuance, meaning almost without nuance, and even the whole piece is played.
Overall the beautiful melody, the animated rhythm and the powerful depiction of a pagoda resonates with me to a large extent - S tier
La soirée dans Grenade
The purpose of this suite is to portray three picturesque tableaux, which is exactly what Debussy did in this movement. As the title suggests, the image shown here is a tranquil evening in the Spanish city of Granada (not to be confused with the country Grenada). Marked Mouvement de Habanera, the rhythm of Habanera is present throughout, more interestingly however, the composer uses Arabic scale and no traditionally Spanish material, yet it is clear that he is depicting Spain. Magically, this piece simultaneously sounds Spanish, Middle Eastern and French.
Highlight: mm. 109-112, 115-118, marked leger et lointain, meaning light and distant, features quick and scuttling staccato, providing a vivid and satisfying contrast with the more subdued and calm atmosphere of the whole piece and mm. 113-114 - A tier
Jardin sous la pluie
Even though the name Estampes suggests that this suite depicts still images, in my opinion, this movement portrays a period of time in which the intensity of rain varies, as shown by the constantly changing amount of texturing and dynamics. I also crave for wavy texturing (for instance Scriabin’s Etude Op.42 No.5), which is wonderfully provided by this piece.
Highlight: mm. 100-115, a relatively straightforward yet effective build up, with a crescendo over sections with increasing pitch (G -> B -> D) - A tier
Reflets dans l’eau
Yet another piece depicting water, but this time the reflection it provides as it changes from clear to blurred and back to clear again as the water transforms from still to fast-moving and back to still. As a physics student, I perceive the reflection switching from specular to diffuse and back to specular again.
Out of the whole suite, this movement is the most picturesque for me, especially the texturing which covers the whole keyboard, with each oscillation depicting a wave from trough to crest and to trough again. This eventually leads to a climax, the highlight of the piece for me. - A tier.
Hommage a Rameau
The premise of this suite is to depict images yet Debussy wrote about something abstract… I guess it’s honouring the memory of Rameau though.
Generally this piece doesn’t really stand out to me in any way - sure it’s still decent and is able to maintain my interest throughout (despite its being quite long winded for me), but it lacks the depiction of a physical object/phenomenon. - F tier
Mouvement
Being a perpetuum mobile, the constantly vibrating texture is present throughout the piece. Again, this is an abstract piece (smh), but at least one can picture the movement of an object, perhaps the constant turning of a wheel.
Interestingly, the beginning reminds me of the very start of Scriabin’s Piano Sonata No.5, as the texture almost sounds like a long trill. However, I am not a big fan of said texturing, and because the piece overall doesn’t have any outstanding moments for me, it will be given - D tier
Cloches à travers les feuilles
I love bells in music, whether from Debussy, Ravel or Rachmaninoff. Here, Debussy uses the whole tone scale to yet again create an oscillation, but this time imitating the sounds of a bell travelling through leaves. Perhaps he depicts the Doppler Effect as the proximity of the bell to the listener changes.
Despite it sounding magical, it is lacking loud passages, with almost the entire piece being quiet. - B tier
Et la lune descend sur le temple qui fut
C’mon, just finish the sentence… This just feels like pagodes at home, both having a tranquil and oriental atmosphere. This is depicting the moon setting over a ruined temple, but the temple itself is ruined and in East Asia. Again, this piece also evokes gamelan music. Like the previous image, the whole piece is quite low in volume, even more so than Cloches à travers les feuilles. Despite having a goosebump-inducing melody and wonderful polyrhythm in certain places, it is still not as interesting as other images. - D tier.
Poissons d’or
Not just a normal fish, but specifically a goldfish - Debussy must have really liked this type of fish for him to write a whole piece picturing it. The image of a fish is surprisingly vivid - one can literally picture the fish wagging its tail and darting around in the water as it’s disturbed. However there does not seem to be an element that shows that the fish depicted is specifically goldfish. On the plus though, this piece is written in F# major, my favourite key. Despite there being a climax, the rest of the piece does not interest me enough for me to enjoy it more than Cloches à travers les feuilles. - C tier
Scriabin: A Nation
So one day, someone online asked which country produces different people’s favourite classical music. My thoughts immediately jumped to my favourite composer, Scriabin, and I just put his name down as a joke. This joke soon Turned into an extended conversation on what Scriabin is like if he were a country.
So now, I will expand a bit more on this ….
Scriabin
National anthem: Scriabin: Symphony No.2, movement V
Official language: Russian, French
President: Scriabin himself
Best feature: there is never a revolution as the people are compelled by musical spirits
Capital: Scriabingrad
Best university: Scriabin Conservatory
Airline: Scriabin Airways (cheapest 5-star airline)
Banned musical item: Scriabin Piano Sonata No. 6
Most popular musician: Vladimir Sofronitsky
Most popular musical genre: prelude
Piece Collage: Java Suite
Java suite is composed for the piano by the American composer Leopold Godowsky between 1924 and 1925
Java suite is composed for the piano by the American composer Leopold Godowsky between 1924 and 1925, depicting various scenes in the island of Java, Indonesia after travelling there. Described as a “Phonorama“, each movement provides a vivid depiction of Javanese culture.
Lasting approximately 50 minutes long, this piece is incredibly technically challenging and is completed with harmonic and melodic brilliance, which makes for an incredible listening experience. Overall, the suite is split into 4 parts, each consisting of 3 movements that paints a picture of Javanese culture.
Here’s my opinion on each movement:
Gamelan: the music ebbs and flows to perfection with absorbing harmonies, rhythm and climaxes. (10/10)
Wayang-Purwa, Puppet Shadow Plays: mellow and mysterious, but this lacks golden moments for me, yet overall still a solid movement. (7/10)
Hari Besaar: The Great Day: it is very upbeat, and the way Godowsky incorporates traitional Javanese melodies is epic. This is a great way to start your day in the morning. (9/10)
Chattering Monkeys at the Sacred Lake of Wendit: it’s quite a humorous movement, with the monkeys’ playfulness. This is a perfect depiction of monkeys but isn’t really my cup of tea. (7/10)
Boro-Budur in Moonlight: mysterious and subdued, while the night-time theme is apparent. The highlight of this piece has to be its wonderful harmonies. (8.5/10)
Bromo Volcano and the Sand Sea at Daybreak: it is truly majestic in its description of two grandiose natural constructions: a volcano and the sea. It is a truly refreshing piece, and is also very apt to start off your day. This movement also serves as my first introduction of the suite. (9/10)
Three Dances: from the start, it is obvious, with their rhythmic natures, that these are dance pieces, with each one faster than the last. Even though they are not depicting a physical monument, their rhythmic nature makes this one of the most memorable movements (9.5/10)
The Gardens of Buitenzorg: this is a fairly standard slow-movement in this suite, bar its passionate climax in the middle, whose build up and resolution proves to be a certain highlight for this movement. (7.5/10)
In the Streets of Old Batavia: to me, this movement is comparable to Hari-Besaar: The Great Day, in its fast tempo and its excitement. What makes this movement even better is that it has languid sections that is worthy of reflection. (9/10)
In the Kraton: despite having mostly music that is subdued and contemplative, a theme introduced in the middle proves to be absolutely magical, and its development into a climax is one of the key moments of the whole suite (9.5/10)
The Ruined Water Castle at Djokja: fully of wavy textures, the aquatic theme of this movement is apparent, and with its Indonesian style, it proves to be consderably different to other water-themed pieces that we enjoy. (8/10)
A Court Pageant in Solo: this truly joyous movement marks the end of our tonal journey to Java, and indeed this is a fitting one: its triumphant nature reminds me of a ecstatic celebration, especially its epic conclusion. (8.5/10)
Here’s what Godowsky has to say regarding each movement.
Part One
1. Gamelan
“Native music, played by the Javanese on their indigenous instruments, is called Gamelan. The Javanese ensemble is a kind of exotic orchestra, consisting mainly of diversely shaped and constructed percussive instruments of metal, wood and bamboo, comprising various kinds and sizes of bells, chimes, gongs, sounding boards, bowls, pans, drums. (some barrel-like), tom-toms, native xylophones, sonorous alang-alang (zephyr-like, aeolian harp-like) and other unique music implements. The only stringed instrument I could discern was the ancient, guitar-shaped reéaé, which is held by the leader in a position similar to that of the lute.
Both rulers of the two Sultanates of central Java: the Susuhunan of Solo and the Sultan of Djokja, and the two independent princes, Manku Negoro of Solo and Paku Alam of Djokja, have the best, largest and most complete native orchestras (Gumelan). They own old instruments of inestimable value, the enchanting sonority of which is attributable to the mellowing process of time.
The sonority of the Gamelan is so weird, spectral, fantastic and bewitching, the native music so elusive, vague, shimmering and singular, that on listening to this new world of sound I lost my sense of reality, imagining myself in a realm of enchantment. Nothing seen or experienced in Java conveyed so strongly the mysterious and strange character of the island and its inhabitants.
The Gamelan produces most ethereal pianissimos, particularly entrancing when heard from a distance. It is like a perfume of sound, like a musical breeze. Usually the music, beginning very softly and languidly, becomes faster and louder as the movement progresses, rising, at last, to a barbaric climax.
In this, the first of the descriptive scenes, I have endeavored to recreate a Gamelan sonority : a typically Javanese atmosphere. Except for the one chromatic variation(pages 9-10),which is intentionally Occidental,the movement is almost exclusively diatonic and decidedly Oriental (Far Eastern).”
A set of Gamelan instruments
2. Wayang-Purwa, Puppet Shadow Plays
“This ancient, characteristically Javanese quasi-histrionic entertainment, produced on festive occasions, is very popular in Java. It symbolises to the Javanese their past historical greatness; their hopes, aspirations and national solidarity. To the subdued accompaniment of the Gamelan, the Dalang, manager, actor, musician, singer, reciter and improvisator, all in one, recites classic Hindu epics, or modernized and localized versions of them, or other mythical or historical tales and East Indian legends, while grotesque, flat leather puppets throw shadows on a white screen to interpret and illustrate the reciter’s stories. These puppets the Dalang manipulates by means of bamboo rods. Wayang-Purwa is somewhat of a combination of Punch and Judy and Chinese shadows.”
A puppet shadow play
3. Hari Besaar, The Great Day
“The Kermess - the Country Fair - is here.
From plantations and hamlets natives flock to the town that is the center of the bright, joyous celebrations, naive, harmless amusements. They throw themselves. eagerly into the whirl ‘of festivities, enjoying the excitement and animation.
Actors, musicians, dancers and fakirs contribute to the pleasures of the people and to the picturesqueness of the scene.
The Great Day - Hari Besaar!”
Part Two
4. Chattering Monkeys at the Sacred Lake of Wendit
“The Sacred Lake of Wendit is several miles distant from the attractive little city of Malang. In the woods, near the Take, we find ourselves in one of the numerous Simian colonies of Java, among the aborigines of the forest, enjoying an intimale view of their tribal life. On every side are jabbering monkeys, hundreds of them, jumping from tree to tree, running up and down the trunks and branches, while others; nearer the ground, are springing on and off the roofs of the small hotel and the bath houses, snatching bananas from the visitors.
The scene is full of humor, fun and animation.”
Lake Wendit
5. Boro Budur in Moonlight
“On a sacred hill, in the heart of Java, some thirty miles from Djokja, stand the colossal ruins of the most imposing and gigantic Buddhist monument in existence, the world-famous temple of Boro Budur, “The Shrine of the Many Buddhas.” No matter how blasé the weary traveler may be, he cannot fail to be stirred and bewildered by the stupendous masonry and by the hundreds of sculptured Buddhas, images and basreliefs. The amazing dimensions and incredible craftsmanship enrapture the senses; the loftiness of conception, the luxuriance of imagination thrill the beholder.
In moonlight, Boro Budur is most fantastic. “An uncanny, eerie, melancholy mood permeates the whole almosphere.Deep silence and a sense of strangeness and out-of-the-worldness contribute to the impression of utter desolation and to the feeling of inevitable decay ‘and dissolution of all things earthly, the hopeless struggle of human endeavor against eternity.”
Boro Budur at night
6. The Bromo Volcano and the Sand Sea at Daybreak
“Reaching the Sand Sea from Tosari, the most famous mountain resort in Java, we crossed the sea of sand, perhaps the vast- est amphitheatre in the world, arriving at the Bromo crater at dawn.
A marvelous sunrise enhanced the terrifying hugeness and transcendental grandeur of this awe-inspiring panorama. The boiling, roaring, rumbling subterranean forces, seething and spouting up from abysmal depths, the sulphurous vapors and. dense clouds, spreading steadily and menacingly over the horizon, suggested scenes from Dante's Inferno, and brought to realization the fact that cataclysmic activities, everlasting fires in the bowels of the earth, threaten all that is alive.
The appalling thought of the frailty of all human institutions was overwhelming. Cui Bono?.......
But the bright sun, shedding its glorious light and: dispelling all fear and gloom, changed the feeling of a crushing futility into an ecstatic triumphal ode. The mere consciousness that such elemental powers exist, alleviates the pain of living. An overpowering feeling of humility, of compassion and tenderness toward all things. alive, a passionate adoration for the unknown source of all consciousness, filled the soul.
And then we returned........ “
The Bromo Volcano and its surroundings
Part Three
7. Three Dances
“It is doubtful if there is a people in any part of the world whose innermost feelings are so wholly revealed in their dances as are the Javanese.
And whether religious or secular, warlike or peaceful, spiritual or sensuous, these dances are always beautiful.
The first of the “Three Dances” expresses the languor and melancholy of the Far East; the second, the grace and charm of the Oriental dancers; the third, their poetry and tenderness, translated into an Occidental idiom.”
8. The Gardens of Buitenzorg
“Buitenzorg, meaning “Sans Souci” and pronounced Boy-ten-sorg, forty miles from Batavia, is the country capital of Java, where the Governor-General of the Dutch East Indies has his residence. His spacious palace is situated in a large park which forms part of the most famous Botanical Gardens in the world.
The finest collection of tropical trees, plants and flowers is to be found in the gardens ofthis distant corner of our Earth. The profusion, richness, magnificence and beauty of this strange horticultural world are unparalleled.
The fragrant frangipanis, the white tuberoses(the Malay call them “The Charmers of the Night”) and a bewildering number of other most delicately scented flowers intoxicate the senses.
The heavily perfumed air awakens an inexpressibly deep and painful yearning for unknown worlds, for inaccessible ideals, for past happenings irrevocably gone—these memories which the ocean of time gradually submerges and finally buries in oblivion......
Why do certain scents produce unutterable regrets, insatiable longings, indefinable desires?”
The Garden of Buitenzorg
9. In the Streets of Old Batavia
“To stroll in the old streets of lower Batavia is an exhilarating experience. As we wander near the seashore, through the crowded bazaars and busy, narrow streets, many of which are intersected by bricked canals lined with weather-beaten buildings in the Dutch style, we meet exotic crowds, consisting mainly of Chinese, Arabs, natives and other Asiatics, interspersed with Europeans, of whom the Dutch form a large majority.
A ramble through the hectic Chinese quarter leads us to a quiet and contemplative corner of the Arab settlement. Another turn brings us to the native quarter. And when the bazaars are reached, a kaleidoscopic, multifarious conglomeration of humans bewilders even the most seasoned globe-trotter.”
Old Batavia at present times
Part Four
10. In the Kraton
“Surakarta, popularly called Solo, and Djokjakarta, commonly shortened to Djokja, are the most important and interesting native cities in Java. .
The greatest ruler— The Susuhunan — resides in Solo, while the next in importance, the Sultan of Djokja, lives in the last named capital. In the heart of each capital is a vast enclosure called the Kraton, in which the potentate has his palaces and wherein dwell besides the Sultan, Sultana and princes and princesses, his numerous concubines, slaves and servants, court officials, nobles, musi-cians, actors, dancers, workmen, tradespeople and many individuals with indefinable occupations. Each Kraton has a population of between ten and fifteen thousand, the ensemble constituting a court of huge dimensions.
It is evening. Quaint scenes charm our vision. Faint sounds of the entrancing Gamelan fill the fragrant air. The seemingly unreal reality casts a hypnotic spell over our consciousness.
There is poetry in every ebbing moment.
It is evening in the Orient.......”
A kraton
11. The Ruined Water Castle at Djokja
“Near the Kraton of Djokja, deserted, fallen into decay, stand the mouldy and crumbling remains of the once resplendent Water Palace, with its murmuring fountains and splashing cascades, with its aquatic pranks and air-filling scents of exotic flowers. Where once was merriment, there is now the mystery and romance of vanished days, the sadness of evanescent pleasures, The fountains and cascades murmur memories of yesteryears - yearning for past joys, mourning for departed love....”
The ruined water castle at Djokja
12. A Court Pageant in Solo
“The pomp, bombast and gorgeousness of a royal procession on a festive occasion or court function in either of the two native capitals make a dazzling and grotesque spectacle. The exuberance and abandon of the natives, the force and charm of the native rhythms, challenge description.
The clanging and clashing march opens the event. Strongly emphasized ih the middle section (F sharp minor) of this closing composition, is that strain of sadness ever present in the music of the Orient. The hilarious mood is resumed with the Fugato, which leads back to an intensified version of the barbaric march.”
And here these tonal journeys come to an end.”