Is a Cassation a Crustacean?

A Play On Words by All Classical Portland’s Music Researcher & Archivist Emma Mildred Riggle

When I was a kid my little brother and I liked to play Name That Tune when we turned on the radio in the middle of a classical piece, because we were geeks with a bad case of sibling rivalry. One day we were sitting in the back seat of the car, waiting for Dad to finish up at the pharmacy, when we turned on the radio and heard the middle of an orchestral piece that sounded vaguely Mozartean. It wasn’t any symphony we recognized so we fought over whether it was Mozart or Haydn while we waited for the host to tell us the title.

We sat impatiently through three movements, but the piece didn’t end. We heard four, five, seven movements and the thing was still going. At this point our rival composer estimates moved to the back burner as we listened, appalled, to what appeared to be the longest unknown pre-Bruckner symphony.

At last we heard the longed-for host’s voice – just at the moment when Dad loudly reentered the car, innocently unaware of what was at stake. All we could hear from the host amid the door clanging was something that sounded like, “That was a crustacean by Mozart.”

Nowadays kids have it easy. They can go to AllClassical.org, check the playlist and see exactly what was broadcast at what time. I, however, was without internet access, and was consequently left to wonder for years what “crustacean by Mozart” meant. The mystery remained until one day in Sophomore Music History 1 when I opened A History of Western Music and read a single, enlightening word.

Allow me to save you the years of sleep I lost over this by telling you exactly what the difference is between a crustacean and a cassation.

A cassation is a classical-period multimovement instrumental genre, more or less synonymous with serenade. (Fig. 1, 2)

Classical Composers’ Holiday Gifts

What’s more meaningful than a homemade gift – especially when the giver is a composer and the gift is music? Here’s a list of five classical compositions that were given as holiday gifts!

John Pitman Review: Violinist Margaret Batjer and the LA Philharmonic

Violinist Margaret Batjer has been associated with the Los Angeles Chamber Orchestra for a number of years. In their first CD for the Swedish BIS label, Batjer and the LACO begin with a new violin concerto by Quebec-born composer, Pierre Jalbert. With movements titled “Soulful, mysterious”, and “With great energy”, Jalbert’s concerto is in good hands with Ms. Batjer, no stranger to contemporary music. She ties this newest work to established, mystical pieces by Estonian Arvo Pärt (one of his Fratres pieces), and Latvian Peteris Vasks (Lonely Angel). Completing the circle among these spiritualistic composers, J.S. Bach’s Concerto in A Minor reminds us that whether sacred or secular, Bach approached composition with equal seriousness.

Jalbert, Bach, Part & Vasks: Music for Violin & Orchestra BUY NOW

Classical Music Inspired By Young People

Inspiration for classical music comes in endless forms. Here’s a look at five classical music pieces inspired by young people.

John Pitman Review: Self-titled debut – Pianist Wei Luo

To introduce a pianist saying that he or she started lessons at the age of five is probably not going to raise eyebrows. However, to say that this particular pianist advanced at such a rate that she entered the Curtis Institute at age 13 is something that might catch notice. That’s the first part of Wei Luo‘s story, as the now-19 year old is introduced to the world on the Decca Classics label.

Her disc illustrates her love of Russian repertoire, including some rarities by Rodion Shchedrin (b. 1932), whose Two Polyphonic Pieces were discovered by Luo “by random.” They make for a thrilling and, in her word, “cool” conclusion to her debut disc. Ms. Luo shares more of her story with John Pitman, along with music excerpts.

Wei Lu – Wei Lu BUY NOW

Composers in the Great War

The “war to end all wars” claimed many lives, and forever altered the lives of those who survived. Here’s a look at some of the composers who served in World War 1 and the music they created.

John Pitman Review: Sharon Isbin’s “Souvenirs”

Guitarist Sharon Isbin has recorded nearly everything in her instrument’s repertoire. Still, it’s refreshing to hear that, when an artist such as Ms. Isbin revisits a work (such as the Vivaldi D Major concerto), she gives us an interpretation with subtle differences from what came before. On “Souvenirs of Spain and Italy”, Isbin partners with Pacifica Quartet, so the Vivaldi has an especially intimate feel to it. The disc also sheds light on works that have stayed in the shadows somewhat. The Quintet by Mario Castelnuovo-Tedesco is such a work. Turina’s “Bullfighter’s Prayer” and Boccherini’s Quintet with the Fandango finale (complete with castanets and tambourine) give us a well-rounded tour of the Iberian and Italian peninsulas.

Souvenirs – Sharon Isbin, Pacifica Quartet BUY NOW

National Hispanic Heritage Month

In the United States, National Hispanic Heritage Month is recognized from September 15th to October 15th. It is a time allotted to recognize the influence of Hispanic and Latino Americans in the history of the country.

Although Hispanic and Latino are often used interchangeably, they mean two different things. The term Hispanic refers to people who speak Spanish, or are descended from communities who speak Spanish, while Latino refers to people who are from or descended from people from Latin American regions. This article includes both Hispanic and Latino composers.

New York Polyphony’s “Lamentations”

New York Polyphony‘s bass, Craig Phillips, shares the story of how his group rediscovered music of the 16th century composer, Francisco de Peñalosa, and how that composer’s “Lamentations of Jeremiah” are so perfectly suited to his group’s voices, that it seems Peñalosa wrote the work for them. On the recording, New York Polyphony include works of Peñalosa’s contemporaries, to provide context for this unique style of multiple-line music.

Lamentations – Francisco de Peñalosa New York Polyphony
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Augustin Hadelich links Brahms to Ligeti

German-American violinist Augustin Hadelich says that he is attracted to the idea of contrasts in music, and in making choices of repertoire. Mr. Hadelich tells program director John Pitman that despite those contrasts, often similarities arise by putting two disparate works together.

In this case, Mr. Hadelich leads with the familiar and beloved concerto by Brahms, and follows with the concerto of Hungarian 20th century composer, György Ligeti. Hadelich also lends his own touch to the Brahms, by playing his own cadenzas. A performance notable for the intensity of Hadelich’s interpretation as well its beauty.

Brahms, Ligeti Violin Concertos – Augustin Hadelich
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A Play On Words by All Classical Portland’s Music Researcher & Archivist Emma Mildred Riggle

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