Musical Moments: Part II, A New Video on Mahler
By ANTHONY TOMMASINI
This is the second in a series of short videos I have made discussing some of my favorite magical moments in music.
To recap, in a series of videos and blog posts, and in an essay I wrote for the Arts & Leisure section of The New York Times, I am looking at fleeting moments in pieces that have always gotten to me. Not the big climactic blasts or soaring themes, not the overtly complex or most dramatic passages. I am talking about brief bits of music, often subtle, even stealthy. What is going on musically in these moments to give them such oversized emotional impact?
My first choice came from a piano piece, the opening of Chopin’s Ballade No. 1 in G minor.
My second choice is a song from Mahler’s “Lieder eines fahrenden Gesellen” (“Songs of a Wayfarer”). The moment, as I explain, comes toward the end of the second song in this work, “Ging heut’ Morgen übers Feld.” I first came to know it as a song for voice and orchestra. I examine it here in Mahler’s version for voice and piano. Please keep sending in your choices of favorite moments in music here. I will respond and, eventually, report back with another article and video, discussing some of the choices submitted.
By ANTHONY TOMMASINI
This is the second in a series of short videos I have made discussing some of my favorite magical moments in music.
To recap, in a series of videos and blog posts, and in an essay I wrote for the Arts & Leisure section of The New York Times, I am looking at fleeting moments in pieces that have always gotten to me. Not the big climactic blasts or soaring themes, not the overtly complex or most dramatic passages. I am talking about brief bits of music, often subtle, even stealthy. What is going on musically in these moments to give them such oversized emotional impact?
My first choice came from a piano piece, the opening of Chopin’s Ballade No. 1 in G minor.
My second choice is a song from Mahler’s “Lieder eines fahrenden Gesellen” (“Songs of a Wayfarer”). The moment, as I explain, comes toward the end of the second song in this work, “Ging heut’ Morgen übers Feld.” I first came to know it as a song for voice and orchestra. I examine it here in Mahler’s version for voice and piano. Please keep sending in your choices of favorite moments in music here. I will respond and, eventually, report back with another article and video, discussing some of the choices submitted.
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