Sonata in G Minor, “Devil’s Trill” by Giuseppe Tartini

To start our list, we have a deceptively beautiful piece, Sonata in G minor “Devil’s Trill.” No one would blame you if you didn’t know the tale behind its creation. Legend tells of a long, restless night, in which Giuseppe Tartini dreamt of the devil himself appearing at his bedside. The devil offered to be his servant and teacher, and Tartini sagely handed the devil a violin to test his skill. Tartini claims that the devil played so passionately and with such intensity that when he awoke, he couldn’t help but rush to the table to try to transcribe it.

It is said that what we’re left with is but a shadow of the devil’s piece, but it’s hard to imagine how it could be improved upon. Each of the sonata’s four movements has a distinct sound, and transitions from long languid lines to fiendishly difficult arpeggiated triads.

“Dream of a Witches’ Sabbath” from Symphonie Fantastique by Hector Berlioz

A superb example of programmatic music , (music used to tell a story or depict an idea) Symphonie Fantastique tells the story of an artist tortured by unrequited love. In the depths of his despair, he attempts to poison himself with opium. What ensues is a transcendental nightmare as the artist journeys through his own drug-fueled hallucinations, coming to an end with this masterful scene. The artist can only watch as his beloved joins the witches in their vulgar display and dances to Berlioz’s parody of the “Dies Irae.” Incandescently beautiful and frighteningly hellish, Berlioz’s final movement is the perfect backdrop for a ghostly October evening.

“Catacombs” from Pictures at an Exhibition by Modest Mussorgsky

In 1868, composer Modest Mussorgsky was introduced to Victor Hartmann, a Russian architect and painter. Mussorgsky was inspired by one of his exhibitions to create a piano suite in ten movements, aptly titled Pictures at an Exhibition. The eighth movement, “Catacombs,” had a note scrawled in the margins, “cum mortuis in lingua mortua.” Translated from Latin, it means “With the dead in a dead language.”

A haunting and somber piece, it features a sparse accompaniment, largely alternating between block chords, that help evoke the grand stillness of the Paris catacombs. The striking dynamic contrasts throughout echo with a melancholy that leaves the listener holding their breath, wondering what will come next.

Mephisto Waltz No. 1 by Franz Liszt

The Mephisto Waltzes are four waltzes composed by Franz Liszt. “Waltz No. 1” is the most popular of the four, and it’s not hard to see why. Another wonderful example of programmatic music, it tells of a wedding feast at a village inn. Faust, from Nikolaus Lenau’s 1836 verse drama Faust, is tempted by Mephistopheles to join in the festivities. Throughout the night, Faust gets carried away dancing with the village beauty, and together they dance away into the night. This vibrant piece features dramatic, syncopated lines contrasted with relaxed, sensual passages. For those of us who don’t mind a midnight tryst, this waltz is sure to have you on your feet.

Toccata and Fugue in D Minor by Johann Sebastian Bach

Of course, no monster music list is ever complete without the addition of Bach’s iconic Toccata and Fugue in D Minor. While its origins may be disputed, the profound cultural effect it has had can’t be argued. Its first use in film was in Dr. Jekyll and Mr. Hyde (1931). Since then, it has been played in countless other films, such as Disney’s Fantasia, the 1962 version of The Phantom of the Opera, and even comedies such as Zoolander 2. Long associated with the horror genre, this piece is truly the only way to welcome the Halloween season and invite all the monsters to come and play.

More Spooky Tunes and Tales:

• Monster Music (on icanradio.org)
• The Sounds of Fear: 10 Scary Horror Film Scores
• Boo! A Halloween Special

Root Chakra

Located at the base of the spine, the root chakra is linked to grounding, safety, and emotional security. When blocked, it can cause feelings of insecurity in our basic needs and our well-being. Physical issues that arise may be arthritis or blockages of the bladder and colon.

The root chakra is stimulated by the lowest solfeggio frequency, 396 Hz . In combination with meditation, reflection, and self-care, this tone removes blockages and lets the energy flow freely.

Sacral Chakra

The sacral chakra is below the navel and is stimulated by the frequency of 417 Hz. We link this energy point to creativity, pleasure, and sexuality. It also has deep ties with our emotional expression. A blockage here can manifest feelings of social insecurity, as well as illnesses within the urinary tract and lower back. To unblock the chakra, partake in creative expression, like dancing, painting, or creating, while listening to the frequency of 417 Hz.

Solar Plexus Chakra

Situated above the navel, the solar plexus chakra represents our personal power. When open, it is the seat of confidence, self-esteem, and self-discipline. This chakra determines how we move through the world and our ability to assert ourselves. When blocked, digestive issues are often the resulting consequence. Problems like stomach ulcers, heartburn, indigestion, and eating disorders stem from the solar plexus.

To help unblock the chakra, listen to the frequency of 528 Hz while doing activities that foster discipline. Core workouts or energetic yoga practices are great exercises, but be sure to check in with yourself and connect to what is best for you.

Heart Chakra

As the name suggests, the fourth chakra is over the heart. This energy point is all about finding peace, compassion, and forgiveness. When blocked, diseases of the heart and asthma can manifest. But, most often, people with a blocked heart chakra are likely to be people pleasers and put the needs of others before their own. To unblock the energy point, listen to tones at 639 Hz during meditative practices.

Throat Chakra

The throat chakra is located over the voice box and relates to the frequency of 741 Hz. You’d be right in assuming this chakra is heavily involved with our ability to communicate. Blockages can lead to behaviors such as lying, gossiping, and miscommunication. When open, this energy point helps us to express ourselves with authenticity and empathy.

Chanting, singing, and other vocalizations stimulate the point and allow energy to flow. Some added benefits of unblocking this chakra are emotional detox, and pain relief.

Third Eye Chakra

The third eye is the source of our intuition and spiritual sight. Linked with the frequency of 852 Hz, this tone balances the energy in the middle of the forehead. The benefits are deep relaxation and increased perception. People with blockages in the third eye can appear to be “know-it-alls,” and can suffer from chronic headaches or poor vision.

To boost the flow of energy, listen to 852 Hz while practicing meditation or visualization. Some people have also reported the benefits of keeping a dream journal.

Crown Chakra

The final of the seven chakras is the crown chakra. This energy point is at the crown of the head and connects to our highest form of consciousness. Many consider it the chakra of enlightenment. When it’s open, it allows all the other energy points in the body to flow more easily.

To stimulate this point, deep reflection and honesty are required. The most powerful tone, 963 Hz, helps with feelings of well-being, mental clarity, and a positive outlook on life. When you’re not sure exactly what is misaligned within the body, listening to this frequency is recommended to help pinpoint where your emotions are getting stuck.

Curious to learn more about music and healing? Here are some other posts we think you’d enjoy from All Classical’s Arts Blog:

• Healing Notes: Stories of Reflection and Inspiration
• Music and the Brain: Music and Memory

Past composers can sometimes feel distant, trapped in the pages of old history books. Yet, they felt immense passion and love not only for composing but also for certain special people. From the nearly 40-year romance between Benjamin Britten and Peter Pears to the mysterious “Immortal Beloved” of Beethoven, let’s explore some of the great love stories from classical music.

Robert Schumann & Clara Wieck

Robert and Clara first met 13 years before their marriage. When Clara was just 8 years old—and already a virtuoso on the piano herself—the teenaged Robert began taking piano lessons with Clara’s father. Over the next several years, the two musicians grew to know each other well. In time, friendship turned into love. Robert and Clara’s courtship was long and not without challenges. Clara’s father vehemently opposed the match, and only after suing him were they finally able to make things official.

As a wedding gift, Robert compiled 26 songs into a collection called “Myrtles,” named after the herb associated with the Ancient Greek goddess, Aphrodite. Myrtle was also traditionally included in German bridal bouquets.

Ludwig van Beethoven & his “Immortal Beloved”

During the summer of 1812, Ludwig van Beethoven penned a letter that would unleash decades, if not centuries, of debate. The letter’s recipient was notably referred to as “Immortal Beloved,” though no actual name was ever used. The document was never sent and only discovered after the composer’s death. We may never know who Beethoven intended to bestow such sweet words, but the mystery around this romantic gesture is tantalizing…

Gustav Mahler & Alma Schindler

Did you know that Gustav Mahler was not only a composer of massive symphonic works but also a hopeless romantic? The courtship of Mahler and the promising young composer and socialite, Alma Schindler, was quick and passionate. The two met at a dinner party, and Mahler was immediately infatuated with “the most beautiful woman in Vienna.” Within weeks of meeting, the couple was married in an intimate private ceremony.

Around the same time of the couple’s marriage, Mahler was working on his fifth symphony. The fourth movement, called “Adagietto,” may be one of the most romantic pieces of orchestral music ever written. No text accompanies this piece, yet it still contains an exquisite level of poetic expression. Gustav even sent Alma the score to this movement as a love letter, for what communicates affection more completely than music, especially for a composer?

Benjamin Britten & Peter Pears

The relationship between Benjamin Britten and Peter Pears is one for the ages. The two met through a mutual friend and remained together for nearly 40 years, until Britten’s death. While they could never publicly acknowledge their romantic relationship – they managed to build a rich and fulfilling life together. Letter writing was a regular form of communication. Britten and Pears left behind hundreds of handwritten documents as part of their romantic legacy. As a professional singer, Pears also became something of a muse for Britten and inspired many of the composer’s best-known works.

Leoš Janáček & Kamila Stösslová

Leoš Janáček was 63 years old when we first met a 25-year-old woman named Kamila Stösslová. Janáček quickly became enamored with Kamila, obsessively writing to her on a regular basis and incorporating visions of her into his music. She was reportedly flattered by the composer’s affection. The problem, however, was that both Janáček and Stösslová were already married… to other people!

Kamila remained loyal to her husband, while remaining in touch with Leoš. He, on the other hand, would use his yearning for his unattainable love interest to fuel his writing. Over the next decade, Stösslová inspired some of his most famous pieces of music.

This blog post was written in collaboration with All Classical’s Winter/Spring 2025 intern, Andrew Jenks.

Today, All Classical Radio is exploring lesser-known works by legendary composers. We are highlighting pieces that are not particularly popular in the concert hall, were written earlier on in the composer’s career, or were written outside of the composer’s typical instrumentation or genre. If you enjoy these composers, we think you will enjoy some of their more overlooked music as well.

Ludwig van Beethoven – 6 Bagatelles, Op. 126

Beethoven is often regarded as the greatest composer to have ever lived. Most famous for his nine symphonies, including the Eroica Symphony or the Pastoral Symphony, as well as his concerti and piano sonatas, it is inevitable that some of his compositional output has gone unnoticed to some extent. While it can be difficult to categorize any of Beethoven’s works as a “hidden gem,” his Bagatelles, Op. 126 were composed as a complete set of six light and short works for piano and were some of his last works for piano. Upon getting this work published, Beethoven stated that these bagatelles were “the best pieces of this kind I have written.”

W. A. Mozart – Divertimento for 3 Basset Horns No. 5 in B-flat Major

Mozart composed over 600 works in his 35 years of life. Given his immense popularity, it can be difficult to see any of his works go unnoticed; however, one notable hidden gem for Mozart is his Divertimento for 3 Basset Horns No. 5. A basset horn is an instrument within the clarinet family. While most clarinet players are familiar with Mozart’s quintet and concerto, not many know of his five divertimenti for basset horn (a divertimento is an 18th-century genre of music that is usually light-hearted and written for small ensembles). This work sets itself apart from the already unique instrumentation by beginning with a slow Adagio movement and ending with a Polonaise, a Polish dance.

Johannes Brahms – Geistliches Lied

Considered one of the “Three B’s” of classical music, along with Bach and Beethoven, Brahms was a leading figure in the Romantic period. A few exemplary pieces include his First and Third Symphonies, Piano Concerto No. 1, Hungarian Dances, Wiegenlied (also known as “Lullaby”), and many chamber music works that capture the composer’s tender and warm sound. Perhaps a lesser-known work that encapsulates the gentle and romantic Brahmsian voice is his choral work, Geistliches Lied. This piece was originally part of a series of contrapuntal exercises (counterpoint in music is the relationship between two or more simultaneous musical lines) that were traded back and forth between Brahms and violinist Joseph Joachim. Regardless of its origins, the work’s mournful character is full of complexity.

Ralph Vaughan Williams – Piano Quintet in c minor

British composer Ralph Vaughan Williams was a key figure in influencing the style of 20th-century British classical music. An avid collector of English folk songs, Vaughan Williams used these traditional melodies to craft his unique folk sound, which can be heard in works like Fantasia on a Theme by Thomas Tallis, The Lark Ascending, and English Folk Song Suite. However, many of his earlier works, such as the Piano Quintet in c minor, were hidden from the public once he had developed his “mature” style. While this quintet contains hints of who the composer was soon to become, it was shelved for over 80 years after its premiere. You will find that this hidden gem with violin, viola, cello, double bass, and piano has the romantic elements of Brahms and Dvorák.

Pyotr Tchaikovsky – String Quartet No. 3 in e-flat minor

Many listeners are familiar with Tchaikovsky’s ballets, such as The Nutcracker, Sleeping Beauty, and Swan Lake, or perhaps his symphonic works such as Symphony No. 5 and the 1812 Overture (the one with the cannons). While his large-scale works are frequently performed all over the world, Tchaikovsky’s handful of chamber or small ensemble compositions don’t receive the same level of attention. Only eight pieces in his catalog of 169 works are chamber music, and only three of those chamber pieces are string quartets, with his first string quartet being the most popular. To shed light on the composer’s small and often overshadowed chamber music output, we’re highlighting String Quartet No. 3. This work may not be as lively or grand as some of Tchaikovsky’s symphonic works, but it is just as expressive, dramatic, and powerful. Dedicated to violinist and teacher, Ferdinand Laub, a friend of Tchaikovsky, the opening movement is full of melancholic expression, and the third movement, Andante funebre e doloroso, is an emotional funeral march filled with grief as it commemorates Laub’s death.

Giacomo Puccini – Crisantemi

Known as one of the greatest Italian composers, Giacomo Puccini’s operas are among the most recorded and performed works in the genre. Arias such as “O mio babbino caro” (“Oh my dear Papa”) from Gianni Schicchi and “Nessun dorma” (“Let no one sleep”) from Turandot are recognizable even in popular culture, from movies, TV, commercials, and more. Puccini himself recognized his operatic talent when he said, “Almighty God touched me with his little finger and said: ‘Write for the theatre – mind, only for the theater!’ And I have obeyed the supreme command.” While his operas are immensely popular, many may not know Puccini’s instrumental and chamber music. Let’s listen to his prelude for string quartet, Crisantemi. Produced in a single night, Crisantemi is an elegy written for Puccini’s friend, Prince Amadeo, Duke of Aosta. Although this piece stands on its own, Puccini ended up using themes from this string quartet in his opera, Manon Lescaut.

Do you recognize any of these hidden gems we explored today? Perhaps you have a favorite lesser-known work that we didn’t mention? Get in touch to let us know your favorite composer’s hidden gem!

Thank you for participating in our annual Classical Countdown tradition, and thank you for listening to All Classical Radio. Everything we do is made possible by listener support, and we are grateful for YOU.

Happy New Year, and cheers to another year of beautiful music!

2024 Classical Countdown Results

1. Hisaishi: Ponyo On The Cliff By The Sea
2. Dvorák: Symphony No. 9 in E minor, “From the New World”
3. Beethoven: Symphony No. 9 in D minor, “Choral”
4. Gershwin: Rhapsody in Blue
5. Ravel: Bolero
6. Rimsky-Korsakov: Scheherazade
7. Saint-Saëns: Symphony No. 3 in C minor, “Organ”
8. Bach: Brandenburg Concertos
9. Vaughan Williams: Fantasia on a Theme by Thomas Tallis
10. Holst: The Planets
11. Rachmaninoff: Piano Concerto No. 2 in C minor
12. Vaughan Williams: The Lark Ascending
13. Barber: Adagio for Strings
14. Orff: Carmina Burana
15. Copland: Appalachian Spring
16. Grieg: Peer Gynt
17. Rachmaninoff: Rhapsody on a Theme of Paganini
18. Copland: Fanfare for the Common Man
19. Tchaikovsky: Swan Lake
20. Mahler: Symphony No. 1 in D Major
21. Debussy: Clair de Lune
22. Tchaikovsky: Violin Concerto in D Major
23. Smetana: The Moldau
24. Mussorgsky: Pictures at an Exhibition
25. Bach: Jesu, Joy of Man’s Desiring
26. Vivaldi: The Four Seasons: Winter
27. Wagner: Ride of the Valkyries
28. Sibelius: Finlandia
29. Wagner: Tannhäuser Overture
30. Berlioz: Symphonie Fantastique
31. Satie: Gymnopedies for piano
32. Dvorák: Cello Concerto in B minor, Op. 104
33. Elgar: “Enigma” Variations
34. Beethoven: Symphony No. 7 in A Major
35. Beethoven: Piano Concerto No. 5 in E-flat Major, “Emperor”
36. Rodrigo: Concierto de Aranjuez
37. Beethoven: Piano Sonata No. 14 in C-sharp minor, “Moonlight”
38. Williams: Star Wars
39. Fauré: Requiem
40. Schubert: Piano Quintet in A Major, “Trout”
41. Bach: Toccata and Fugue in d minor
42. Beethoven: Für Elise
43. Beethoven: Symphony No. 3 in E-flat, “Eroica”
44. Mendelssohn: Violin Concerto in E minor
45. Sibelius: Violin Concerto in D minor
46. Saint-Saens: Carnival of the Animals: The Swan
47. Mozart: Don Giovanni Overture
48. Chopin: Polonaise No. 6, Op. 53 “Heroic”
49. Beethoven: Symphony No. 6 in F Major
50. Ungar, Jay: Ashokan Farewell
51. Massenet: “Meditation” from Thais
52. Rachmaninoff: Symphonic Dances
53. Bernstein: West Side Story
54. Stravinsky: The Firebird
55. Bizet: Carmen
56. Handel: Water Music Suite in D Major
57. Shostakovich: Symphony No. 5
58. Mendelssohn: Hebrides Overture, Op. 26, “Fingal’s Cave”
59. Price, Florence: Symphony No. 1 in E minor
60. Mozart: Requiem
61. Moncayo, José Pablo: Huapango
62. Wieck-Schumann: Piano Trio in G minor, Op. 17
63. Mozart: Eine Kleine Nachtmusik
64. Ravel: Le Tombeau De Couperin
65. Hovhaness: Symphony No. 2, “Mysterious Mountain”
66. Delibes: Lakmé: Flower Duet
67. Debussy: Prelude to The Afternoon of a Faun
68. Rossini: William Tell Overture
69. Liszt: Les préludes
70. Márquez, Arturo: Danzón No. 2
71. Mozart: Clarinet Concerto
72. Barber: Violin Concerto, Op. 14
73. Strauss, Johann, Jr: Blue Danube Waltz
74. Mozart: Piano Concerto No. 20 in D minor
75. Tchaikovsky: Serenade For Strings in C
76. Wagner: The Flying Dutchman
77. Bernstein: Candide Overture
78. Mozart: The Magic Flute
79. Respighi: The Pines of Rome
80. Handel: Music for the Royal Fireworks
81. Vivaldi: Lute (Guitar) Concerto In D, RV 93
82. Rodgers: Victory at Sea
83. Joplin, Scott: The Entertainer
84. Bach: Cello Suites
85. Beethoven: Egmont Overture, Op. 84
86. Borodin: In the Steppes Of Central Asia
87. Brahms: Variations on a Theme By Haydn
88. Grieg: Holberg Suite
89. Strauss, Richard: Der Rosenkavalier Waltzes
90. Gershwin: An American In Paris
91. Price, Florence: Violin Concerto No. 2
92. Rimsky-Korsakov: Flight of the Bumble Bee
93. Joplin: Maple Leaf Rag
94. Mahler: Symphony No. 5
95. Sibelius: Symphony No. 5 in E Major
96. Mahler: Symphony No. 2 in C minor
97. Zimmer: Pirates of the Caribbean
98. Prokofiev: Symphony No. 1 in D Major, Op. 25 “Classical”
99. Grofe: Grand Canyon Suite
100. Respighi: Ancient Airs and Dances

Since 2019, we’ve explored holiday classics on the Arts Blog, such as “Hark, the Herald Angels Sing,” “O Tannenbaum,” and “Silent Night.” Each year, we’ve expanded our exploration of carols to cover several centuries, origins, languages, and even holidays beyond Christmas. This year, we’re thrilled to continue in this tradition and cover a mix of dear favorites and lesser-known jewels.

Be sure to tune in to our Festival of Carols on All Classical Radio from December 22-25, and check out the rest of our holiday programming!

Hodie Christus Natus Est

The words of the carol Hodie Christus Natus Est (Today Christ is born) originate from a 6th-century Gregorian chant that was traditionally sung at Christmas. One of the text sources comes from the Gospel of Luke: “For unto you is born this day in the City of David a Savior, which is Christ the Lord…” Another comes from Psalm 32, which begins, “Be glad in the Lord, and rejoice…” In the time since its Medieval origins, the chant has emerged as a popular Christmas carol and has been interpreted by many composers throughout the subsequent centuries, including Jan Pieterszoon Sweelinck, William Byrd, and Giovanni Palestrina.

Let’s listen to Dutch composer Jan Pieterszoon Sweelinck’s interpretation of the chant published in 1619. Sweelinck’s music straddles the Renaissance and Baroque eras and is a shining example of the power of polyphony (the combination of several melodies sung together to create a rich vocal tapestry). You can follow along with the English translation of the Latin text here.

What Sweeter Music

Renowned English composer and choral director John Rutter is no stranger to holiday music and has written many beloved Christmas carols. One such work, What Sweeter Music, was composed in 1988 for the choir of King’s College for their Festival of Nine Lessons and Carols. (And in case you didn’t know, All Classical broadcasts this Christmas Eve tradition every year. Be sure to tune in at 7:00 AM PT on Tuesday, December 24, 2024). For What Sweeter Music, Rutter chose to set words by 17th-century English poet Robert Herrick which celebrate the birth of Jesus through joyful song.

Jesu, bleibet meine Freude (Jesu, Joy of Man’s Desiring) from Cantata 147

J. S. Bach originally composed Cantata 147, Herz und Mund und Tat und Leben (Heart and mouth and deed and life) for the Advent season in 1716, rewriting it a few years later while serving in his new position as music director at St. Thomas School in Leipzig. Bach wrote this well-known cantata for the Feast of the Visitation to the Virgin Mary, which is closely associated with the anticipation of the birth of Jesus. For text, Bach looked to the Gospel of Luke for inspiration. The most famous movement from the work, “Jesu, Joy of Man’s Desiring,” appears twice in Cantata 147: once in the middle, and once as a reprise at the end with new text. As you listen to this holiday anthem, read along with an English translation of the German text here.

Gabriel’s Message

Gabriel’s Message (“The angel Gabriel from heaven came…”) originated as an anonymous Medieval Basque hymn that has since been arranged by several choral composers, including Edgar Pettman, John Rutter, and Stephen Paulus. The text tells the story of the Annunciation as it relates to the celebration of Christmas and relays an intimate interaction between Gabriel and Mary. Not long after it was written, the carol became popular across regional boundaries and even crossed the English Channel.

Fun fact: Chaucer quoted the carol as part of The Miller’s Tale in his Canterbury Tales.

El Noi de la Mare

The gentle Catalan Christmas carol, El Noi de la Mare (The Son of the Virgin), could easily double as a lullaby. Written in three variations, the carol’s three verses ask, “What shall we give the son of the Mary?” The narrative refers to figs in all three verses, and in the final stanza, the figs that are “still green” are a reference to Jesus as an innocent child, and the fig’s “ripening” is his coming work of redemption. Read an English translation of the text here. Given its Spanish origins, this carol is frequently arranged for guitar, as seen below. In fact, guitarist Andrés Segovia is largely responsible for the work’s popularity outside of Spain.

A Cornish Christmas Carol

English composer Peter Warlock (born Philip Arnold Heseltine) contributed several beloved carols and choral works to the seasonal repertory, including his striking Cornish Christmas Carol. If you feel like this carol gives you a bit of aural whiplash, Warlock wrote the following note in his score: “To be sung fairly fast, with sudden alternations of hardness and sweetness, of rude heartiness and tenderness touched with awe.” Be sure to listen for the fleeting musical reference to another carol we’ve discussed already featured on the Arts Blog.

Gesu Bambino

Composed in 1917 by Pietro Yon, this Italian Christmas carol quickly became a seasonal staple across many nations. Born in Italy, Yon emigrated to the US at age 21 and wrote his famous carol while serving as organist of St. Francis Xavier Church in Manhattan. You might notice that the melody and text for the chorus are extracted from Adeste Fideles (Oh Come All Ye Faithful). Since its publication, Gesu Bambino has been performed both in Italian and English and recorded by such notable singers as Luciano Pavarotti and Kathleen Battle. You will find the English translation of the original Italian lyrics here.

A Boy Was Born

Using text of German origin from the 16^th century, English composer Benjamin Britten created his Christmas cantata, A Boy Was Born, while still a student at the Royal College of Music. This soaring a cappella piece marked Britten’s first major composition for voice and his first significant religious contribution. It’s important to note that the title, A Boy Was Born, is both the title of the cantata and the name of the work’s first movement. This first movement serves as the main theme upon which the subsequent six variations are built. When performed by itself, the first movement is hymn-like and sincere, evoking musical traditions of both centuries past and present.

Patapan

Originating from the Burgundy region of France, the traditional Christmas carol Patapan was written around 1700 by Bernard de la Monnoye. In addition to his work as a lawyer, La Monnoye wrote a well-known collection of thirteen Burgundian Christmas carols under the pseudonym “Gui Barozai,” with Patapan being the most popular today. Telling a story of two boys and their musical lessons in celebration, the original title of the carol was “Willie, Take Your Little Drum” and can be interpreted as a predecessor to The Little Drummer Boy. The carol’s title is meant to mimic the drummer’s sound while celebrating the baby Jesus’s birth. As you listen, follow along with an English translation of the text here.

A Christmas Carol

American composer Charles Ives’s A Christmas Carol was written with a calm, sweet, and lilting melody that offers a soft air of devotion. Composed in 1894, Ives wrote both the text and music for this carol himself and published it in a collection of 114 Songs in 1922. While the title might call to mind a certain Dickensian novella, Ives titled his carol in literal reference to the holiday celebrating the birth of Jesus.

Ave Maria

German composer and arranger Franz Biebl’s interpretation of the Marian antiphon is a sublime choral masterpiece. Written for double-male chorus (and later arranged for mixed voices), Biebl wove elements of Medieval chant into a resolutely 20th-century piece. Originally composed in the 1950s, Biebl’s Ave Maria became widely popular in the U.S. after being recorded by the famed vocal ensemble Chanticleer. Interestingly, Biebl actually wrote the piece for a firemen’s choir in Bavaria. As for the text, while not directly connected to Christmas, the ancient prayer to Mary has become a consistent literary counterpart to other nativity texts.

Gloucestershire Wassail

Gloucestershire Wassail (“Wassail, Wassail, All Over the Town”) is a joyful traditional English carol dating from the 18^th century and commemorates the Christmastime wassailing tradition known throughout parts of England. Wassailing involves going from house to house and singing of good health while carrying a large, decorated bowl filled with mulled wine to offer townsfolk. The verses of text refer to many food items the carolers wish for in the new year, such as a good crop of corn and a good Christmas pie, as well as acknowledge many of the local livestock.

Keep the Celebration Going

Read about more favorites from the Festival of Carols in previous years’ editions of “The Stories of Twelve Carols”:

• 2023 Stories of Twelve Carols (including Still, still, still and While Shepherds Watched Their Flocks)
• 2022 Stories of Twelve Carols (including O Holy Night and In the Bleak Mid-Winter)
• 2021 Stories of Twelve Carols (including The Carol of the Bells and O Come, O Come, Emmanuel)
• 2020 Stories of Twelve Carols (including The Holly and the Ivy and The Coventry Carol)
• 2019 Stories of Twelve Carols (including Joy to the World and Silent Night)

Be sure to tune in starting December 22^nd, 2024 to hear your favorites played on air. Learn more about All Classical Radio’s 2024 Holiday Programming.

Hereditary (Colin Stetson, 2018)

Released in 2018, Ari Aster’s first feature film Hereditary is recognized as one of the most haunting films in recent memory. Avant-garde composer and multi-instrumentalist Colin Stetson aimed to make the film sound “evil.” From the use of clarinet choirs to the human-sized bass saxophone, Stetson’s score takes on a disturbing and sinister character of its own in the film.

Candyman (Philip Glass, 1992)

Minimalist composer Philip Glass is regarded as one of the most influential composers of the late 20th century. His film scores can be heard in movies such as Kundun (1997),The Truman Show (1998), and The Hours (2002). Known for his repetitive structures and shifting layers, Glass’ score for Candyman delivers a hypnotic and intense atmosphere.

The Thing (Ennio Morricone, 1982)

The 1982 version of The Thing, directed by John Carpenter, is the quintessential sci-fi horror film for those looking for an extraterrestrial thrill. Italian composer Ennio Morricone is one of the most prolific film composers of all time with hundreds of compositions in a wide variety of genres. Morricone creates a cold and unsettling sound that fits perfectly in this science fiction classic.

Suspiria (Thom Yorke, 2018)

Luca Guadagnino’s Suspiria (2018) is a remake of the original 1977 horror classic by Dario Argento. The film follows a young American dancer who travels to Berlin to study at a world-renowned dance school and soon uncovers the academy’s dark secrets of witchcraft and murders. Radiohead’s Thom Yorke provides melancholic and solemn, yet beautiful songwriting to the film with tracks like “Suspirium” and “Unmade.”

Vertigo (Bernard Herrmann, 1958)

Widely regarded as one of the most impactful film composers, Bernard Herrmann’s compositions have been featured in classics such as Psycho (1960) and Taxi Driver (1976). In the track “Prelude and Rooftop” from Alfred Hitchcock’s Vertigo, the use of repetitive dissonant motifs in the strings mixed with the heavy low brass underscores the intensity and suspense of the film. The story follows an ex-detective who is hired to guard a possessed woman obsessed with death.

The Shining (Wendy Carlos, Rachel Elkind, Krzysztof Penderecki, et al., 1980)

The Shining is one of the most recognizable horror films of all time. Many people can identify the use of the traditional liturgical chant “Dies Irae,” which is a key sound element to the film’s identity. Based on Stephen King’s 1977 novel, The Shining is a psychological thriller that heavily utilizes pre-existing music from classical composers such as Bartók, Ligeti, and Berlioz.

The Nightmare Before Christmas (Danny Elfman, 1993)

Tim Burton’s The Nightmare Before Christmas is the perfect family-friendly spooky movie to watch as the seasons change. Whether you watch it on Halloween or Christmas is completely up to you. Danny Elfman’s soundtrack for this iconic stop-motion film has given The Nightmare Before Christmas its place in pop culture along with a massive cult following.

It Follows (Disasterpeace, 2014)

In the film It Follows directed by David Robert Mitchell, a teenage girl’s new boyfriend passes a curse onto her of a shape-shifting entity that is out to get her. Richard Vreeland, also known as Disasterpeace, is a masterful electronic composer of video game, chiptune, and film music. He uses sinister-sounding synths and distortions to give It Follows a throwback horror film score sound.

Psycho (Bernard Herrmann, 1960)

Released in 1960, Alfred Hitchcock once again collaborated with Bernard Herrmann in the cult classic movie, Psycho. The intense string ostinati in the “Prelude” track are still widely recognized today. In music, an ostinato describes a repeating musical phrase derived from the Italian word for “stubborn” or “obstinate.” In this track, the ostinati elevate the panic in Marion’s drive to the Bates Motel, letting the audience know that something terrible is to come. Not to mention, the iconic shower scene with the track “The Murder,” where the piercing violins elevate both the musical and cultural identity of this influential slasher film.

Halloween (John Carpenter, 1978)

Horror genre legend John Carpenter wrote, directed, and composed the score for the timeless classic, Halloween. The main theme of the soundtrack is an essential leitmotif linked with one of the most famous horror film villains, Michael Myers. A leitmotif is a recurring musical theme that often represents a character or person (think Darth Vader and the Imperial March, or the famous Jaws theme). Inspired by learning about 5/4 time signatures on the bongos as a child, John Carpenter’s use of minimalist, repetitive, and rhythmic patterns helped produce one of the greatest horror film franchises of all time.

To keep learning about spooky musical works, check out this post from the Arts Blog: Ghouls, Ghosts, and Edvard Grieg: The Spookiest Classical Pieces.

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Thomas Lauderdale

While celebrated as an extraordinary performer and bandleader globally, Thomas Lauderdale is an absolute icon among audiences of his Pacific Northwest hometown. Lauderdale has had a keen interest in politics and social justice since his teens and planned to run for political office after graduating (with honors) from Harvard University. Instead, in 1994, the musician founded the band, Pink Martini, to play events for progressive causes. Since its founding, Pink Martini has blossomed into a cultural staple integral to Portland’s identity while staying true to Lauderdale’s founding mission to participate in community interests actively. As a pianist and sought-after collaborator, Lauderdale is admired for his captivating stage presence and dazzling musicianship.

Last month, Lauderdale joined All Classical host Christa Wessel at the station to chat about his new collaboration with legendary Portland surf rock band Satan’s Pilgrims called “Thomas Lauderdale Meets The Pilgrims.” Listen to Christa and Thomas’s conversation here.

Yannick Nézet-Séguin

Canadian-born and Grammy Award-winning conductor and pianist Yannick Nézet-Séguin has led the world’s most acclaimed orchestras and opera houses, not to mention his seemingly endless collaborations with the most distinguished singers and musicians of our time. Currently, Nézet-Séguin serves as Music Director of the Metropolitan Opera, Artistic and Music Director of The Philadelphia Orchestra, and Artistic Director and Principal Conductor of Orchestre Métropolitain in his native Montreal. The conductor has become a beloved household name known for his fresh perspective, his dedication to the art form, and his charisma. In an industry where prominent arts leaders historically have rarely been openly gay, Nézet-Séguin is a beacon of hope for up-and-coming musicians who otherwise may have feared discrimination.

Edna Vázquez

Edna Vázquez is a multifaceted performing artist whose music seamlessly spans the genres of rock, folk, pop, and R&B. Her Mexican heritage plays a vital role in her identity as a performer whose roots are in mariachi music (she grew up in Jalisco, the heartland of the musical genre). Additionally, Vázquez regularly tours with Pink Martini as a featured soloist and even released an album, “Bésame Mucho,” with the ensemble. She has become a household name for her powerful vocal performance and passion that permeates any listener’s heart.  When Vázquez first came out as a lesbian as a teenager, she was culturally isolated. Ever since, the musician has been a fierce advocate for LGBTQI+ rights and spreading the message of love and cultural healing through music.

Marin Alsop

American conductor Marin Alsop is a trailblazer in classical music, known for modernizing the world’s leading orchestras with her fresh, diverse programming. Among her list of inspiring accolades are an impressive collection of “firsts” – the first woman to lead a major orchestra in the United States, South America, Austria, and Great Britain, the first (and only) conductor to receive a MacArthur Fellowship, and the first female conductor of BBC’s Last Night of the Proms, among many others. As an openly gay woman conductor, Alsop creates a sense of hope among aspiring conductors and musicians about the future of inclusivity and equity in the industry and beyond.

In breaking news, Alsop has just been appointed as Artistic Director and Chief Conductor of the Polish National Radio Symphony Orchestra, in addition to continuing to serve as Chief Conductor of the ORF Vienna Radio Symphony Orchestra.

Hunter Noack

Pianist Hunter Noack is a native Oregonian and All Classical’s inaugural Artist in Residence whose love of the outdoors has manifested in the innovative musical experience IN A LANDSCAPE: Classical Music in the Wild™. In the annual series, Noack and his 9-foot Steinway replace the concert hall with some of this country’s most stunning natural backdrops, bringing his gorgeous interpretations of classical music to larger and more diverse audiences. Noack earned degrees from the University of Southern California and Guildhall School of Music & Drama and has toured nationally and internationally with his partner, Thomas Lauderdale’s band, Pink Martini. In 2022, the musician released his debut album, “In a Landscape,” which topped Billboard’s classical music charts.

Revisit Noack’s recent stunning collaboration with poet Kim Stafford on Sunday Brunch: “All Classical Portland’s Poetry Project 2023: The Improv Sessions.”

Recommended Reading

To keep learning, check out these posts from All Classical’s Arts Blog:

• Music Exploring Queer Experiences by Emma Riggle
• Nine Fantastic LGBTQI+ Classical Music Groups in Oregon by Kelly Lantz

Host Christa Wessel spoke with Pink Martini bandleader and Portland pianist Thomas Lauderdale about his new collaboration album with legendary Portland surf rockers Satan’s Pilgrims. Over 25 years in the making, the new album, Thomas Lauderdale Meets The Pilgrims, features new takes on beloved standards such as Night and Day, Malagueña, and George Gershwin’s Rhapsody in Blue.

Infusing classical music and Thomas’s sparkling piano work with the Pilgrims’ signature surf rock sound, it’s the perfect summer party record you can enjoy all year round!

Hear Christa and Thomas‘s exciting conversation below:

Thomas Lauderdale Meets The Pilgrims is available now on CD and vinyl at pinkmartini.com!

Experience the album live at the Crystal Ballroom on Thursday, May 18, 2023. Tickets and more information at crystalballroompdx.com.

ABOUT

Thomas Lauderdale was raised on a plant nursery in rural Indiana. He began piano lessons at age six with Patricia Garrison. When his family moved to Portland in 1982, he began studying with Sylvia Killman, who to this day continues to serve as his coach and mentor. He has appeared as soloist with numerous orchestras and ensembles, including the Oregon Symphony, the Seattle Symphony, the Portland Youth Philharmonic, Chamber Music Northwest and Oregon Ballet Theatre (where he collaborated with choreographer James Canfield and visual artists Storm Tharp and Malia Jensen on a ballet based on Felix Salten’s Bambi, written in 1923).

Lauderdale currently serves on the boards of the Oregon Symphony, Pioneer Courthouse Square, the Oregon Historical Society, Confluence Project with Maya Lin and the Derek Rieth Foundation. He lives in downtown Portland, Oregon.

Learn more at pinkmartini.com.

Satan’s Pilgrims formed in 1992 during a series of house parties hosted by the members of the band, and were playing shows in their hometown of Portland, Oregon by 1993. Twisting their name from the 60’s AIP film “Satan’s Sadists” and donning their now familiar matching outfits complete with vampire capes, they became a band. 

The Pilgrims are one of the most influential surf instrumental bands around and while much of their sound has a definite Southern California influence, what sets them apart is the legacy of their Pacific Northwest rock ‘n’ roll ancestors and other influences, creating their own sub-genre of surf instrumental that many fans call “Pilgrim Rock”.

Read more at satans-pilgrims.com.