To poke at what may be the worst popular composition in the classical keyboard repetoire, Mussorgsky's "Pictures at an Exhibition" appears to borrow from the work of at least one of his contemporaries. In the fifth movement, entitled "Ballet of the Unhatched Chicks," a passage from Mendelssohn's Piano Concerto No. 1 can be clearly heard. My personal opinion is that Mussorgsky lifted a simple theme for a trite composition, but that is another post.
It is worth pointing out how strongly the second movement of the Mendelssohn concerto (not featured in the clip) resembles that of Chopin's first concerto, which borrows from both the second and third movements. The two were begun in the same year, 1830, Mendelssohn finishing in 1831. The two composers knew each other and the admiration was mutual. I have hyperlinked the text to one instance where the similarity I mention can be heard, but there are others and one can compare the movements entirely, if desired. Pay careful attention to the respective orchestras.
Modest Mussorgsky – "Ballet of the Unhatched Chicks" (1874) [beginning at 0:37]
Heard here... Felix Mendelssohn – Piano Concerto No. 1 in G minor (1831) [beginning at 13:54]
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This
blog is intended as a space within which I will share my findings
related to classical music appropriation. Many composers in the past
have quoted, borrowed, and recycled the themes and melodies of others.
Having already noted many such instances, I hope to include the
more interesting, and convincing, examples herein.
Despite its rotated point-of-view, Balthus' painting closely resembles that of Magritte's in a number of details. In the Balthus: the white mantel with new embellishments retains its frontal view, thus appearing cubist, the centerpiece, changed from clock to blue vase, the square patterning of the baseboards, and, not least of all, the large, gold-framed mirror.
It may be interesting, furthermore, to note the relationship of the paintings, were one to place them together, the female figure and train confronting one another in a quasi-sexual manner. Balthus, however, has conceded to lower his mantel, so that his lady can see the reflection which is given in neither of the two works.
Balthus – "Figure in Front of a Mantel" (1955)
Seen here... René Magritte – "Time Transfixed" (1938)
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[Art Edition] This
blog is intended as a space within which I will share my findings
related to classical music appropriation. Many composers in the past
have quoted, borrowed, and recycled the themes and melodies of others.
Having already noted many such instances, I hope to include the
more interesting, and convincing, examples herein.
Slightly modified for the sake of comparison, one easily identifies Mantegna's "Dead Christ" in this screencap from the decade-old "The Return," their most striking similarity, other than the iconic foreshortening, being the turned down hands. Moreover, the work is something of a key needed for an otherwise vague, loosely mythological plot. It concerns the tension between two brothers and a long-absent father. The Mantegna connection refashions the stranger as Christlike, who teaches the children difficult lessons and will die for their sins of suspicion and distrust.
Note, general agreement among art historians indicates that the women depicted in the painting are likely later additions, which helps support Zvyagintsev's cinematography.
Andrey Zvyagintsev – "The Return" (2003, left)
Seen here... Andrea Mantegna – "Dead Christ" (c. 1480s)
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[Art Edition] This blog is intended as a space within which I will share my findings related to classical music appropriation. Many composers in the past have quoted, borrowed, and recycled the themes and melodies of others. Having already noted many such instances, I hope to include the more interesting, and convincing, examples herein.
Instantly recognizable, this well-known appropriation by Mahler uses the French nursery rhyme "Frère Jacques" in a minor key, with added note or two. The theme recovers its original bouyancy when, so the symphony's program goes, a funeral procession of forest animals realize their deceased is none other than the hunter.
Gustave Mahler – Symphony No. 1 in D major (1888) [beginning at 0:18]
This
blog is intended as a space within which I will share my findings
related to classical music appropriation. Many composers in the past
have quoted, borrowed, and recycled the themes and melodies of others.
Having already noted many such instances, I hope to include the
more interesting, and convincing, examples herein.
This rollicking theme, what is probably better described as a mood, of Schubert's sonata in A minor, composed for friend and arpeggione virtuoso Vincenz Schuster, appears more than once in Beethoven's first sonata for violin, however briefly. The piece is itself more frequently performed on violin, as it is in the clip provided below. Listen carefully to the piano in the D major sonata, comparing it with that of the accompanist in the Schubert.
Franz Schubert– Arpeggione Sonata in A minor (1824) [beginning at 1:31]
Heard here...
Ludwig van Beethoven– Violin Sonata No. 1 in D major (1798) [beginning at 11:12]
★
This
blog is intended as a space within which I will share my findings
related to classical music appropriation. Many composers in the past
have quoted, borrowed, and recycled the themes and melodies of others.
Having already noted many such instances, I hope to include the
more interesting, and convincing, examples herein.
Not easily detected, nevertheless I find enough of the prelude in
Liszt's composition to warrant this post. He was, of course, a great
admirer of Chopin's work. I've come across nothing in
Chopin's work specifically resembling that of anyone but the composer
himself, who on occasion quotes his own nocturne or waltz. I will try
to include examples of such in future posts.
Franz Liszt – Grand Concert Solo, S. 176 (1851) [beginning at 1:17]
Heard here... Frederick Chopin – Prelude Op. 28 No. 4, in E minor (1839) [from beginning]
★
This
blog is intended as a space within which I will share my findings
related to classical music appropriation. Many composers in the past
have quoted, borrowed, and recycled the themes and melodies of others.
Having already noted many such instances, I hope to include the
more interesting, and convincing, examples herein.
A well-known appropriation by no means unique to this blog. I did, however, notice it before Robert Levin made mention of it in a lecture on Mozart.
Ludwig van Beethoven – Piano Sonata No. 8 in C minor 'Pathétique' (1798) [from beginning]
Heard here... Wolfgang Amadeus Mozart – Piano Sonata No. 14 in C minor (1784) [beginning at 0:08]
★
This
blog is intended as a space within which I will share my findings
related to classical music appropriation. Many composers in the past
have quoted, borrowed, and recycled the themes and melodies of others.
Having already noted many such instances, I hope to include the
more interesting, and convincing, examples herein.
A performance of Liszt's transcription of the seventh symphony
for piano may be useful to hear, in addition. Although Beethoven was
not one to borrow frequently from the work of other composers, his most
well-known series of variations, the Diabelli Variations, is based on an original waltz by Anton Diabelli.
Ludwig van Beethoven – Symphony No. 7 in A major (1812) [from beginning]
Heard here... Domenico Scarlatti – Keyboard Sonata in F major, K. 525 (1757) [from beginning]
★
This
blog is intended as a space within which I will share my findings
related to classical music appropriation. Many composers in the past
have quoted, borrowed, and recycled the themes and melodies of others.
Having already noted many such instances, I hope to include the
more interesting, and convincing, examples herein.
Mahler, who was himself a Jew until 1897, regularly included elements of klezmer in his symphonies, most notably in the third movement of his Symphony No. 1,
so it comes as no surprise that Williams would look to such a source
while composing the soundtrack to Schindler's List. Despite being not a
large appropriation, the act per se is convincing given the certainty we
can have regarding the Tchaikovsky trio's inclusion, which may be more
clearly heard.
First Comparison
John Williams – "Theme from Schindler's List" (1993) [ending at 0:20]
Heard here...
Pyotr Tchaikovsky –Piano Trio in A minor (1882) [beginning at 0:05]
Second Comparison
John Williams – "Theme from Schindler's List" (1993) [beginning at 0:15]
Heard here... Gustav Mahler –Symphony No. 8 in E-flat major (1906) [beginning around 5:45]
★
This
blog is intended as a space within which I will share my findings
related to classical music appropriation. Many composers in the past
have quoted, borrowed, and recycled the themes and melodies of others.
Having already noted many such instances, I hope to include the more
interesting, and convincing, examples herein.
