Beyond the Bony Labyrinth

The cris de Paris according to Marcel Proust, Joseph Mainzer and Georges Kastner; folklore and music theory ca. 1900, and the peddlers’ cries of Amsterdam. To conclude, the call of the night watchman in London, Amsterdam, and Leipzig, with a forgotten night watchman’s call in Schumann's Symphony No. 1. 00:00 Intro 00:35 Marcel Proust (1923): Time lost 02:04 Plainchant and recitative 12:23 Nightwatchman’s calls 16:20 G.A. Heinze and Schumann’s Frühlingssinfonie (1841) Music excerpts: 07:26, 12:19 Jean Péheu, Les cris parisiens: scène d’imitations 191? https://gallica.bnf.fr/ark:/12148/bpt6k127305d 08:25 Claude Debussy, Pelléas et Mélisande, Act 5 (Arkel). D. Ward, Covent Garden, P. Boulez. CBS (1970) 12:41 Orlando Gibbons, The Cries of London. Theatre of Voices, P. Hillier, Fretwork. Harmonia Mundi (2006) 13:36, 14:29 Richard Dering, The City Cries. Theatre of Voices, P. Hillier, Fretwork. Harmonia Mundi (2006) 15:37 Richard Wagner, Die Meistersinger von Nürnberg, Act 2 sc. 5, R. Pape, Bayerisches Staatorchester, W. Sawallisch EMI 7390182 (1993) 16:25, 17:00, 21:58 Robert Schumann, Symfonie Nr. 1. The Hanover Band, R. Goodman. RCA 09026-61931-2 (1994) More on de street cries of Amsterdam in the Dutch version of this episode: https://lodewijkmuns.nl/podcast/spraakmelodieen-en-straatroepen-3/ References: see https://lodewijkmuns.nl/podcast/speech-melodies-and-street-cries-1/

Around the middle of the nineteenth century, the cris de Paris were still mainly regarded as annoying noise. Since then, however, a process was underway to regulate and reduce itinerant street trading. During this process, which takes place over several decades, the street cries are being listened to and described with increasing interest. According to Joseph Mainzer, the cries were an elementary form of folk music; Jean-Georges Kastner saw in them music in the process of coming into being. Kastner’s artistic ambition was to give musical form to ‘the voices of Paris’. Not his own composition, but Gustave Charpentier’s opera Louise can be seen as the realsation of that ambition. 00:00 Intro 00:53 City noise 02:46 Marginalisation and nostalgia 04:35 From annoyance to aesthetics 08:49 Mainzer (1841): street calls as music 12:09 Kastner (1857): Les voix de Paris 19:04 Offenbach (1858): Purchase your pleasure, ladies! 24:10 Charpentier (1900): Louise Music excerpts: 00:37, 04:26, 11:44 Jean Péheu, Les cris parisiens: scène d’imitations 191? https://gallica.bnf.fr/ark:/12148/bpt6k127305d 07:17 Duncan MacLeod, The Cries of Columbia Road 2017 15:03, 16:28 Jean-Georges Kastner, Les voix de Paris. Ensemble Clément Janequin, D. Visse. L’écrit du cri. Harmonia mundi 2009 18:36, 22:08 Jacques Offenbach, Mesdames de la Halle. M. Mesplé, J-Ph. Lafont a.o., Orchestre Philharmonique de Monte-Carlo, Manuel Rosenthal. EMI 1983 23:54 Giacomo Puccini, La bohème. R.C.A. Victor Chorus, R.C.A. Victor Orchestra, Th. Beecham. EMI 1956 24:42, 27:36 Gustave Charpentier, Louise. I. Cotrubas, P. Domingo, Ambrosian Opera Chorus, New Philharmonia Orchestra, G. Prêtre. EMI 1976 References: see https://lodewijkmuns.nl/podcast/speech-melodies-and-street-cries-1/

In everything we say, there is the ‘tone’ in which we say it, or ‘speech melody’. In that speech melody lies a clear, but limited, analogy with music. When we make ourselves heard over a greater distance by calling out, our speech comes closer to singing. Calling or crying played an essential role in itinerant street trade. The peddlers’ calls were a characteristic element of the street soundscape of the major cities. We have remnants of this in the form of musical notation since the 19th century. Another source that goes back much further is the quotations of peddlers’ cries in composed music. Whether an authentic cry has been preserved in these compositions is always open to question. This first of three episodes explores the musicality of speech melody, the cries of street vendors as cultural heritage and musical material, motets of the 13th and 14th centuries, Janequin’s Cris de Paris (1530) and the Cries of London (1600 and 1974). 00:00 Intro 00:37 Speaking, calling, singing 02:18 Street cries 07:14 Musical quotations 09:03 Les cris de Paris 10:37 Fresh strawberries (ca. 1260-1350) 16:57 Clement Janequin (1528) 20:31 The cries of London (ca. 1610 en 1976) Music excerpts: 01:21 D. Auber, Les diamants de la couronne: Air et variations. Selma Kurz (1914) https://www.youtube.com/watch?v=d8RudRkvpqk 05:20 Anonymous, Won't you buy my sweet blooming lavender. Janet Penfold. Songs of the Travelling People. Saydisc 06:16, 08:43 Edward German, Who’ll buy my lavender. Grace Moore (1937) 12:06, 13:32 Anonymous, On parole/A Paris/Frèse nouvele (Montpellier-Codex, ca 1250). Clemencic Consort, R. Clemencic. Motetus. Stradivarius STR 33398 (1996) 15:16 Anonymous, Je commence/Et je feray/Soules viex (Ivrea Codex, ca. 1350). Les Musiciens De Saint-Julien. Je Voy Le Bon Tens Venir. Alpha 189 (2013) 18:50 Clément Janequin, Les cris de Paris. Ensemble Clément Janequin, D. Visse. L'écrit du cri. Harmonia mundi (2009) 21:23 Orlando Gibbons, The Cries of London. Theatre of Voices, P. Hillier, Fretwork. Harmonia Mundi (2006) 24:09 John Cobb, These are the Cries of London Town. Deller Consort, A. Deller (1956). Vanguard Classics (1994) 24:31, 26:07 Luciano Berio, The Cries of London. Swingle II (1976). Decca 425 620-2 (1990) References: see https://lodewijkmuns.nl/podcast/speech-melodies-and-street-cries-1/

A closer look at a recitative from the opera Armide by Jean-Baptiste Lully, a dispute between Rousseau and Rameau, and Gluck’s opera Armide on the same libretto. Also the issue of operatic singing that represents not speaking, but precisely what it is: singing. 00:00 Intro 00:37 Lully: Armide (1686) 11:23 Gluck: Armide (1777) 20:36 A second voice 23:04 Singing by way of singing 27:28 Orpheus Music and sound excerpts: 02:44, 04:07, 08:16 J.-B. Lully. Armide: Enfin il est en ma puissance (Act II, scene 5). Véronique Gens, Les Talens Lyriques, Christophe Rousset. Tragédiennes. Virgin Classics – 00946 346762 2 9 (2006). 12:14, 16:48, 23:03 C.W. von Gluck, Armide: Enfin il est en ma puissance (Act II, scene 5). Véronique Gens, Les Talens Lyriques, Christophe Rousset. Tragédiennes. Virgin Classics – 00946 346762 2 9 (2006). 25:48, 32:13 W.A. Mozart, Le nozze di Figaro: arietta Voi che sapete. Cecilia Bartoli, Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado DGG 477 9124 (1995). 29:35, 33:10, 33:47, 34:23 Chr. W. von Gluck, Orfeo ed Euridice: Deh placatevi. Bernarda Fink, RIAS Kammerchor, Freiburger Barockorchester, René Jacobs HMY2921742.43 (2014). 36:26, 38:40 R. Wagner, Die Meistersinger von Nürnberg: Morgenlich leuchtend in rosigem Schein (Act III). Ben Heppner, Chor der Bayerischen Staatsoper, Bayerisches Staatsorchester, Wolfgang Sawallisch EMI 7390182 (1993). Selected references for episodes 24 and 25: see https://lodewijkmuns.nl/singing-by-way-of-speaking-1

About the human voice, the difference between speaking and singing, speech melody and the Speech to Song Illusion, the strengths and weaknesses of operatic recitative, and emotion as a justification for the absurdity of singing by way of speaking. 00:00 Intro 00:36 The versatile voice 05:40 Speech melody: tones and glides 10:00 Calling out 11:38 The Speech to Song Illusion 16:21 Declamation, recitation, recitative 20:46 Absurd conventions 26:05 Singing as a natural language Music and sound excerpts: 01:32, 04:50 Luciano Berio. Sequenza III. Tony Arnold (2006) Naxos 8.557661-63 02:47, 08:10 Francis Poulenc. La voix humaine. Denise Duval (1959) Warner Classics 0190295738105 03:31 Lemur calls https://www.youtube.com/watch?v=4d3vFI5UpIc 08:41, 19:40 Frédéric Chopin. Prélude op. 28 nr. 4 in e* 12:14, 12:38 Diana Deutsch, The sounds as they appear to you… https://deutsch.ucsd.edu/psychology/pages.php?i=212 15:30 Lodewijk Muns, Impromptu on 'sometimes behave so strangely' 17:16 Jacopo Peri. L’Euridice. Françoise Masset, Les Arts Baroques, Mireille Podeur (1993) Maguelone MAG 358.415 21:45 W.A. Mozart. Cosí fan tutte: Soave sia il vento (No. 10). Bernarda Fink, Véronique Gens, Pietro Spagnoli, Concerto Köln, René Jacobs. Harmonia Mundi HMC95 1663/5 (1999) *Lodewijk Muns, piano On the Speech to Song Illusion, see Lodewijk Muns, Speech melody and the Speech-to-Song Illusion https://lodewijkmuns.nl/music/music-and-language/speech-to-song-illusion/ Selected references for episodes 24 and 25: see https://lodewijkmuns.nl/singing-by-way-of-speaking-1

The activity of spinning, and the movement and sound of the spinning wheel are common motifs in nineteenth-century music. How successful is this music as a “representation” or “depiction” of spinning? And how does it relate to the socio-cultural context of spinning as a craft, and particularly as women's work? 00:00 Intro 00:37 Character pieces 03:27 “Diligent, pious en virtuous”: J.A.P. Schulz 10:02 Haydn: “Knurre, schnurre” 11:57 Schubert’s Gretchen 17:42 Mendelssohn: spinning song or not? 20:40 Wagner: “Summ und brumm” 24:34 Movement timbre, texture 30:38 From Gretchen to Louise For a more extensive discussion and sources, see L. Muns, Purring and Whirring: Music of the Spinning Wheel. Music excerpts: 01:04 B. Godard, Au rouet op. 85 (piano*) 05:41 J.A.P. Schulz, Spinnerlied (piano*) 08:31 J.A.P. Schulz, Die Spinnerin (piano*) 10:43 J. Haydn, Knurre, schnurre, Rädchen, schnurre, from Die Jahreszeiten (Norrington, Oelze, RIAS Kammerchor, Chamber Orchestra of Europe) Hänssler PH07076 12:03, 15:10 F. Schubert, arr. F. Liszt, Gretchen am Spinnrade (piano*) 13:26 F. Schubert, Gretchen am Spinnrade (Auger, Olbertz) Berlin Classics 17:57 F. Mendelssohn, Lied ohne Worte op. 67 nr. 4 (piano*) 20:10 F. Mendelssohn, Lied ohne Worte op. 67 nr. 4 (Rachmaninoff, 1920) Victor 21:54 R. Wagner, Summ und brumm, du gutes Rädchen, from Der fliegende Holländer (Barenboim, Chor der Berliner Staatsoper, Staatskapelle Berlin) Teldec 23:18 R. Wagner, arr. F. Liszt, Spinnerlied aus Der fliegende Holländer (piano*) 26:47 Collage: F. Mendelssohn, Lied ohne Worte op. 67 nr. 4 – 27:06 A. Jungmann, Schnurre, Rädchen, schnurre! op. 294 – 27:35 R. Joseffy, Spinnlied – 27:58 H. Litolff, Zweites Spinnlied op. 104 – 28:28 F. Spindler, Le chant de la fileuse op. 164 – 28:36 H. Ketten, Marguérite au rouet op. 12 – 28:45 B. Godard, Au rouet op. 85 – 29:09 J. Raff, La fileuse op. 157 No. 2 (piano*) 33:08 G. Charpentier, Interlude from Louise, Act II (Prêtre, New Philharmonia Orchestra) Sony S3K 46429 34:08 M. Moessorgskij, Sjveja (The seamstress) (piano*) *Lodewijk Muns, piano

On the question of whether and how music can tell a story. With music by Debussy (prélude La sérénade interrompue), Liszt (Die Loreley), and Chopin (ballades). 00:00 Intro 00:36 Telling stories 02:49 Debussy: La sérénade interrompue 09:56 Programme music 11:16 Can music tell a story? 12:23 Liszt: Die Loreley 24:46 A narrative ‘tone’ in music 29:45 Chopin’s ballades 35:21 The musical narrator Music fragments: 02:55 Claude Debussy, Prélude Livre I No. 9, La serenade interrompue (compl.)* 12:56 Franz Liszt, Die Loreley S. 532 (2nd version) (compl.)* 26:23 Robert Schumann, Fantasie op. 17 (fragment)* 27:23 Friedrich Silcher, Die Loreley (fragment)* 28:29 Franz Liszt, Die Loreley S. 531 (1st version) (fragment)* 30:22 Frédéric Chopin, Ballade No. 4 op. 52 (fragment)* 32:41 D.-F.-E. Auber, Fra Diavolo, Romance (Couplets). Mesplé, Soustrot, Orchestre Philharmonique de Monte-Carlo. His Master's Voice EX 157 27 0068 3 34:28 Frédéric Chopin, Ballade No. 3 op. 47 (fragment)* See also: L. Muns. Concert Song and Concert Speech around 1800. Music & Letters 98, no. 3 (2017): 365–93 . https://doi.org/10.1093/ml/gcx082 ———. Fiction, Truth, and Lies: The Nonassertion Theory of Fiction, Quotation, and Music as Fiction, 2021. https://hcommons.org/deposits/item/hc:28479/ ———. Who’s “I” in Music?: Unmasking the Musical Persona, 2021. https://hcommons.org/deposits/item/hc:43711/

Mickey-mousing – the close synchronisation of music and image, as in classic animated films – has a bad reputation for being a simplistic and pointless duplication of the image. But it becomes interesting when we ask ourselves how exactly the music relates to the world of image and sound. 00:00 Intro 00:35 The cinematic functions of sound 03:00 Breaking through the sound barrier 08:40 “Harmful duplication” 12:18 Tom-and-Jerrying 15:47 Rhythm for ears and eyes 19:11 Animated patterns Music fragments: 04:34 Cathy Berberian. Stripsody. The Unforgettable Cathy Berberian. Classic Options CO-3505. 07:28 Wilfred Jackson en Bert Lewis. Steamboat Willy. Walt Disney Animation Studios. https://www.youtube.com/watch?v=BBgghnQF6E4 10:26 Hanns Eisler. Vierzehn Arten den Regen zu beschreiben op. 70. F.-C. Erben, Kammermusikvereinigung der Deutschen Staatsoper Berlin. Berlin Classics 0092552BC 1997. 12:50 Scott Bradley. The Invisible Mouse. Hanna and Barbera. Tom en Jerry: De collectie dl. 3. Turner s.a. 19:00 Zez Confrey. Kitten on the Keys. Z. Confrey (piano), 1921. https://www.loc.gov/item/00694031/ 20:42 Emmanuel Chabrier. Joyeuse Marche. E. Ysaye, Cincinnati Symphony Orchestra, 1919. Eugène Ysaÿe, violinist and conductor: the complete violin recordings. Sony Classical MHK 62337 Quoted text: Th.W. Adorno and H. Eisler. Komposition für den Film. Frankfurt am Main: Suhrkamp, 2006. E. Hanslick. Vom Musikalisch-Schönen: ein Beitrag zur Revision der Aesthetik der Tonkunst. Leipzig: Weigel, 1854. See also the references to these posts: The Acousmatic Experience https://lodewijkmuns.nl/2020/11/19/acousmatic-experience/ The Archaic Ear https://lodewijkmuns.nl/2020/11/09/the-archaic-ear/ The Fine Art of Mickey-Mousing https://lodewijkmuns.nl/2020/12/06/mickey-mousing/ Rhythm for the Ears and for the Eyes https://lodewijkmuns.nl/2020/12/23/rhythm

What kind of ‘thing’ is music? To what extent do we hear music as sound, as something with a source and a cause? And how do we explain the presence of music in cinema? 00:00 Intro 00:37 Some things are more thingish than others 03:05 The three-dimensionality of sound 04:36 The acousmatic experience 07:55 Is music acousmatic by nature? 15:23 Where does that music come from? Music fragments: 06:24 L. Muns, Le chien acousmatique: petit essai de musique concrète. 08:35 F. Schubert, Sonata in E-flat Major D568 (piano*). 12:36 L. van Beethoven, Sonata in C-sharp Minor op. 27 nr. 2 (Mondschein) (sinus tones/piano*). 17:32 C. Debussy, Pelléas et Mélisande. C. Abbado, Wiener Philharmoniker. DGG 4353442. 20:34 Casablanca (film). Ingrid Bergman, Humphrey Bogart, Dooley Wilson, Max Steiner. Warner Brothers 1943. *Lodewijk Muns, piano Quoted text: R. Scruton, The Aesthetics of Music. Oxford: Clarendon Press 1997 Further references in: L. Muns, ‘The Acousmatic Experience’. Lodewijk Muns (blog). https://lodewijkmuns.nl/2020/11/19/acousmatic-experience/ L. Muns, ‘The Archaic Ear’. Lodewijk Muns (blog). https://lodewijkmuns.nl/2020/11/09/the-archaic-ear/

On abstract and ‘absolute’ music, Eduard Hanslick's auditory kaleidoscope, Heinrich Schenker's primal counterpoint, and Bach's fugues. With a written appendix: ‘Art playing with itself’: the anti-contrapuntal prejudice. https://lodewijkmuns.nl/2024/12/31/counterpoint/ 00:00 Intro 00:36 Two dogmas 05:06 Music without additives 06:28 The auditory kaleidoscope 08:57 ‘Art playing with itself’ 13:22 Complementarity: harmony and counterpoint 17:48 Die Kunst der Fuge 24:22 Metacounterpoint 27:26 Heinrich Schenker's epiphany 34:29 Bach: Prelude and fugue in F major BWV 880 Music fragments: 04:02 J.S. Bach, Sinfonia (Three-part Invention) Nr. 1 BWV 787 13:48 Melody and harmonisations (Google doodle) 16.33 J.S. Bach, Präludium F dur BWV 880, Das wohltemperierte Klavier II nr. 11 20:31 J.S. Bach, Contrapunctus I, Die Kunst der Fuge BWV 1080 25:55 H. Schenker, Zweistimmige Invention op. 5 nr. 1 34:58 J.S. Bach, Präludium und Fuge F dur BWV 880, Das wohltemperierte Klavier II nr. 11 Lodewijk Muns, piano References: see https://lodewijkmuns.nl/2024/12/31/counterpoint/#references

The continuation of episode 16, featuring musical ego documents by Dowland and Froberger, black bile, depression and ‘sweet melancholy’, and the 18th-century philosopher Étienne de Lacépède on the connection between melancholy, consolation and beauty. 00:00 Intro 00:36 Dowland: ever grieving 04:29 Froberger: memento mori 08:57 Black bile and sweet melancholy 13:50 That sinking, that melting: Burke 19:21 Fateful sensibility: Lacépède 226:45 Melancholy and loss Music fragments 02:31 J. Dowland, Semper Dowland semper dolens (piano*) 05:43 J.J. Froberger, Allemande from Suite No. 20 in D major FbWV 620 (piano*) 13:04 L. Couperin, Pavane (Pavanne) in F-sharp minor (piano*) 17:49 L. Couperin, Pavane (Pavanne) in F-sharp minor (piano*) 22:00 Chr. W. von Gluck, Che farò senza Euridice from Orfeo ed Euridice. Bernarda Fink, Freiburger Barockorchester, René Jacobs. Le Louvre des musiciens. Harmonia Mundi HMX2908977.78 25:29 J.S. Bach, Sarabande from Partita No. 6 in E minor BWV 830 (piano*) *piano: Lodewijk Muns Text sources E. Burke. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. 2nd ed. London: Dodsley 1759. R. Burton. The Anatomy of Melancholy. London: Crips & Lloyd 1652. Early English Books Online https://about.proquest.com/en/products-services/eebo/ E. de Lacépède. La poétique de la musique. Paris: Monsieur 1785. Gallica https://gallica.bnf.fr/ark:/12148/bpt6k114571v Further references: L. Muns, Melancholy, Memory, and Music (1) https://lodewijkmuns.nl/2020/04/10/melancholy-memory-and-music-1/ L. Muns, Melancholy, Memory, and Music (2) https://lodewijkmuns.nl/2020/04/30/melancholy-memory-and-music-2/

Recital on the theme of ‘music and melancholy’ with two works by C.P.E. Bach, discussed in episode 16, along with J.S. Bach’s Partita No. 6 and L. Couperin’s Pavane. 00:00 Intro 00:36 Spoken introduction 02:31 Louis Couperin, Pavane (Pavanne) in fis (ca. 1655) 2’21” 06:19 Carl Philipp Emanuel Bach, Fantasia (Freie Fantasie) in F, ‘C.P.E. Bachs Empfindungen’ Wq 67 (1787) 17:59 Johann Sebastian Bach, Partita No. 6 in E minor BWV 830 (1731). Toccata, 24:45 Allemande, 28:02 Corrente, 30:40 Sarabande, 34:49 Gigue 38:08 Carl Philipp Emanuel Bach, Abschied von meinem Silbermannischen Claviere, in einem Rondo Wq 66 (1781) Lodewijk Muns, piano

A first exploration of the theme of ‘music and melancholy’, with three works by C.P.E. Bach. Conversation between a Sanguineus and a Melancholicus is an experiment in ‘speaking music’. Two other works can be considered melancholic ‘ego documents’: the fantasia C.P.E. Bach's feelings (C.P. E. Bachs Empfindungen) and the Farewell to my Silbermann Clavichord. 00:00 Intro 00:36 Conversation between a sanguine and a melancholic person 08:06 Humores, humour 10:40 Emanuel Bach's melancholy sentiments 24:51 Farewell to my clavichord Sources: see https://lodewijkmuns.nl/2020/04/30/melancholy-memory-and-music-2/ Music fragments: 00:36 C.P.E. Bach, Sonata a 2 violini e basso in C minor, ‘Gespräch zwischen einem Sanguineus und Melancholicus’ Wq 161/1* 11:32, 16:05 C.P.E. Bach, Fantasie (Freie Fantasie) in fis, ‘C.P.E. Bachs Empfindungen’ Wq 67* 14:42 J.S. Bach, Chromatische Fantasie und Fuge BWV 903* 20:24 C.P.E. Bach, Andenken an den Tod. 30 Geistliche Gesänge mit Melodien 2 Wq 198/12. Klaus Mertens, Ludger Remy CPO CX 9708 25:06 C.P.E. Bach, Abschied von meinem Silbermannischen Claviere, in einem Rondo Wq 66* *Lodewijk Muns, piano

To what extent can instrumental music ‘speak’? And what does it tell us? Examples discussed include Beethoven's Sonata op. 110, works by Emanuel Bach and (again) J.S. Bach's Chromatic Fantasia. Complete pieces can be heard in the recital of episode 15. 00:00 Intro 00:38 Beethoven: Arioso dolente 05:32 Music representing music representing speech 07:23 Musical Prose 10:12 J.S. Bach: Chromatische Fantasie 16:59 C.P.E. Bach: The free fantasia 21:39 ‘Speaking’ music 24:01 Melancholy and the musical ‘I’ Music fragments: 00:38 Beethoven, Sonata op. 110 in A-flat 11:04 J.S. Bach, Chromatische Fantasie BWV 903 14:23 Vivaldi-Bach, Adagio from Concerto in C BWV 594 18:02 C.P.E. Bach, Fantasie in c from Sonata Wq 63 No. 6 Lodewijk Muns, piano. For references see: Lodewijk Muns, C.P.E. Bach, Haydn, and the Art of Mixed Feelings (2008) https://www.academia.edu/7561949/C_P_E_Bach_Haydn_and_the_Art_of_Mixed_Feelings idem, Fiction, Truth, and Lies: The Nonassertion Theory of Fiction, Quotation, and Music as Fiction (2021). https://hcommons.org/deposits/item/hc:28479/

A short recital as an appendix to Ep. 14 on instrumental recitative, with Bach’s Chromatische fantasia BWV903 (without the fugue), two pieces by Emanuel Bach, and Beethoven’s Sonata opus 110. Not on Spotify. 00:00 Intro 00:36 Spoken introduction 01:36 J.S. Bach, Chromatische Fantasie BWV 903 (ca. 1720?) 10:28 C.P.E. Bach, Andante from Sonata Wq 48 Nr. 1 in F (‘Prussian Sonatas’, No. 1) (1740) 12:53 C.P.E. Bach, Fantasia in c from Sonata Wq 63 No. 6 (‘Probestücke’, No. 18) (1753) 19:14 L. van Beethoven, Sonata op. 110 in A-flat (1821): Moderato cantabile molto espressivo – 26:06 Allegro molto – 27:03 Adagio ma non troppo – Allegro ma non troppo.

An episode dedicated to one work. A whimsical piece that has sparked many controversies about its ‘proper’ performance. With insights from Felix Mendelssohn, Franz Liszt, Ferruccio Busoni and Heinrich Schenker, among others. 00:00 Intro 00:36 Arpeggios 08:36 A voice that speaks 13:55 Instructive editions 25:04 Secco, maestoso… 31:27 …or espressivo? Music fragments: J.S. Bach, Chromatische Fantasie und Fuge d-moll BWV 903. Lodewijk Muns* 23:41 idem. György Sándor. Columbia Masterworks ML 4304 (1950) 25:54 idem. Alexis Weissenberg. Erato 1972 33:09 idem. Edwin Fischer. Warner Classics 6294992 (1931) *complete recording on https://lodewijkmuns.nl/podcast/sprekende-muziek/ Text quotations: see the references in Bach on the Piano, https://lodewijkmuns.nl/2022/10/08/bwv-903/

About the irresistible effects of Mendelssohn's Spring Song, melodies wafting in from the street, and the nostalgic modernism of Charles Ives. The subject is related to topics discussed in earlier episodes: quotation (7, 8), metamusic (5), and Darling They’re Playing Our Tune (2). 00:00 Intro 00:36 Memory, recall, recurrence 03:56 Music around 1900 05:17 That Mesmerizing Mendelssohn Tune 10:41 Herman, Let’s Dance That Beautiful Waltz 13:16 The Song That Stole My Heart Away 16:24 Ives: Memories 24:21 Ives: Central Park in the Dark Music fragments: 02:46 Robert Schumann, Fantasie in C op. 17 (piano)* 05:17 Irving Berlin, That Mesmerizing Mendelssohn Tune. Collins and Harlan. Victor 16472 (1910) https://www.loc.gov/item/jukebox-128510/ 07:29 Felix Mendelssohn Bartholdy, Lied ohne Worte op. 62 nr. 6, ‘Frühlingslied’ (piano)* 11:27 Ted Snyder, Herman, let's dance that beautiful waltz. Ada Jones. Zonophone 5735 [ca. 1910] https://adp.library.ucsb.edu/index.php/matrix/detail/2000256389/Zo_cat_5735-B-Herman_lets_dance_that_beautiful_waltz. 13:41 Nelson Kneass, Ben Bolt. John McCormack (1914-15). Naxos 8.111315 14:54 Harry von Tilzer, The Song That Stole My Heart Away. Irving Gillette (= Henry Burr). Pathe B.5015 https://archive.org/details/78_the-song-that-stole-my-heart-away_irving-gillette-h-von-tilzer_gbia0298584a 16:24 Charles Ives, Memories: B. Rather Sad (piano)* 19:23 Charles Ives, Memories: A. Very Pleasant. Julia Sophie Wagner, Steffen Schleiermacher. In The Alley: Songs And Chamber Music MDG 613 2178-22 20:17 Charles Ives, Memories: B. Rather Sad. See previous. 23:43 Charles Moreland, My mother's old red shawl. Vernon Dalhart, Murray Kellner (violin), Carson Robison (guitar) (1926) Columbia 15062-D 25:30 Charles Ives, Central Park in the Dark. James Sinclair, Northern Sinfonia. Naxos 8.559087 26:30 Joseph E. Howard and Ida Emerson, Hello, Ma Baby. 1923 Autopiano Player Piano. Player Piano Classics Vol 1. Carlisle Music Co. 35:14 Maurice Ravel, Valses nobles et sentimentales* 37:35 Charles Ives, Frühlingslied (piano, arr. Lodewijk Muns) * ** *Lodewijk Muns, piano ** Ca. 1897. Originally on text by Heinrich Heine (Die blauen Frühlingsaugen), publ. in 114 Songs (1922) with text by William Wordsworth (I travelled among unknown men). References: J. P. Burkholder. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven etc.: Yale University Press, 1995. Ch. E. Ives. Memos. New York: Norton, 1972. More references in: L. Muns. That Mesmerizing Mendelssohn Tune (blog). https://lodewijkmuns.nl/2021/01/17/mendelssohn-tune/

Music that represents music as someone remembers it, is there such a thing? Topics include the famous flashback in the film Casablanca, Schumann’s Carnaval, musical ‘souvenirs’ and ‘réminiscences’. With a complete recording of Liszt's (somewhat musty?) etude Ricordanza. 00:00 Intro 00:36 Music and memory 01:53 Flashback: Casablanca 09:26 Recurrence and recall 12:32 Schumann, alias Florestan 18:03 Musical souvenirs 23:29 Réminiscences 25:23 Liszt: Ricordanza Music fragments: 01:53 (and after) Casablanca (film). Ingrid Bergman, Humphrey Bogart. Warner Brothers 1943 10:53 Ludwig van Beethoven, An die ferne Geliebte. F. Wunderlich, H. Schmidt. Philips 420.852-2 12:10 Robert Schumann, Carnaval op. 9: Florestan* 16:37 Robert Schumann, Carnaval op. 9: Florestan. Ch. Rosen 1983 (appendix in The Romantic Generation, 1995) 19:02 Clara Wieck, Souvenir de Vienne* 21:25 Mikhail Glinka, Souvenir d'une mazurka* 26:33 Franz Liszt, Ricordanza. Etudes d'exécution transcendante No. 9 (complete; the ending in the version of Lina Ramann’s Liszt-Pädagogium, 1901, recommended by Busoni in his edition of the etudes.)* *Lodewijk Muns, piano References: L. Muns, Music Remembered – in Music (2) (and references). (https://lodewijkmuns.nl/2019/11/18/music-remembered-2) F. Busoni, Zum hundertsten Geburtstage Franz Liszt's: Sechs Klavier-Abende von Ferruccio Busoni [Berlin] 1911 [programme notes]. (https://www.rodoni.ch/A14/liszt-busoni.pdf)

What remains of a song if you ignore the lyrics? What makes a song without words a 'song'? And why is singing without lyrics such a rare phenomenon? 00:00 Intro 00:36 Casual listening 07:53 Music as poetry 10:53 The ‘song without words’ 19:06 Childish games 25:36 The marginal existence of the vocalise Music fragments: 02:41 F. Schubert, An de Mond D259. Wolfgang Holzmair, Gérard Wyss. Tudor 791. 1992. 05:03 F. Schubert, An de Mond D296. Dietrich Fischer-Dieskau, Jörg Demus. Deutsche Grammophon 00289 479 6018. 06:47 F. Schubert, An de Mond D296. Piano* 12:06 F. Liszt, Sonetto 104 del Petrarca. Piano* 21:55 F. Mendelssohn, Lied ohne Worte op. 62 nr. 1 (complete). Piano* 27:24 M. Ravel, Vocalise en forme de habanera. Teresa Berganza, Dalton Baldwin. EMI 7243 5 69299 2 0. 28:17 R. Glier, Concerto for Coloratura Soprano and Orchestra op. 82. Erna Berger, Sergiu Celibidache, Berliner Philharmoniker. Berlin 1946/47. Audiophile. 39:35 L. Muns, Aria-Vocalise from the Chamber Opera Pedrillo Botón. *Lodewijk Muns, piano Main sources: Cooper, J. M. “Words without Songs?: Of Texts, Titles, and Mendelssohn’s ‘Lieder Ohne Worte.’” In Musik als Text Bd. 2. Kassel: Bärenreiter 1998. Mendelssohn-Bartholdy, F. Sämtliche Briefe. Kassel: Bärenreiter 2008-2017. Todd, R. L.“Mendelssohn’s Lieder ohne Worte and the Limits of Musical Expression.” In Nicole Grimes and Angela Mace (eds). Mendelssohn Perspectives. Farnham: Ashgate 2012.

Robert Schumann, Fantasie in C op. 17, first and third movements. Not on Spotify. 00:00 Intro 00:39 (1) Durchhaus phantastisch und leidenschaftlich vorzutragen 11:59 (3) Langsam getragen Lodewijk Muns, piano

When is a musical idea simply a cliché, when a case of borrowing, and when a quotation? With Schumann’s Fantasie op. 17 as an interesting doubtful case of musical quotation. 00:00 Intro 00:36 Reference and self-reference 02:32 Patterns, idioms, schemas 08:26 A doubtful case: Schumann’s Fantasie in C 10:51 A distant beloved 14:05 Reference? 19:33 Spiritual encounters 26:52 Music as memory process Music excerpts: J.S. Bach, Das wolhtemperierte Klavier I, Präludium in C BWV846.* W.A. Mozart, Ave verum corpus KV 618.* W.A. Mozart, Symphony in g KV 550.* J.S. Bach, Matthäuspassion BWV 244, aria Aus Liebe will mein Heiland sterben.* J. Haydn (?), Divertimento (Sonata) in A Hob. XVI:12.* W.A. Mozart, Piano Concerto in A KV 488/2 (Adagio).* R. Schumann, Fantasie in C op. 17.* L. van Beethoven, An die ferne Geliebte. F. Wunderlich, H. Schmidt. Philips 420.852-2 F. Chopin, Variations on Là ci darem la mano from Mozart’s Don Giovanni op. 2.* R. Schumann, Fantasie in C op. 17.* *Lodewijk Muns, piano. Selected sources: Marston, N. Schumann: Fantasie, Op. 17. Cambridge: Cambridge University Press 1992. Muns, Lodewijk. ‘Music Remembered – in Music (2). 2019. https://lodewijkmuns.nl/2019/11/18/music-remembered-2/ Rice, J. A. ‘Adding to the Galant Schematicon: The Lully’. Mozart-Jahrbuch 2015. Rosen, Ch. The Romantic Generation. Cambridge MA: Harvard University Press 1995. Rosen, Ch. Romantic Poets, Critics, and Other Madmen. Cambridge MA: Harvard University Press 1998. Schumann, C. en R. Briefwechsel: Kritische Gesamtausgabe. Ed. by Eva Weissweiler. Basel: Stroemfeld 1984. Seiffert, W.-D. Will versus Caprice. On the the Closing Measures of Robert Schumann’s C-Major Fantasy Op. 17. G. Henle Verlag (blog). 2012. https://www.henle.de/blog/en/2012/08/20/will-versus-caprice-dealing-with-the-closing-measures-of-robert-schumann%E2%80%99s-c-major-fantasy-op-17/ Todd, R. L., 'On Quotation in Schumann’s Music'. In R. Larry Todd (ed.). Schumann and His World. Princeton NJ: Princeton University Press 1994.

Quotation in music has much in common with quotation in language. Analytical philosophy can offer some insight here. In Bach's Cantata BWV 158, 'Der Friede sei mit dir', we find an example of ‘musical quotation marks’. 00:00 Intro 00:35 I’ll hum it for you 04:00 Musical quotation 08:29 Use and mention 13:06 Quotation marks 17:33 Bach's Cantata 158 22:10 The third dimension Music and sound fragments: Casablanca (film). Ingrid Bergman, Dooley Wilson, Max Steiner. Warner Brothers 1943. O. Respighi, Impressioni brasiliane. Antal Dorati, London Symphony Orchestra. Fontana 1959? J.S. Bach, Cantata BWV 158 Der Friede sei mit dir. Stephan MacLeod, Gli Angeli Genève. Cantatas for Bass. Claves 2022. For more details and references, see Lodewijk Muns, ‘Musical Quotation and the ‘Use-Mention’ Distinction’, 2019, https://hcommons.org/deposits/item/hc:28479/

Recital as a supplement to episode 5 on the theme of 'metamusic'. With dance fantasies by Schubert-Liszt (Soirées de Vienne), Schumann (Papillons) and Ravel (Valses nobles et sentimentales). 00:00 Intro 00:36 Spoken introduction 03:36 F. Liszt, Soirees de Vienne. Valses-Caprices d’après Fr. Schubert. No. 6 (first version, 1852) 10:07 R. Schumann, Papillons op. 2 (1832) Introduzione. Moderato – I. – II. Prestissomo – III. – IV. Presto – V. – VI. – VII. Semplice – VIII. – IX. Prestissimo – X. Vivo – XI. – XII. Finale 23:26 M. Ravel, Valses nobles et sentimentales (1911) I. Modéré – très franc – II. Assez lent – avec une expression intense – III. Modéré – IV. Assez animé – V. Presque lent – dans un sentiment intime – VI. Vif – VII. Moins vif – Épilogue. Lent

A concert waltz is a waltz. But it is not a waltz for dancing. So is it still a waltz? It is a waltz that waltzes. It is a representation of a waltz, music that represents music, and an instance of what you might call 'metamusic'. 00:00 Intro 00:55 The Self-Waltzing Waltz 01:40 ‘Meta’ 03:18 Music Representing Music 06:43 No Longer Functional Music 08:30 Waltz and Metawaltz 11:07 Weber: Aufforderung zum Tanz 13:46 Schumann: Papillons 18:31 Limits of ‘meta’ 19:52 Ravel: Valses nobles et sentimentales 22:15 Music Representing Music Remembered 26:44 An Accumulated Past Music excerpts: 00:37 F. Chopin, Grande valse brillante op. 18* 04:13 L. van Beethoven, Sonate in d op. 31 nr. 2, Largo - Allegro* 06:25 F. Chopin, Sonata in B-flat Minor Op. 35, Marche funèbre* 07:33 Funerary Procession of Margaret Thatcher https://www.youtube.com/watch?v=c2AmgZSIFY4 09:55 F. Schubert, Valses nobles op. 77 D969 no. 10* 10:31 F. Liszt, Soirées de Vienne No. 6* 11:51 C.M. von Weber, Aufforderung zum Tanz op. 65* 14:06, 16:05 R. Schumann, Papillons op. 2* 17:45 C. M. von Weber: Der Freischütz (Berliner Philharmoniker, Harnoncourt) Teldec 4509-97758-2 21:21, 22:43 M. Ravel, Valses nobles et sentimentales* 25:50 F. Liszt, Soirees de Vienne No. 6* *Piano: Lodewijk Muns Additional commentary and references: Lodewijk Muns, On 'metamusic', https://lodewijkmuns.nl/2024/05/12/metamusic/

A preface to the series. Thoughts on the demise of classical music in contemporary culture. 00:00 Intro 00:36 Five billion years 05:03 Tunnel listening 12:13 ‘Classical music’ 18:17 An accumulated past Music and sound fragments 00:42 07:43 W.A. Mozart, Piano Concerto in A KV 488, Adagio. Piano* 03:01 W.A. Mozart, Die Zauberflöte KV620, aria Der Hölle Rache. Edda Moser, Orchester der Bayerischen Staatsoper, Wolfgang Sawallisch, EMI 1973 05:42 Collage of voices from The Voyager Golden Record: Greetings and Sounds of the Earth. NetFilm Music © 2013 10:24 L. van Beethoven, Große Sonate für das Hammerklavier op. 106, Adagio sostenuto. Piano* 13:41 W.A. Mozart, Minuet KV315a No. 1. Piano* 15:14 J.S. Bach, Das wolhtemperierte Klavier II, Präludium in F-sharp minor BWV 883. Piano* *Piano: Lodewijk Muns

Music has a special ability to trigger memories. DTPOT was introduced more or less as a joke in music psychology, but is now a technical term. It is also an inexhaustible dramaturgical tool in film, opera, etc. 00:00 Intro 00:35 Play it, Sam 04:36 DTPOT 06:33 Behaviourism 10:39 The factor time 13:17 The enemy’s tune 14:54 The pearl fishers Text fragments: U. Eco, Casablanca, or, the Clichés Are Having a Ball. In S. Maasik and J. Solomon (eds). Signs of Life in the U.S.A.: Readings on Popular Culture for Writers. Bedford, 1994. J.B. Davies. The Psychology of Music. Hutchinson, 1978. Music and sound fragments Casablanca (film). Ingrid Bergman, Humphrey Bogart. Warner Brothers 1943 H. Hupfeld, As Time Goes By. Piano* (00:51) S. Fain, You Brought a New Kind of Love to Me. Frank Sinatra. Songs for Swinging Lovers, Capitol 1956 (10:06) G. Bizet, Les pêcheurs de perles, duet Au fond du temple saint. Jussi Björling, Robert Merrill. HMV 1954 (16:09) G. Bizet, Les pêcheurs de perles, Ah! Adieu! Janine Micheau, Nicolai Gedda, Ernest Blanc, Théâtre National De L'Opéra-Comique, Pierre Dervaux. EMI 1961 (19:48) *Piano: Lodewijk Muns

Involuntary encounters with an obstinate tune. The tune known as 'Weber's last musical thought' is not by Carl Maria von Weber, but it is a curious piece of cultural history. With visits to Kierkegaard, E.A. Poe, and Debussy, and a rendition of Erik Satie's Avant-dernière pensée No 2. 00:00 Intro 00:36 Involuntary encounters 06:46 It’s DTPOT… again! 09:06 A déjà vu in Berlin 12:04 Douce et mélancolique 15:24 Irresistible alliterations 16:31 Penultimate thoughts Text fragments: C.G. Reissiger, Suum cuique. Niederrheinische Musik-Zeitung fur Kunstfreunde und Künstler. Köln 1855 Jg. 3 nr. 29 N. Perry, That Waltz of Von Weber's. Marin County Journal vol. 13 nr. 23, 21-8-1873 S. Kierkegaard, Journals and Papers: Autobiographical, 1829-1848. Edited by Gregor Malantschuk. Indiana University Press 1978. S. Kierkegaard, Die Krankheit zum Tode [etc.] Edited by Niels Thulstrup e.a. Köln etc. Hegner, 1956. Th. de Banville, Les Stalactites. Lemerre, 1889. M. Fuchs, Théodore de Banville, 1823-1891. Cornély, 1912. H. Berlioz, Mémoires de Hector Berlioz. Levy Frères, 1870. E.A. Poe, Selected Writings. Penguin, 1967. Music and sound fragments C.M. von Weber, Aufforderung zum Tanz. Piano* C.G. Reissiger, Danses brillantes op. 26 no. 5. Piano* (also: barrel organ and harp) C. Debussy, Nuits d’étoiles. Véronique Gens, Roger Vignoles. Nuit d'Étoiles: Mélodies Françaises. Virgin Classics 2000 C.G. Reissiger, Danses brillantes op. 26 no. 5. Jacqueline Bonneau. Classiques favoris du piano. Ducretet Thomson 1958 E. Satie, Avant-dernières pensées, nr. 2, Aubade. Piano* (with recitation) *Lodewijk Muns, piano

...and why people keep saying it is. The slogan 'music is a language' is nonsense taken literally, but points to the fact that music does have important similarities with language. That analogy rests on the relationship between speech melody and music, and on the function of harmony as a musical syntax. 00:00 Intro 00:36 A truism 01:59 A metaphor? 04:46 ‘Language of feelings’ 11:22 Grammatical and ungrammatical music 18:14 Universality The topic is discussed in detail in: L. Muns, Classical Music and the Language Analogy. Dissertation, Humboldt-Universität zu Berlin, 2014. An important source for cognitive and neurological research on the relationship between music and language is: A. Patel, Music, Language, and the Brain. Oxford University Press, 2008. Text quoted from: Th. W. Adorno, Fragment über Musik und Sprache. Gesammelte Schriften Bd. 16. Suhrkamp, 2003. I. Kant, Kritik der Urteilskraft. Werke Bd. 10. Suhrkamp, 1977. F. Nietzsche, Menschliches, Allzumenschlisches. Werke in Drei Bänden, Bd. 1. München: Hanser, 1954. Music: L. van Beethoven, Sonata in A-flat major op. 26, Andante con variazioni (Theme and variation Nr. 4).* L. Muns, ‘Grammatical’ and ‘ungrammatical’ music.* *Lodewijk Muns, piano