# Less is more, timeless melodies and "Logical"climaxes



## jimji (Apr 25, 2007)

One of the things that most amazes, delights and confounds me about the "great" composers; is how they are able to do so much with so little.
That is: With only a handful of notes, or a few chords, they are able to rock the heart and soul ... raise goosebumps! Whenever I come across this phenomena I listen and wonder how much the musical content leading up to these few notes or chords really effects it. (*sometimes there isn't much of a lead up at all - e.g. Chopins' Krakowiak)

Another aspect of the "Greats" magic is how the melodies are so familiar, so primal and satisfying that it's almost as though they have existed forever! Even on a first hearing I think someone who appreciated music would feel that elemental, eternal aspect of these "riffs"

Thirdly - I suppose my favourite Classical pieces involve those with a lead up, a "tease" that is done with perfect musical logic. When all the elements are fused; (teases intertwined) whereby the knock your socks off climax is led up to in such a way that when it comes ... well it does simply knock your socks off!
Here are just a couple of examples of these three elements. I'd love to hear from anyone with other examples.

Greig's piano concerto op. 16 second movement. Approximately 2 minutes in (when the piano starts), and again in about 2 minutes 50 seconds. So much emotional impact with just a few notes

Beethoven's piano concerto #5 (Emperor) second movement about 1:40 in and again 3 minutes in ('less is more')

Chopin's Krakowiak in F major op 14 from the start (*by a pianist who doesn't rush it!)

Chopin's piano concerto #1 - just over one minute in

Shostakovich: The Gadfly Suite opus 97 A No 8 Romance (only by a great violinist!)

Finally the lead-up/ tease to a climax: 2 by Tchaikovsky. His violin concerto in D op 35 about 6:15 into it and repeated later. And the piano concerto number 1 about 2:40 in.
And a third one: Sibelius' Karelia Suite opus 11 Intermezzo (I'm really curious what the "Critics" make of this piece?! I mean on some level it's so corny - the Cowboys riding high on the range! - but on another level ... simply moving.

I trust this isn't too ambitious of a post - for a new person on the forum!

Jim


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## Edward Elgar (Mar 22, 2006)

I know exactly what you mean!

One good example of simple bliss is Shostakovich's 2nd Piano Concerto.

I think the exiting bit for me in his Gadfly Suite opus 97 A No 8 Romance is the recapitulation where the whole orchestra comes in with the main theme.

Other orgasmic recapitulations can be found in Chopin's Polonaise in C minor Op. 40 and Elgar's Cocaine Overture.


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## jimji (Apr 25, 2007)

Thanks for the response. I agree about the Gadfly Suite recapitulation. Do know the Chopin Polonaise, but not the Elgar Cocaine Overture. I'll have a listen now!

best,

Jim


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## Mark Harwood (Mar 5, 2007)

In non-classical music, hear Steve Hackett's guitar part in the Genesis song, "Firth of Fifth". Waves of otherworldly beauty.


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## Keemun (Mar 2, 2007)

Here are a few "less is more" moments that I like:

Brahms: Piano Concerto No. 1, 2nd mvt., when the piano enters. 

Bruckner: Symphony No. 6, 2nd mvt., at about 11:45 (in Klemperer's version) when the strings play a descending scale.

Satie: Gymnopedie No. 1 (all of it)


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## jimji (Apr 25, 2007)

Thanks Keemun - I'd never heard the Brahms and I agree. Unfortunately I don't have access to that Bruckner ... but Satie - for sure!
regards,

Jim


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## Kurkikohtaus (Oct 22, 2006)

jimji said:


> Sibelius' Karelia Suite opus 11 Intermezzo (I'm really curious what the "Critics" make of this piece?! I mean on some level it's so corny - the Cowboys riding high on the range! - but on another level ... simply moving.


The first and last movements of the Karelia Suite are certainly light fare, and perhaps do the Intermezzo a disservice in that people often dismiss the piece as "Pops" and forget about the Intermezzo, especially the hymn half-way through.

Yes, Sibelius said a lot with a very simple hymn but let me tell you, that hymn is incredibly difficult to perform correctly. My 3rd attempt will be Sept. 21 2007.


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## Manuel (Feb 1, 2007)

Brahms' *Intermezzo Op.118 Nº 2*. It's in simple ABA form, and all the material is developed from the music cell formed by the first three notes.


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## Guest (Apr 30, 2007)

> With only a handful of notes, or a few chords


Try the first 15 seconds of Rachmaninov's 3rd piano concerto.


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## ChamberNut (Jan 30, 2007)

Beethoven's Piano Concerto No. 4, 2nd mvt (towards the end)


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## Manuel (Feb 1, 2007)

Beethoven's Piano Concerto Nº 3, the _détaché _ascending scales played by the piano to the end of the second movement.


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## Chi_townPhilly (Apr 21, 2007)

The composer of the _Symphony of a Thousand_ is likely not the first name that would cross your mind when contemplating a "less is more" topic. However, no discussion of economy of forces would be complete without mentioning the _Adagietto_ from Mahler's 5th symphony- one of the movements that has to come under discussion when contemplating the most famous ones from the previous century. Scoring is markedly economical... strings and harp. the unexpected interplay of the harp to the string background-- surprising at first but seemingly so right in retrospect, helps make this unforgettable. The music is 5 total pages in my study score, and can take under 8 minutes (c.f.: Mengelberg [or Kaplan]) or close to double that (Scherchen). [My viewpoint is this movement profits from a 'Golden Mean' approach.] Incidentally, after the opening bars, the next textual remark in the score contains one of the most universally comprehensible examples of German this side of _Danke Schoen_... "*Nicht schleppen*"[!]


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## Lisztfreak (Jan 4, 2007)

Edward Elgar said:


> Other orgasmic recapitulations can be found in Chopin's Polonaise in C minor Op. 40 and Elgar's *Cocaine *Overture.


Sorry for pointing this out so late, but are you really sure Elgar liked drugs that much?


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## Manuel (Feb 1, 2007)

Other one in my list is the short orchestral introduction to "la fatal pietra sovra me si chiuse".


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## Edward Elgar (Mar 22, 2006)

Lisztfreak said:


> are you really sure Elgar liked drugs that much?


You know what I mean!  "In London Town"


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## Lisztfreak (Jan 4, 2007)

Of course. It's interesting how many various spellings of this work's name exist (Cocaigne, Cockaygne, Cockaigne, Cockaine ...) - people can't agree, obviously.


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## opus67 (Jan 30, 2007)

jimji said:


> Finally the lead-up/ tease to a climax: 2 by Tchaikovsky. His violin concerto in D op 35 about 6:15 into it and repeated later.


I couldn't agree more. But the moment that has had the most effect on me in this particular work, which also made me a big "fan" of it in the first place, lasts for nothing more than a couple of seconds. 8:05 in this particular video. Pure bliss...


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## Chi_townPhilly (Apr 21, 2007)

Byronic meditations re-awakened memories of this topic. Another great "economy-of-means" passage is the _Marche de Pelerins_, movement 2 of Berlioz _Harold en Italie_.


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## Manuel (Feb 1, 2007)

opus67 said:


> I couldn't agree more. But the moment that has had the most effect on me in this particular work, which also made me a big "fan" of it in the first place, lasts for nothing more than a couple of seconds. 8:05 in this particular video. Pure bliss...


There's only one thing better than listening to this concerto...

and it's watching someone playing it. Probably the work I enjoy most, in videos and concerts.


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## toejamfootball (Jun 27, 2007)

Sorry to resurect this old topic, but I totally agree. I love that feeling, when you feel a melody has existed forever, like its a part of you even if you have never heard it before.


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