Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
Amy Beach, Passionate Victorian is a detailed biography by Adrienne Fried Block, a renowned musicologist and scholar of American classical music. Block’s work was a significant contribution to the field, especially in the study of women composers who have often been overlooked in the traditional narrative of classical music. Block’s book dives into Beach’s life, not only exploring the cultural and societal challenges Beach faced as a woman in a male-dominated field, but also highlighting her overall impressive musical achievements as an accomplished composer.
In this biography, Block traces Beach’s life from her childhood in New Hampshire, where she displayed musical talent, to her rise as a respected composer and performer in the late 19th and early 20th centuries. Beach, who became the first American woman to compose a symphony, overcame many personal and professional obstacles, but her work continues to resonate today. Block’s narrative emphasizes Beach’s legacy in the context of American classical music, examining her compositions, such as the “Gaelic Symphony” and “Piano Concerto in C-sharp minor,” and situating her within broader cultural movements. The biography is not just an account of Beach’s career but a reflection on the complexities of gender, artistry, and recognition in the classical music world, offering readers a deeper understanding of Beach’s lasting impact on the music community!
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
George Gershwin was an American composer who revolutionized the music scene in the early 1900s, merging the new jazz genre with classical. His experimental piece Rhapsody in Blue merged a classical orchestra with concert piano in a pseudo-piano concerto form to wild acclaim. Despite classical music’s rigid and highly critical tradition, Gershwin created a way for listeners to experience the new American jazz style in a concert hall setting. The rapid success of Rhapsody in Blue gave Gershwin a chance to compose a full-length concerto in 1925, his now immortal Piano Concerto in F. Gershwin’s longest work, the concerto is divided into three movements which each highlight a distinct style of jazz.
The first movement, I. Allegro moderato, uses the Charleston and features syncopation in a swing style just debuting in the US at the time. Its first climax introduces the piano into the concerto in a melancholy start, quickly dazzling listeners with key changes and pentatonic scales uncommon to classical piano concertos. A second climax features sweeping strings and huge chord progressions before descending into more syncopated rhythms that one could imagine dancing to in the 1920s.
The second movement, II. Andante con moto, is a slow section similar to an Adagio or Largo movement but uses a blues feel to characterize the emotional equivalents in typical classical movements. His alternations of instruments soloing the main theme, whether that be violin, piano, or trumpet, represent the big band jazz style growing during the concerto’s premier.
The third movement, III. Allegro agitato, starts with a flourish of woodwinds and brass to begin an exciting, fast-paced theme introduced in the first movement. Gershwin continues to experiment with jazz-inspired chords and syncopated rhythms, emblematic of his American heritage and pride in the new music genre.
Overall, Gershwin’s experimental Piano Concerto in F expands upon his work with Rhapsody in Blue and the excitement surrounding American jazz during the 1920s. Gershwin once asked another modernizing composer, Maurice Ravel, to mentor him. Ravel promptly rejected the request, stating “Why would I teach you to become a second-rate Ravel when you are already a first-rate Gershwin?” The unique output of Gershwin and his exciting Piano Concerto in F leave a lasting impression on listeners about the development of American music to rival great classical composers of Europe.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manger Tim (class of 2024) featuring some classical music for saxophone.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student assistant Alexandra (class of 2026) featuring some classical music.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Esther (class of 2025) which features some music for your Valentine’s Day enjoyment.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
When wedding music is discussed, the song that comes to almost everyone’s mind is Johann Pachelbel’s Canon in D. The simple baroque era piece is everywhere, from TV shows to playlists to lists of the best pieces of classical music of all time. But it’s eight bars of music 28 times, how is it so popular?
I’ll explain. Pachelbel and his musical career are not well-known. The original composition of Canon (and Gigue (yes, there is a second movement to this piece)) in D was most likely written around 1680, but not published until the early 1900s. The piece fell to the wayside, pushed out of the spotlight by composers like Vivaldi, Bach, and Handel (no malice towards these very fabulous composers, their music is beautiful as well).
In a New York Times article, the conductor and organist at the Cathedral of St. John the Divine in New York, Kent Tritle, said the piece just became popular through that recording, just by happenstance. It was then featured in the Academy Award-winning film Ordinary People, which catapulted it to further stardom.
However, the thing that sealed the deal of Canon in D as the perfect wedding song was Prince Charles and Princess Diana’s wedding in 1981, which used a baroque processional, shining a light on other baroque composers from long ago.
Canon in D is simple, at its core. And that’s what made people love it. Its use of four instruments and natural progression from simple, quiet notes to a swell of instruments gives an intimate feel to the piece.
It’s also simple, musicality-wise. This canon created what is known as the Pachelbel Progression, which is the same eight chords, typically in a major key, repeated over and over again, which are all built upon the same bass line. The bass line of this canon is an ostinato or a continually repeated musical phrase. In the case of Pachelbel’s canon, it’s the same eight notes all throughout the bass line. These chords are then seemingly played in a round-like way so each instrument plays a similar if not the same melody starting at different times, in this case, that’s the canon part of this piece.
The piece is also simple enough to arrange for any set of instruments, string quartet, organ, keyboard, etc., the only thing holding someone back is the occasion. It is also simple enough for a walk. In a traditional wedding, the bride walking down the aisle is nervous, thus having a steady four-count beat to keep her up and something to focus on makes it so much easier on her. It also makes it easy for her to take her time on her walk, there isn’t a set end to Canon in D, since it is a canon and has the same eight chords, it can just be played forever if needed.
So, in the end, there’s a reason Canon in D is the “wedding song.” It’s simple to play, never-ending, and just a good time. It might be overhyped, but it is near and dear to the hearts of many, including me. This was the first “real” piece of music I learned when I started playing the cello. My aunts were finally allowed to get married and they wanted me to play something for them. My cello teacher at the time pulled out a wrinkled copy of the bass line of Canon in D and let me use it. The notes were easy enough and something I could handle, and it sounded beautiful. Who knew eight notes thrown together would sound so right?
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Amy (class of 2025) which explores how classical music can convey many emotions.
Emotional Classical Music
When people hear I enjoy listening to classical music, they often assume it’s the soft repetitive music most associate with studying. However, classical music is much more than just something to put on in the background. It is compelling storytelling, music I am not able to listen to while working because I am too enthralled by the story unfolding in my ears to pay attention to anything else. This is why I created this playlist: to show new classical music listeners that classical music is not a one-size-fits-all genre, it can convey anything you want it to.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Amy (class of 2025) and features spring-themed classical music.
Spring-Themed Classical Music That Isn’t Vivaldi
When many think of spring, Vivaldi’s Spring movement of his Four Seasons violin concerto is often what comes to mind. However, there is a plethora of spring-themed compositions from other artists across music eras, including Aaron Copland’s “Appalachian Spring” and Igor Stravinsky’s “The Rite of Spring.”
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student assistant Eli (class of 2024) and features music by Russian composer Pyotr Ilyich Tchaikovsky (1840-1893).
Tchaikovsky
Pyotr Tchaikovsky was unquestionably one of the greatest composers to walk the Earth. Even those who turn up their nose at ‘boring’ classical music can find something in Tchaikovsky’s massive repertoire. Here is a sampling of some of his less mainstream (but still masterpiece) works.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Xipeng (class of 2024) and features works for two pianos performed by Argentinian classical concert pianist Martha Argerich and friends.
Music for Two Pianos from Martha Argerich
Martha Argerich has always been one of my favorite pianists, and it’s amazing how two pianos can produce the sound of an entire orchestra. Enjoy this exhilarating complete performance!
