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 short recital as an appendix to Ep. 14 on instrumental recitative, with Bach’s Chromatische fantasia (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?) 10:31 C.P.E. Bach, Andante from Sonata Wq 48 Nr. 1 in F (‘Prussian Sonatas’, No. 1) (1740) 12:57 C.P.E. Bach, Fantasia in c from Sonata Wq 63 No. 6 (‘Probestücke’, No. 18) (1753) 19:18 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 11:56 (3) Langsam getragen Lodewijk Muns, piano