{"id":87596,"date":"2021-01-26T15:32:42","date_gmt":"2021-01-26T13:32:42","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=87596"},"modified":"2021-01-26T15:32:42","modified_gmt":"2021-01-26T13:32:42","slug":"musical-shaming","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/musical-shaming\/","title":{"rendered":"Musical Shaming"},"content":{"rendered":"
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Otto Nicolai (1810-1849), Ps 97: \u201cThe LORD is king! Let the earth exult!\u201d<\/span><\/p>\n

The composer and conductor Otto Nicolai, native of Koenigsburg, Prussia, belonged to the first generation of German Romantics (which includes Mendelssohn and Schumann). He is known today primarily for the last opera he wrote, \u201cThe Merry Wives of Windsor\u201d (based on Shakespeare), but even before that, he stood out as a conductor and composer of operas in Italy.<\/span><\/p>\n

Nicolai was the founder of the Vienna Philharmonic (1841), and was the first to conduct this acclaimed orchestra. His sudden death came at the height of his fame in Berlin and Vienna.<\/span><\/p>\n

His years in Italy, and the centrality of opera in his life and work, influenced his many other works that he composed in all possible genres. The chapters of Psalms that he set to music are a classic example of that.<\/span><\/p>\n

Nicolai approached the text of Ps. 97 as he would the libretto of an opera. The German text is sung without a break, from beginning to end. Just with verse 8 (\u201cZion, hearing it, rejoices, the towns of Judah exult\u201d) and in the conclusion, does he permit himself to craft longer sections, which include repetitions of the text. Verse 8 is also an exception, in that it is written in a very easy-going triple time, which makes it a transitional middle section, contrasting with the beginning of the work and its end, written in two, and in a very spritely tempo.<\/span><\/p>\n

The work embodies in an almost extreme fashion the principle of creating tonal word pictures (which is also a feature of the Italian style). Thus the composition opens with upbeat chords (\u201clet the earth exult!\u201d), but directly following the \u201cdense clouds\u201d are described in low and dark notes in the choir.\u00a0<\/span><\/p>\n

Right after that, the very sharp tones of the burning fire can be heard (verse 3), that send musical sparks all around. Likewise, the description of the lightnings (verse 4), and all the other physical images, are beautifully emphasized in the work.\u00a0<\/span><\/p>\n

In addition tote images, the music follows the emotions: the feeling of fear (verse 6) is signalled by the sharp interruptions of the singing of the choir, and later, the \u201cshaming\u201d of the idolaters (in German it sounds similar) can be felt.\u00a0<\/span><\/p>\n

In order to notice all these connections, one must follow both the score and the lyrics closely. As such, we suggest listening to the composition with the words open before us, and follow the development of the text along with the music. For the average listener, it will be enough to know that all the musical events and gestures in the work are not coincidental, but rather, stem directly from the ancient words.\u00a0<\/span><\/p>\n

Psalm 97 – Otto Nicolai – The Bangkok Voices, 2013<\/span><\/p>\n

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