Author Archives: Arcana

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About Arcana

My name is Ben Hogwood, editor of the Arcana music site (arcana.fm)

On this day in 1945 – the world premiere of Prokofiev’s Fifth Symphony

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The 13th January 1945 saw the world premiere of one of the 20th century’s best-loved symphonies, conducted by its composer at the Great Hall of Moscow Conservatory. Sergei Prokofiev was the composer, with the USSR State Symphony Orchestra, giving the first performance of his Symphony no.5 in B flat major Op.100, intended to be “a hymn to free and happy Man, to his mighty powers, his pure and noble spirit”.

On the surface, the Fifth appears to be just that…with a healthy influence from the composer’s ballet scores, notably Romeo & Juliet. Yet scratch a little beneath the surface and there are compelling elements of darkness and acerbic wit, felt in the quickfire second movement Scherzo, with its macabre trio section, the deeply felt slow movement and – even more – the supposedly carefree finale.

The symphony is packed full of melody, delivered in Prokofiev’s typically chromatic but memorable style.

Published post no.2,410 – Monday 13 January 2025

On this day – Vassily Kalinnikov

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A slight liberty with ‘on this day’…but a chance to bring one of Russia’s lesser lights to the fore. Vassily Kalinnikov was born on 13 January 1866, and died on 11 January 1901 – a tragically early passing, thought to have been from tuberculosis.

In that short period of time he did however write a number of attractive orchestral pieces, headed by the Symphony no.1 in G minor, completed in 1895. You can listen below, a chance to admire Kalinnikov’s craft as a melodist and orchestrator – qualities his contemporary Tchaikovsky appears to have appreciated:

Published post no.2,409 – Sunday 12 January 2025

Switched On – Ryan Teague: Chorale (self-released)

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by Ben Hogwood

What’s the story?

Ryan Teague, the Bristolian soundsmith, has released a pair of instrumental compositions that suggest the influence of classical processes, combining simplicity and emotion.

What’s the music like?

From its title, Chorale in A minor could have been written at any point in the last 300 years or so. Its musical language suggests a look back to the distant past, though the electronic choir sound has a touching and emotive simplicity. Gradually the piece builds in weight and intensity, impressive in widescreen, before paring back to a weightless finish.

The Canon in E minor is relatively austere as it begins, but its movement becomes more graceful and stately as the electronic string sounds reach for the heights. The piece is like an arch, climbing to its peak before descending in its second half, returning from whence it came.

Does it all work?

Yes – both pieces have poise and presence.

Is it recommended?

It is…and it will be interesting to see where Teague heads next musically. Here he has managed to bring emotion from musical simplicity; no mean achievement.

Published post no.2,408 – Saturday 11 January 2025

In appreciation – Colin Tilney

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by Ben Hogwood Image (c) Toronto Star via Getty Images

Over Christmas we heard the sad news that pioneering harpsichordist Colin Tilney had died, at the age of 91. A pupil of the legendary Gustav Leonhardt, Tilney specialized mostly on the harpsichord but could also be heard playing the fortepiano

The playlist below offers a selection of Tilney’s recordings, mostly of early music – but including a snippet of Stravinsky‘s The Rake’s Progress, conducted by the composer himself in 1964, with Tilney on harpsichord duties:

Published post no.2,407 – Friday 10 January 2025

The Borrowers – The Beach Boys: Lady Lynda

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by Ben Hogwood

What tune does it use?

A choral piece by Johann Sebastian Bach, called Jesu Bleibet Meine Freude (Jesu, Joy of Man’s Desiring). It is the tenth movement of his cantata Herz und Mund und Tat und Leben (Heart and mouth and deed and life), written early in Bach’s time in Leipzig, thought to have been in 1723. The melody, however, is understood to have been written by Johann Schop, with Bach providing the harmonisation.

The song itself was written by Beach Boys co-founder Al Jardine, paying tribute to his wife Lynda – with a co-credit also given to keyboard player Ron Altbach. Jardine sings the main vocals, with a large ensemble of session musicians given credit at the song’s Wikipedia page.

How does it work?

The song begins with a note-for-note reproduction of the Bach / Schop melody, with the harpsichord adding a metallic brightness to the thick string sound. Then Jardine starts to play around with the speed of Bach’s work, making the transition to the full-blown Beach Boys sound reasonably seamless, with the addition of some woozy syncopations.

The song has the Beach Boys’ characteristically sunny sound, but there is a certain flatness to its delivery, perhaps belying the band’s fraught relationship at the time and even foretelling the fate of Al and Lynda’s marriage.

That said, it is a bright and relatively positive song, its dappled textures and syncopations presenting Bach’s work in a new and imaginative light.

What else is new?

Lady Lynda was the third single from the Beach Boys’ relatively unsuccessful album L.A. (Light Album), released in the spring of 1979. In a streamlined radio edit, with the introduction removed, it reached no.6 in the UK singles chart.

It was however recast when Jardine and his wife divorced, pointing towards a different Lady (the Statue of Liberty) and becoming Lady Liberty instead.

Published post no.2,406 – Thursday 9 January 2025