49.5813° N 6.3088° E is the position of one of my meditation spots. It lies on my way home when I drive to or come from work, and when I have had a particularly busy day at the office, I sometimes stop there for a few minutes to contemplate the landscape, its colors changing with the seasons or a particularly nice sunset. On the day I wrote this post, December 28, it wasn’t the need for a quiet moment that made me stop there. As I drove by, I noticed for the first time the particular shape of that broken tree with the blue morning sky in the background. A castle in ruins? A finger pointing to the sky?
New Year’s Eve is only a few days away – time to look back and think about missed chances and mistakes made over the year… and when I look back at my blog, I realize I didn’ write a single post about Haydn. What? No Haydn? Oh, my! This will not stand and without further ado, sound trumpets for Haydn’s fantastic Trumpet Concerto in E flat (Hob.VIIe.1). Joseph Haydn wrote it in 1796 for the Klappentrompete (keyed trumpet), invented by Anton Weidinger and precursor to our modern piston trumpet. The concerto’s contemporary name could be misleading, it was originally published as a “Concerto per il clarino, E♭”
Händel is everywhere. At least in the German town of Halle/Saale, just like Mozart in Salzburg. I lived for many years in Halle, and for a long time, I kept my distance to that Baroque composer. Being constantly exposed to his “Feuerwerksmusik” (Music for the Royal Fireworks, HWV 351) and his “Wassermusik” (Water Music, HWV 348–350), I ended up hating his music.
On Christmas Eve, I will honor a convinced agnostic: Camille de Saint-Saëns. The French composer’s life is marked by an interesting paradox. He preferred reason to faith, and still, for most of his career, he worked as an organist at the church La Madeleine in Paris. As such, he composed in 1858 a wonderful Christmas cantata in nine movements, the “Oratorio de Noël” Op. 12. It was performed for first time on December 25 of the same year in La Madeleine and dedicated to his pupil, the Viscountess de Grandval. Saint-Saëns had intensively studied the choral music of Bach, Händel and Mozart and makes an explicit reference to Bach in the “Prélude”. He had already composed a mass, his Op. 4, at that time.