I have always enjoyed following printed musical scores while listening to music. Knowing what’s in a score brings music to life. I can see individual notes and voices as they weave together, generating music’s magic. Following a printed score helps me understand how a piece of music is organized and grasp the musical narrative.
Malinowski’s animated scores serve the same purpose — and they do it with much more power and excitement than printed scores. His videos allow me to see what I am hearing and anticipate what is coming. The persistent forward motion of beautiful shapes and colors in Malinowski's videos has forever changed how I hear music. Malinowski helps me understand what it must be like to have some form of synesthesia, a condition for which I would seek no cure. If synesthesia would cause music to conjure up colors in the manner of a Malinowski video, I would welcome the diagnosis.
Malinowski published his first YouTube video — a recording of Bach's Toccata and Fugue in D minor — in December 2005, and I am posting this blog in celebration of the tenth anniversary of that event.
Although Malinowski has posted over 365 videos in the last ten years, that first video has remained his most popular, receiving over 25 million views on YouTube. (That's right, 25 million!) Malinowski recently told me via email that his first video of Bach’s Toccata and Fugue was “crude and the recording was poor.” He recorded the music for that video on a synthetic pipe organ and decided to celebrate its anniversary with the creation of a new version. His first choice for the new recording was organist Hans-André Stamm, and Malinowski was thrilled when Stamm agreed to collaborate.
Here's how Malinowski described his newest version of Bach’s Toccata and Fugue in D minor. (The video he is describing is embedded below. The toccata begins at 0:05 and the fugue begins at 2:26.)
“Since 2005, I've been developing tools and techniques for visualizing music, but for this video, I decided to keep it relatively simple (as a tip of the hat to the simple original video) and not distract from Stamm's performance: I use balls for the fast-moving parts of the toccata, rectangles for the toccata chords, and octagons for the fugue. The three-note motif that is the seed of the piece is highlighted in red."
Thank you, Stephen Malinowski! Thank you for bringing so much pleasure to those of us who love classical music and for introducing millions of people to classical music who might never have listened to it without you.
Performed by Hans-André Stamm on the Weyland organ in the Catholic parish church
Heilig Kreuz in Köln-Weidenpesch Cologne (Köln), ca. 1992.
As an encore, I invite everyone to follow the links below for a few of my favorite videos from Malinowski's Music Animation Machine. Enjoy!
Beethoven, Symphony No. 9 in D minor, Second Movement
Debussy, Syrinx (for solo flute)
Satie, Gymnopédie No. 1
Stravinsky, The Rite of Spring, Part 1
Stravinsky, The Rite of Spring, Part 2
– Claude Debussy
Claude Debussy (1862-1918) was one of the most accessible composers in music history, and if you don’t enjoy listening to his music, you may never enjoy anything from the classical repertoire.
Early in Debussy’s career his music was labeled “Impressionist," a term that had previously been applied to a style of painting associated with artists such as Claude Monet and Pierre-Auguste Renoir. The term came from the title of Monet’s painting Impression: Sunrise (shown below) and refers to paintings that use light and color to create a soft-focus image of a scene rather than a detailed representation. By that definition, it's easy to see why some people used the term to describe Debussy's music.
Debussy disliked the music of most other composers and criticized the work of Brahms, Wagner, Tchaikovsky, and Beethoven. (He did, however, seem to like Bach.) This disdain for the music of others can be heard in the way Debussy rejected the musical traditions of past masters and created a whole new musical language. During the late 1800s and early 1900s, he provided listeners with music unlike anything ever heard before. He was an artistic revolutionary and, for that reason alone, ranks as one of the most significant composers of the last century.
The best way to describe Debussy’s music is to take the following ingredients and mix them together. When finished you will have what amounted to a new type of music for the twentieth century.
- He was unconcerned with the expectations of his audience, and created a musical language that divorced itself from the long-standing German traditions. He famously wrote: “I want my music to be as relevant to the twentieth century as the airplane.”
- His music was largely programmatic, although he did not try to paint a picture or tell a story with his music as much as he tried to evoke a mood.
- The sounds of his native language can be heard in his compositions. Debussy was French, and — like the language he spoke — his music was generally free of sharp accents and harsh consonants.
- His music emphasized “color” through his creative use of musical timbre. He used instruments either by themselves or in unusual groupings to create sounds that had never been heard in an orchestra.
- His music provided unorthodox harmonies and melodic lines. Generally unconcerned with whether his themes were set in a major or minor key, Debussy employed harmonies designed to evoke a certain mood, using whole tone scales (play C – D – E – F# – G#– A# – C on a piano), pentatonic scales (play the black keys on a piano), and chromatic scales (listen to the flute at the beginning of The Afternoon of a Faun on the video embedded below).
As for my statement above that unlike many other composers Debussy's music can make a lasting impression with a single hearing, let me finish by quoting Debussy on that very subject:
"Love of art does not depend on explanations, or on experience as in the case of those who say ‘I need to hear that several times.’ Utter rubbish! When we really listen to music, we hear immediately what we need to hear."
Debussy, “Claire de lune” from Suite bergamasque (1905)
graphic score by Music Animation Machine
Debussy, Prelude to the Afternoon of a Faun (1894)
Leonard Bernstein conducting the Boston Symphony Orchestra
© 2011 James L. Smith (originally posted on sonataform.blogspot.com)
Emmanuel Pahud, flute