Music 1500 In-Class Materials TIMELINE OF SELECTED COMPOSERS and TERMS
Chant by Anonymous Monks until
Polyphony begins c.1000
Country
Medieval 1000
1300
Renaissance 1420
1500
Baroque 1600
Classic
1680
1750
1790
HAYDN---
1860
Modern 1900
(J. Strauss) C. SCHUMANN SCHUBERT R. SCHUMANN MENDELSSOHN
J.S. BACH HANDEL HILDEGARD
1940
1960
1980 2000
SCHOENBERG
MOZART BEETHOVEN
PACHELBEL (Schutz)
GERMANY/ AUSTRIA
Romantic 1820
WEBERN
(Hindemith)-----
WAGNER
BRAHMS R. STRAUSS
(Dufay)
FRANCE
PEROTIN
BERLIOZ
(Lully)
DESPREZ
DE LA GUERRE
MACHAUT
(Paganini) ROSSINI
GESUALDO
VIVALDI
WEELKES
(Salieri)
VERDI PUCCINI
CORELLI
MONTEVERDI ENGLAND
(Ravel)
BIZET
PALESTRINA ITALY
DEBUSSY
LEONCAVALLO (Vaughn Williams)
PURCELL
BRITTEN
CHOPIN
POLAND
PENDERECKI
LISZT SMETANA v DVORAK
CZECH./ HUNGARY
BARTOK
TCHAIKOVSKY
RUSSIA
PROKOFIEV
STRAVINSKY----
(Ives) COWELL CAGE ZWILICH VARESE BARBER GLASS SOUSA (Gershwin) COPLAND BERNSTEIN (Foster) JOPLIN ARMSTRONG STILL CRUMB
UNITED
STATES
NEW GENRES and TERMS
LIGETI
motet madrigal Mass music printing polyphony begins organum
early notation
("imitation")
trio-sonata solo-concerto sonata art-song song-cycle impressionism serialism minimalism symphony musikdrama Lied expressionism chance music opera oratorio cantata "character piece" electronic music string-quartet concerto-grosso atonal music lute-song symphonic-poem neo-classicism neo-Romanticism basso-continuo suite 4-mvt.-design program-symphony alternative ballet verismo [ritornello form] [sonata form,etc.] rock rap techno ragtime Jazz blues
From Chapter 1 (also know the String, Woodwind, Brass, & Percussion families and their associated instruments)
ELEMENT Rhythm: Dynamics: Melody: Harmony: Tone color: Texture: Form: From Chapter 2 (Non Western) Indonesia: Africa: Japan: Mexico: Middle East: India:
Basic Related Terms (beat, meter, tempo, syncopation) (forte, piano, [etc.], crescendo, decrescendo) (pitch, theme, conjunct, disjunct) (chord, progression, consonance, dissonance, key, tonality, atonality) (register, range, instrumentation) (monophonic, homophonic, polyphonic, imitation, counterpoint) (binary, ternary, strophic, through-composed) Related Terms Gamelan, Bonang, Gender Call & Response, Improvisation, Polyrhythm Koto, Shamisen Mariachi, Flamenco Guitar 'Ud, Darabukkah Sitar, Tabla 1
From Chapter 3 (Medieval)
MUSIC in the MIDDLE AGES (approx. 450-1450) 500
STYLE TRAITS
1000
"ARS ANTIQUA"
"Gregorian" CHANT
Important
GENRES
1300
1450
Late Medieval music becomes increasingly complex due to experiments in RHYTHM and HARMONY
POLYPHONY established
monophonic
"ARS NOVA"
1200
ORGANUM
MOTET
MASS
(Ordinary/Proper)
Polyphonic MASS
Secular DANCE MUSIC and SONGS Primarily vocal music based on design of the text
FORMS
ANONYMOUS MONKS Alleluia: Vidimus Stellam
Featured COMPOSERS and WORKS
[French: at Notre Dame Cathedral in Paris]
(chant)
PÉROTIN Alleluia: Nativitas
HILDEGARD of BINGEN O Successores
MACHAUT Missa Notre Dame
(organum)
(polyphonic Mass)
(chant)
EVENTS
The Crusades
Establishment of Western Church across Europe
Fall of Roman Empire
The "Black Plague" "100 Year's War" (England vs. France)
Feudalism
Haec dies
Polyphonic Mass
Music Guide
from Chant to Organum to Motet
6
The Haec dies chant (c. 800—from the Easter Day Proper of the Catholic Mass) was later transformed polyphonically and rhythmically into organum (c. 1200, by adding a new voice-part above the chant) and motet (c.1250, by adding a 3rd voice-part and syllabic words to the two highest voices).
"Agnus Dei" from Missa Notre Dame
c. 1350
Chant c. 800
by Guillaume de MACHAUT (c 1300–77)
Music Guide
7
The opening texture of this work may be graphed as follows:
Anonymous: Haec dies The opening section of the monophonic chant version may be graphed as follows: (a melisma)
(a melisma)
1
1
A- - - - - - -
- - - - - - - - - - - - - gnus - - - - - - - -
De - - - - - - - - - - - - - - - - - - - - - - - - - i
A-------
- - - - - - - - - - - - - - - - - - gnus - - - - De - - - - - - - - - - - - - - - - - - - - - - - - - - - i
A--------
- - - gnus- - - - - - - - - - - - - - - - - -
Ha -----------------------------(ec)--di------------------------------es,
(Translation: "This is the day"—refers to Easter as THE day of the Resurrection)
2
Organum c. 1200
Anonymous: Haec dies
3
The opening section of the 2-voice organum version may be graphed as follows: 4 Ha(ec)-----------------------------------------------------------------------------------------
2
one long-held note !
(A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .) (etc.)
another held note
In this 2-voice organum version (probably written by Pérotin at the Notre Dame Cathedral in Paris), the LOWER VOICE sings the notes of the Haec dies chant VERY SLOWLY (on long-held notes), while the UPPER VOICE is a faster-moving/newly-composed melody with metrical rhythms and harmonies derived from Medieval popular dance music.
Text and Translation
Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, who takes away the sins of the world, have mercy on us.
early Motet c. 1250
Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, who takes away the sins of the world, have mercy on us.
Anonymous: O mitissima—Virgo—Haec dies High
1 Voice
(Text:) O mit-tis- si- ma
Middle Voice (Text:) Vir-go vir-gi-num,
Vir-go Ma-ri-a. . .
2
3
De - - - - - - - - -- - - - - - - - - - - - - i
(etc.)
1
Lumen lumi-num . . .
Tenor Voice
This LOW part is the Haec dies CHANT melody
Tenor Rhythm Pattern: (ostinato)
O mittissima Virgo Maria, Posce tuum fi-li-um, Ut nobis auxilium Det et remedium Contra domonum Fallibiles astucias Et horum nequicias.
O sweetest Virgin Mary, Beg your Son to give us help and remedies against the demons' deceptions and their inequities.
Virgo virginum, Lumen luminum, Reformatrix hominum, Que portasi Dominum, Per te Maria, Detur venia, Angelo nunciante, Virgo es post et ante.
Virgin of virgins, light of lights, Reformer of men, who bore the Lord, Through you, Mary, let grace be given as the Angel announced: You are a Virgin before and after.
Haec dies.
This is the day.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Lamb of God, who takes away the sins of the world, grant us peace.
(In this prayer, the words "Agnus Dei" refer to Jesus as God's "sacrificial lamb".)
Guillaume de Machaut was the most important French composer of the late Middle Ages. Around 1350, he composed the Missa Notre Dame ("Mass to Our Lady [the Virgin Mary])"—which is historically important because it was was the first polyphonic setting of the entire Mass Ordinary written by one composer. Its rhythms are very complex and disjointed, and its harmonies often sound strange and dissonant to modern ears (the music is "modal"—not tonal). The four voices are highly independent (there is no imitation).
This is an early example of a motet. It features three different Latin texts, sung simultaneously. The low "tenor" part presents the Haec dies chant melody in a recurring 5-note RHYTHMIC OSTINATO, while the upper voices move on faster rhythms.
2
From Chapter 4 (Renaissance)
MUSIC in the RENAISSANCE (c1450-1600) 1450
1500
1570
1600
The Renaissance style is characterized by IMITATIVE Texture, WORD-PAINTING, and a smoother, more "personal" approach to both sacred and secular idioms than heard in the Middle Ages.
STYLE TRAITS Vocal
MOTET (sacred) MASS (sacred)-- Mass Ordinary/Mass Proper MADRIGAL (secular) SONGS (secular)
Important
GENRES
Instrumental
DANCE MUSIC (for lute, viols, recorders, etc.) Primarily vocal music based on design of the text -- IMITATION (echoed entrances) was an important feature
FORMS
WEELKES As Vesta Was From Latmos Hill Descending
JOSQUIN DESPREZ Ave Maria...virgo serena
Featured COMPOSERS and WORKS
(motet)
(English madrigal)
PALESTRINA Pope Marcellus Mass (Mass)
GESUALDO Moro lasso
(Italian madrigal—late)
Elizabethan Age in England Catholic "CounterEngland defeats the Reformation" Spanish Armada (1588)
Protestant Reformation begins (1517)
EVENTS
Ave Maria . . . virgo serena
Motet
by Josquin DESPREZ (c 1440–1521)
by 1510
Sopranos VE Altos
Gra- -ti--a
MA- RI - - A - A-
VE
Tenors A -
VE
She spied a maiden Queen the same ascending attended on by all the shepherd's swain,
Gra- -ti--a
to whom Diana's darlings came running down amain.
VE
ple - - - - - - - - - na
Tenors
Gra- -ti--a Basses
MA- RI - - A - -
First TWO by TWO
Rapid musical "RUNS" (many notes in fast series) Texture reduced to TWO singers at a time
Then THREE by THREE
Then 3 singers . . . Then ALL SING TOGETHER
Gra- -ti--a--
TOGETHER. Leaving their goddess ALL ALONE, hasted thither, And mingling with the shepherds of her train With mirthful tunes her presence entertain.
Now the singers "mingle" in imitative counterpoint
Then sang the shepherds and nymphs of Diana Long live fair Oriana!
This section is VERY, VERY LONG!
Hail Mary full of grace, the Lord is with you serene Virgin...Hail, you whose conception, full of great jubilation fills heaven and earth with new joy...Hail, whose birth brought us joy...as the dawn's light shines before the true sun appears...Hail, pious humility, fruitful without a man...whose Annunciation brought us salvation...Hail true virginity, immaculate chastity... whose purification brought our cleansing...Hail, glorious one in all angelic virtues...whose Assumption was our glorification...O Mother of God, remember me. Amen.
"Agnus Dei (I)" from Pope Marcellus Mass by Giovanni da PALESTRINA (c. 1524–94)
Madrigal
Soprano
Ag - nus
De
Alto
-
-
-
Ag - nus
Tenor 1 Ag - nus De
-
-
-
De
-
A - - - -gnus - - - De -
i -
-
i
-
i
Bass 1 Bass 2
De
-
-
-
-
De
-
-
i
Ag - nus
TEXT/TRANSLATION:
De
-
-
-
i
i
Music Guide
WORD-PAINTING DEVICES:
11
Low voices depict the man's torment through slow tempo, agonizing harmonies
E chi mi può dar vita , Yet she, who could give me life,
High soprano (representing the woman) enters at much faster, happier tempo on "vita" (life).
(etc.)
Ahi , che m'ancide e non vuol darmi aita, Alas, she gives me death instead of help,
Intensely dissonant harmonies on "Ahi!"
(etc.)
O dolorosa sorte, O excruciating fate,
More excruciating harmonic clashes
(etc.)
Chi dar vita mi può, ahi, mi da morte . She who can give me life, alas, gives me death.
The painful harmonies wander aimlessly, reaching a sense of relief only at the final cadence.
De - - - - - - i (etc.)
Ag - nus
Ag - nus
9
Moro, lasso
by Carlo GESUALDO (c. 1560–1613)
Moro, lasso al mio duolo, Wearily I die from my agony,
- i (etc.)
A - - - -gnus - - - De - - - i
Tenor 2
1611
Music Guide
The opening texture of this work may be graphed as follows:
One female singer sings this ALL ALONE ...
This work is a primary example of an English madrigal from the late Renaissance. It is for five unaccompanied solo voices and features many obvious instances of word-painting (illustrating the meaning of specific words through musical symbolism). The texture is usually imitative, the tempo is quick and in a steady meter, and the style is clearly secular in nature. This piece is from a collection of madrigals entitled The Triumphes of Oriana—dedicated to Queen Elizabeth I (whose nickname was "Oriana." Other characters referenced in the poetry are from Greek/Roman mythology: Vesta (sister of Zeus, virgin goddess of the hearth and home), and Diana (Roman goddess of chastity). In this madrigal, when Vesta and Diana come down from Latmos Hill, all of their attendants abandon them, and run to the "rising" Queen Elizabeth ("Oriana").
Josquin Desprez was the greatest composer of the mid-Renaissance. This motet in honor of the Virgin Mary begins with a section that is polyphonic and imitative (you can clearly hear how each successive voice echoes the previous voice); however, in the course of the work Josquin cleverly uses the four vocal lines in many other types of textures. The vocal writing is smooth and the harmonies are more consonant (sweet-sounding) than works from the Middle Ages.
1567
10
Musical line GOES DOWN rapidly on "descending", and GOES UP on "ascending"
ple - - - - - - - - - na
Ave Maria gratia plena dominus tecum, virgo serena...Ave cuius conceptio, solemni plena gaudio... coelestia terretria nova replet laetitia...Ave cuius nativitas nostra fuit solemnitas...ut lucifer lux oriens verum solem praeveniens...Ave pia humilitas, sine viro fecunditas...cuius annuntiatio nostra fuit salvatio...Ave vera virginitas, immaculata castitas... cuius purificatio nostra fuit purgatio...Ave praeclara omnibus angelicis virtutibus...cuius assumptio nostra glorificatio... O mater Dei, memento mei. Amen.
Mass
Music Guide
WORD-PAINTING DEVICES:
As Vesta was from Latmos Hill descending
ple - - - - - - - - - na
MA- RI - - A - -
Basses A -
Text and Translation
by Thomas WEELKES (c. 1575–1623)
TEXT:
Altos
MA- RI - - A - -
As Vesta Was From Latmos Hill Descending
1601
8
The CANONIC texture at the start of this motet may be graphed as follows: Sopr. A-
Madrigal
Music Guide
(etc.)
Gesualdo, the Prince of Venosa, was as overly-passionate in his life as he was in his music. One night, when he discovered his wife and her lover in an adulterous embrace, he murdered them both. While in exile for the rest of his life, he wrote repenitent Catholic sacred music and intensely anguished secular works such as Moro, lasso—a late Italian madrigal based on poetry that is much more serious and tragic than that seen in English madrigals. In order to vividly depict the meaning of the words, Gesualdo often changes the texture, tempo, and harmonic basis of this work. You will notice many moments of extreme dissonance, especially on the words "Ahi" (an anguished "Ah" in English), and "dolorosa" ("extremely painful" in English). This dissonance is achieved through the use of chromaticism—the technique of using pitches that are foreign to the "mode" or "key" of the piece.
TEXT: Agnus Dei, qui tollis peccata mundi. Miserere nobis (Translation: Lamb of God who takes away the sins of the world, have mercy on us.)
Palestrina—the greatest master of late Renaissance sacred music—worked at the Vatican in Rome. This Mass is for 6 voice parts a cappella (no instrumental accompaniment), and has a fuller, richer sound than heard in the music of Josquin. The flowing vocal melodies are seamless, smooth, and consonant. The six-voice choir is divided in half occasionally to create antiphonal effects (one group answers another). The musical sections are longer than those heard in previous works.
3
From Chapter 5 (Baroque)
MUSIC in the BAROQUE (c1600-1750) 1600
Featured COMPOSERS and WORKS
1650
(concerto)
HANDEL Messiah
(oratorio)
J.S. BACH Cantata No. 140 "Little" Fugue in G minor
Rise of Instrumental Music Violin family developed in Italy; Orchestra begins to develop BAROQUE INSTRUMENTAL GENRES
CONCERTO (Solo Concerto & Concerto Grosso) SONATA (Trio Sonata) SUITE (Keyboard Suite & Orchestral Suite)
OPERA
Sacred
ORATORIO CANTATA MASS and MOTET
MULTI-MOVEMENT DESIGNS based on opposition
FORMS
VIVALDI The Four Seasons
CORELLI Trio Sonatas
BAROQUE VOCAL GENRES Secular
GENRES
1750
(opera)
(opera)
Important
1720
PURCELL Dido and Aeneas
MONTEVERDI L'Orfeo
Basso Continuo Aria Recitative
Other Concepts
1700
Forms based on opposition RITORNELLO BINARY
Contrapuntal Forms CANON and FUGUE
The Baroque style is characterized by an intense interest in DRAMATIC CONTRAST and expression, greater COUNTRAPUNTAL complexity, and the RISE OF INSTRUMENTAL MUSIC.
STYLE TRAITS
Forms Commonly Used in Baroque Music • Binary Form: A vs B
"Tu sei morta" from L'Orfeo
Opera 1607
by Claudio MONTEVERDI (1567–1643)
Monteverdi—the first great composer of the Baroque, is primarily known for his early opera L'Orfeo. This work is based on the tragic Greek myth of Orpheus—a mortal shepherd with a god-like singing voice. (In Greek mythology, Orpheus was the son of Calliope, the muse of epic poetry, and the sun-god, Apollo). Orfeo marries his childhood sweetheart, Euridice, then during the wedding reception, she goes off in search for a flower garland for her hair, only to be bitten fatally by a poisonous snake. Euridice is then taken to the underworld—the land of the dead. In this listening excerpt, Orfeo has just received the tragic news, and in desperation he vows to go down to Hades himself in order to convince Pluto (the god of darkness) to return Euridice to life. Orfeo's request is granted eventually, but only under the condition that he not gaze upon Euridice's face until she gets above ground. Unfortunately, Euridice stumbles while climbing the treacherous stairway leading out of Hades, and when Orfeo glances back to see if she is all right, she is lost to him forever.
Opera 1689
• Ritornello Form: TUTTI • SOLO • TUTTI • SOLO • TUTTI (etc)
12
TEXT/TRANSLATION:
ARIA with full orchestra
Binary Form
Thy hand, Belinda, darkness shades me, On thy bosom let me rest; More I would, but death invades me; Death is now a welcome guest I am laid, am laid in earth, A When May my wrongs create no trouble in thy breast.
B
BASSO CONTINUO (a keyboard instrument and a low string instrument)
Movement 1: SLOW, 4/4 meter
Movement 2: FAST, 4/4 meter
Movement 4: FAST, 6/8 meter
[Note: In the title of this work, "Op." is an abbreviation for "Opus", which means "Work" in Latin— the "No. 2" means that Op. 3 is a set of trio sonatas, and this is the second of the set.]
Spring from The Four Seasons by Antonio VIVALDI (1678–1741)
Music Guide
The 1st movement of the Spring concerto, features a ritornello design (solo violins vs. orchestra):
RITORNELLO DESIGN: Joyful spring RITORNELLO 1 has arrived
13
The birds greet it with their cheerful song
SOLO 1
Joyful spring . . .
RITOR. 2
SOLO 2
- Aria has a steady METER;
The brooks flow Joyful spring . . .
RITOR. 3
- Low bass-note "OSTINATO"
Thunder & lightning
SOLO 3 w/ orch
- Sparse - No apparent meter
Remember me! . . . But,ah! forget my fate, Remember me ! . . . But, ah, forget my fate.
Joyful spring . . .
RITOR. 4
The birds resume . . .
During the aria section, this descending ostinato figure repeats over and over in the bass, reflecting Dido's unending despair.
SOLO 4
Joyful spring . . .
RITOR. 5
The birds . . .
SOLO 5
Joyful spring . . .
Purcell—the greatest English composer of his day—died tragically at the age of 36. He wrote in a variety of musical genres: sacred music, secular choral music, chamber music, songs, and stage works. This excerpt from his opera, Dido and Aeneas, contains the most famous Baroque aria-- "When I Am Laid in Earth"—commonly referred to as "Dido's Lament."
Movement 3: SLOW, 3/2 meter
Most of the movements of this work feature direct imitation between the violins (and sometimes even the cello of the basso continuo joins in on the imitative dialogue).
c. 1725
Basic DESIGN of this excerpt:
14
(etc.)
Corelli, who worked in Rome during the middle Baroque period, was one of the first composers to write for the modern violin family, and the first to write more music for instruments than for voices. He is especially known today for his concerto grossos and trio sonatas. HisTrio Sonata in D major has the following multi-movement structure:
Solo Concerto
Music Guide
Music Guide
(canonic imitation)
Violin 1 Violin 2
You are dead my precious life, yet I still breathe. You are taken from me, you've left me forever, never to return, yet I remain here ? No! No!, if my songs have any power within them I will go down to the abyss of death, There, I will melt the heart of the King of Shadows, and bring you back with me to see the stars again. Or if it's my cruel destiny, I'll remain there with you in the company of the dead. Goodbye earth, goodbye sky and sun, farewell. . .
by Henry PURCELL (c. 1659–95)
with only basso continuo accompaniment
by Arcangelo CORELLI (1653–1713)
A diagram of the basic imitative texture of the 4th movement:
Tu sei morta, sé morta mia vita, ed io respiro; Tu sé da me partita, sé da me partita per mai piu, mai piu non tornare, ed io rimango? No! No! che se i versi alcuna cosa ponno, n'andrò sicuro á più profondi abissi, e, intenerito il cor del re de l'ombre, meco trarotti a riverder le stelle, o se ciò negherammi empio destino, rimarrò teco in compania di morte. Addio terra, addio cielo, e sole, addio.
"Dido's Lament" from Dido and Aeneas
RECITATIVE
Trio Sonata in D major, Op. 3, No. 2
Trio Sonata 1689
Music Guide
RITORNELLO 6
PROGRAMMATIC IDEAS: • Tutti ("played by full group") theme in E major (I) represents the joy of spring. • Echoed bird calls played by solo violin with two violins from orchestra. • Tutti theme (2nd part) returns in E Major
15
• Running notes in solo violin represent the brook. • Tutti theme (2nd part) returns in B major (V) • Tremolos in strings represent thunder as flashy runs in solo violin depict lightning. • Tutti theme (2nd part) returns in C# Minor (vi) • Echoed bird calls by solo violins return. • Tutti theme (1st part) returns; moves to B (V) • More echoed bird calls by solo violins. • Tutti theme (2nd part) returns in E Major
The overall three-movement design of the Spring Concerto:
1st movement: FAST, 4/4, E major 2nd movement: SLOW, 3/4, C# minor
The story of Dido and Aeneas is taken from the ancient Greek epic poem The Aeneid by Virgil. After being defeated in the Trojan War, Aeneas is told by the gods to go to a safe port and rebuild his fleet. When he is thrown off course by a storm that wreck his ship off the coast of northern Africa, he falls in love with his rescuer Dido, the Queen of Carthage. Eventually, wicked sorceresses hoping to achieve Dido's downfall send a false messenger to tell Aeneas that his gods command him to leave Carthage immediately and speak to no one. Thus, he leaves Dido dumbfounded and distraught. Knowing she can never trust or love anyone ever again, Dido sings this tragic lament to her servant Belinda, then she kills herself, as Aeneas sails away.
3rd movement: FAST, 12/8, E major
Joyful spring has arrived, the birds greet it with their cheerful song, and the brooks flow in the gentle breezes with a sweet murmur. The sky is blackened and thunder and lightning announce a storm. After they fall silent, the birds again take up their melodious song.
And in the flower-rich meadow, to the gentle murmur of bushes and trees, the goatherd sleeps, his faithful dog at his side. [Note: The viola accents simulate a dog barking.]
To the festive sounds of a rustic bagpipe, nymphs and shepherds dance in their favorite spot.
Vivaldi is one of the greatest composers of the Late Baroque era. Among his nearly 800 works are over 500 concertos and at least 50 operas. His best-known work is a set of four 3-movement concertos (Fast–Slow–Fast design) collectively called The Four Seasons. Each concerto in the set features solo violin(s) with orchestra and basso continuo and programmatically illustrates one season of the year.
4
Canon in D major
Canon c 1700
Follower 3
3
Follower 1
2
Leader
x-x-x-
1 o
o
o
o
o o
o
o
o
o
o
o
o o
o
o
o
o
o
o o
o
o
o
o
o
o
o o
o
o
o
o
o
o
o o
o
o
o
o
o
o
o
o o
o
o
o o
o
o
o
"Head" of the chorale tune
etc.
In a canon (a special kind of imitation) each follower must strictly imitate whatever the leader does. Notice how the vertical texture is constantly changing, and how each voice is always doing something different than the others (a technique called counterpoint).
"Little" Fugue in G Minor
Fugue
by Johann Sebastian BACH (1685–1750) free counterpoint
1ST MOVEMENT: a 4-voice FUGUE sung by the chorus —"Subject" derived from the chorale—in counterpoint vs. a 2-voice CANON in the instruments. (Note: Movements 1 and 8 are also binary forms.)
Music Guide
A Diagram of the Opening Section of this Fugue: free counterpoint
17
Countersubject
SUBJECT (HIGH)
2
free counterpoint XXXX
SUBJECT (MEDIUM)
Countersubject
3
Countersubject
SUBJECT (LOW) 4
SUBJECT
J. S. Bach was probably the greatest organist who ever lived. His works for organ are highly complex, yet expressively beautiful. One of the best-known examples from Bach's organ works is the "Little" Fugue in G minor (c 1709), which employs an intricate fugal texture for four different musical lines performed by one player using both hands on the keyboard and both feet on the low-sounding organ pedals. The main melody (the "subject") of the fugue begins in the upper voice and gradually works it way down on four successive entrances until it is finally stated by the low bass pedals. You should notice very intricate melodies, several different things happening at the same time, and the subject being passed around from "voice" to "voice" of the organ. Although the subject is originally sounded in a minor key, Bach occassionally places the subject in a happier-sounding major key for variety.
Orchestral Suite No. 1 in C major by Johann Sebastian BACH (1685–1750)
A er hilft uns frei aus aller Not, die uns jetzt hat betroffen.
He helps free us from all the troubles that have now befallen us.
B
Der alte böse Feind, mit Ernst er's jetzt meint, gross Macht und viel List, sein grausam Rüstung ist; auf Erd' ist nivht seingleichen.
Our ever evil foe, in earnest plots against us, with great strength and cunning he prepares his dreadful plans. Earth holds none like him.
A
(focused on D major) "He is securely on our side with His spirit and strength."
B (D major then suddenly to F# major!) "Though others may deprive us of life, wealth, honor,
child, or wife...We will not complain; it gains them nothing," (returns solidly in D major) "for God's kingdom must prevail."
Messiah
Oratorio
Music Guide
1741
by Georg Frideric HANDEL (1685–1759)
Solo aria (Excerpt) No. 3: "Ev'ry Valley Shall Be Exalted" In this solo aria (based on an Old Testament prophecy of the birth of Christ—Isaiah 40:4), the orchestra initiates the first melodic phrase, which is echoed by the tenor soloist, initiating the ritornello form. Note the extremely long phrases and the technical difficulty of the solo voice part. As is common in Handel's arias, each line of the text is repeated many times.
Suite No. 1 has seven movements, and features a string orchestra (Violins I, Violins II, Violas), basso continuo, and a 3-instrument solo group of two oboes and bassoon (used in movements 1 and 6 only). The "Forlane" movement is modeled after French depictions of the carnivals of Venice.
Text: Ev'ry valley shall be exalted
Word-Painting Devices:
and ev'ry mountain and hill made low the crooked straight
The overall 3-movement design of Brandenburg Concerto No. 5: Movement 1 FAST, 2/2 meter D major Ritornello Form
Movement 2 SLOW, 4/4 meter B minor 3 solo insts (no orch)
Movement 3 FAST, 4/4 meter D major Ritornello Form
19
Chorus (Excerpt) No. 44: "Hallelujah" This chorus, with its exaltations of praise for Christ's birth, has become a perennial Christmas favorite. The texture is highly polyphonic and imitative—even fugal at times, although Handel uses homophonic and monophonic textures to accentuate the most important words in the text. (Handel states the words "and He shall reign forever" monophonically—in essence, telling the King of England in a way that could not be missed that a more powerful King has ultimate dominion.) The powerfully festive orchestra, which even includes brass and percussion, adds to the majestic aura of the work. Handel adapted the text from the Revelation of St. John.
In 1721, BACH dedicated a set of six concertos to the Margrave of Brandenburg, hoping to further his standing with the young German aristocrat. (Scholars believe that these works were actually written several years earlier.) Despite his efforts, Bach was never offered a position by the Margrave. Each of the six concertos calls for a different group of instruments:
ORCH. INTRO
• No. 1 in F: Concerto Grosso (solo group= 2 horns, oboe, violin piccolo); (orch= 2 oboes, bassoon, strings, continuo) • No. 2 in F: Concerto Grosso (solo group= trumpet, recorder, oboe, violin); (orch= strings, continuo) • No. 3 in G: "Ensemble Concerto"/no soloists (orch= 3 violins, 3 violas, 3 cellos, continuo) • No. 4 in G: Concerto Grosso (solo group= violin, 2 recorders); (orch= strings, continuo) • No. 5 in D: Concerto Grosso (solo group= flute, violin, harpsichord); (orch= strings, continuo) • No. 6 in F: "Ensemble Concerto"/no soloists (orch= 2 violas, 2 viola da gamba, cello, continuo)—NO VIOLINS!
The Brandenburg Concerto No. 5 is a fine example of a BAROQUE CONCERTO GROSSO— in this case featuring a small group of soloists (flute,violin and harpsichord) pitted against the full orchestral ensemble (called the "tutti"). Through RITORNELLO design, the orchestra alternates brief entrances with each of the soloists, then alternates entrances with various combinations of the solo instruments, creating a multitude of different textures and arrangements:
BIG TUTTI TUTTI
plays Ritornello material
Small Solo Group: flute, violin, harpsichord
BIG TUTTI TUTTI
plays Ritornello material
Small Solo Group: flute, harpsichord, violin
BIG TUTTI TUTTI
plays Ritornello material
Small Solo Group: harpsichord, violin, flute
BIG TUTTI TUTTI
plays Ritornello material
This "exaltation"(of the prophecy of Christ's birth) is depicted by long, elaborate lines (one line has almost 50 notes sung on 1 breath) Jagged vocal lines for "mountains" and "crooked", a low note on the word "low", and a long "smooth" note on the word "plain".
and the rough places plain
Music Guide
by Johann Sebastian BACH (1685–1750)
1721
21
Messiah is designed in three large-scale parts: PART I (movements 1-21): focuses on prophecies and the birth of Christ PART II (movements 22-44): focuses on the suffering, Crucifixion, and Resurrection of Christ PART III (movements 45-53): focuses on Book of Revelation prophecies of the 2nd coming of Christ
BACH composed at least four so-called "orchestral suites" (collections of dance movements for orchestra). Although the date of Suite No. 1 is unknown, scholars believe it was written in 1718—during the second phase of Bach's career (1717-23), while he served as Chapelmaster and Director of Chamber Music at the court of Prince Leopold in Cöthen.
Brandenburg Concerto No. 5
Music Guide
Handel, one of the greatest Baroque composers, worked in Germany, Italy, and England (where he was the court composer for King George I). He composed many theatrical, orchestral, chamber, keyboard, and choral works. The most famous is Messiah— a 53-movement oratorio composed in just three-and-one-half weeks (!), and first performed on Christmas Day 1741, with the King prominently present in the church.
• Movement 1: Ouverture (slow AB intro, ends with fast 4/4 section in concerto grosso format—with woodwind trio solo group accomp. by strings and basso continuo) • Movement 2: Courante (fast, lively dance in 3/2 meter; ternary form; tutti) • Movement 3: Gavottes 1 & 2 (moderate peasant dance style in 2/4; tutti; Gavotte 1=AB; Gavotte 2=ABA) • Movement 4: Forlane (a lilting Italian binary dance in 6/4 meter; tutti) • Movement 5: Menuets 1 & 2 (moderately slow, elegant courtly dance in 3/4; Minuet 1=AB; Minuet 2=ABA) • Movement 6: Bourrées 1 & 2 (moderately fast peasant dance in 2/4; Bourrée 1=AB; Bourrée 2=ABA) • Movement 7: Passepieds 1 & 2 (fast, simple dance in 3/4 meter; both are AB form)
Concerto Grosso
A mighty fortress is our God, a good defense and weapon:
A (focused on D major) "Let God's word abide without further contemplation."
18
The 7-movement structure of Orchestral Suite No. 1:
Ein feste Burg ist unser Gott, ein' gute Wehr und Waffen;
8TH MOVEMENT: A hymn-like setting of the CHORALE, sung by full chorus (new words)/doubled by insts.
(Very LOW PEDALS)
Suite c.1717-23
Translation:
Text:
A
XXXX 1
"Tail" of the chorale tune
Mvt.I: Chorale fugue (Chorus & Orchestra) Luther's Chorale tune is the subject of a 4-voice fugue enclosed in a 2-voice canon; then Bach splits Luther's tune into an intricate "head vs. tail" 4-voice double canon Mvt.II: Aria/Duet (double fugue for Soprano and Bass soloists with Orchestra & Basso Continuo accomp.) Mvt.III: Recitative (for solo Bass with Basso Continuo accompaniment) Mvt.IV: Aria (for solo Soprano) Mvt.V : Chorale (Chorus & Orchestra—chorale tune sung in unison) Mvt.VI: Recitative (for Tenor soloist with Basso Continuo accompaniment) Mvt.VII: Duet (for Alto and Bass soloist with Orchestra & Basso Continuo accompaniment) Mvt.VIII: Chorale (Chorus & Orchestra)—homophonic CHORALE setting (4-part chorale in church hymn style)
Pachelbel was a German composer of the middle Baroque period and an important predecessor to the contrapuntal tradition of J.S. Bach. His over 200 compositions include organ works, keyboard works (fugues, toccatas, suites), concertos, cantatas, motets, arias and Masses. Of these, his most famous work is the so-called "Pachelbel canon"—also called the "Canon in D" (date of composition unknown).
c.1709
20
"A Mighty Fortress Is Our God"
o
o
Music Guide
Opening of the CHORALE TUNE:
x-x-x- * * * * *
BASSO CONTINUO (plays an ostinato—a short figure repeated over and over)
o
by Johann Sebastian BACH (1685–1750)
For most of his compositional life, Bach was employed by German Lutheran churches; thus, much of his work is sacred music. Among the most notable of his sacred works are over two hundred cantatas (multi-movement settings for voices and orchestra). Bach's cantatas were written to be performed during Lutheran church services; thus, they are not as long as oratorios (which alone can be the complete music for an evening's concert). Bach's CANTATAS use solo singers, chorus, various duets, interspersed with orchestral interludes. One of Bach's most famous cantatas is Cantata No. 80 (1715–24)— an 8-movement work based on Martin Luther's chorale melody "Ein' Feste Burg..." ("A Mighty Fortress Is Our God"):
etc.
4
Follower 2
1715-24
16
The initial canonic texture of this work may be graphed as follows:
Cantata No. 80
Cantata
Music Guide
by Johann PACHELBEL (1653–1706)
Small
CHORUS Hallelujah! for the Lord, God Omnipotent reigneth.
(HOMOPHONIC) (MONOPHONIC)
Hallelujah! Hallelujah! . . . for the Lord, God Omnipotent reigneth. Hallelujah! Hallelujah! . . .
(HOMOPHONIC) (MONOPHONIC then FUGAL) (POLYPHONIC & IMITATIVE)
The kingdom of this world is become the kingdom of our Lord, and of his Christ!
(HOMOPHONIC)
And He shall reign forever and ever.
(FUGUE—POLYPHONIC)
King of Kings, and Lord of Lords!. . .
(HOMOPHONIC)
And He shall reign forever and ever.
(POLYPHONIC) (HOMOPHONIC then POLYPHONIC) In an unprecedented move, the King of England stood up at this moment to acknowledge the greater power of "Christ the King" (HOMOPHONIC)
King of Kings, and Lord of Lords!. . .
Solo Group: harpsichord featured as etc. main soloist
(parts reversed)
And He shall reign forever and ever. Hallelujah!
BASSO CONTINUO (harpsichord and a low bass instrument)
5
(Sustained chords after pause)
From Chapter 6 (Classic)
MUSIC in the CLASSIC ERA (c1750-1820) 1760
1775
1790
MOZART Eine kleine Nachtmusik
Featured COMPOSERS and WORKS
(serenade)
1800
Reqiuem (Mass)
BEETHOVEN Piano Sonata Op. 13
The Marriage of Figaro, Don Giovanni Symphony No. 40 (operas)
(sonata)
Quartet in C minor (string quartet)
Symphony No. 3 Symphony No. 5 Symphony No. 6 Symph. No. 9
HAYDN
(symphonies and string quartets)Symphony No. 94
Other Concepts
Standardized Orchestra (mostly strings, woodwinds) CLASSIC VOCAL GENRES Secular
Important
CLASSIC INSTRUMENTAL GENRES
OPERA
GENRES
Sacred
ORATORIO CANTATA MASS and MOTET
FORMS
1820
4-MOVEMENT DESIGN Fast-Slow-Dance-Fast
STYLE TRAITS
CONCERTO (Solo Concerto) SYMPHONY SONATA SERENADE (Piano Sonata) STRING QUARTET
Standardized Forms based on Keys and Themes SONATA FORM MINUET & TRIO FORM RONDO FORM SCHERZO & TRIO FORM SONATA-RONDO FORM THEME & VARIATIONS
The Classic style is characterized by SYMMETRY, BALANCE and STANDARDIZATION of ensembles, genres and forms.
A COMPARISON OF CLASSIC INSTRUMENTAL GENRES If a multi-movement work is performed by
then, the work is called a
Orchestra
SYMPHONY
A small group of winds and/or strings
SERENADE
2 Violins, Viola & Cello
STRING QUARTET
A Pianist (playing alone)
PIANO SONATA
A [Solo Instrument] with PIANO Accompaniment
[
] SONATA
a SOLO VIOLIN with PIANO accomp. = a VIOLIN SONATA; whereas, a SOLO FLUTE with PIANO accomp. = a FLUTE SONATA
A [Solo Instrument] with ORCHESTRAL Accompaniment
[
] CONCERTO
a SOLO PIANO with ORCHESTRA accompaniment = a PIANO CONCERTO; whereas, a SOLO FLUTE with ORCHESTRA accomp. = a FLUTE CONCERTO ---------------------------------------------------------Other generic Classic chamber groups are referred to as Trios, Quintets, (etc.) and these usually follow the Classic four-movement design.
6
Standardized Classic FOUR-MOVEMENT Instrumental Design Movement
Tempo (usual character)
Form
Harmonic Tonal Center
1
st
Fast (strong)
Sonata Form
"Home" key (I)
2
nd
Slow (lyrical)
(various)
Another key (usually IV)
3
rd
Moderate (3/4 dance)
Minuet & Trio
"Home" key (I) (Trio can be in another key)
4
th
Very Fast (light/cheerful) Rondo Form
"Home" key (I)
-------------------------------------Although four movements was the standard for many Classic genres, some Classic sonatas may have fewer than four movements, and a few late Classic symphonies and quartets have more than four movements.
Standardized Classic Forms • Sonata Form (a debate between opposing keys; resolved in the recapitulation) EXPOSITION • DEVELOPMENT • RECAPITULATION
• Theme and Variations Form: THEME • VARIATION 1 • VARIATION 2 • VARIATION 3 (et cetera)
• Minuet and Trio Form MINUET • TRIO • MINUET
• Scherzo and Trio Form SCHERZO • TRIO • SCHERZO
• Rondo Form A B A C A
or
A B A C A B A
• Sonata-rondo Form (rondo form with sonata form key opposition/resolution) Symphony No. 94 in G major
Symphony 1791
by Franz Josef HAYDN (1732–1809)
Eine kleine Nachtmusik
Serenade 1787
Music Guide
22
The 1st movement is an excellent example of Classic Sonata Form. EXPOSITION G Major
Theme 1
transition
Theme 2
The THEME and first three VARIATIONS of the 2nd movement:
A
B
(each section is repeated)
Closing Theme
Violins play quiet staccato theme in major; surprise (ff ) chord on repeat of "A". Section "B" repeated with flute and oboe.
D Major
Exposition repeats
Theme 1
transition
GMajor
Theme 2 new countermelody
VARIATION 1
A
B
(each section is repeated)
VARIATION 2
A
B
(only "A" section is repeated)
VARIATION 3
A
B
(each section is repeated)
Movement 1 • Adagio/Vivace (Slow Intro)/ (Fast)
• Sonata form • G Major • 3/4 6/8
Movement 2 • Andante (Slow) • Theme & Variations • C Major • 2/4
Theme begins as before, but after a few measures the high violins add a new "countermelody" above the Theme.
Closing Theme
"A" Theme begins powerfully MINOR, then it is quietly echoed by violins in MAJOR. Strong "B" section has violins with rapid descending runs.Ends with quiet passage for violins alone.
Movement 3
D Major
Themes 1 & 2 developed
DEV. other keys
Theme 1
RECAP.
Theme 2 Closing Theme
"A" Theme begins lightly—oboe with 4 repeated notes, in MAJOR . On repeat of "A", flute and oboe play countermelody against the violin theme. "B" continues in similar fashion.
• Allegro molto (Medium) • Minuet & Trio • G Major • 3/4
24
Eine kleine Nachtmusik, (which in German means "A Little Night Music") was written as a nighttime entertainment piece for the Austrian Emperor, Franz Josef II. Each of its four movements is beautiful and famous.
Haydn was the first major composer of Classic era. After several obscure positions, he had the good fortune to be hired as court composer for a Hungarian Prince—Nicolas Esterházy. In the 1770s and 80s—under the Prince's friendly patronage—Haydn became the best-known composer in Europe, gaining renown especially for his symphonies (104), string quartets (68) and piano sonatas (40). When the Prince died, Haydn was awarded a pension and released from service. Soon afterward, he was invited to London for two extended residencies (1791–92 and 1794–95), during which he wrote twelve symphonies (Nos. 93-104). Among these is the famous "Surprise" Symphony (1791), which derives its name from the startling entrance of the timpani in the second movement.
THEME
Music Guide
by Wolfgang Amadeus MOZART (1756–91)
G Major
Movement 1
• Allegro (Fast) • Sonata form • G Major • 4/4
A
Movement 2
• Andante (Slow) • 5-part Rondo • C Major • 2/2
MINUET
G Major (I)
(repeated)
BA'
rounded binary design (A) (BA')
sweeter C(repeated)
D Major
(repeated)
TRIO rounded binary design (C) (DC')
DC
(repeated)
A
BA'
CODA
Movement 4 • Allegro (Fast) • Sonata form • G Major • 2/4
The 3rd movement is a delightful example of Classic Minuet and Trio form.
MINUET
G Major (I)
(returns with no repeats)
Movement 3
Movement 4
• Allegretto (Medium) • Minuet & Trio • G Major • 3/4
• Allegro (Fast) • Sonata-rondo • G Major • 2/2
The overall 4-movement design of Eine kleine Nachtmusik
The overall 4-movement design of Symphony No. 94 :
7
Symphony No. 40 in G minor
Symphony 1788
Music Guide
by Wolfgang Amadeus MOZART (1756–91)
During the summer of 1788, Mozart wrote three complete symphonies in just six weeks —a feat unequaled in compositional history. More importantly, these three works (his last three symphonies Nos. 39, 40 and 41) are his greatest contributions to the genre. The Symphony No. 40 in G minor is his best-known symphony—a monumental statement of both dramatic content and Classic elegance.
The Marriage of Figaro
Opera
25
1786
COUNT ALMAVIVA (baritone) united with Count against Figaro
COUNTESS [Rosina] (soprano) incessantly pursues Susanna
scheme with Countess to outwit the Count
A
Theme 2 Closing Theme
BA'
Theme 1
transition
DEV.
Themes 1 & 2 developed
D
other keys
Theme 1
A
G Minor
Closing Theme
full orchestra agitated
BA'
CODA
FIGARO (bass) Former "barber", now Count's valet
CHERUBINO (soprano) Count's pubescent page boy; agrees to impersonate Susanna as part of scheme
ANTONIO (bass) Count's drunken gardener; Susanna's uncle
G Major
binary design (C) (D)
BARBARINA (soprano)
Antonio's teenaged daughter
Don Giovanni
Opera
MINUET
1787
Don Giovanni's reluctant servant
• • • •
• • • •
Movement 2 Andante (Slow) Sonata form E-flat Major 6/8
• • • •
Movement 3 Allegretto (Medium) Minuet & Trio G Minor 3/4
• • • •
Aritocrat with an insatiable desire to control and abuse others. Refuses to repent and is ultimately sentenced to eternal damnation.
Requiem Mass in D minor by Wolfgang Amadeus MOZART (1756–91)
seduces/rapes her at her own wedding reception
her at the start of the opera
He mocks her and rejects her affections
DONNA ELVIRA(soprano) One of Giovanni's former conquests. She truly loves him and tries to convince him to change his ways.
DONNA ANNA (soprano)
Movement 4 Allegro assai (Fast) Sonata form G Minor 2/4
The Commendatore's daughter engaged to be married
ZERLINA (soprano) A peasant girl
DON OTTAVIO (tenor)
THE COMMENDATORE (bass)
The overall 4-movement design of Symphony No. 40
Mass 1791
27
DON GIOVANNI (baritone)
CHARACTER RELATIONSHIPS:
LEPORELLO (bass) sexually assaults
Movement 1 Molto allegro (Fast) Sonata form G Minor 4/4
Music Guide
by Wolfgang Amadeus MOZART (1756–91)
G Minor
(returns with no repeats)
fugal
It's their wedding day, but the Count has other plans
eventually learns he is their love-child
Judge
TRIO
winds, strings, horns sweeter
Countess's chamber maid
DON CURZIO(tenor)
(repeated)
RECAP.
Theme 2
fugal
C
Bb Major
Closing Theme
rounded binary design (A) (BA')
winds & strings sweet (repeated)
Theme 2
Old physician; Rosina's former guardian who she dumped at the alter to marry the Count. Unknowing father of Figaro.
G Minor
(repeated)
G Minor
DR. BARTOLO (bass)
MINUET
(repeated)
Bb Major
SUSANNA (soprano)
Old maid who files lawsuit to marry Figaro, only to discover she is his mother !
The 3rd movement's Minuet and Trio blatantly depicts aristocratic oppression. full orchestra agitated
26
CHARACTER RELATIONSHIPS:
MARCELLINA (mezzo-soprano) The 1st movement is an outstanding and dramatic example of Sonata Form. EXPOSITION Theme 1 G Minor transition
Music Guide
by Wolfgang Amadeus MOZART (1756–91)
It's their wedding day
Retired military leader, murdered by Giovanni when attempting to defend his daughter after the Don's assault. He eventually returns from the grave to condemn Don Giovanni to Hell.
Sonata 1797-8
Music Guide
28
A few months before his death in December 1791, Mozart was visited at home by a masked messenger, speaking on behalf of an anonymous patron. The man offered to pay Mozart a large sum of money for composing a Requiem Mass (a Mass for the Dead). The only conditions for payment—finish quickly and tell no one what he was working on. Mozart, in desperate need of money, took the commission. Ironically, Mozart died while attempting to complete the work. (This scenario is vividly portrayed in the feature film, Amadeus—although it is untrue that the Italian composer Antonio Salieri had anything to do with the commission of this work or its completion—The work was originally completed by Mozart's pupil, Franz Xaver Süssmayr.) Documentary evidence has proven that the anonymous patron was Count Walsegg of Vienna, who eventually passed off Mozart's Requiem as his own work (as a public tribute to his recently deceased wife).. For a work intended to be performed at a funeral service, Mozart's Requiem is intensely dramatic, often foreboding and reflective of Mozart's views of his own inequities.
MASETTO (bass) Zerlina's fiancée
Piano Sonata in C minor, Op. 13 by Ludwig van BEETHOVEN (1770-1826)
Beethoven composed 32 piano sonatas that revolutionized the genre. Among the most famous of these are the "Moonlight" Sonata (Op. 27, No.1; c.1800-1) and the "Pathétique" Sonata (Op. 13)—an intensely dramatic and profound work (hence the nickname "Pathétique", which means "full of pathos.")
Music Guide
29
The second movement is a fine example of five-part rondo form. This work—like many Classic piano sonatas—has only three movements. (Notice that a "Minuet and Trio" movement is not included in the large-scale design).
Movements of Mozart's REQUIEM MASS—those completed or sketched by Mozart appear in bold type: INTROIT: 1. Requiem aeternam (completely scored for orchestra and chorus by Mozart) KYRIE: 2. Kyrie SEQUENCE: 3. Dies Irae 4. Tuba Mirum 5. Rex tremendae 6. Recordare 7. Confutatis OFFERTORY: 9. Domine Jesu 10. Hostias SANCTUS, BENEDICTUS, AGNUS DEI (no sketches have been found for these movements)
The Rondo form of Movement 2: 8. Lacrimosa
Main theme (repeated)
Texts and Translations of Selected Movements from Mozart's REQUIEM MASS 1. "REQUIEM AETERNAM" (Introit)
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi redetur votum in Jerusalem. Exaudi orationem meam. Ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
3. "DIES IRAE" Dies irae, dies illa solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, quando judex est venturus cuncta stricte discussurus.
4. "TUBA MIRUM" Tuba mirum spargen sonumper sepulchra regionum coget omnes ante tronum. Mors stupebit et natura, cum resurget creatura judicanti responsura. Liber scriptus proferetur in quo totum continetur, unde mundus judicetur...
7. "CONFUTATIS MALEDICTIS"
Confutatis maledictictis flammis acribus addictis, voca me cum benedictis. Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.
8. "LACRIMOSA"
Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus, Pie Jesu Domine, Dona eis requiem.
1st Episode
(Translation:) Lord, grant them eternal rest, and let the perpetual light shine upon them. Thou shalt have praise in Zion, oh God, and homage shall be paid to Thee in Jerusalem. Hear my prayer. All flesh shall come before Thee. Lord, grant them eternal rest, and let the perpetual light shine upon them.
Main theme
2nd Episode Main theme (repeated)
(Translation:) This day, this day of wrath shall consume the world in ashes, as foretold by David and the Sibyl. What trembling there will be in the future when the Judge will come to weigh everything strictly.
A B A
A-flat Major (I)
C
A-flat Minor
A
A-flat Major (I)
E-flat Major (V) A-flat Major (I)
CODA
(Translation:) The trumpet, scattering its awful sound across the graves of all lands, summons all before the Throne. Death and nature shall be stunned when manking arises to render account before the Judge... The written Book shall be brought which contains all whereby the world shall be judged...
The overall 3-movement design of Piano Sonata Op. 13
(Translation:)
When the damned are cast away to the searing flames, call me to be with the blessed. Bowed down in supplication I beg Thee, my heart as though ground to ashes, help me in my last hour.
Movement 1
Movement 2
• Allegro di molto (Fast) • Sonata form • C Minor • 4/4
• Adagio cantabile (Slow) • Rondo (ABACA) • A-Flat Major • 3/8
Movement 3 • Allegro (Fast) • Rondo (ACABABA) • C Minor • 2/2
(Translation:) Mournful is that day When from the dust shall rise Guilty mankind to be judged. Therefore spare him, O God. Merciful Jesus, Lord Grant them rest.
"Op." stands for "Opus"—Latin for "work." An opus number is assigned by the publisher of the work.
8
Quartet
1798-1800
String Quartet in C minor, Op. 18 No. 4
Overview of the Nine Beethoven Symphonies
Music Guide
by Ludwig van BEETHOVEN (1770-1826)
30
Beethoven was particularly innovative in his string quartets (for 2 violins, viola and cello), as displayed in this exciting example from one of his early works in this genre (Op. 18, No. 4—the fourth of a set of six complete string quartets.
Symphony No. 1 in C major
Op. 21
Symphony No. 2 in D major
Op. 36
Music Guide
31
(scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) I: Adagio molto; Allegro con brio II: Andante cantabile con moto 1799 III: Menuetto IV: Adagio; Allegro molto e vivace
The fourth movement "finale" is a large-scale sonata-rondo form (a fusion of the most essential aspects of Classic sonata form (Exposition, Development, Recapitulation) and rondo form (ABACABA).
(scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) I: Adagio molto; Allegro con brio II: Larghetto III: Scherzo: Allegro IV: Allegro molto
1801-2 The Sonata-Rondo form of Movement 4: Rondo implications
Sonata-form implications EXPOSITION C Minor
Rondo theme
A
1st Episode
B
Ab Major to Eb Major
Rondo theme abbr. return
A'
C Minor
2nd Episode
C
DEVELOPMENT C Major imitative ("cat and mouse")
Rondo theme
A'
RECAPITULATION C Minor
1st Episode transposed return (extension)
A"
Op. 55
Symphony No. 4 in B-flat major
Op. 60
fast and powerful
(scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings) I: Adagio; Allegro vivace II: Adagio 1806 III: Allegro vivace [minuet] IV: Allegro ma non troppo
fast and powerful
Symphony No. 5 in C minor 1804-8
slower and sweeter
CODA C Minor/C
Symphony No. 6 in F major
Symphony No. 7 in A major
Movement 2 • Andante (Slow) • Ternary form • C Major • 3/8
Movement 3
Movement 4
• Allegretto (Medium) • Minuet & Trio • C Minor • 3/4
• Allegro (Fast) • Sonata-rondo • C Minor • 2/2
III: Presto; Assai meno presto [scherzo] IV: Allegro con brio
Symphony No. 8 in F major
Symphony No. 5 in C minor
Symphony 1822-25
32
EXPOSITION C Minor
Theme 2
E-flat Major
closing theme
Exposition repeats
introduction
Theme 1
C Minor
Theme 2
E-flat Major DEVELOPMENT Other keys
Theme 2 retransition introduction
RECAPITULATION
Theme 1
C Minor
Theme 2
C Major (!)
closing theme
The 4-note motive developed throughout this 4-movement work
Theme 1 Theme 2 New Theme
by Ludwig van BEETHOVEN (1770-1826)
Music Guide
33
MOVEMENT 1: D minor SLOW
Tragic, Chaotic, Restless, Introductory SONATA FORM
MOVEMENT 2: D minor FAST
Folk-like style, yet powerful SCHERZO & TRIO (D minor)
(D major)
MOVEMENT 3: B-flat major SLOW
Serene, fluent melody—hopeful TERNARY FORM
MOVEMENT 4: D major FAST
Full of Surprises !!! THEME & VARIATIONS FORM
• This movement starts with a frantic, chaotic introduction • Then, the DOUBLE BASSES, acting as the "grandfather" of the orchestra (perhaps the voice of Beethoven himself), "talk" to the rest of the orchestra in RECITATIVE STYLE in an attempt to settle them down. • The DOUBLE BASSES "ask" the orchestra to try to play "something" worthwhile—so they play a QUOTE FROM THE START OF THE 1ST MOVEMENT. • The DOUBLE BASSES quickly reject that theme and ask for something "lighter"—so then the orchestra plays a QUOTE FROM THE START OF THE 2ND MOVEMENT. • The DOUBLE BASSES reject that theme as well, asking for something more serene and beautiful—so the orchestra plays a QUOTE FROM THE START OF THE 3RD MOVEMENT. • The tune from the 3rd movement must be close to what the DOUBLE BASSES are looking for, because they do not immediately reject that theme. When the DOUBLE BASSES do ask for something better, the orchestra plays a new tune written by Beethoven. The DOUBLE BASSES "sing" the tune, then initiate a series of variations on it.
closing theme
Theme 1
Symphony No. 9 in D minor
• the 4th movement's initial restatement of themes from each of the first three movements, as a means of unifying the work. • the unusual addition of solo singers and large chorus during the last movement. (Beethoven's way of allowing his orchestra to "speak".) • the unusual order and structure of the movements:
The 1st movement's turbulent Sonata Form:
Theme 1
("Choral")
Since Beethoven had been deaf for many years when he wrote this symphony, he had to rely on the "inner ear" of his mind to compose this daring work. The most important features of this work are:
Beethoven was the master of many Classic genres, yet he is probably best known for his tremendously innovative symphonies. His Symphony No. 5 in C minor may be the most famous piece of "Classical" music ever written. Amazingly, this work was written after Beethoven had gone deaf!
introduction
Op. 125
(scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, cymbals, bass drum and strings) I: Allegro ma non troppo, un poco maestoso 1822-25 II: Molto Vivace—Presto—Molto Vivace [scherzo] III: Andante moderato IV: Allegro assai (adds SATB vocal soloists and full chorus on Schiller's "Ode to Joy")
Music Guide
by Ludwig van BEETHOVEN (1770-1826)
Op. 93
(scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) I: Allegro vivace e con brio II: Allegretto scherzando [includes funny musical reference to Mälzel's metronome] III: Tempo di menuetto IV: Allegro vivace
1813
"Op." stands for "Opus"—Latin for "work." An opus number is assigned by the publisher of the work.
Beethoven unified the four movements of this work into a cohesive whole by deriving all significant thematic material from a single 4-note MOTIVE, and by putting the overall emphasis on the last movement . He underlines this by moving from the third to the fourth movement without a pause, by an ongoing battle between C minor and C major, and by the addition of piccolo, contrabassoon and trombones in the final movement. In the process, this work makes a powerful statement about overcoming oppresion through raw determination.
Op. 92
(scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) I: Poco sostenuto; Vivace
1811-12 II: Allegretto
Symphony No. 9 in D minor
Symphony 1807-8
Op. 68 ("Pastoral")
(scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) Titles of movements in this work are in German—not Italian (see English translations, below) 1807-8 I: Awakening of cheerful feeling on arriving in the country II: Scene by the brook: Andante molto mosso III: Merry Gathering of country-folk: Allegro [scherzo] IV: Thunderstorm; Tempest: Allegro V: Shepherd's Song; Happy, thankful feelings after the storm: Allegretto
The overall 4-movement design of String Quartet Op. 18, No. 4 Movement 1
Op. 67
(scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings— but in 4th movement: piccolo, contrabassoon, 3 trombones are added) I: Allegro con brio II: Andante con moto III: Allegro [scherzo] IV: Allegro
fast and powerful
uses material from A B and C
• Allegro (Fast) • Sonata form • C Minor • 4/4
("Eroica"/initially dedicated to Napoleon)
(scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings) I: Allegro con brio 1803-4 II: Marcia funébre: Adagio assai (funeral march "in memory of a great man") III: Scherzo: Allegro vivace IV: Finale: Allegro molto
slower and sweeter
G Major to C Major
B
Symphony No. 3 in E-flat major
• Several minutes later, when the variations reach their climax, Beethoven suddenly goes back to the beginning of the 4th movement, with its frantic, chaotic introductory material. • This time, the confusion is interrupted by a BARITONE (singer)—not the DOUBLE BASSES. The baritone sings the same music as the DOUBLE BASSES had played, but now Beethoven's melody is set to the words of Schiller's famous song of social rebellion—the "Ode to Joy"—urging the audience to rise up above their drudgery and celebrate JOY (FREEDOM) • Now, Beethoven starts a new set of variations with SOLO SINGERS, FULL CHORUS and ORCHESTRA.
CODA C Minor vs. C Major
introduction returns leading to final Coda which ends in C minor
Translation of "The Ode to Joy" (1795) by Friedrich Schiller (1759-1805): [Baritone solo] O friends, let's have no more of these sounds. Let us sing more cheerful songs, more full of joy! Joy, bright spark of divinity, Daughter of Elysium, Fire-inspired we tread Thy sanctuary. Thy magic power reunites all that custom has divided, all men become brothers under the sway of thy gentle wings.
No break between 3rd & 4th movements
Movement 1 • Allegro con brio (Fast with vigor) • Sonata form • C Minor • 2/4
Movement 2 • Andante con moto (Slow) • Double Variation • A-flat Major • 6/8
Movement 3 • Allegro (Fast) • Scherzo & Trio • C Minor • 3/4
Movement 4
Whoever has created an abiding friendship, or has won a true and loving wife, all who can call at least one soul theirs, join in our song of praise; but any who cannot must creep tearfully away from our circle.
• Allegro (Fast) • Sonata form • C Major • 4/4
All creatures drink of joy at nature's breast. Just and unjust alike taste her gift; She gave us kisses and the fruit of the vine—a tried friend to the end. Even the worm can feel contentment, and the cherub stands before God! Gladly, like the heavenly bodies which He set on their courses, through the splendor of the firmament; thus, brothers, you shoulkd run your race, as a hero going to conquest.
The overall 4-movement design of Symphony No. 5
You millions, I embrace you. This kiss is for all the world! Brothers, above the starry canopy there must be a loving Father. Do you fall in worship, you millions? World, do you know your Creator? Seek him in the heavens! Above the stars must He dwell.
9
From Chapter 7 (Romantic)
MUSIC in the ROMANTIC ERA (c1820-1895) 1815
1830
1840
1860
1870
1890
WAGNER Ring of the Nibelungs
Featured COMPOSERS and WORKS
SCHUBERT Erlkönig (Musikdrama) (Lieder) BERLIOZ BIZET Symphonie fantastique Carmen (program symphony) ROSSINI Barber of Seville
Other Concepts
GENRES
CHOPIN Nocturne in E-flat (character piece)
PUCCINI La Bohéme
(verismo opera)
SMETANA The Moldau
(symphonic poem)
TCHAIKOVSKY The Nutcracker (ballet)
Expanded, colorful Orchestra (strings, woodwinds, brass and some percussion) ROMANTIC VOCAL GENRES Secular
OPERA & MUSIKDRAMA ART SONG (Lieder)
Sacred
ORATORIO MASS and MOTET
FORMS
(symphony)
(opera)
(comic opera)
Important
BRAHMS Symphony No. 3
ROMANTIC INSTRUMENTAL GENRES also
CHARACTER PIECE BALLET PROGRAM SYMPHONY SYMPHONIC POEM
SYMPHONY CONCERTO (Solo Concerto) STRING QUARTET
Standard Classic Forms used more freely (many Romantics avoid standard Classic forms) Ternary (ABA) form was often used
STYLE TRAITS
The Romantic style is characterized by FLAMBOYANCE and HEIGHTENED PERSONAL EXPRESSION.
ROMANTIC PROGRAMMATIC INSTRUMENTAL GENRES A ...
. . . is called a
single-movement, programmatic work for solo PIANO
CHARACTER PIECE
multi-movement, programmatic work for solo PIANO
PIANO CYCLE
single-movement, programmatic work for ORCHESTRA
SYMPHONIC POEM
multi- movement, programmatic work for ORCHESTRA
PROGRAM SYMPHONY
multi- movement, programmatic work for DANCERS and ORCHESTRA
BALLET
---------------------------------------------------------Programmatic music can also appear in other types of instrumental works, as well as in the instrumental accompaniments of vocal genres (songs, song, cycles, operas, etc.).
10
Lied 1815
Erlkönig
by Franz Peter SCHUBERT (1797–1828)
34
During his brief 18-year compositional career, the Austrian composer Franz Schubert wrote 1000 works, including 9 symphonies, 15 string quartets, 15 piano sonatas, 6 Masses, 5 song cycles and approximately 630 German solo songs ("Lieder") for voice and piano. Over 250 of these were written between 1815 and 1816, including Erlkönig. which is based on a text written by the famous German Romantic poet Johann Wolfgang von Goethe. This highly dramatic song requires one singer to perform the parts of four distinct characters: the narrator, a father, his son and The Erlking ("King of the Elves"—a spectre of death in folklore). Over the course of just 4 minutes, this song takes the listener on an intense ride that accelerates in tempo, increases in volume, and rises in pitch and harmony until its tragic conclusion. (Piano Introduction—triplet rhythms represent the horse's hooves) Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm.
Father:
"Mein Sohn, was birgst du so bang dein Gesicht?" "Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron' und Schweif?"
G Minor
4)
Dear child, come away with me! I'll play the prettiest games with you. Many-colored flowers grow along the shore. My mother has many golden garments!"
Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?"
Son: (in fear)
"My father, my father, don't you hear the Erlking whispering promises to me?"
"Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind."
Father:
"Be still, my child; it is just the wind rustling the dead leaves."
Erlking: (to the boy)
"Mein Vater, mein vater, und siehst du nicht dort. Erlkönig's Töchter am düstern Ort?"
Son: (more afraid)
"Mein sohn, mein Sohn, ich seh' es genau: Es scheinen die alten Weiden so grau."
Father :
"Ich liebe dich, mich reizt deine schöne Gestalt; (very concerned) Und bist du nicht willig, so brauch' ich Gewalt."
Erlking: (to the boy)
"Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!"
Son : (in utter despair)
Dem Vater grauset's, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not; In seinem Armenr das Kind . . . war tot.
Narrator:
Main Theme
melancholy, florid runs repeated and ornamented
E-flat Major
B
2nd Theme
B-flat Major
A
Main Theme returns
E-flat Major
B A
2nd Theme returns
B-flat Major
more expressive
more ornamented as before
Main Theme returns more ornamented
Coda
E-flat Major
touches of A-flat minor harmonies
D Minor
Symphonic Poem 1874
Music Guide
38
Intro
A B A C
39
A
Main Theme returns
C minor
A D A Coda
more chromatic
powerful conclusion
• "one cold and tranquil . . ." (Flutes quietly play a "rippling theme" over pizzicato strings) • "the other warm and gushing . . ." (Clarinets play a descending theme) • "their waves unite and sparkle in the morning sun" (Triangle sounds their merger) • "both brooks join into one stream . . ." (The violins enter on the "Moldau" theme—played in minor; later, the horns start a crescendo) • "the river runs through the forests in which are heard the joyous sounds of the hunt . . ." (Loud repeated notes from the horns); rippling flute idea of intro continues; (Moldau theme returns in major) • "it flows through the countryside where peasant weddings are celebrated with singing and dancing." (Oboe plays material from the Moldau theme —in major; gets quieter and slower) (Strings and woodwinds play together on a polka-like theme) (Horns and percussion join the polka, followed by a lowering of both pitch and volume) • "Water fairies dance in the moonlight . . ." (Strings set the mood in a new key; woodwinds quietly enter on a new theme) (Strings take a slow-moving melody, as flutes recall the rippling introductory material)
(Moldau theme returns in major) • "The Moldau swirls through the St. John's Rapids, winding through the cataracts, making a path for its foaming waters through the rocky chasm." (Repeated noted in the horns; percussion and piccolo add to the dramatic turbulence) • "It flows on in a wide stream through Prague . . ." (Moldau theme played by full orchestra) • "It passes the time-honored Vysehrad castle . . ." (Smetana quotes the "Vysehrad" theme from the first symphonic poem of the MA VLAST cycle) • "Finally, the river disappears beyond the poet's gaze, flowing majestically into the Elbe." (orchestra gradually fades out, then the final chords punctuate the ending)
Smetana— the first significant composer from Bohemia (today, north-eastern Czech Republic)— gained fame as both a conductor and a composer. His music has strong nationalistic political overtones, as seen in his character pieces for piano, his operas, and, especially, in his cycle of 6 symphonic poems—Ma Vlast ("My Country;" 1874-79). The most famous of the set is The Moldau, dedicated to the majestic Czech river that is a national landmark. The work programmatically depicts the river's course from its source high in the mountains, through Prague (the Bohemian capital), and finally to its fusion with the Elbe river. Here, Smetana infers that while the Czech's may be under foreign domination (by the Austrian Empire), the river will always be free, and it is thereby a symbol of hope.
Bridge passage (relieves tension momentarily)
Coda
40
• "on the nearby rocks soar castle ruins, as witnesses of the war-like fame of yesteryear." (Horns gradually initiate a slow march that grows in intensity)
C minor
restless tonality
Music Guide
"This composition depicts the course of the river Moldau, starting with its two springs . . ."
Dramatic Introduction
Contrasting Section
The Moldau
by Bedrich SMETANA (1824–84)
(Translation of programmatic comments provided by the composer:)
Music Guide
Transition based on intro material
Witches' Dance theme stated and fugally manipulated. The Witches' Theme is eventually combined contrapuntally with the sacred Dies Irae chant.
The rondo-like design of this work:
The Russian takeover of Warsaw in 1831 may have inspired Chopin to compose the "Revolutionary" Étude in C minor, Op. 10, No. 12, which is one of Chopin's most dramatic and technically demanding works for solo piano. Romantic expression is intensified through the use of rubato—freely "giving-and-taking" with the speed of the beat.
B
Tubas and Bassoons play a grotesque version of the "Dies Irae" chant from the Requiem Mass (indicating that the man is dead).
Idèe fixe
The Nocturne in E-flat Major, Op. 9, No. 2 is one of Chopin's most beautiful works for solo piano. Romantic expression is enhanced through the use of rubato— freely "giving-and-taking" with the speed of the piece.
passionate and flamboyant (spectacular runs) repeated and embellished
Witches' Dance
Idèe fixe in clarinet when woman appears. Orchestra shrieks a "howl of joy." Woman mocks the man in a parody of the ballroom dance from the 2nd movement.
E H H HH H H HH w Q & w q Q q. =============
G Minor
The Polish composer Chopin was one of the great piano virtuosos of the Romantic period. He wrote 13 songs, two piano concertos, a work for 4-hand piano, a work for 2 pianos, and 6 chamber works; however, he is best known for the approximately 150 single- movement piano miniatures known as character pieces. These programmatic pieces have picturesque titles such as "Nocturne," "Prelude," "Étude" ("study piece" or "technical exercise") or names of nationalistic Polish dances such as "Mazurka" or "Polonaise."
A
Bells
Foreboding images in the orchestra
Witches' Dance and Dies Irae
D Minor
The Polish composer Chopin was one of the great piano virtuosos of the Romantic period. He wrote 13 songs, two piano concertos, a work for 4-hand piano, a work for 2 pianos, and 6 chamber works; however, he is primarily known for the approximately 150 single-movement piano miniatures known as character pieces. These programmatic pieces have picturesque titles such as "Nocturne" ("night piece"), "Prelude," "Étude" or names of nationalistic Polish dances such as "Mazurka" or "Polonaise."
Main Theme
Allegro
C# Minor
"My father, the Erlking has hold of me and he is hurting me!!"
by Frédéric CHOPIN (1810–49)
c. 1831
Mvt. Form Main Key 1 Sonata form C Major 2 Waltz and Trio A Major 3 Ternary (ABA) F Major 4 Ternary (ABA') G minor 5 Through-composed C Major (E-flat)
Eb Major
Étude in C minor
Character Piece
Larghetto
Dies Irae
C Major
I love you! Your beautiful figure delights me. If you will not come with me willingly, I'll take you by force!"
The rondo-like design of the Nocturne in E-flat Major , Op. 9, No. 2:
A
Dream of a Witches' Sabbath The woman emerges as a witch who haunts the man for eternity. Berlioz makes a macabre gesture by contrapuntally combining the sacred "Dies irae" chant from the Requiem Mass, with the occult witches' dance, based on the "idèe fixe."
B Minor
"My son, I see it clearly; the old willows look so gray."
by Frédéric CHOPIN (1810–49)
1830-31
5)
"My father, my father, don't you see the Erlking's daughters in the shadows?"
Nocturne in E-flat Major
Character Piece
Bb Major
"My handsome boy, will you come with me? My daughters shall wait upon you; My daughters lead the nightly dance, and they'll rock you and dance and sing you to sleep."
The father shudders, riding on even faster. He holds the groaning child in his arms. He reaches the town weary and anxious. But in his arms . . . the child was dead.
35
Reverie (Passions) : man falls in love "at first sight" (idèe fixe is beautifully rendered) A Masked Ball: After she rejects him, he attends a costume ball, where he sees her with another man. A Scene in the Country: Venturing into the country to forget his troubles, he witnesses a shepherd slowly being rejected by a shepherdess. March to the Gallows : He dreams he has murdered his beloved and is condemned to death by guillotine. He is taken from prison and paraded through a crowd gathered to watch his execution. As the drum rolls, his head is placed on the block. The blade gets closer and closer—faster and faster. Then, at the last moment, he hears his beloved's idée fixe. As his head is cut off, a victory theme signals that he should now be free of his torment. (Not the case, as we see in movement 5.)
"My son, it's just a streak of mist."
Erlking: (to the boy)
"Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn Und wiegen und tanzen und singen dich ein."
1) 2) 3)
Father, don't you see the Erlking with his crown and train?"
Father :
"Du liebes Kind, komm, geh mit mir! Gar schöne Spiele spiel' ich mit dir, Manch bunte Blumen sind an dem Strand, Meine Mutter hat manch gulden Gewand."
Music Guide
The five movements (dreams) are as follows:
My son, why do you hide your face in fear?"
Son:
"Mein Sohn, es ist ein Nebelstreif."
by Hector BERLIOZ (1803–69)
Berlioz was one of the most daring composers in music history. His Symphonie fantastique ("Fantastic Symphony"—or more accurately "Symphonic fantasy") was written in 1830— only a few years after Beethoven's Ninth Symphony. The work is highly innovative in its use of orchestral color and programmatic imagery. The entire five-movement symphony tells a story of a young man's infatuation and ultimate obsession over a beautiful but disinterested woman. Distraught over this woman, the man decides to kill himself with an overdose of opium. In a sequence of five vivid and increasingly morbid drug-induced dreams, the man is haunted by the memory of the woman (she is represented by a melodic idèe fixe—a theme which is gradually altered and distorted as the man's view of his "beloved" becomes more and more negative). The work was partly autobiographical, for Berlioz was similarly enfatuated with an English actress, Harriet Smithson, who rejected him and incited him to prove himself to her through this symphony. (Eventually, Harriet did marry him!). To clarify the story, Berlioz provided printed "program notes" for his audience—the first such instance in Western music history.
Who rides thru the night and the wind? It is a father with his child. He holds the boy close within his arm, He clasps him securely to keep him warm.
Narrator:
Symphony fantastique
Program Symphony 1830
Music Guide
C minor
11
Symphony No. 3 in F
Symphony 1883
Symphony 1892
Music Guide
by Johannes BRAHMS (1833–97)
41
Although the Viennese composer Johannes Brahms lived during the late Romantic period, he still chose to write in standard "Classic" genres (like symphony, sonata, string quartet, etc.) which had fallen into disuse by most other Romantic composers. Among Brahms' greatest works are his four Romantic symphonies, which are important examples of "absolute music" (non-programmatic). Brahms was so determined to preserve Beethoven's symphonic legacy that he became extremely self-critical. For example, although he started work on his first symphony in 1855, he revised it for over twenty years before deeming it worthy of public performance.
Symphony No. 9 ("From the New World") by Antonín DVORÁK (1841–1904)
The 3rd movement's Scherzo and Trio form:
A
Slow Introduction
D Minor
(repeated)
B happier
D Major
A
D Minor
rounded binary design (A) (B) (A)
(repeated)
abbreviated
strings & winds
C
sweeter
(repeated)
The 1st movement's Sonata Form:
SCHERZO
melancholy
transition
Theme 2 G Minor to G major Closing Theme G major ("Swing Low")
other keys
A
other keys
RECAPITULATION
(repeated)
B
DEVELOPMENT
("Swing Low" Theme developed)
binary design (C) (D)
D
A
EXPOSITION
Theme 1 E Minor
TRIO
compelling strings
full orchestra
44
It is from this period that some of his best-loved music comes, most notably the Symphony No.9 ("From the New World"), which makes use of themes influenced by American Indian folk melodies (from the Song of Hiawatha) and Negro spirituals (such as "Swing Low, Sweet Chariot" as heard in movement 1). Dvorák later admitted, something of their melancholy can be attributed to the homesickness he felt during his time in America.
In this listening example from Brahms' Symphony No. 3, you should notice less flamboyance than seen in the works of other late Romantic composers, such as Wagner. Nevertheless, Brahms' style is highly expressive, and certainly more "Romantic" than the music of Beethoven or Mozart.
full orchestra
Music Guide
Antonín Dvorák is the most renowned Czech composer—known for his symphonies, orchestral dances, songs, chamber music, and an opera. (Dvorák was closely associated with Johannes Brahms, who saw to it that Dvorák's music was widely published and performed.) Towards the end of his career, Dvorák was appointed Professor of Composition at the Prague Conservatoire in 1891, but soon accepted an offer to be the Director of the National Conservatory of Music in New York. Leaving his family at home in Bohemia, Dvorák stayed for three years in the United States, spending summer holidays in Spillville, a Czech-speaking community in Iowa.
Theme 1 E Minor SCHERZO
transition
D Minor (Horn, Oboe)
Theme 2 E Minor to E major
rounded binary design (A) (B) (A)
D Major D Minor
Closing Theme E major ("Swing Low")
Coda E Minor
Coda
The overall 4-movement design of Symphony No. 3
Movement 1
Movement 2
• Allegro con brio (Fast) • Sonata form • F major • 6/4
• Andante (Slow) • Rondo form • C Major • 4/4
Movement 3 • Poco allegretto (Medium) • Scherzo & Trio • G Minor • 3/8
1816
45
COUNT ALMAVIVA he wants to marry her
DON JOSÉ
FIGARO
1892
Rosina's guardian; he also wants to marry her
CARMEN a gypsy who works in a cigarette factory
a corporal
a sweet country girl
Waltz of the Flowers
ZUNIGA
a Captain
La Bohéme
Verismo Opera 1896
Music Guide
by Giacomo PUCCINI (1858–1924)
MIMI
Music Guide
48
52
Musetta (Marcello's lover)
(Seamstress)
they fall madly in love but cannot stay together because of her illness
RODOLFO Benoit
Marcello(Painter) Schaunard (Musician) Colline (Philosopher)
(Writer) (landlord)
Rodolfo's roomates
Pagliacci
Verismo Opera 1892
by Ruggero LEONCAVALLO (1858–1919)
Music Guide
THE MAIN CHARACTERS
Selected Highlights from The Nutcracker:
[ABA form] A celesta (a small keyboard instrument with a Dance of the bell-like tone) represents the fairy in the "A" section. A Sugar Plum Fairy swirling gesture in the woodwinds show the fairy's flight in the "B" section, followed by the colorful return of "A". [ABA form] A pair of flutes signifies the dancing reed pipes Dance of the in the "A" section". Percussion and strings mark the Reed Pipes contrasting "B" section, followed by a literal return of "A".
ESCAMILLO a famous Toreador
Don José's rival
Main Characters:
by Peter Ilyitch TCHAIKOVSKY (1840–93)
[ABA form] Trumpets and plucked strings mark the "A" section; brass and woodwinds echo in the "B" section. The return of "A" is highlighted by a wave-like background using the entire spectrum of the string family.
Drops José for a bullfighter
Don José's girl friend
MICAELA
DR. BARTOLO
The Nutcracker
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Don José's commanding officer
Tchaikovsky's The Nutcracker, based on a story by E. T. A. Hofmann, is perhaps the most famous and best-loved of all modern ballets. In this story, a young brother and sister (Fritz and Clara) have just fallen asleep on Christmas Eve, with the images of a wonderful Christmas party still spinning in their heads. At midnight, Clara is awakened from her sleep as the magical nutcracker she received as a Christmas gift from her Godfather comes to life. (The nutcracker was actually the Godfather's nephew who had been turned into a nutcracker by the curse of an evil Mouse Queen). The Nutcracker brings Fritz' toy soldiers and all of Clara's dolls to life (each performing a unique dance) in order to amass an army to battle the seven-headed Mouse King. Eventually, the Nutcracker is victorious, and through Marie's love he is changed back into his handsome human form. (Note: The Nutcracker is a ballet that is danced to, but the well-known Nutcracker Suite is a compilation of the greatest dance movements from this ballet, designed to be performed by an orchestra in concert—WITHOUT the dancers.)
March of the Tin Soldiers
Music Guide
he becomes obsessed with Carmen
ROSINA
Ballet
Movement 4
• Allegro con fuoco (Fast with fire) • Sonata form • E Minor • 4/4
by Georges BIZET (1839–75)
Main Characters:
he is the town barber who helps the Count win Rosina's hand
Busy-body music teacher; Dr. Bartolo's informant
Movement 3
• Molto Vivace (somewhat lively) • Scherzo & Trio • E Minor • 3/4
Today, Carmen is the most popular of all operas; however, its premiere performance was such a dismal failure that it is believed to have led to Bizet's death three months later at age 37. The work is now part of the repertory of every opera company, and it has been the basis for commercials, virtuoso piano transcriptions, movies, and a Broadway musical. It is easy to see why it is so popular: It has so many good tunes and it is extremely dramatic and sensual.
("Lindoro")
DON BASILIO
Movement 2
• Largo (Slow) • Rondo form • D-flat Major • 4/4
Carmen
1875
Music Guide
by Giocchino ROSSINI (1792–1868)
Main Characters:
The overall 4-movement design of Symphony No. 9 ("From the New World")
Opera
The Barber of Seville
Opera
Movement 1
• Adagio—Allegro (Slow—Fast) • Sonata form • E minor • 2/4
Movement 4
• Allegro (Fast) • Sonata form • F Minor/Major • 2/4
Their "real life" identities
The Nutcracker Suite 1. 2. 3. 4. 5. 6. 7. 8.
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(members of a travelling troupe)
Ouverture March (of the Tin Soldiers) Dance of Sugar Plum Fairy Trepak (Russian Dance) Arabian Dance Chinese Dance Dance of the Toy Flutes Waltz of the Flowers
CANIO (married)
[ABA form] A colorful harp introduction depicts a lovely flower-ballerina, who then leads the way in a romantic Viennese waltz, featuring French horns.
(a clown; married to Columbina) Their names when acting within the play TADDEO (also a clown)
(plays the part of )
(a hunchback who also loves Nedda, but she rejects him)
NEDDA (Canio's wife) She really has an affair with the villager, Silvio SILVIO
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PAGLIACCIO
(plays the part of )
TONIO
In the play, Taddeo and Columbina have a blatant affair, which compels Pagliaccio to murder Columbina.
(plays the part of )
COLUMBINA (Pagliaccio's wife)
The Stars and Stripes Forever
March 1896
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by John Phillips SOUSA (1854–1932)
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Sousa wrote many of the most beloved American military marches during his long tenure as Director of the United States Marine Corps Band. His most famous composition is The Stars and Stripes Forever, which in the minds of many Americans should be the U.S. national anthem. The large-scale BINARY FORM (A B) of this work may be diagrammed as follows:
A
(a)
This large-scale "A" section also has its own BINARY form
THEME 1 : March-like; loud, played by trumpets and piccolo (repeated)
(b)
THEME 2: Stronger; snare drum rolls add dramatic flair (repeated)
B
(a) (b)
THEME 3 (Quiet): Lyric; smaller group with snare drum accompaniment
This large-scale "B" section has its own RONDO form
CONTRASTING EPISODE: Powerful trombones
(a) THEME 3 returns (Quiet): Lyric theme by full group with piccolo (b) CONTRASTING EPISODE: Powerful trombones (a) THEME 3 returns (LOUD): Lyric theme by full group with piccolo
Symphonic Poem 1895-96
Also Sprach Zarathustra by Richard STRAUSS (1864–1949)
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Richard Strauss (not to be confused with Johann Strauss, Jr.—the Viennese "waltz-king") was the most powerful force in German Romantic music after Wagner. Strauss was a highly successful conductor who primarily composed operas, including the daring and expressionistic Salome (1903-5) and Elektra (1906-8). He also wrote many famous symphonic poems, including Don Juan (1888-9), Don Quixote (1896-7), and Also Sprach Zarathustra. Unfortunately for him, towards the end of his long and illustrious career, he fell under the control of Adolf Hitler's regime. Also Sprach Zarathustra ("Zarathustra Also Spoke") is based on quotations describing an envisioned German "super–race" from an unfinished book by the German philosopher, Friedrich Nietzsche. Strauss's tone poem requires an enormous orchestra comprised of 3 flutes, oboes, clarinets and bassoons, 4 trumpets, 6 horns, 3 trombones, 2 tubas, 6 percussion instruments, 2 harps, a large string orchestra and an organ. In the opening prologue entitled "Sunrise," Nietzsche urges the German people to transform themselves from "night-walkers" to "day-walkers;" hence Strauss' minor/major musical references depict "the dark" vs. "the light."
The VARIATION design of this short excerpt from the Prologue is as follows: Segment 1: At the start, the organ's "C" is so low in pitch that it is almost inaudible. (The note is felt more than heard.) The trumpets soon introduce STRAUSS's "nature theme," which alternates between major and minor keys as it suddenly crescendos and diminuendos. Segment 2: Timpani add tremdous impact to the sound, followed by the resurgence of the trumpets (who now reverse the major/minor harmonies). Segment 3: Timpani enter again, and the trumpets play an extended version of the theme. Segment 4: The music gradually gains power and dynamic volume, until at the end all instruments are playing at full volume. At times, the brasses are so loud that the massive sound of the organ cannot be heard distinctly.
ART MUSIC in the MODERN ERA (c1890-present) 1890
1910
1940
1950
DEBUSSY Afternoon of a Faun Featured COMPOSER S and WORKS
COPLAND Appalacchian Spring (musical theatre) GLASS (Ballet) on the Beach CAGE Einstein (opera) SCHOENBERG 4' 33" Pierrot lunaire Survivor From Warsaw (chance music) (song cycle) (secular cantata) ZWILICH Concerto Grosso 1985 VARESE STRAVINSKY (quotation Poème électronique The Rite of Spring
(Symphonic Poem)
(musique concréte)
(Ballet)
Other Concepts
Important
GENRES
FORMS
STYLE TRAITS
2000
1975
BERNSTEIN West Side Story
music)
Expressionism Neo-Classicism Chance Music Minimalism Impressionism Atonality Serialism Neo-Romanticism Electronic Music MIDI Some composers still explored traditional genres such as: SYMPHONY OPERA STRING QUARTET
More daring composers experimented with completely new types of compositions, sounds, forms and techniques.
Some MODERN composers have made use of traditional forms, but highly unusual forms are also common. MODERN ART-MUSIC is largely characterized by experimental approaches, and a blending of all styles from all eras
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Symphonic Poem
Prelude to "The Afternoon of a Faun" by Claude DEBUSSY (1862–1918)
1894
Impressionism was a direct reaction against the excessive Romanticism of Wagner and his followers. Debussy fostered subtlety, flowing moods and color in this new impressionistic style, which is well-represented by his Prelude to The Afternoon of a Faun— a programmatic symphonic poem depicting the images of the literary poem "Afternoon of a Faun" by Mallarmè. This poem evokes the dreams and erotic fantasies of the pagen forest creature "PAN"— a half-man, half-goat. Awakened from his sleep, the creature begins to play a flute ("pan-pipes"), while trying to recall whether he actually carried off two beautiful nymphs or just dreamed of doing so. Exhausted, he falls back asleep, under a tree in the meadow on a lovely spring afternoon. Debussy's musical "poem" is in a free ternary (ABA) form. You will notice the free-flowing rhythms, colorful wind-predominated orchestration, subtle shadings of dynamics, and sensual harmonies. The main melodic idea of the work (played by a solo flute) gently floats back and forth at its own pace.
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Main Theme
A
Contrasting Theme
Main Theme Whole-tone/chromatic Pentatonic/chromatic
Secondary Theme
B
Main Theme
A'
Closing Section CODA
Music Guide
by Arnold SCHOENBERG (1874–1951)
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Arnold Schoenberg (mentor of the "2nd Viennese School " of composers) was one of the first to venture into the strange world of musical expressionism. This style is harsh, highly dissonant, shocking and non-traditional, taking the extreme German/Austrian Romanticism of Wagner and Strauss and extending it to the breaking point. The excerpt is part of a song cycle for soprano and orchestra entitled Pierrot lunaire ("The Sick Moon;"). This work is a morbid and psychotic display of a "lunatic" (one whose passions are controlled by the moon). The singer uses a technique called Sprechstimme (a half-sung, half-spoken, eerie style of singing invented by Schoenberg). The music is atonal (it has no "home" key). Be sure to listen for the unusual colors in the orchestra and voice.
No. 1: "Mondesdrunken" (Moondrunk)
A
At night, the moon drenches thirsting eyes and a flood wells up on their still horizon. Tremulous sighs travel up through the swell. Waves of wine for thirsting eyes gush forth from the moon at night. The poet, deep in devotion, grows drunk of the holy drink. His head turns in ecstasy to the heavens and reeling, he slips and slurps the "wine" that slakes his thirsting eyes. (Instrumental Coda)
B A
Afro-American Symphony
Symphony 1931
by William Grant STILL (1895–1978)
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The overall 4-movement design of the Afro-American Symphony: Movement 1
Movement 2
Moderato Assai (Medium) Sonata Form A-flat major
Adagio (Slow) Ternary Form F major
Movement 3 Animato (Fast; Animated) Scherzo & Trio Form A-flat major
Movement 4 Lento—Vivace (Slow—Very Fast) Sonata Form E major—A-flat major
Still began writing large-scale works in the early 1920s. In 1931, the Rochester Philharmonic Orchestra performed his Afro-American Symphony—the first symphony by a Black composer to be performed by a leading orchestra. Still was also the first Black American to conduct a major orchestra, the first to have an opera performed by a leading theatrical company, and one of the first to write for radio, films and television. In all, he composed over 50 works, including five symphonies, 6 symphonic poems, 6 orchestral suites, 7 operas, 4 ballets, 10 miscellaneous vocal works, 5 piano pieces, 3 band works, several works for small chamber ensembles, and incidental music for the theatre, film and television. Most of these works are based on Afro-American and American folk themes. In regards to the Afro-American Symphony, Still wrote "I wanted to demonstrate how the blues, so often considered a lowly expression, could be elevated to the highest musical level." The first movement of this work is a sonata form, based on a 12 bar-blues structure. The second movement is a based on a sad blues theme. The third movement is a scherzo on a spiritual-like theme with colorful, syncopated Afro-American rhythms. The finale begins with a slow, languishing introduction, leading to a fast, lively main section.
Ballet 1944
The Rite of Spring by Igor STRAVINSKY (1882–1971)
by Aaron Copland (1900–90)
Colorful orchestration, gradually grows in intensity until reaches full chaos. Stravinsky layers sounds, then uses OSTINATO effects to give TONAL stability
Powerful accents played in irregular metric patterns by the orchestra. (Here, Stravinsky "Ritual of Abduction" (sacrificing the virgin) uses the entire group as a "large percussion instrument.") "Dances of the Adolescents"
The Russian-born composer Igor Stravinsky is considered by many to be the most important composer of the 20th century. He is particularly noted for his daringly innovative ballets— especially, The Rite of Spring. This work explores strange new tone orchestral tone colors, and uses harsh, percussive accents, complex off-beat rhythms, and ususual harmonies that shook the world of western art-music. The Rite of Spring depicts prehistoric society, with specific focus on the arrival of spring and its celebration through the violent pagan ritual of sacrificing a young virgin to the gods. It was Stravinsky's intent to highlight the violence of human societies—both past and present; thus, it is ironic that during the premiere performance of The Rite of Spring in Paris, there was a riot in the audience (between those who were disgusted by Stravinsky's revolutionary new sound, and those who wanted to hear it but could not because of all the commotion in the concert hall.) Cantata 1946
A Survivor from Warsaw by Arnold SCHOENBERG (1874–1951)
Shema Yisroel Adonoy elohenoo Adonoy ehod. Veohavto es Adonoy eloheho behol levoveho oovehol nafsheho oovehol meodeho. Vehoyoo haddevoreem hoelleh asher onohee metsavveho hayyom al levoveho. Veshinnantom levoneho vedibbarto bom beshivteho beveteho oovelehteho baddereh ooveshohbeho oovekoomeho. (Translation: "Hear, O Israel, the Lord our God, the Lord is One! And thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy might. And these words, which I command thee this day, shall be in thy heart. And thou shalt teach them diligently unto thy children, and speak of them when thou sittest in thy house, and when thou goest on the way, and when thou liest down, and when thou risest up.")
1936
Adagio for Strings
by Samuel BARBER (1910–81)
A graphic outline of this work:
height of dramatic tension
Played by SOLO CLARINET over a simple accompaniment
Variation 1 :
Played by OBOE, higher in register and slightly faster in tempo.
Variation 2 :
Violas play the tune at half speed; strings play in imitation.
Variation 3 :
Trumpets and Trombones powerfully play the tune twice as fast.
Variation 4 :
Slow and quiet; woodwinds are featured.
Variation 5 :
Full orchestra plays a majestically rich version of the theme
motive dies in its tracks
Aaron Copland was the first American art composer to become famous in his own lifetime. Copland's style espoused a new "American " sound, and many of his works are based on traditional American folk or sacred melodies. Though Copland was conservative for a 20th-century composer, he was still innovative in his use of jazz rhythms and colorful orchestration. One of the Copland's most famous works is Appalachain Spring (1944), a ballet which depicts the daily activities of a bride and her farmer husband. The listening example is a theme and variations setting of the lovely Shaker hymn "Simple Gifts":
1957
West Side Story by Leonard BERNSTEIN (1918–90)
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"Tonight" Ensemble from WEST SIDE STORY • Orchestral Introduction: (staccato and syncopated rhythms) • The Gangs: "The Jets/Sharks are gonna have their day tonight . . ." • Anita (Bernardo's girlfriend): "Anita's gonna get her kicks tonight . . ." • Tony: (on lyrical "Tonight" tune) "Tonight, tonight won't be just any night. Tonight there will be no morning star . . ." • Orchestral Interlude: (fortissimo) • Riff: (to the Jets) "I'm counting on you to be there tonight . . ." • Maria: (on lyrical "Tonight" tune combined with gang music) "Tonight, tonight won't be just any night. Tonight there will be no morning star . . ." • All voices join together: on sustained high notes on "Tonight" for conclusion of the scene
Leonard Bernstein was one of the most talented and beloved musicians of this century—and one of the few musicians to successfully bridge the artistic gulf between art music and popular culture. He enjoyed a long, illustrious career as a composer, conductor, pianist, author and lecturer. He conducted and recorded with most of the major orchestras in the world, yet perhaps his most memorable achievement came in December 1989—just months before his death—when he led a massive group of singers/instrumentalists in a performance of Beethoven's Ninth Symphony in Germany to mark the fall of the Berlin Wall. West Side Story (1957)—Bernstein's most famous composition—is one of the great landmarks of musical theatre (and the biggest selling record album of all time). The story is a modern adaptation of Shakepeare's Romeo and Juliet—set in the slums of New York, depicting the violent conflict between two rival gangs (the American-born "Jets"—led by Riff, and the Puerto Rican "Sharks"—led by Bernardo) and its effect on the love relationship of Tony (a former Jet) and Maria (sister of the Sharks gang leader). In the weel-known "Tonight" ensemble, Tony and Maria express their blossoming love, while the ensemble foretells of the gang clash that will also transpire that evening.
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The main motive of this piece tries to move forward, but time after time its progress is impeded by some unidentified, oppressive force. Each successive attempt is increasingly higher in pitch and more intense in emotion, but eventually the motive slowly dies in its tracks—never quite reaching its tonal "home".
Samuel Barber was one of the leading post-World War II composers from the United States. His music is rich and expressive, in a style often called neo-Romanticism (since it is closer in gesture to the late Romantics than to the 20th-century experimental schools). Barber wrote operas, piano works, songs, symphonies, concertos and other orchestral works; however, his most famous work is the Adagio for Strings (1936)—a one-movement work for string orchestra. Barber originally composed this work as the 2nd movement of his String Quartet (Op. 11; composed 1936), but the movement was so well-received that he immediately rearranged it as a stand-alone piece for full string orchestra. The work sorrowfully depicts the relentless and ultimately fruitless struggle of its main motive against some unidentified oppressive force. The formal design of this work is reminiscent of Wagner's Prelude to Act I of Tristan und Isolde. The Adagio for Strings first gained widespread fame when it accompanied the national radio pronouncement of the death of President Franklin D. Roosevelt in 1945. More recently, this mournful work endeared itself to a new generation through its cathartic use in the Vietnam War film, Platoon (1988).
Avant Garde Piano 1925
Musical Theatre
59
(TEXT:) I cannot remember everything. I must have been unconscious most of the time; I remember only the grandiose moment when they all started to sing, as if prearranged, the old prayer they had neglected for so many years —the forgotten creed! But I have no recollection how I got underground to live in the sewers of Warsaw so long a time. The day began as usual. Reveille when it was still dark--get out whether you slept or worries kept you awake the whole night: you had been separated from your children, from your wife, from your parents, you don't know what happened to them; how could you sleep? They shouted again " GET OUT! THE SERGEANT WILL BE FURIOUS!" They came out; some very slow, the old ones, the sick men, some with nervous agility. They fear the sergeant. They hurry as much as they can. In vain! Much too much noise, much too much commotion and not fast enough! The Feldwebel shouts: "Achtung! Still gestanden! Na wird's mal, oder soll ich mit dem Gewehrkolben nachhelfen? Na jut; wenn durchaus haben wollt!" (Translation: "Attention! Stand still! How about it, or should I help you along with the butt of my rifle? All right, Jew, if you really want to have it!") The sergeant and his subordinates hit everyone: young or old, strong or sick, guilty or innocent--it was painful to hear the groaning and moaning. I heard it though I had been hit very hard, so that I could not help falling down. We all on the ground who could not stand up were then beaten over the head. I must have been unconscious. The next thing I knew a soldier was saying "They are all dead!" Whereupon the sergeant ordered to do away with us. I lay there half-conscious. It had become very still--fear and pain--Then I heard the sergeant shouting "Abzälen!" ("Count-off"). They started slowlly and irregularly: one, two, three, four, "Achtung." The sergeant shouted again: "Rascher! Nochmals von vorrn anfangen! In einer Minute will ich wissen wieviele ich zur Gaskammer abliefere! Abzählen!" (Translation: "Faster! Once more start from the beginning! In a minute I will know how many I am going to send off to the gas chamber! Count off!") They began again, first slowly: one, two, three, four, became faster and faster, so fast that it finally sounded like a stampede of wild horses, and all of a sudden, in the middle of it, they began singing SHEMA YISROEL:
Outline of the "Theme and Variations" structure of this excerpt Theme :
Music Guide
A Survivor from Warsaw is a vivid secular cantata for narrator, chorus and orchestra in Schoenberg's more sophisticated atonal /serial style. The English text was fashioned by Schoenberg himself, based on a direct report from one of the few survivors of a concentration camp in Poland during World War II. (Schoenberg fled Nazi Germany, then worked at UCLA for the last 15 years of his life.) You will notice the colorful orchestration and the singer's use of Sprechstimme. For centuries, theHebrew prayer sung at the end of the work has been recited by martyred Jews during their last agonizing moments.
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Important style traits heard
"Introduction" (opening of the Ballet)
Misc. Orchestral
Simple Gifts" from Appalachian Spring
Music Guide
Specific excerpts from this ballet:
Title of Section
Pierrot lunaire
Song Cycle 1912
Ballet
1913
The Banshee
by Henry COWELL (1897–1965)
The American composer Henry Cowell spent most of his compositional life exploring the coloristic potential of the piano. He was the first composer to use tone clusters (a large mass of notes played as a block by the pianist's forearm or a long solid object). He was also one of the first to explore the possible sounds that can be made when the player strums the piano strings directly.
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These types of coloristic effects are heard in Cowell's The Banshee. In Irish folklore, the Banshee is a spirit sent to lead a dead soul to the afterlife; however, the Banshee is so uncomfortable in the mortal dimension, that it screams in anguish while performing its task. The varied sounds in this work are achieved by two players on the piano: one holds down the "damper" (sustaining) pedal, while the other stands in the crook of the piano and manipulates its strings (by nail, by palm, by finger, etc.) to produce a myriad of curious sounds. Prepared Piano 1948
Sonata No. 2 by John CAGE (1912–92)
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U.S. composer John Cage (the son of an inventor and a student of Henry Cowell and Arnold Schoenberg), has strongly impacted the way many modern musicians think about their art. He was one of the pioneers of "prepared piano" technique, which is the process of changing the sound of the piano by stratigically placing objects (nuts, bolts, washers, pieces of bamboo and weather stripping, etc.) between the strings inside the piano, creating a myriad of different sounds—metallic, wooden, and some completely indeterminant. This technique is heard in Cage's Sonata No.2 from Sonatas and Interludes for Prepared Piano. Biographer Peter Yates, describes the significance of these works as follows: "Writing a large piece that is a journey creates the effect of an epic without being ponderous or monolithic. The Sonatas and interludes are lacking that feeling of the self-consciously monumental statement that accompanies so many grand works. Instead its epic nature affects you gradually over time as you follow the continuity of events, from point to point in the journey, until you emerge from the other side -- transformed. And it is not just the listener who is transformed. By the time he had finished writing these twenty short pieces, John Cage was not the same composer; he had changed. As he emerged from the other side of this adventure, his technical stance (a tendency towards quietness, the individual sound and silence, the subtle modulations of phrase) and his spiritual stance (a tendency towards quietness, silence, poverty) were permanently altered. The Sonatas and Interludes is not just a string of pieces, it is a passage in Cage's life."
14
4' 33"
Chance Music
by John CAGE (1912–92)
1952
I: 1'40"
II: 2'23"
III: 0:30"
Ensembles for Synthesizer
In the 1950's, with the advent of computer technology, Varèse became one of the first musicians to write "electronic music" (which at that time meant a work written entirely in a tape-recording studio). His 8-minute Poème électronique (written when he was 75 years old!) contains many innovative new sounds that were very difficult to achieve with available technology. His source material included both electronically-manufactured sounds as well as natural sounds such as sirens, bells, etc. Using a procedure known as musique concréte, the natural sounds were manipulated via electronic oscillators and filters to create entirely new sounds, then transferred to reel-to-reel tape—a painstaking process for a piece of this length and variety. In its original context, Poème électronique also used spatial effects by strategically playing sounds through some or all of the 425 loudspeakers placed throughout the Philips Radio Corporation pavillion at the 1958 World's Fair in Brussels.
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Violin Phase
Minimalist Chamber
Music Guide
by Steve REICH (born 1936)
1979
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Violin 1 1
2
3
4
5
6
4
5
1
2
3
4
5
1
2
3
6
1
2
3
4
1
2
3
4
5
6
1
2
1
2
3
4
5
6
EVENTS
4
5
6 (etc.)
1
2
3
4
5
(etc.)
Violin Phase (conceived in 1967; published in 1979 for either four "live" violins or for one violinist with three additional tracks recorded out of phase) is one of the earliest examples of minimalism. This work is based on the ostinato repetition of a six-beat/one measure motive (see below), which is stated simultaneously in four violin parts—each at a slightly different rate of speed ("out of phase"). At the start of the piece, all four parts are perfectly sychronized, creating the sound of a single player; however, as the work progresses, the listener perceives the phase shift first as reverb, then as echo, then as canonic imitation, and then as new melodic, rhythmic and harmonic material that continually surfaces.
(c1890-resent) 1950
1960
1970
2000
Afro-American RHYTHM & BLUES related styles M. Waters "Classic" BLUES H. Wolf "FREE" JAZZ B. Smith Coleman RAGTIME Coltrane S.Joplin "BOOGIE-WOOGIE" FUSION Coltrane "Delta" BLUES Davis BEBOP R. Johnson Parker SOUL Gillespie Brown SWING "HOT" JAZZ Ellington Armstrong Davis Little Richard Hendrix RAP Basie "COOL" ROCK & "ACID" DISCO JAZZ ROLL ROCK FUNK Anglo-American & Presley Cream Brubeck British related styles "BIG BAND" Beatles Goodman HEAVY METAL Miller PUNK ORCHESTRAL NEW AGE JAZZ ALTERNATIVE Gershwin TECHNO
MUSIC TECHNOLOGY
3
American composer Steve Reich is one of the leading figures in the late 20th-century compositional movement called minimalism, in which a small amount of rhythmic/melodic material is gradually manipulated to generate larger musical sections.
MODERN POPULAR MUSIC
Featured STYLES and ARTISTS
6 (etc.)
Violin 4
Crumb also uses symbolism for "Good" vs. "Evil": Numerology: Good (3, 7); Evil (13) "Good": natural sounds of insects, triadic harmonies, crystal glasses. "Evil" symbols: "Dies irae" (from Requiem Mass), tritone (highly dissonant harmonic interval), "devil's trill" (rapid bowings and finger movements)
1940
5
Violin 3
The work consists of 13 movements "Images", in the tripartite large-scale design: Part 1, "Departure" descent of the soul from grace (Nos. 1-6) Part 2, "Absence," annihilation (Nos. 7-12) Part 3, "Return," redemption (No. 13)
1930
6 (etc.)
Violin 2
In Black Angels, Crumb gets special sounds from a traditional string quartet by electronically amplifying the instruments with reverb to produce surrealistic, dreamlike effects. His score calls for unusual bowings, glissandos, and string snaps. Performers also play maracas, tam-tams and water-tuned crystal goblets, as well as speak, whisper and shout in German, French, Russian, Hungarian, Japanese and Swahili.
1920
74
The "out of phase" concept of Reich's Violin Phase: (hypothetical representation)
U.S. composer, George Crumb is a composition Professor at the Univ. of Pennsylvania, and is noted as a leading advocate of the U.S. experimental avant-garde movement in the 1960s, 70s and 80s. His best-known works are Ancient Voices of Children (1970; a song-cycle for soprano, boy soprano, mandolin, electric piano, toy piano, harp and percusssion instruments— based on poems by Federico García Lorca), and Black Angels .
1890
71
This technique is best heard in Threnody to the Victims of Hiroshima (a "Threnody" is a mourning piece in memory of someone who has died). This expressionistic tone poem performed by an ensemble of 52 string instruments. By using unusual tapping, plucking, bowing and fingering techniques, as well as tone clusters, Penderecki achieves sounds that seem to be generated by synthesizers or percussion instruments.
Black Angels
by George CRUMB (born 1929)
Music Guide
The Polish composer Krzystof Penderecki is one of the greatest musical innovators of the 20th century, and a leading proponent of expressionism. In his earliest works (late 1950s), he used multi-serial techniques in the manner of the French avant-garde composer Pierre Boulez. In the 1960s, he was one of the first composers to explore untraditional sounds from traditional instruments.
Since the 1960s, Babbitt has been a pioneer in exploring synthesized sound. An outstanding example of his work in this genre is Ensembles for Synthesizer, which is comprised of several short sections of different tone colors, pitches, rhythms, dynamics and textures. The extremely intricate rhythms and dynamic contrasts of this work can be achieved by synthesizer, but not by humans. It is somewhat ironic that this type of "totally-controlled" music can often sound the same as randomly constructed "chance music."
1970
by Krzystof PENDERECKI (born 1933)
1960
American mathematician-musician Milton Babbitt studied composition under Arnold Schoenberg at UCLA, and then served on the mathematics and music faculties of Princeton University for many years. The mathematical complexities of Babbitt's music are difficult for musicians and non-musicians to grasp. Nevertheless, Babbitt defends a composer's right to experiment, even if the result is music that is incomprehendable to the audience. In a famous article entitled "Who Cares if You Listen?" (High Fidelity magazine, 1957), Babbitt argues that since scientists do not restrict their experiments to the common person's threshold of understanding, then why should musicians?
Electrified Quartet
Threnody to the Victims of Hiroshima
Avant Garde Orchestral
Music Guide
by Milton BABBITT (born 1916)
1962-64
69
The French-born composer Edgard Varèse spent most of his compositional life in the U.S. His work reflects an unending interest in exploring new colors from traditional and untraditional sound sources. One of his early compositions—Ionisation (1931), was the first piece of Western art music written solely for percussion instruments.
John Cage made a career questioning the very essence of music, especially through his work in the area of "chance music"—music which leaves some (or perhaps all) of its elements "up to chance" in a "live" performance situation. The most famous example of chance music is Cage's revolutionary 4'33" ("4 minutes, 33 seconds"; 1952)—a three-movement work for based completely on silence from the performer. The full title of this piece specifies that it can be played by "any instrument(s)—tacet" ("tacet" is a term traditionally used to indicate that the performer is silent for the movement or section). (During its premiere performance in August 1952, the work was "performed" by pianist David Tudor, who simply opened/closed the lid covering the piano keys to indicate the start/end of each movement.) Though the concept may seem odd, the piece is not about silence at all; the noises from the audience and the surounding environment randomly make the "piece." Cage has turned the tables, so that the performer(s) becomes the audience, and the audience becomes the performer.
Total Serial Music
Music Guide
by Edgard VARÈSE (1883–1965)
1958
68
The titles (timings) of the three-movement structure of 4'33" :
Poème électronique
Electronic Music
Music Guide
Cassettes TV Ree-to-Reel tape Music Videos Internet LP records CDs MP3 45s Computers MIDI World War I Depression Fall of "Cold" War Vietnam USSR GAY 90s Roaring 20s World War II 78 RPM records Radio
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Overview of Jazz-Related Styles (c. 1900-60)
Date
Composer
Work
Music Guide
76
Style Traits
RAGTIME
1902
Scott JOPLIN (1868–1917)— "The Entertainer" /"Maple Leaf Rag"
"HOT" JAZZ
1927
Louis ARMSTRONG (1900–71) and His "Hot 5"—"Hotter Than That"
ABA structure; syncopated rhythms; "call and response" implications.
Improvised Theme & Variations structure; syncopated rhythms; scat singing; fast "driving" beat ; "call and response". (See Music Guide 77) This example is on CD4/Track 55 of The Kamien 4-CD set
"CLASSIC" BLUES
c. 1930 Bessie SMITH (1894–1937)— "Lost Your Head Blues"
Improvised variations on a STROPHIC verse structure; syncopated rhythms; "call and response" between cornet and singer; word-painting. (See Music Guide 78)
SWING
1942
Duke ELLINGTON (1899–1974)— "The "C" Jam Blues Improvised variations on a standard 12-bar blues. syncopated rhythms; some Call & Response; bent "Blue" notes."Big Band" style. (See Music Guide 79)
BEBOP
1945
"COOL" JAZZ
1959
(West Coast style)
FUSION
Charlie PARKER (1920–1955)— "KoKo" Very fast; intensely improvised variations over the implied harmonies of Cherokee (a famous big-band swing tune); syncopated rhythms; call & Response. Each of the performers, including the drummer, is required to play improvised solo sections.
Dave Brubeck Quartet— "Take 5" "Laid-back" response to bebop style; consists of improvised solos (primarily by alto saxophonist Paul Desmond) over a five-beat ostinato pattern (hence the title "Take 5"); subtle syncopations and smoother melodic & harmonic style than found in other Jazz styles. (Brubeck was classically trained—in fact, for a time, he studied music theory and composition with Schoenberg.)
early John Coltrane (1926-67) 1960s Mixture of Jazz and Rock elements (Tenor saxophonist Coltrane worked closely with another fusion innovator—trumpeter Miles Davis)
"FREE" JAZZ
1960s Ornette Coleman (1926-67)
In the 1960s, despute severe ridicule, both Coleman and Coltrane bravely promoted a new, completely free-improvised, non-harmonic approach to Jazz.
Music 1500: Main Terms to Focus On in Each Segment of the Class . . . Note: This list is provided for basic understanding the lecture material--it is NOT the only material that you need to know for exams (still do the assigned reading, listening and online assignments) Elements: Rhythm, Dynamics, Melody, Harmony, Texture, Tone Color, Form (know the subterms & definitions) Instruments of the Orchestra: Know String, Woodwind, Brass, Percussion families and their associated instruments Non-Western: - Africa: "Call-and-response", improvisation, polyrhythm - Japan: Koto, Shamisen - Indonesia: Gamelan (especially from Bali)--Bonang - Latin America: Marachi - Middle East: 'Ud, Darabukkah - India: Sitar (also "tala" and "raga")--from textbook p.12 6 historical style eras in chronological order: Middle Ages, Renaissance, Baroque, Classic, Romantic, Modern Middle Ages (main terms and examples): - Chant (Music Guide 6) --anonymous monks - Organum (Music Guide 6)--Perotin - Motet (Music Guide 6) - Mass Ordinary=Kyrie, Gloria, Credo, Sanctus, Agnus Dei (Music Guide 7)--Machaut - Estampie (Music Guide 5) - Main Composers: Anonymous Monks, Perotin, Machaut
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Renaissance (main terms and examples): - Imitation - Word-painting - Motet (Music Guide 8) --Josquin Desprez - Madrigal (Music Guide 10 & 11)--Weelkes, Gesualdo - Main Composers: Josquin Desprez, Palestrina, Weelkes, Gesualdo Baroque (main terms and examples): - Basso continuo (keyboard + bass accompaniment seen in Baroque examples) - Ostinato (seen in Music Guides 13 and 16) - Recitative (Music Guide 13) - Aria (Music Guide 13) - Counterpoint (in particular, see Bach examples) - Canon (Music Guide 16)--this example also uses "ostinato" - Opera (Music Guides 12, 13) --Monteverdi, Purcell - Trio Sonata (Music Guide 14) --Corelli - Solo Concerto (Music Guide 15) --Vivaldi - Concerto Grosso (Music Guide 19) --Bach - Ritornello Form (Music Guide 15) - Binary Form (Music Guide 13) - Suite (Music Guide 18) --Bach - Fugue (Music Guide 17) --Bach - Cantata (Music Guide 20) --Bach - Oratorio (Music Guide 21) --Handel - Main Composers: Monteverdi, Purcell, Corelli, Vivaldi, JS Bach, Handel Classic (main terms and examples): At least four of Beethoven's 9 symphonies are socio-political in nature: -Symphony 3 (Napoleon references) -Symphony 5 (Battle between aristocratic oppression and hope for the common person) -Symphony 6 (common German folk are the heroes of this symphony) -Symphony 9 (struggle to get orchestra to "speak" out against oppression and complacence--adds singers to give a 'voice" to the orchestra) Mozart: Major socio-politically-driven operas are "The Marriage of Figaro" and "Don Giovanni"; His final work was ironically a "Requiem Mass" 3 Major Classic composers: Haydn, Mozart, Beethoven (all eventually worked in Vienna) - Haydn was the greatest instrumental composer in Europe at that time (104 symphonies) - Mozart was famous as a child prodigy, became a threat to the social status quo - Mozart is primarily known for his political OPERAS and his CONCERTOS - Haydn and Mozart were close friends although Mozart was MUCH younger - Mozart died at age 35 in 1791, but Haydn lived until 1809 (77 years old) - Beethoven (17 years old) came to study briefly with Mozart in 1787 (for musical/political reasons) - When Beethoven returned to Vienna in Jan 1792, he discovered that Mozart had died the month before, so Beethoven had to study with Haydn (who was much older and without the political fire of Mozart) - In his late 20s/early 30s, Beethoven became the greatest performing pianist of his time - At the height of his performing powers, Beethoven lost his hearing, and turned to composition (c1802) - All of Beethoven's mature works including his greatest symphonies (#3,5,6,9) were written after he was deaf Overview of the 4 major Classic forms (textbook, p. 55-58) - Sonata Form (common Classic 1st movement design; Music Guide 25) - Theme & Variations (Music Guide 22) - Minuet and Trio (common Classic 3rd movement design; Music Guide 24, 25) - Rondo (common Classic LAST movement "finale" design; Music Guide 29, 30)
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Overview of Classic genres (textbook chart, p. 51) - Sonata (Music Guide 29)--Beethoven - Symphony (Music Guides 22, 25, 32, 33)—Haydn, Mozart, Beethoven - Serenade (Music Guide 24)--Mozart - String Quartet (Music Guide 30)--Beethoven - Concerto (Music Guide 23)—Mozart, remember that concertos have only 3 movements - Opera (Music Guides 26, 27)-Mozart - 4-movement design (textbook chart p. 50) Romantic (main terms and examples): Programmatic music becomes very popular, especially - Program Symphony (see Music Guide 35)--Berlioz - Symphonic Poem (see Music Guide 40)--Smetana - Character Piece (see Music Guides 38, 39)—Chopin, Schumann - Ballet (see Music Guide 48)--Tchaikovsky - Symphonies written by Brahms are "absolute music" (see Music Guide 41) - Dvorak used black-American spiritual tunes and native-American themes in his Symphony No. 9 "From the New World" (see Music Guide 44) - Songs and Opera also become extremely colorful and dramatic in their story-telling - Lieder (German song--see Music Guide 34) - Romantic Comic Opera (see Music Guide 45)--Rossini - French Grand Opera (see Music Guide 46)--Bizet - Musikdrama (see Music Guides 49, 50, 51)--Wagner - Verismo opera (see Music Guide 52)--Puccini Early 20th-century art music (main terms and examples): Huge contrast between Austrian/German and French styles (Schoenberg vs. Debussy) - Impressionism (see Music Guide 56)--Debussy - Expressionism (see Music Guide 58, 59, 60)--Schoenberg, Webern - Atonality (see Music Guide 58, 59, 60)--Schoenberg, Webern - Sprechstimme (see Music Guides 58 & 59) Schoenberg - Serialism (see Music Guides 59)--Schoenberg - Ballet (see Music Guides 57 and 63)--Stravinsky, Copland - Jazz elements also used by Still and Bernstein (see Music Guides 62 and 65) - Conservative movements in American art music: Copland & Barber (see Music Guides 63 and 64) Modern music (main terms and examples): Highly-experimental "avant-garde" approaches since 1950--primarily led by composers from US and Poland - Tone Clusters (see Music Guide 66)--Cowell - Prepared Piano (see Music Guide 67)--Cage - Chance Music (see Music Guide 68)--Cage - Musique concrete and electronic music (see Music Guides 69 and 70)--Varese, Babbitt - Unusual uses of traditional instruments (see Music Guides 71, 73, 74)--Penderecki, Crumb, Reich - Minimalism (see Music Guide 72)--Glass Jazz/Blues (main terms and examples): Ragtime ("honky-tonk" piano music by Scott Joplin) an important pre-Jazz style c.1890 Jazz began in New Orleans--a truly "American" art form - Hot Jazz (see Music Guide 77)-- Armstrong - Classic Blues (see Music Guide 78)-- Bessie Smith - Swing (see Music Guide 79)-- Ellington - Bebop (see Music Guide 76)-- Parker - Cool Jazz (see Music Guide 76)-- Brubeck - Fusion (mixture of jazz and rock styles; see Music Guide 76)--Coltrane - "Free" Jazz (see Music Guide 76)--Coleman
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