Leverett ‘n Friends Rockin’ First Nights Final Study Guide
IDENTIFICATIONS
Accent
o An emphasis given to a musical moment in performance.
o Some accents occur naturally, such as the downbeat of a measure or an extremely
high or low note, but most are created through some type of notational
modification.
o p for piano
o f for forte
o sf for sforzando ("forcing")
o . for staccato ("detached")
o > for extra emphasis
Apollo
o God of the sun, patron of musicians and poets.
o Father of Orfeo
o Represented in Orfeo by a short Sinfonia that appears when Orfeo is talking to
Caronte (the Sinfonia puts Caronte to sleep)
o Apollo Sinfonia appears again right when Orfeo is losing his mind after he loses
Euridice for the second time.
o The Apollo then appears and comforts his son.
o Apollo and Orfeo sing a duet and ascend to heaven together.
Arco
o A performance indication for stringed instruments that tells the player to use the
bow rather than plucking the string.
o The strings play arco for the large majority of the time.
o Can be contrasted to pizzicato – which is plucking the strings.
Gabriel Astruc
o A manager and impresario who conceived of the Théâtre des Champs-Elysées –
the theatre where Le Sacre du Printemps was premiered.
o Brought many artists and performers to Paris.
o Met Diaghilev in 1906 and managed his concerts and ballet appearances from
1907 to 1913.
o Wanted theatre to be on the Champs-Elysées but couldn’t get it there so settled on
Avenue Montaigne.
o Didn’t have good relationship with the public (Anti-Semitism??).
o Criticized for promoting foreign art over French art.
o Theatre was unique – strange on the outside (skeleton shows on the outside) and
open and different on the inside (no boxes, long big balconies)
o Offered Diaghilev a great deal to put Le Sacre Du Printemps on in that theatre –
enabled Diaghilev to have huge orchestra, etc.
Ballets Russes
o Formed in 1909 by Sergei Diaghilev
o Consisted of 55 Russian dancers, on leave from the imperial theaters of Moscow
and St. Petersburg.
o Business matters were managed by Gabriel Astruc
o By 1912, ballets Russes were hugely popular.
o Star was Vaslav Nijinsky
o The company that performed Le Sacre Du Printemps.
Bassoon
o The bassoon is a member of the woodwind section of the modern
symphony orchestra.
o The bassoon is a large instrument with a low range.
o Because of its great length, it is folded in half so that it can be easily
managed by the player.
o To produce sound, the player blows through a double reed to set a
column of air vibrating within the instrument's conical bore.
o A larger and deeper version of the bassoon, the contra bassoon appears
in Stravinsky's Rite of Spring.
o Beethoven often used the contra bassoon in the baseline.
Bitonality
o Used in modern music (the modernism movement)
o Present when a melody is in two different keys or when there are multiple
melodies playing in two different keys.
o Off-putting, jarring, dissonant.
o Used in Sacre.
Carnival
o The time of year when Orfeo was premiered.
o Was a period of time before Lent when everyone partied (read: Mardi Gras)
before they had to be solemn for 40 days.
o Orfeo was rushed to be performed at the end of Carnival because no performances
of its kind could be given during Lent and it would have had to be delayed until
after Easter.
o February 24, 1607 was during Carnival – clearly.
Caronte
o Boatman on the River Styx – carries souls to the underworld.
o Wouldn’t let Orfeo onto the boat so that he could go and retrieve Euridice because
he was alive. – Caronte does not want to upset his master.
o Always accompanied by the regal (a small organ with metal reeds).
o A sinfonia plays – the Apollo sinfonia.
o Orfeo sings “Possente Spirito” to Caronte (the centerpiece of the central act and
therefore of the whole opera)
o Orfeo cannot overcome him or convince him.
o The sinfonia plays again and puts Caronte to sleep (read: Apollo comes down and
helps his son).
o Orfeo slips past Caronte to save his love.
Chittarone
o Large, lute-like instrument.
o Lute: A plucked stringed instrument with a pear-shaped body.
o The chitarrone a large lute with several bass strings, was used as a basso continuo
instrument.
o Used in Orfeo.
Chorus
o The group of people who sing this kind of music (choir).
o In Orfeo, the chorus serves as members of the action and also as
commentary.
o A chorus is also used in Messiah and in Beethoven’s 9th.
o A composition that calls for the simultaneous singing of more than one vocal part.
o In the Messiah, there are three types of chorus:
o Anthem
o Fugue – like a round
o Duet – originated from Handel’s Italian duets.
chromatic A scale is a systematic collection of pitches that are arranged either in
ascending or descending order. In Western art music of the common
practice era, there are two basic types of scales: diatonic and chromatic.
Chromatic scales consist of consecutive semitones, either ascending or
descending. Since each pitch in a chromatic scale is the same distance apart,
such scales can start or end on any note and continue indefinitely without
any obvious stopping points, such as a tonic. In Berlioz’ Symphonie
fantastique, in the “Witches’ Round Dance,” there is a lull, before a sinister,
chromatic version of the round-dance theme emerges in the bass (p. 131).
Susannah
Cibber
Susannah Maria Cibber was one of the most famous actresses of the day,
and was by far the most well known of the solo singers in the first Messiah.
She gained recognition for her role as Polly in The Beggar’s Opera, and is
one of the few actresses buried in Westminster Abbey. Mrs. Cibber’s
reputation, like most actresses, was tinged with scandal. She married
Theophilus Cibber, the son of a famous actor and playwright. Mrs. Cibber
ran off with Mr. Sloper, which resulted in her being forced into retirement
from the stage for some time. Mrs. Cibber was more of an actress than a
singer, but Handel, being very fond of her, spent long hours with her to
teach her the parts. The Reverend Dr. Delaney, chancellor of St. Patrick’s,
was so moved, despite what he may have felt about Mrs. Cibber’s moral
history, that he shouted “Woman, for this be thy sins forgiven thee!” Prof.
Kelly said that her voice, touched the heart not the ear.
col
legno
da capo
aria
A directive to violin (or a bowed string instrument) musicians to perform a
particular passage by striking the strings with the wood of the bow rather than
with the hair. Example: In Symphonie Fantastique, Berlioz instructs the
violins and violas to play col legno toward the end of the fifth movements as a
“final grotesquerie.”
The overall form of a da capo aria is A-B-A'. It is a tripartite musical
structure. After the first A section, there is a contrasting B section. This is
then followed by a da capo, a return "to the head" or beginning of A. When
A is sung for the second time however (as A'), there are often many more
embellishments (instances of ornamentation) than during the first statement.
This new statement of A' allows the soloist to showcase his or her vocal and
improvisational skills.
A good example of a da capo aria is "The trumpet shall sound" from
Handel's Messiah. Notice how the B section provides a strong contrast to
what has been presented in A. Also compare how A' differs from A through
an increased reliance on embellishments.
“Danse
Adolescentes”
“Danse
Sacrale”
- In Stravinsky’s “Sacre du Printemps”, in Part I, the second movement.
- Almost entirely in duple meter, clear pulse can be felt throughout
- There are a few themes, one foreshadows music of coming section
(“Round Dances of Spring”)
- During the first performance of the piece, this is the movement in
which the audience started behaving very badly. As the Lolitas jumped
up and down, the audience became outraged and began yelling.
- Mild protests against the music had been heard from the very
beginning of the performance, but when the curtain opened for this
specific piece, the uproar spilled over.
final movement of the Rite of Spring
In five main parts: {A} {B} {A1} {C} {A}interjection {A2}
{A} begins with accented, percussive chords and a dissonant, descending
three-note figure in the violins.
{B - 0'32"} tense chord repetitions; at end, trills are added to the agitation.
{A1 - 1'56"} is a brief return of the accented chords and three-note
descending figure.
{C - 2'25"} has pounding timpani, dissonance in brass
{A} interjects briefly, cut off by brass with short ascending glissandi.
{A2 - 3'33"} builds in intensity using a four-note ascending figure. A fleeting
ascending scale in the flutes and piccolos precedes the final death chord.
Action: At the beginning, the victim is alone with the women. At Rehearsal
No. 149 the men reappear and mark time to the ostinato; the victim moves to
the brass quintuplets. At Rehearsal No. 167 the dance is resumed with elders
only; at Rehearsal No. 174 the men reappear with the brass and timpani;
from Rehearsal No. 186 only the victim moves. At the end, the elders stand,
extend their hands and raise the victim as she falls.
development
This is the middle section of a movement in sonata form in which
elements of the two contrasting themes presented in the exposition are
developed in a variety of new and different ways. Example: The
development section in Beethoven’s First Movement opens with a
recurrence of the nebulous texture of the very beginning of the
movement. In what follows you can expect to hear thematic material
already introduced in the exposition. It will be treated differently, though.
The themes are fragmentary, out of order, and generally less "stable" in
this section; Beethoven explores the possibilities of his musical material
in this development section.
-Director of Ballets Russe
Serge
Diaghilev -One of “four idiots” who were involved with Rite of Spring
-Had collaborated with Berlioz previously, e.g. Firebird, Petrushka
-Forced Nijinsky to be his lover, made Nijinsky exclusive choreographer of
his company as well
-Heavily built, strong magnetic personality, manners of an aristocrat
dies irae
Latin for “day of wrath.” A chant melody that was part of the Mass for the
Dead in the Roman Catholic liturgy.
Ex. Berlioz parodies this sacred melody in the final movement of his
Symphonie Fantastique.
dissonance
"notes not sounding well together;" the antonym of consonance. The term
"dissonance" refers to the effect produced by two or more notes sounded
together or in immediate succession, when the combination is judged to be
unstable or unpleasant.
Ex. In “Procession of the Sage” of the Rite of Spring, the polytonality and
combination of themes in different keys in the brass section produces great
dissonance, especially when more brass is added. Prof. Kelly speculated
that this was when all the musicians stopped playing and started laughing
because it was so dissonant.
A clarinet in E-flat with a range somewhat higher than the standard treble
e-flat
clarinet clarinet in B-flat.
Ex. Berlioz made innovative use of its unusual piercing, raucous sound in the
Songe d'une nuit de sabbat of Symphonie Fantastique to produce a mockery of
the idée fixe.
English The English horn is an instrument in the woodwind section of the modern
symphony orchestra. It is related to the oboe and has a double reed like an
horn
oboe, but has a slightly lower range and darker sound quality. The English
horn is a transposing instrument, which means that it plays a fifth lower than
its part in the score indicates.
Example: The third movement (“A Scene in the Countryside”) of Berlioz’s
Symphonie Fantastique begins with an offstage call-and-answer duet between
an English horn and an oboe, which are supposed to represent two shepherds
conversing. The movement ends with the English horn making a remark,
which is answered not by the oboe, but by the timpani creating the sound of
thunder.
Estelle
Fournier
When Berlioz was a kid, he fell in love with Estelle Fournier, an older girl
notable for her pink half-boots. Berlioz wrote a melody to express his
sorrow at parting from Estelle; this melody was written to fit the words of a
poem about lovers parting, whose main character also happened to be named
Estelle. Berlioz later incorporated this melody into Symphonie Fantastique:
he has muted violins play it twice at the very beginning of the first
movement (“Reveries”), and it is supposed to represent the vague des
passions that fills the young artist’s mind before he meets the new beloved.
Fermata: Indicates that a note or rest should be held longer than its written value, the
time to be determined by the performer or conductor. A common musical signal used in
all of the pieces for emphasis or dramatic effect. Monteverdi and Handel may use it to
allow singers to add ornamentation and Stravinsky may use it to fit dancing with the
music. (The example in the online glossary is from the Orfeo score…I don’t see how they
could possibly ask for a specific example of this)
Fishamble: the street that The Great Music Hall was on, where Handel’s Messiah was
premiered. Not much remains of the hall now, but in Handel’s time Fishamble was busy
and crowded with carriages, so much so that instructions had to be included in the
newspaper directing people how to most efficiently approach the theater.
Folk melodies: simple melodies that appear several times in The Rite of Spring. These
melodies were perhaps based on a book of Lithuanian folk melodies owned by
Stravinsky. Examples occur in the beginning of “Spring Rounds”, the beginning of
“Mystic Dance of the Adolescents” These songs incorporate minor intervals that are easy
to sing and remember.
François Habeneck: Conducted both Opéra and Conservatoire concerts and therefore
Berlioz’s Symphonie Fantastique. He was a professor of violin at the conservatory and
he introduced Beethoven’s symphonies to the Parisian public. He was the first to conduct
facing the orchestra and using his violin bow as a baton. He was highly expressive and
respected, and was not afraid to point out the mistakes of others. One of his biggest
accomplishments was the foundation of the Société des Concerts du Conservatoire.
Millicent Hodson: Reconstructed Nijinsky’s Rite of Spring choreography for the Joffrey
Ballet, allowing modern audiences to have an idea of what the premiere may have been
like. Some distinctive aspects of Nijinsky’s choreography were pointed-in toes, knees
bent together, straight-leg jumps, and the repetition of actions.
Idée fixe: translates as “obsession” in French. Refers to the recurring musical theme of
the “beloved” in Berlioz’s Symphonie Fantastique. It was designed as a musical idea
which would come into the young artist’s head whenever he thought about the beloved.
It is first introduced in Part I as a lyrical melody accompanied by a “heart-beat” rhythm
underneath, and then several variations are introduced throughout the movement. In Part
II the idée fixe is combined with the waltz theme and in Part III it is only partially played
as the young artist contemplates whether the beloved is worthy of his love. In Part IV the
idée fixe appears as a solo (flute/clarinet) right before the protagonist is beheaded and
then it returns in Part V, transformed into a mocking dance played on the Eb clarinet.
Impresario: Dictionary definition: “One who sponsors or produces entertainment,
especially the director of an opera company.” Refers to Serge Diaghilev, a musician,
writer, and businessman who organized concerts and operas, and most importantly,
launched the Ballets Russes. He was energetic and had a strong authoritative personality
and charming manners.
“Kiss of the Earth”: The focal point of the first act (“The adoration of the earth”) of The
Rite of Spring in which the oldest and wisest of sages kisses the earth as part of a ritual of
preparation. The music itself is a short segment that builds off the previous section and
seamlessly transitions into the next.
Mantua: territory of Italy where Monteverdi lived and worked and L’Orfeo was
premiered. Mantua was the center of an important dukedom and the capital of a
Renaissance city-state. It was surrounded by lakes and ruled by the Gonzaga family,
whose interest in the arts made Mantua a city rich in music and theatre. It was a rich city
with grand palaces and piazzas like the ducal palace in which L’Orfeo was performed.
“March to the Scaffold”: Movement IV of Berlioz’s Symphonie Fantastique in which the
young artist murders his beloved, is marched to scaffold and is beheaded. The idée fixe
appears at the end of the movement just before the artist is beheaded. This was the most
popular movement at the premiere and the audience even called for an encore but
Habeneck would not consent. This march has much in common with a march from
Berlioz’s Les Francs-Juges, suggesting that it was not originally written for Symphonie
Fantastique.
Camille Moke: A piano teacher at the same school where Berlioz taught guitar who told
him rumors about Harriet Smithson which led to his initial disillusionment but turned out
to be ultimately untrue. Berlioz later fell in love with Camille and wanted to marry her,
but her mother would not approve because of his social status. After Berlioz won the
Rome Prize and Camille and her mother attended Symphonie Fantastique, her mother
agreed to all her daughter to be engaged to Berlioz, knowing that he would be leaving to
spend a year in Rome. Berlioz was thrilled and told a friend that he owed his fiancée to
his symphony. While in Italy, Berlioz found out that she had married the wealthy piano
manufacturer Camille Pleyel (creepy, same name). Berlioz was furious and became
determined to murder her, her husband and her mother before committing suicide by
sneaking out of Rome dressed as a maid. However, it never happened.
Pierre Monteaux: Conducted The Rite of Spring. Often conducted the orchestra for the
Ballets-Russes including Petrushka and Jeux. He later conducted the Metropolitan Opera
and the Boston Symphony Orchestra. He was a careful, thorough, and highly respected
conductor with a faultless ear. At age 88 he conducted the 50th anniversary performance
of Le Sacre du Printemps in London. He was very energetic and admitted later that he
“detested” Stravinsky’s music. Diaghilev told him before the premiere to keep the
orchestra going no matter what, and he did, finishing the ballet as if there were not a riot
going on around him.
Vaslav Nijinsky: one of the “four idiots” behind Le Sacre, Nijinsky was a legendary
dancer known for his athletic prowess, lightness, and gravity-defying leaps. Created the
controversial choreography employed in Le Sacre Nijinsky spent the last decade of his
life in various insane asylums.
Ode to Joy: Fredrich Schiller poem used by Beethoven in the fourth movement. Well
known by the audience. Since then has served as an international anthem of unity. “All
men shall be brothers.” Each theme introduced then disapproved by cellos; only the Ode
to Joy theme is accepted. Baritone solo, Turkish march, tenor solo, two orchestral themes,
duet,, and then the ending. The Old to Joy theme is the building block that permeates the
entire fourth movement.
Ophicleide: The ophicleide “keyed serpent” is a large instrument associated with the
family of keyed bugles. Berlioz used both the serpent and the ophicleide; the ophicleide,
though unfamiliar to us, was well known in Paris and used frequently in military bands.
The two instruments combined to create the sound suitable for the witches’ Sabbath.
Oratorio: Vocal and instrumental music; English; sacred text, but not a mass. No
costumes; Messiah had no characters. Messiah was performed during Lent when
theatrical performances were considered inappropriate. Uses aria, recitative, and chorus.
Ornamentation: Refers to the musical decoration of pitch by means of additional rapid
and generally non-metrical pitches. Trill. Used by Orfeo soloists to show off their skills
as well as to communicate important parts of text to audience. Orpheus’s attempt to get
across the river involves highly ornamental singing. Used by soloists in Messiah in
“Refiner’s Fire,” for example.
Ostinato: a short pattern (rhythmic, melodic, harmonic, or some combination) repeated
persistently throughout a passage. A four-note ostinato appears in each of the first two
movements of Le Sacre.
Percussion: Generally, any instrument that is struck belongs to the percussion family,
although it also includes some instruments that are plucked, shaken (tambourine), or even
scraped. Percussion instruments are particularly prominent in Le Sacre; “The Games of
the Rival Tribes” features an intense, harsh percussion part.
Performance Practice: ha ha! Your guess is as good as mine.
Pifa: Instrumental piece that evolves into a pastoral mood and involves many
instruments. Appears after “For Unto us a child is born,” and before “There were
shepherds.”
Pink half-boots: Estelle Dubeuf, the 18-year-old with whom Berlioz fell in love at age 12,
wore a pair of pink half-boots. Although Berlioz could not clearly remember her hair
color, he did remember the boots. This love, combined with his later desire for Harriet
Smithson, are believed to have influenced
Pizzicato: playing of string instruments by plucking rather than bowing. Used for much
of the ostinato in the first half of Le Sacre.
Polyphonic: lines move in different directions at different times. I.e. fugues. One theme
can be sung at alternating times or with two themes going at once. Lines nevertheless fit
together and compliment one another, though not as clearly as in homophonic texture.
Used in some choral sections of L’Orfeo, but mostly in Messiah choruses and in the
finale of the Ninth. Often resolves itself into homophony and cadence.
THERE WAS SOME CONFUSION ABOUT ASSIGNMENTS IN THIS SECTION, SO
SOME WORDS HAVE TWO DEFINITIONS—THE MORE THE MERRIER 
Polyrhythm: Simultaneous use of two or more rhythmic patterns of rhythmic groupings.
Appears in the Procession of the Sage in Le Sacre, where it is done by combining
different patterns but notating the parts in the same meter. Bass drum in three (triple),
other parts mostly in two/four (duple). Polyrhythmic sections in Le Sacre, it should be
noted, use only a single meter.
Polytonality: simultaneous use of more than one key at the same time. Used in
Stravinsky, in the Dance of the Adolescents, for example. Also in “Procession of the
Sage” (Le Sacre),the tubas have a polytonal melody.
Presto: a tempo marking for “very fast;” the second and fourth movements of
Beethoven’s Ninth include sections with a tempo of presto.
Prix de Rome: A coveted musical prize won by Berlioz in 1830. The award, which
requires short-term residence in Italy, helped propel Berlioz to higher stature.
Program Music: music accompanied by a program to tell a story in lieu of sung text.
Symphonie Fantastique; Beethoven as well.
Quartet: a piece of music composed for four parts. Beethoven wrote a number of quartets,
and Schuppanzigh, who led the orchestra as first violin for the first performance of the
Ninth Symphony, had collaborated with Beethoven on quartets.
A composition or movement, either vocal or instrumental, in 4 parts. Or, the four
performers as a group. e.g. in Beethoven’s Ninth mvt. IV, at the end “recapitulation”
within the mvt. sung by the chorus, the 4 vocal soloists (soprano, alto, tenor, bass) break
into a cadenza on the words “Wo dein sanfter Flugel weilt [Wherever your gentle wings
tarry]”.
Marie Rambert: From Emile Jaques-Dalcroze’s school of eurhythmics, near Dresden.
Engaged by Diaghilev to help Ballets Russes learn Nijinsky’s choreography (which were
difficult and strange) and to act as an interpreter of his wishes.
Rambert’s job as a mediator between Nijinsky and the company could not have been easy
owing to physical and mental difficulties involved. Nicknamed “Rhythmitchka”.
Francesco Rasi: A well-known poet, singer, and composer who almost certainly played
the role of Orpheus. His singing has been described as “angelic and divine.” Was wellsuiting for the particular demands of the part of Orpheus: could sing well both in the
baritone and tenor range, and was skilled at highly ornamental singing.
Recapitulation: The final section of a movement in sonata form in which the music
introduced in the exposition returns in the tonic key. An example is the recapitulation of
the first movement of Beethoven’s Ninth, in which the music appearing in the opening
lines is played again in a robust fortissimo.
Recitative: declamatory setting of a text to music in which the natural rhythms and
cadences of speech are retained. A recitative is sung by one person over a musical
accompaniment. Note the difference between recitative secco and recitative
accompagnato. Examples.
Rhythm: pattern created by the timing and duration of notes. The rhythm, combined with
such elements as meter (the organization of beats, usually in two or three) and tempo (the
speed of a piece, measured by the frequency of beats), shapes the effect that a melody
will provide.
Nicholas Roerich: Originator for the scenario of Le Sacre. One of the “four idiots.”
Designed the sets and costumes. An anthropological authority on ancient Slavic culture.
Had an attention for detail, and concern for authenticity. Behind the “primitive” effect of
the ballet.
Romanticism: Of the Romantic period in music history, ca. 1820 to 1900. The term is
applied in particular to works that reflect the influence of the Romantic movement in
literature and the visual arts, characterized by emotionally charged subject matter such as
the supernatural, the exotic, nature and human passion. Music of the Romantic era is
often characterized by an emphasis on melody, innovative approaches to standard forms,
complex harmony and intense emotional expression. Many compositions are
programmatic, related to extra-musical subject matter. Berlioz's Symphony fantastique
reflects the aesthetic of the era in its bold harmony, formal innovations, unusual
orchestral timbres, and Romantic program.
Schiller, Friedrich: German poet and historian. He wrote the Ode to Joy, An die Freude in
1785, which is known especially for its musical setting by Beethoven in mvt IV of his
Ninth Symphony, for four solo voices, chorus, and orchestra. The Ode to Joy was
adopted as Europe's anthem by the Council of Europe in 1972, with an official
arrangement for orchestra written by Herbert von Karajan. In 2003, the European Union
chose Beethoven's music for the poem as the EU anthem, without German lyrics, because
of the many different languages used within the European Union. Therefore, the EU
anthem is in effect the Beethoven theme (or melody) rather than Schiller's poem,
although its connection with the ideal of human brotherhood in the text is understood.
Serpent: Ancient bass instrument made of wood and snakelike in shape. It’s a relative of
Monteverdi’s cornetto. Its brass mouthpiece and finger holes make it a hybrid of the
brass and woodwind families. Used extensively in French churches to accompany singing
of plainchant. e.g. In Sym. Fan. mvt. V (Songe d’une nuit de sabbat), Berlioz used it to
accompany the Dies irae because of the association and, together with the ophicleide, it
must have produced a sound suitable for a witches’ Sabbath.
Sinfonia: an instrumental introduction, often multi-sectional, of a vocal work. Unlike an
overture, it does not foreshadow musical themes from the rest of the work.
e.g. transitional parts of Orfeo, beginning of Part I of Messiah (before Comfort ye)
Harriet Smithson: The English actress that Berlioz says inspired Symphonie Fantastique.
Eventually married Berlioz. Did mostly Shakespeare. As in acting. Not like sex, Lauren
Epstein, you have a dirty mind.
Sonata: This is a standard form of the Classical and Romantic period and consists of three
sections: The exposition states two contrasting themes, the first in the tonic key, the
second in a different key from the tonic. This section ends with a large cadence in the
new, non-tonic key. The development follows the exposition. This is where the
composer explores the themes introduced in the exposition, re-working them through
varied melodic, harmonic or rhythmic treatment. The recapitulation re-introduces the
two themes of the exposition, both of which are now played in the tonic key. Often, the
recapitulation is followed by a coda. (Really good diagram on website)
Soprano: 1) A female singer with a high voice.
2) A register, that is, a span of notes within the range of all possible notes. Of the four
registers, soprano, alto, tenor, and bass, the soprano register is the highest. (See main
entry: register.) e.g. Henriette Sontag was the 18-year-old soprano at Beethoven’s Ninth
premiere (1824).
“Spring Rounds”: A slow, reflective section, which thematically and tonally recalls the
"Dance of the Adolescents." The music begins with a slow, sing-song line in the
clarinets, which will return at the end of the section. Then a rising, ponderous series of
chords forms a rhythmic and harmonic ostinato. A slightly altered melody from the
"Dance of the Adolescents" reappears. Another theme from the "Dance of the
Adolescents" then reappears over the ostinato. Dynamics increase as more instruments
(and more dissonant notes) are added, reaching a high point with glissandos in the
trombones, and the appearance of the percussion instruments. An abrupt interruption by
the fanfare material of the preceding section leads again to the slow melody in the
clarinets.
Syncopation: An effect of rhythm where a meter is temporarily contradicted by a change
in the established pattern of stressed and unstressed beats. Syncopation may be created by
moving the stress away from the down beat onto another beat in the measure. A special
case of syncopation is hemiola
Théâtre des Champs-Elysées: Where Sacre du Printemps was first performed. Modern
architecture.
Timpani: A low percussion instrument, a standard member of the modern orchestra. The
timpani has an adjustable membrane that can be tuned to different pitches.
e.g. In “Game of Abduction” in Rite of Spring, when opening fanfare returns in the
winds, it is punctuated by the timpani.
Tonic: This refers to the first note of any given scale. The tonic of C Major is C. The
tonic of eb minor is eb, etc. The tonic is the most important note in a scale, exerting a
certain aural, "gravitational pull" on the rest of the notes in the scale.
Trill: Ornamentation of a pitch that entails a rapid alternation between the indicated pitch
and the pitch above it.
Tuba: (VS ophicleide for Berlioz mvt V) This is the lowest member of the brass family. It
is played on the lap of the performer and is an instrument used in both orchestras and
bands. e.g. Towards the end of “Games of Rival Tribes” in Rite of Spring, tubas and bass
drum start ostinato in “Procession of the Sage” which follows.
“Turkish march”: Second theme of the third movement of Beethoven’s 9th Symphony.
The third movement, in Bb major, is built on the idea of theme and variations: a theme is
stated over and over, but with each appearance some aspect of the theme changes. It will
never be altered so much that it becomes unrecognizable as the same musical idea. In this
case, Beethoven uses two themes successively. The first, Bb major theme, played by the
violins, consists of three phrases that are interrupted by interjections from the wind
instruments. A second theme follows before the first is varied (411). This theme is
somewhat faster, in triple meter, and in a new key, D major. In the first variation (413416), the winds play their part more or less unaltered, while the violin melody is greatly
elaborated but still the same basic idea. When the second theme returns (417-419), we
hear that the strings and winds have changed roles in presenting the material. After a
short interlude (419-421) that sounds at first as if it might be another variation of the first
theme, a real variation begins. Now the theme is stated simultaneously in an unvaried
form (woodwinds) and an elaborated forte (violins). A developmental coda announced by
a new idea freely continues the variation process as the movement draws to a close (42937).
Un Bal: Symphonie Fantastique by Hector Berlioz, mvt II. (follows Rêveries-Passions
(I) and precedes Scènes aux champs (III)) In A major and triple meter. Overall form is
ternary: intro – A0 – B – A1 – coda. According to the program, the musician finds
himself in various situations – in the midst of the tumult of a party, in the peaceful
contemplation of the beauties of nature; but everywhere, the beloved image (idée fixe)
appears before him and disturbs his mind. It begins with a special nebulous effect, as we
seem to descend on the waltz scene just as one falls into a dream. The idée fixe appears,
transformed into triple meter, in the middle of the movement, then vanishes. Berlioz later
whips the waltz into a frenzy and towards the end, a solo clarinet unexpectedly offers us
another glimpse of the beloved.
Vibrato: An effect in the voice which creates a tremulous sound, as opposed to a steady
one, which often creates warmth and tone in the voice.
ESSAYS
Compare your personal reactions to one or more of the works we have studied with
the reactions you imagine a listener at the first performance would have had.
I can’t tell you what your personal reactions were, but here are some things to
consider when describing your reactions.
1. “Story” of the piece. Did you particularly relate to any of the pieces? Why?
Would somebody at the premiere have the same reasons to relate to it? Or are
you reacting because of something modern, or a personal experience (i.e. a
music theory class, or years of musical training).
2. Orchestration of the piece. For example, we are not used to basso continuo.
Did that make you like Orfeo more, or less? Do you particularly like the E-flat
clarinet, and therefore love the 5th movement of Berlioz? Did you ever play in a
marching band, and therefore like the pieces with marches more? Would these
experiences have occurred for someone at the premiere, and would have had the
same effect on them?
3. Historical background. The march to a guillotine in Berlioz would have been
much more significant to somebody at that premiere. Hearing religious texts in
a secular tongue would have been more significant to somebody who was used
to church Latin (for example). What kind of people went to premieres? For
Monteverdi it was the royal elite, for Stravinsky, the Parisian ballet-going elite.
Are you one of those people? If not, how did that effect what you think their
reaction was vs. yours?
Discuss the performing forces, the personnel, and the look of the first performance
of one or more of the pieces we have studied.
Orfeo: Singers- as few as 9. Most had multiple parts (except for Francesco Rasi,
Orfeo and Girolamo Bacchini, Euridice), the other 7 were members of the chorus when
they didn’t have solo parts. Instruments: strings, recorders, trumpets, trombones,
cornetti, harp, harpsichords, lutes, organ, regal. Musicians probably played more than
one instruments, but know at least 2 harpsichord, 3 chitarroni, 2 recorders, 12 strings (2
groups to create surround sound). Specified in score. Make sure to specify that much of
the instrumentation is basso continuo. In a small room, with a small audience. The
costumes were most likely to resemble ornate period pieces, as opposed to realistic
costumes that would have been worn in ancient Greece.
Messiah: Chorus- 16 men, 16 boys, 3 women. Combined from choirs of the two
main cathedrals. Soloists- Mrs. Cibber (alto), Christina Maria Avolio (soprano), Mrs.
Maclaine (soprano), William Lamb and Joseph Ward (altos), James Bailey (tenor), John
Mason and John Hill (basses). Names found in wordbook of member of audience. 31
players from parts for instruments left by Handel in will to Foundling Hospital. Original
performance had no specific oboe, bassoons, or horns in score. However, easy for them
to copy other parts in score. Reasonable to assume were there in performance, too, and
size was about the same. Crowded stage, PACKED concert hall. Description of how it
took hours to get there b/c of the congestion on Fishamble St. No scenery.
9th Symphony: Singers- 12 ea. 1st and 2nd violins, 8 violas, 10 cellos, 8 bass, doubled
harmony- 26 woodwinds, 9 brass and perc. 85 total (45 theatre orch., 40 amateurs).
Beethoven ordered 10 scores/chorus part (80-120 singers), most likely 80, also a
combination of theatre and amateur (32 boys, 34 men to 14 (or 54) amateurs). From
conversation books and score order forms. Once again, very crowded stage, Beethoven
wore a green velvet coat, but looked black (according to audience member). No scenery
Le Sacre du Printemps: ENORMOUS orchestra, quintuple winds, 8 horns, etc.,
equaling 99 members. Monteux conducted. Nijinsky was the choreographer. 20-30
dancers (?). Maria Piltz was the girl who got sacrificed. The costumes and scenery
(designed by Roerich) are the most noticeable. They were intended to mirror the Slavic
countryside, and clothing that ancient Slavs would have worn. Recall the video shown in
class. Realism/authenticity was very important.
Discuss the interaction of instruments and voices in one or more of the pieces we
have studied.
Various things to discuss:
homophonic / polyphonic / monophonic textures
cadenzas
recitative secco vs. accompagnatto
choruses (fugue, anthem, duet)
basso continuo
How do these different techniques affect the work? Describe if the music or the
voices are more obvious with the different techniques. I recommend using a piece you
know well, or has obvious things to say about it. For example: Don’t use Symphonie
Fantastique. There are no voices. If you want to use Messiah, can discuss how the
different kinds of songs (recitative, aria, solo) create different moods. Can also contrast
Orfeo or Messiah with Beethoven (b/c there are three movements w/o voice, and one
with).
Describe the kinds of evidence available about the premieres we have studied, and
discuss their relative value.
1. Reviews: Beethoven reviews give us info about what people were wearing, who
sang solos, who conducted, where people stood, and how it sounded. Handel
reviews also give us information about how people received Handel’s
performance (with general appreciation and approval). Also announcements and
advertisements in papers give us information about the price and acquisition of
tickets, the number of rehearsals, and in Beethoven’s case the other works
performed at the same concert. However, as evidenced with Le Sacre, reviews
were often done at the dress rehearsal, and therefore may be missing vital pieces
of information (i.e. that there was a riot).
2. Personal correspondence: Allows us to know about Monteverdi’s difficulty
obtaining a castrato, the actors’ difficulties in learning the parts, and the
enthusiasm of Francesco Gonzaga about the concert. Allows us to know how
Jennens felt about the way Messiah turned out (not happy) and the difficulties
Handel met in trying to obtain his chorus. Especially with Beethoven it allows us
through the conversation books to know the difficulties that he and his advisors
faced in finding a hall, finding a soloist who could sing Beethoven’s difficult
music, the many details that had to be worked out, the number of times the
concert was almost called off, and the reaction that Beethoven had to the
disappointing financial returns. Downside to using these is that they are not
objective.
3. Historical trends and facts: it was typical for pieces like L’Orfeo to be performed
for small, elite audiences in the palace and Monteverdi’s Orfeo was revolutionary
because there had never been an entirely vocal opera performed before. History
also tells us about the wealth of the Gonzaga family and Monteverdi’s role as
court musician which led to the request that he write Orfeo. We also know it was
typical for oratorios to be performed during lent, that Handel traditionally played
the harpsichord while a conductor led the orchestra, and that there were two
cathedrals in Dublin from which he could have drawn his chorus. In Beethoven’s
time it was typical for the chorus to be placed in front of the orchestra, there were
a number of musical societies and theatres in Vienna where the concert could
have been held, and Beethoven was highly respected for his past works and for
his piano skills.
Describe the relationship between words (or scenario, or program) and music in one
or more of the pieces we have studied.
Clearly, the easiest to do with this one is Berlioz, but Le Sacre would also be a
good choice.
1. Words set the scene. The program for Berlioz’ Symphonie Fantastique was
able to let the listener know where the action was taking place. This created a
stronger effect for the audience because while some of the scenes were obvious
(the waltz), others were not (the Ronde du Sabbat). The words also specified
certain scenes (the pastoral movement, and the march to the guillotine). Both
had obvious themes, but words provided a setting.
2. Words describe the action. Without the words, certain actions in the story
would not have been clear. The identification of the idée fixe is certainly
clearer. While many in the audience would have picked it out, many would not
have, and the absolute importance of it to the story would not have been as
solidly established.
3. Words also destroy the experience (?). A possible argument is that words in a
program ruin the intent of music without song. That is to say, the program with
Symphonie takes away an individual’s ability to interpret the piece as they wish,
and instead have a story forced upon them.
How does music contribute to dramatic expression in one or more of the pieces we
have studied?
L’Orfeo: pastoral setting.
Describe the musical scores of the pieces: what do they tell us, and what do they not
tell us, about the performance of their music?
-L’Orfeo: Only some parts, since some are doubled (strings and winds); key signature,
vocal part, basso continuo requires improvisation.
-Messiah: Only the violin I, violin II, viola, bass, and a piano part appear. Key signature;
time signature, dynamics markings.
-Beethoven, Ninth: very complete instrumental parts; similar information.
Berlioz, Stravinsky: Similar; look closely.
-Include information on the limitations of scores and what they tell us about
performances, particularly premiere performances: the audience reaction to Stravinsky;
the omission of certain difficult parts from the Berlioz.
Why should we care about premieres?
-First, studying the premieres and the reactions they evoked provide valuable historical
context. Think Le Sacre…
-Second, premieres represent the first (if not the final) version of the composer’s idea of a
complete work—ideas that at least several of them decided to revise following the first
performance. Berlioz, for example, rewrote the “Scène aux champs,” the third movement
of the Symphony Fantastique.
* What are the most controversial elements of the pieces we have studied?
1. Orfeo (T351-2)
- Ending of the opera
The printed libretto contains 1 version of the story and the published score another.
Which version was performed in 24 Feb 1607??
Libretto ending:
Orfeo returns to earth feeling dejected and meets a group of frenzied women who
worship Bacchus (original myth). This sends Orfeo running off stage, and the chorus
ends the opera. Supported by wordbook handed out to audience and publication of
libretto.
Argument: Why would Striggio write and Gonzaga print an ending that wasn’t going to
be performed? Some suggest that the poetry of Apollo is inferior and therefore not
Striggio’s work, so libretto ending was performed first and the Apollo ending was an
alteration later on. Others argue Apollo was originally planned but the small room didn’t
allow for the necessary machinery so the Bacchantes were a last minute poetic addition.
This would mean that libretto reflects actual performance but Apollo represents original
intended conclusion.
Score ending: (Professor Kelly goes for this one)
Apollo descends, sings with his son, and brings him up to heaven with him. Chorus of
shepherds and nymphs dances a moresca. Supported by the cast list in the score (“chorus
of shepherds who danced the moresca at the end”) and the centrality of Apollo to the
concept of the opera suggests he should appear at the end. Apollo is god of music, the
sun, Orfeo’s dad, and a worker of miracles. Orfeo’s first words are in praise of Apollo.
Adds to the contrast of human passionate excess versus Apollonian balance that is central
to the work.
2. Messiah: (T98)
The idea that religious words and music have no place in a theatrical setting – and its
obverse, that music for religious purposes needs to have a certain religious character –
had always been a subject of controversy.
The refusal of Jonathan Swift, dean of Saint Patrick’s Cathedral, to let his singers
participate at first reflects a related attitude. That’s why Handel avoided the title Messiah
in his early London performance of the oratorio. Even Reverend Charles Jennens, the
librettist, used religion to criticize Messiah – “… some passages far unworthy of Handel,
but much more unworthy of the Messiah.”
3. Beethoven’s Ninth Symphony: (T113)
- long duration of the symphony on the whole was rare at that time
- usually, symphonies have a weighty 1st mvt with three shorter mvts appended, but here,
Beethoven shifts the weight from the first mvt towards the end (4th mvt). Not
accomplished through lightening 1st mvt. Rather, through making known the cosmic
quality of the symphony at the very beginning with nebulous beginning (outer space
feeling), reordering of mvts (fast Scherzo as 2nd mvt, slow theme & variations as 3rd
mvt.), and the very lengthy 4th mvt including a loud chorus.
- structure of the sym: reordering of mvts (fast Scherzo as 2nd mvt, slow theme &
variations as 3rd mvt.).
- gives voices (soli and chorus) a place in his symphony – in fact, he lets them conclude
his massive sym. (put in 4th mvt)
4. Symphonie Fantastique: (T191)
- program music (‘legitimate’?) VS absolute music: whether music can reasonably and
clearly represent physical objects, actions, sensations, and emotions or whether, on the
other hand, there can be an “absolute” music that lacks any external descriptive content
for the hearer and achieves emotional effect purely by the organization of sounds.
Berlioz saw the program as a libretto to his instrumental drama. He said, “The plan of
the instrumental drama, lacking the help of words, needs to be explained in advance. The
following program … introduce[s] the musical movements, whose character and
expression it motivates.” E.g. prog. explains imitation of palpitation in lower strings.
BUT note: Berlioz several times changed the relation of the program to the symphony
without changing the music, making it clear that the music has an independent existence.
The program certainly affects our perception of the music, but without the program, the
symphony is still a symphony.
- musical / composition techniques new at that time: col legno & la reunion des themes –
heterogeneous (non-imitative) polyphony of Dies Irae and witches’ round-dance
5. Rite of Spring: (T296-7)
- that Diaghilev, who financed the performance, made Nijinsky the chief
choreographer. Nijinsky. was an excellent dancer, but not a good choreographer.
Back then, the decision was controversial because it was clearly based on Diaghilev’s
homosexual attraction towards Nijinsky, instead of Nijinsky’s own merit.
- Whether the music was created independent of the scenario for the ballet.
Stravinsky’s original conception arose in the context of the theater and in collaboration
with Roerich, though later Stravinsky overlooked this. (Some evidence suggests that
the story came before the music and the music was conceived to accompany the
scenario. But in a 1920 interview, Stravinsky says the music came before the ballet,
and not from the idea.)
Richard Taruskin has marshaled a correspondence between Stravinsky and Roerich
and of analogies between the scenario and actual accounts of Slavic and other rituals,
indicating clearly that the scenario is essentially Roerich’s and that Stravinsky followed
it in composing the music.
How are the instruments used to create expressive effects in the pieces we have
studied?
-The composers have used instruments in a variety of ways to create expressive effects.
Consider specialized instruments: the serpent and E-flat clarinet in the Symphonie
Fantastique; Caronte’s characteristic instrument in L’Orfeo, the regale, as examples.
-Also consider on a broader scale: the use of pastoral in L’Orfeo
-May also include the relationship between music and text.
Discuss the place of music and concerts in our society and in those of one or more of
the pieces we have studied.
-The degree of audience-performer interaction witnessed in many of these premieres may
be contrasted with the relatively low level of interaction today. Audience demands for
spontaneous encores were more likely to be successful in the past; what is considered an
acceptable response has also changed.
-Orfeo: A number of roles in society, but clearly intended for the elite audience.
Monteverdi could take into account the expectations and general knowledge level of
members of the academy.
-Le Sacre: Might also be interesting for a comparison
“Discuss repetition, variation, and contrasts as elements of larger musical form in
the pieces we have studied.”
Orfeo: Monteverdi uses repetition in his arias (ritornello/verse/ritornello/etc.) and also in
the opera as a whole to establish the setting. For example, the musical idea that is the
ritornello of Musica’s prologue is also played when Orfeo leaves the pastoral world at the
end of Act II and then when he returns in Act IV. The “Apollo theme” is also repeated
several times before Apollo actually appears. In keeping with this, Monteverdi uses
variation and contrast in his instrumentation to indicate the difference between the
pastoral and the under world and between recitatives and arias.
Messiah: Handel creates a repeating pattern of recitative/aria/chorus and many of their
pieces incorporate repetition within them (ex. Da capo aria or choruses). Within the r/a/c
pattern there is contrast and variation among the pieces. It begins simple and then sort of
builds in tension and size as he moves from recitative to chorus. Also, each three-some
seems to focus on one central idea. It should be noted that this three-piece pattern is not
perfect within the oratorio…there are exceptions where the pattern is broken.
9th Symphony: Beethoven uses A LOT of variation/repetition in his symphony. He
often uses sonata form, which incorporates both repetition and contrast. The second
movement also introduces several themes and then explores variations of them. The
entire third movement is based on variations on two themes. The fourth movement then
repeats each of the other themes, rejects them, and then introduces a contrasting “Ode to
Joy” theme. There are then several variations of this theme, including the “Turkish
March”
Berlioz: Berlioz’s big thing is the repetition of the idée fixe. It’s repeated in every
movement, although it’s a different form each time. Each movement of SF has a
distinctive sound that contrasts with the other movements.
Stravinsky: Repeats on a more micro level, as in he repeats one chord over and over
again…Stravinsky also loves to repeat little motives and melodies in his music. There
is contrast between the first and second halves of the ballet, representing day and night,
male and female, etc. There are also contrasts between the instrumental introductions
and the dance movements that have a steady, repetitive rhythms.
“Describe the changes in orchestra from Monteverdi to Stravinsky”
Monteverdi’s orchestra was a small collection of court musicians employed by the Duke
to perform for the various aspects of court life such as receptions, feasts, concerts, and
church services. The instruments required for Orfeo included strings, recorders,
trumpets, trombones, cornetti, harp, harpsichords, lutes, organ, and a regal. These
instruments were arranged in choirs, allowing Monteverdi to use characteristic
instrumental sounds for places or persons, and the most important instruments were those
that played the basso continuo. The musicians were also separated from each other, some
in front of the stage, and others behind the curtain. Each musician had been trained by a
different teacher and the instruments were not standardized.
Stravinsky, by contrast, was working with a much larger, uniformly trained professional
orchestra who did not have many varying responsibilities at court, but instead were
employed solely to play concerts or ballets such as The Rite of Spring. Diaghilev pushed
Stravinsky to have a very large orchestra on hand for the performance, and the score calls
for quintuple winds (composed of eight desks of first violins, seven desks of second
violins, six desks of violas, at least seven cellos, and six double basses), two piccolos,
three flutes, a bass flute in G, five players on four different types of clarinets, four
bassoons and two contrabassoons, eight horns, two tenor tubas, a piccolo trumpet, four
trumpets in C, a bass trumpet in E-flat, three trombones, two tubas, piccolo timpani, four
timpani, bass drum, triangle, antique cymbals, tam-tam, rape, tambourine, and cymbals.
This translated to a total of 99 players in Stravinsky’s orchestra. It was comprised of 82
freelance musicians of the regular ballet orchestra, mostly drawn from the orchestra of
the Concerts Colonne, as well as seventeen others engaged especially for the
performance. All of these instrumentalists were squeezed into an orchestra pit where
they were conducted by Monteux.
“Discuss the role of the religious and the spiritual in the pieces we’ve studied”
Orfeo: Literally involves the Greek myth of Orfeus and includes gods like Apollo and
Pan, but the message of the opera involves the struggles of humanity and therefore draws
upon the Christian tradition.
Messiah: An oratorio, which is an opera-like piece of music that draws from holy texts
(in this case The Bible and the Book of Common Prayers) but is not performed as a
sacred work in church. Ideally suited for the Lenten season when operas were outlawed.
9th Symphony: The only spiritual element of Beethoven’s symphony can be found in the
text of the Fourth Movement, Friedrich Schiller’s “Ode to Joy” in which all men are
united as brothers under God. They also mention the “Daughter from Elysium” a lot, and
I’m unclear on what this refers to…
Berlioz: The spiritual components of Symphonie Fantastique are found in the first and
last sections. In “Reveries/Passions” the program speaks of the artists “religious
consolations” which can be heard in the final “amen” chords of the section. The
“Witches Sabbath” involves a very different type of spirituality, as the artist finds himself
in hell surrounded by laughing demons and witches, including that of his beloved, who
dance around him and mock him.
Rite of Spring: The ballet is based on the ancient pagan rites of Russia in which the
people invoke the fertility of the earth in the spring by kissing the earth and sacrificing
one of their women. The primitive character of the ballet is reflected in the costumes, in
Stravinsky’s hectic and seemingly unorganized music, and in Nijinsky’s innovative
choreography, all of which led to the controversy surrounding the premiere.
*To what extent is music universal, and to what extent is it an expression of time
and place?
To some extent, music is universal…
- Messages behind compositions apply to people regardless of time and place.
e.g. in Orfeo, the moral story behind the opera is universal. No matter what time and
place we’re at, our passions may end up dominating rational reasoning, with which a
parallel is drawn in the opera Orfeo.
e.g. in the 9th, the message that “all men shall be brothers under your wings of joy”
(“An die Freude” – Friedrich Schiller’s ode to joy) sung by the chorus is universal.
- Music mustn’t be confined to expressing a specific time and place, because composers /
performers have often pushed beyond tradition.
e.g. Rite of Spring (1913, Paris): Nijinsky, choreographer, incorporated sexual tones, the
unusual use of the body, and rejected classical ballet poses and of narration and mime.
BUT to some extent, it is an expression of a particular time and place… (Prof. Kelly:
“music is a piece of culture”)
- scale of performance & audience
e.g. though Orfeo is an opera, it doesn’t have the grand scale that we’re familiar with
today. In 1607 in Mantua, it was premiered in a long, narrow palace room (camere
lunghe) of the Most Serene Lady of Ferrara. Such small scale and elitist setting were
common in those days in Mantua.
- Instruments are specific to that time and place
e.g. Orfeo (1607, Mantua): Chitarrone (long-neck lute), double harp, harpsichord
Sym. Fan. (1830, Paris): ophicleide (keyed instrument serving as bass of brass family,
well known in Paris at that time), serpent (ancient bass instrument made of wood
and snakelike in shape, used extensively in French churches to accompany
plainchant)
- Musical styles
e.g. Orfeo (1607, Mantua): virtuosity of singers & rich variety of instrumental colors
appreciated, so Monteverdi incorporated those into Orfeo. Also, Orfeo – the
“fable in music” – was composed to suit Duke Vincenzo’s taste for the theater,
the pastoral and music.
Sym. Fan. (1830, Paris): Romanticism – broke out beyond previous boundaries of
music. Sym. Fan. demonstrates Romantic passion in musical terms, as evidenced
by his program: “A young musician, afflicted with that moral disease… sees for
the first time a woman who embodies all the charms of the ideal being he has
imagined in his dreams, and he falls hopelessly in love with her.” Indeed, the
sym. Was inspired by two great loves: Estelle Fournier of his youth and the great
Shakespearian actress Harriet Smithson.
- Specific culture
e.g. Rite of Spring: though premiered in Paris, the work depicts primitive, pagan Russian
rites.
* How does your knowledge of musical construction affect your appreciation?
(Does analysis destroy beauty?)
To a small extent, it destroys beauty. In some ways, music is meant to be savored
holistically. The composer cleverly interweaves various musical techniques and elements
to present a marvelously unified work. Breaking the piece down for detailed analysis
risks losing a macroscopic view, which is important.
On the whole, however, my knowledge of musical construction did enhance my
appreciation.
e.g. In Orfeo, strings represent the upper world, trombones represent the underworld, and
the trumpets announced the arrival of Duke Gonzaga (in 1607 premiere). Also, the
ritornello, which is first played in the prologue, appears again at the end of Act II and end
of Act IV. This serves to demarcate the upper world. Now I understand that Monteverdi
carefully connected various instruments with particular settings, I allowed
instrumentation to be a guide to my listening.
e.g. In Messiah Part I, Handel adopted the recitative-aria-chorus structure from the
opening sinfonia to the pifa, and with slight variations after the pifa till the end of Part I.
Thus Handel gives an overall unified structure for the Part and the regularity of the
pattern puts me at ease and helps me anticipate what’s coming next.
e.g. Before the course, I find the 9th formidable because it is a long, long symphony with
a lot built in. So understanding that Beethoven himself acknowledges this fact and
composes this massive piece in way to make it cohesive has helped me to overcome my
“fear” of its massiveness and appreciate the unity that exists. Essentially, Beethoven
makes it clear at the beginning of the symphony (music growing out of the nebulous
infinity) that it will be a cosmic piece. He also switched the usual order of the 2nd and 3rd
movements in the 4-movement plan, so that the faster Scherzo movement comes before
the slower, lyrical theme and variations movement. He further shifts the weight of the
symphony towards the end and creates a grand close to the long symphony by making the
4th movement the longest and weightiest.
e.g. From the course and the program (T249) of Symphonie Fantastique, I realize that
there is a melody, called the idée fixe, which represents the beloved woman of the young
musician in the symphony. If I hadn’t been told, I wouldn’t have noticed that Berlioz
inserted the idée fixe in every single movement but in different guises, to reflect the
beloved image in different settings or different forms.
E.g. In the 4th mvt, the idée fixe appears only once and it is truncated by a loud tutti
chord, because it is depicting the final thought of love before fatal blow of the guillotine
hits the protagonist in his dreams.
e.g. In Rite of Spring, realizing the use of polytonality, polyrhythm and folk-like
melodies in the music has led me to appreciate the primitive, pagan and pastoral setting
much more easily.
* How has your work in this course affected your relationship to music?
Before the course, I was only interested in judging whether music was pleasing to the ear.
It was simple and unsophisticated listening appreciation.
Through this course, I’ve learnt about the cultural and general background, and the
audiences and performing forces at the time of the premieres, and have done detailed
musical analysis. These have deepened my relationship to music to make it more
rewarding and enjoyable.
Detailed analysis of musical construction enhanced my appreciation. (See above answer
for details of each piece.)
Knowing what the preferences and tastes of the audiences at the time of the premieres, or
the motivation of the composers, was also useful.
- Since loud resonance and high register of singers are celebrated nowadays, I at
first could not comprehend what was to be savored from many of Orfeo’s middleregister songs which are far from resonating. But back in 1607 in Mantua, vocal
virtuosity was sought after and indeed, Orfeo’s parts were very demanding in this
sense. I then began to appreciate that vocal style.
- I detested the music in Rite of Spring (Stravinsky) before the course because it
was extremely jarring and unrefined, and I saw no point in that. Of course,
Stravinsky was obviously trying to depict in simplicity the rites in Russian culture
to give thanks to the pagan gods and ensure fertility of the land. After the class
where the videos showing the ballet, scenery and music in collaboration, I saw the
close relationship among the three and the need to compose the music as it is.
Now, I no longer detest it (though I still don’t like it).
I was also convinced by Professor Kelly that music is a piece of culture; it is an act; and it
is composed for its listeners. At first, I had no clue why we had to focus our study on the
premieres of the five famous pieces and had to be present at the world premiere of Arlene
Zallman’s Prologo, “Un Re in Ascolta” ourselves. But after studying about the cultural
situations and the audiences at the time and place of the premiere, I do see a direct
relationship between those and the music, and that’s exactly because music is a piece of
culture and is composed for listeners at that time and place. Each performance is unique,
so I have not only taken interest in learning about the history of each premiere, but also
come to enjoy live performances much more than recordings.
Finally, note that when Orfeo and Messiah were premiered in 1607 in Mantua and in
1742 in Dublin respectively, for instance, only aristocrats and members of the clergy
were present in the audience. Fortunately, this restriction no longer applies nowadays.
This historical fact, however, has led me to treasure the opportunities of hearing live
music much more.
* How does each of our five pieces look both forward to the future and backwards to
the past?
Orfeo
future:
first great opera;
new recitative style (declamatory);
universal theme of emotion v. reason still applicable today
past:
a drama in the classical tradition of Greece and Rome (revival of the classics in the
Renaissance);
many parallels with Jacopo Peri’s Euridice, an earlier work
Messiah
future:
remains one of the classics of music; universal appeal;
most “finished” (crafted and detailed) piece of music;
brought the oratorio to the theater (he was criticized back then)
past:
there were oratorios since the 17th century (though not much like Handel’s);
the 3 ingredients: recitatives, arias, and choruses are the same as in opera, which the
1742 audience was familiar with.
chorus often assumes a role like that of the chorus in classical tragedy / in
Monteverdi’s Orfeo – occur throughout the oratorio and are the grandest pieces, and
may represent characters;
nothing about the music was revolutionary, it was just an unusually good version of
something familiar
Ninth:
future:
large orchestra (with doubled harmony)
long duration of the whole symphony;
gives voices (soli and chorus) a place in his symphony – in fact, he lets them
conclude his massive sym. (put in 4th mvt);
has been imitated by many subsequent composers, especially those writing about a
combination of personal and universal expression;
symphony as a single work that possesses a psychological sequence generally
representing struggle leading to triumph;
ambiguities? (nebulous beginning…)
past:
some similarities to his previous symphonies;
use of recitative in lower voices (mvt. 4)
4-movement structure (though switched order of 2nd and 3rd)
Symphonie fantastique:
future:
program music (VS absolute music) more acceptable nowadays
first great Romantic symphony;
Berlioz was perhaps the first modern orchestrator to use the orchestra not as a
medium of 4 or 5 part writing but as the source of sounds, timbres, relationships, and
colors;
novel instrumental effects – col legno, glissando on flute and horn; use of valve
trumpet and horn
past:
Estelle, Smithson (both have characteristic melodies as memories), Goethe’s Faust,
Hugo’s “La ronde du sabbat,” and Alfred de Musset’s translation of Confessions of an
Opium Eater all had an affect on Berlioz; influenced by Beethoven’s work
Le Sacre:
future:
became independent as an orchestral piece;
used in Disney’s Fantasia;
unconventional theme and music;
even larger orchestra (quintuple winds, 8 oboes)
sexual overtones, unusual use of the body, rejection of classical ballet poses and of
narration and mime in Nijinsky’s choreography: new directions in dance
past:
his earlier ballets – Firebird and Petrushka
* Discuss male and female elements in each of the five musical premieres.
Orfeo:
Male ~
- only male singers took important roles, so 2 of Giovanni Gualberto Magli’s 3 roles were
female (personification of Music in Prologue, Proserpina in act 3), Euridice was played
by a soprano castrato called Girolamo Bacchini.
- trombones to announce Duke Vincenzo Gonzaga (of course…)
- deeper and louder instruments for the underworld, like trumpets / cornets
Female ~
- lighter and gentler instruments for the upper world, like chitarrone, harpsichord,
recorder.
- pastoral setting: peaceful and calm
- Euridice did NOT have a prominent role in the opera
- female voices were taken by male castrati (as mentioned above)
Messiah:
Male ~
- Tenor and bass soloists made their appearances before the soprano and alto
soloists – Handel might be adhering to social norms at that time, giving men a
higher “priority”. But overall in the piece, there is not much gender bias.
- furious / energetic music with word painting and jerky melismas: “But who may
abide” (for “for he is like a refiner’s fire”), “Thus saith the Lord of Hosts” (on
words like “shake”)
Female ~
- pastoral music which is ruminative, gentle, soft: pifa in Part I
- Light and soft: the duet chorus “For unto us a Child is born”
- comforting and legato music: “Comfort Ye my people”
- high register and accompaniment in the violins in “And lo, the angel of the Lord” and
“And suddenly there was with the angel” suggests the beating of the angel wings. Such
lightness and delight are more “female” than “male”.
Handel juxtaposes male and female voices for different effects (?), e.g. in duet chorus
“For unto a child is born.”
The Ninth:
Male ~
- baritone solo (a man) introduces the “Ode” theme and throughout the chorus
parts, men played a dominant role – again, social norms, maybe.
- the “explosion” / a stormy gesture played by the winds at the beginning of Mvt.
IV. Note the first chord combines a minor chord and a diminished seventh chord
which clash harmonically, adding to the dissonant and “masculine” aggression.
- The strong militaristic pomp in D major that ends the entire symphony
Female ~
- second theme in slow mvt. III is a sighing melody in D major. The legato and
sighing nature contribute to the “feminine” elegance.
Sym. Fan.:
Male ~
- in Rêveries-Passions (mvt I), the bold strokes of the lower strings imitating the
palpitation are masculine and coarse.
- Melody of dotted rhythm by E flat clarinet for the idée fixe in mvt V is purposely
unrefined – E flat clarinet is considered by Berlioz as the most hideous
instrument; used to depict the beloved transformed into a witch.
Female ~
- Women had a strong influence on Berlioz in this composition: the beloved Estelle
Fournier of his youth and the great Shakespearian actress Harriet Smithson.
- the idée fixe in mvt. I is elegant, because it reflects the perfect image of the musician’s
beloved.
Rite of Spring:
Male ~
- Put together by 4 men: Igor Stravinsky (music), Nicolas Roerich (scenery /
costumes), Vaslav Nijinsky (dance), Serge Diaghilev (financed it; a homosexual,
by the way…)
- Coarse music: in Dance of the Adolescents, the repeated polychords with accents
on shifting beats
- Polytonality: Procession of the Sage (tubas)
- Loud, agitated fanfares: e.g. beginning of Dance of the Earth
- Men were given the dominant role in the rite – the sage was a man, the abductors
in the “Game of Abduction” were men, etc.
- Note that girls often dance to “male” (unrefined) music.
Female ~
- The sacrificial victim was chosen among young girls and women were the weaker
party, e.g. they were those abducted in the “Game of Abduction”.
- folk-like or ruminative melodies: e.g. the soft beginning of Spring Rounds or
introduction to Part I (bassoon solo)
“Our study of musical premiers has relied on a finite amount of historical evidence
with much important information lost over time. For each of the five pieces,
imagine the ‘missing’ historical document that you would most like to examine and
discuss its importance for our understanding of the premiere.”
Orfeo: A written recollection of the performance by an audience member or participant
that would name the specific performers and which ending was actually performed. With
the exception of Orfeo, which Monteverdi wrote especially for Francesco Rasi, our
assignments of parts and our estimations of how many performers were present are all
speculations based on norms of the time and various correspondences. A document
cementing which parts were played by whom and how many actor there were would help
us to understand just how much pressure the performers were under to learn several parts
and how large the chorus would have been. Also, one of the largest controversies about
the premiere is whether Striggio’s Bacchus ending or Monteverdi’s Apollo ending was
performed. Knowing which was performed would give us insight into whether the
mechanics of the Apollo ending were even possible and if so whether the messages in the
Apollo ending were central to the opera.
Messiah: The original score performed at the premiere. Handel was very accommodating
to his performers and therefore edited and rewrote his score several times to
accommodate the voices he was working with. The only version of the score we have is
the one that Handel donated to the Foundling Hospital, which is probably not the same as
the score used at the premiere. It would help us to understand the music performed at the
premiere a great deal if we had the actual score.
9th Symphony: The other half of Beethoven’s conversation books. We know a great deal
about the symphony’s performance, but our only insight into the problems faced by
Beethoven and his friends come from letters and the one-sided conversations in his
books. If we could have a copy of what Beethoven said in those conversations we could
more easily understand how he felt about the performance and its challenges and learn
much about his personality and thoughts.
Symphonie Fantastique: The original score of Part III as performed in the premiere. We
know that the third movement made very little impression on the audience at the premiere
and afterwards Berlioz immediately rewrote it and the original was lost. This original
score would be very helpful not only in reconstructing the first performance but also in
studying how it changed from its original to its final version and how Berlioz’s vision for
the piece changed from one to the other.
Rite of Spring: A written record of Nijinsky’s choreography. Stravinsky’s music has
been well preserved since the premiere but Nijinsky’s choreography has been largely lost
with the exception of comments in various letters that have allowed people like Millicent
Hodson to reconstruct it as best as possible. Because Nijinsky’s choreography was as
much at the heart of the controversy surrounding The Rite of Spring as Stravinsky’s
music was, it would be very valuable to know exactly what Nijinsky’s vision for the
ballet was.
“Compare the use of dance music in the pieces we’ve studied. In what ways does
music that was meant to be danced to differ, if at all, from that which was not?”
Orfeo: Dance music at the beginning to celebrate Euridice and Orfeo and at the end (the
moresca) to celebrate Orfeo ascending with Apollo. Dancing is a small part of the
performance associated with creating an atmosphere of happiness and celebration.
Messiah: Not so much about the dancing…
Beethoven: Movement II, or the Schertzo, is a dance-like movement, like a minuet,
intended to give the audience a break after the completive intensity of the first movement.
Berlioz: The second part of Symphonie Fantastique is “Un Bal” which is a waltz written
to create the environment of a ball at which the artist sees his beloved. Waltzes were a
popular way of dancing at the time.
Stravinsky: It’s a ballet! It’s as much about the dance as it is about the music. The two
work together and though the dance is choreographed after the music is written, the
music is composed with the dance in mind.
In general dance music is written with a steady beat that allows for regularly repeated
movements that easily line up with beats of the music. For example, Berlioz’s waltz is
written in a ¾ meter because the waltz is a 3-beat dance. The schertzo is also written in a
triplet meter with strong beats. The moresca has the same easily identifiable pulse.
Stravinsky’s music moves away from the regular meter of other dances but still provides
a steady beat for the dancers, even if it is more difficult to decipher which beat is which.
Name five of the most important performers in the premiere of Monteverdi’s Orfeo [or
Handel’s Messiah or Beethoven’s Ninth Symphony] and for each give a brief description of
his/her activity.
Monteverdi:
Giovanni Gualberto Magli – a young castrato whom Francesco borrows from
Ferdinando; he is the subject of a series of letters between the two brothers as
Francesco worries he won’t appear in time. He sang the role of Music,
Proserpina, and one other role which we don’t know for sure.
Francesco Rasi – gifted singer, poet, and composer. The role of Orfeo was
probably composed for him – his voice, expressive, with a wide range, and with
delicate control, is perfect for the role.
Girolamo Bacchini – a Carmelite monk, another castrato. Very short. Played the
role of Euridice.
Lucrezia Urbana – singer and harpist from Naples; probably played the harp in
Orfeo – she had the technical ability to play the trills in the harp solo.
Giulio Cesare Bianchi – Monteverdi’s friend and pupil, a virtuoso cornettist –
could have played the cornetto solo during “Possente spirto”/
Handel:
Susanna Cibber – one of the most famous actresses of her day. Ran off with a
Mr. Sloper, causing great scandal; she was in forced retirement in Dublin at the
time of the Messiah. Handel transposed “he shall feed his flock” and “If God be
for us” for her. When she sang “He was despised”, tradition claims a reverend in
the audience shouted “Woman, for this be all thy sins forgiven thee!”
Christina Maria Avolio, an Italian soprano, came with Handel to Dublin from
Germany; she had previously sung in a performance of Handel’s opera Giulio
Cesare in Hamburg.
Matthew Dubourg – A violinist, also Master and Composer of the State Music of
Ireland, led the orchestra for Handel’s Dublin performances. He kept the
orchestra together with his demonstrative violin playing – no one conducted with
a baton.
Mrs. Maclaine (first name unknown) – sang in Messiah as a soprano. Apparently
had no further musical career, and doesn’t even appear in the review published in
the Dublin Journal. She is named in a surviving copy of the wordbook that had
the names of soloists penciled in.
John Mason – a bass soloist in Messiah, member of Saint Patrick’s choir. Handel
dumbed-down some of his arias into recitatives so John could sing them; for
instance, “But who may abide the day of his coming” and “Thou are gone up on
high”
Beethoven:
Anton Haitzinger – the 28 year old tenor soloist. Some found his voice beautiful
while others said it was "throaty and disagreeable"... Anton was chosen after
another tenor quit saying the part was too low for his voice. Anton had a difficult
part to sing because of the frequently-changing rhythm and the intonation.
Ignaz Schuppanzigh - Led the orchestra for the first performance of Beethoven’s
9th symphony. Beethoven’s insistence that Schuppanzigh lead the orchestra
undermined his efforts to secure the Theater an der Wien for the performance; the
theatre had its own orchestra leader Franz Clement. Was nicknamed “Falstaff”.
Henriette Sontag - The most famous soprano of the period, Beethoven chose her,
along with Caroline Unger, to be the soprano soloist for the 4th movement of his
9th Symphony. She asked Beethoven to re-write her vocal part, as it was difficult
for her to sing so high, and when he refused, she called him a tyrant.
Caroline Wild - Soloist during first performance of Beethoven’s 9th Symphony.
She “evidently worked hard but had troubles with her part.” Might have been the
one to turn Beethoven around to see audience’s applause. Visiting Beethoven’s
apartment with Sontag to sing for him – made the remark that he didn’t know how
to write for voice because of a high note, to which Beethoven responded, “Just
learn it! The note will come.”
Joseph Seipelt – the bass soloist. A member of the company at the Kärntnertor
Theater. Extremely nasal voice; picked at the last minute to replace Preisinger.
Berlioz
Chrétien Urhan – deeply religious virtuoso violist (played facing the audience so
didn’t look at legs of dancers). Played first violin during the Symphonie
Fantastique, and played a solo piece earlier in the concert .
François-Antoine Habeneck – conductor of both the Opéra and Conservatoire
orchestras, conducted the performance of the Symphonie Fantastique. First
conductor to use a bow to conduct instead of pounding. Pointed out people who
played wrong notes to the audience.
Hector Berlioz – as well as writing the piece, probably performed in the
percussion section
Alexis Dupont – tenor soloist who sang in some of the other pieces at the concert
(These are the only performers who actually played in the concert that are
mentioned in First Nights, so presumably they won’t ask this variation of the
question on the exam)
Stravinsky:
Pierre Monteux – conducted the performance, even though he “detested” Le
sacre. Apparently had a faultless ear for music – could hear everything that was
going on.
Maria Piltz – danced the role of the sacrificial victim – famously gave a perfect
performance of the dance even with the crowd screaming and shouting.
Hilda Munnings – a dancer who disguised her non-Russian origin by performing
as Lydia Sokolov. Added to the show after rehearsals already in process,
comments on how hard the dance was to learn.
Louis Speyer – first oboe for Le sacre.
Valsav Nijinsky - as well as choreographing Le sacre, directed the dancers by
pounding out a rhythm that could be heard above the crowd’s roar. He danced in
the other pieces in the program, including the solo as a rose in Le spectre de la
rose.
● Describe the performing ensemble in Monteverdi’s Orfeo [or Handel’s Messiah or
Beethoven’s Ninth Symphony], giving the best available estimate of numbers of performers
for solo singers, chorus, and instrumental ensemble.
The instruments in L’Orfeo
2 gravicembanno/i, harpsichords
2 contrabasso/i de viola, double bass
10 vidale da brazzo, violins
1 arpa doppia, harp
2 chitarrone/i, arch lute/ big guitar
2 organol/i de legno, small organs with wooden pipes
3 basso/i da gamba, bass viols
4 trombone/i, trombone
1 regale, regal (small organ
2 cornettoli, cornett (type of trumpet)
1 flartino alla rigesima seconda, saprannino
1 clarino, long trumpet
2 tromba/e sordina, muted trumpets
Not to mention the small number of singers who sang the roles, and probably who
doubled or even tripled on roles, as in the case of the boy singer Magli
The instruments in the Dublin Messiah
Vocal soloists: 2 sopranos, 3 altos, 2 tenors, 1 bass
Chorus: 16 men, 16 boys, 3 women (2 sopranos and 1 alto)
Surviving parts left by Handel to Foundling Hospital and number of players
Violin 1
Violin 2
Viola
Cello
Oboe 1
Oboe 2
Bassoon
Trumpet
Drums
Soprano
Alto
Tenor
Bass
6
6
4
4
2
2
4
2
1
8 or 12
8 or 12
8 or 12
8 or 12
The instruments in Beethoven’s premiere
Violin 1
Violin 2
Viola
Cello
Bass
12
12
8
10
8
For winds and brasses, double harmony, including oboes, trombones, trumpets, (second
timpanist), horns, flutes, clarinets
Result: 82-player orchestra (44 professionals from theater, 38 amateurs and volunteers)
Chorus: 80 singers, about 20 for each part
Plus the solo singers, which number 4
● Describe your favorite musical passage, or movement, in Beethoven’s Ninth Symphony
[or Berlioz’s Fantastic Symphony or Stravinsky’s Rite of Spring], describe how to find it in
its piece, and say why you like it.
Here are a few movements/passages I found interesting/enjoyable, and although obviously it's
up to you all to come up with your own favourites; these are some of the things I liked about
them.
Beethoven: Scherzo
-second movement of the symphony
- elegant structure that repeats large portions, often with surprising
twists
- the tempo is so fast that the surprises are even more effective, since you don't see them
coming, and by the time you notice something is different, a lot of it has already happened
- Examples of twists: when the fugue switches from duple to triple meter, or the first woodwind
melody is repeated in a minor key
- the piece is motivic to the point of obsession, with the first rhythmic motive (played in the
very first measure by the whole orchestra) repeated over and over again, until the trio
- at the trio, the original meter (complex time, dance-like) is replaced with a gentler duple
meter, and together with the disappearance of the first motive, the trio grants a relief from the
"obsession"
Berlioz: March au supplice
- fourth movement of the symphony; after "Scene aux champs"
- heavy, ominous tone with low strings and horns, with plaintive, high
contrapuntal line in bassoons
- however, somber tone repeatedly gives way to a passage with loud brass in a major key; a mix
of pompous and raucous; trombones blaring long, low tonic notes while high brass play stately
march melody
- powerful, jarring use of percussion
- emotional moment just before beheading, where just the head of idée fixe is played, and is
then "cut off"
Stravinsky: Round Dance
- appears about halfway into the first section of the piece, between the "mock abduction" and
the "Games of the Rival Clans"
- interesting range of instrumental colors, beginning with low strings and bass clarinet, later
introducing horns and woodwinds; gradually brighter timbre until sudden, piercing torrent of
brass and high strings
- phrases take on a meditative feel, like going through ritual motions, especially when the first
beat of each phrase begins with a percussive crash
- at beginning, passage sets up repeating syncopated pattern, which seems like accompaniment
at first, but is really the beginning of the melody; passage engages listener by playing with
expectations
● Compare the musical life of Paris in 1913 [and/or Mantua in 1607, Dublin in 1742,
Vienna in 1824, Paris in 1830] with that of Paris in 1830 [and/or Mantua in 1607, Dublin
in 1742, Vienna in 1824, Paris in 1913].
Paris 1830
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Most important city in the world for music
Still an older city – with medieval walls still standing, no stone embankments at
river, narrow streets instead of wide modern ones
Salons spread cultural and artistic ideas
1830 was the birth of the Romantic movement – revalued the Middle Ages –
Symphonie Fantastic is an official marker on road to Romanticism
Academie Royale de Musique – the Opera – was at the top of the stratified
hierarchy of Parisian musical world
2nd level was Opera Comique – musical works with spoken dialogue
numerous theaters and chances to experience the music of the day
musicians and players of the day had contracts that could easily be broken by
management – strict discipline from management
Paris 1913
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Focus of culture, style, elegance
Stiff top hats for the rich and soft top hats or bowlers for the bohemians filled the
audiences
Folies Bergere and Moulin Rouge were the two top music halls
Musicians commanded top dollar – were celebrities and stars of their day
Wagner being celebrated at time
Opera-Comique was the site of the most interesting premieres of the day
Diaghilev’s Ballets Russes are the talk of the town
Vienna 1824
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Fortified city with many defenses
City of nobles and aristocracy
Recent political turmoil – repressive laws and censorship in wake of French
Revolution
Rise of napoleon inspires Beethoven to write “Heroic 3rd Symphony”
Aristocrats retained own musicians
Musicians assembled their incomes on an ad hoc basis
Theater and opera – only there could large groups assemble for entertainment –
only activity that included all classes – performances began at 6 or 7
2 government-operated theatres were basically theaters for the royal family
Dublin 1742
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City has rich musical life but knows of outside musicians such as Handel
English culture an important aspect of the cultural life in Dublin- much theater,
opera, and music was imported from England
Other than large commercial theaters most of the musical life was promoted by
charitable organizations
Philharmonic Society of Dublin allied to Mercer’s Hospital for the poor
Great Music Hall in Fishamble Street just built in 1741 right before Handel
arrived
Mantua 1607
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Accademia degli Invaghiti was an association of gentlemen dedicated to the arts,
poetry, rhetoric and courtly virtues
Music for those that could afford it – for example Orfeo was commissioned for
the royal family and only they saw it – small audiences
Dramas in the style of ancient Greece and Rome – classical
Audiences were educated and would know about poetry and music and how they
were used in the piece – most of audience had some musical ability
● Devise a listening quiz for this examination: pick five short excerpts, one each from the
five historical pieces we have studied; describe how to find each in its piece; and indicate
why you have chosen them and how students should identify each excerpt and describe its
role and importance.
Orfeo: “Ahi, caso acerbo” sung the first time in Act II by the Messenger occurring after
the pastore respond to Orfeo’s vi ricordo. Ahi, caso acerbo is later sung by the Pastore
and Chorus. This is the first stile recitative instead of aria or chorus and can be identified
by her high opening note and the angular music that accompanies her speech. The
chitarrone accompanies her as the basso continuo.
Beethoven’s 9th, 2nd movement, measure 335, the fugal exposition of the first theme
played by the strings. This excerpt is found at the beginning of the 2nd Movement, in the
scherzo proper part. It is played immediately after an eight measure introduction by the
strings. The excerpt represents a fugal exposition of the primary theme of the scherzo
proper. I have chosen this because it is an example of a fugue as well as and example of
the fast tempo that usually exists in a scherzo. Note that this excerpt is only played by the
strings, and should not confuse it with a later excerpt of the primary theme played by the
entire orchestra.
Handel's Messiah, Part I, “for unto us a child is born” because it is a good example of a
duet chorus. Be sure to know how to distinguish between types of choral music.
Symphonie Fantastiqe: The very opening of the second movement “Un Bal”. It starts
with strings, each climbing phrase ending with a contribution from the harp. Sounds like
an awakening. It is important to be able to identify this beginning because the body of it
sounds much more like a waltz and it can be difficult to distinguish the second movement
by only hearing these opening lines.
Rite of Spring: The opening of Dances of the Adolescents which is the second scene in
Part I begins with a notable repeating polychord. Significant in this section is the use of
accents and the duple meter pulse is felt clearly throughout.
In several pieces in this course, music heard earlier is brought back considerably
later in the piece. Please discuss reasons why composers choose to do this, citing
specific examples.
Why do composers do this?
o Creates cohesion and unity in the piece
o Can be a central idea (idée fixe)
o Can be symbolic of an idea/thing/person
o Make audience feel like they are familiar and comfortable with the music.
Examples
o Orfeo
o The sinfonia that plays when Orfeo challenges Caronte:
 It plays once before Orfeo starts and it plays again after he has
failed to convince Caronte. At this point, it puts Caronte to sleep.
 The sinfonia comes back at the end of the piece when Apollo
comes down from Heaven to comfort his son and bring him up to
Heaven.
 Thus the Sinfonia is representative of Apollo, his love for his son,
and the power of music.
o Ritornellos are by definition a return of a piece of orchestral music.
Usually occur within movements or at the beginning/end of an act.
o Beethoven’s 9th Symphony
o At the beginning of the fourth movement, the cellos have a duetdiscussion with the rest of the orchestra in which the orchestra presents
pieces of the music from the previous three movements and the cellos
reject each section.
o This is representative of the composer saying that what has come before is
not good enough; we need to find something better.
o Symphonie Fantastique
o The idée fixe is the representation of the artist thinking about his love.
o It first appears towards the middle of the first movement when the artist
first sees his love and reappears at various points throughout the rest of the
piece.
o Is played by different instruments, in different keys, and at different
tempos.
o Is severed during the March of the Scaffold.
o It even appears in the final movement when it has been transformed into
something negative and is played on an “ugly” instrument (E-flat clarinet)
Discuss narrative elements in the music of either Berlioz or Stravinsky. How does
the music tell the story?
At the outset, I would like to apologize. This is a sucky essay topic and I hate it.
Berlioz
-music conveys emotions better than words do.
-the words are necessary to allow audience to follow.
o Idée fixe – represents the artist thinking of his love. – gets transformed through
the piece as the way he artist thinks of her changes through the piece.
o Each movement has a particular characteristic that indicates where the artist is or
what he is doing at that point.
o 1st movement
o Turmoil of emotions and then sees beloved.
 Fast and slow tempos
 Swooping melodies
 Piano and fortissimo
 Then idée fixe
 Then joy and passion from seeing her. – mostly faster melodies
and major chords.
o 2nd movement
o A ball where the beloved is seen
 A waltz with the idée fixe thrown in.
rd
o 3 movement
o In the countryside contemplating beloved – trouble on the horizon
 Two musicians (shepherds) piping to each other.
 Soft, melodic music.
th
o 4 movement
o A march to the scaffold – the head of the idée fixe is chopped off.
 A march – regular rhythms
 Duple meter – you know, because we only have two legs.
 Lots of trumpets and drums
 Umm.. the idée fixe comes.. and then a slice goes through the
music and it stops.
th
o 5 movement
o witches dancing
 Church-like sounds: bells, serpent.
 Church melody
 Ugly instruments
Stravinsky
o The introduction is the birth of spring because a whole bunch of sounds come out
of one small bud. It’s chaos. Yay.
o Dance of the abduction
o Horns indicate a hunt. They are hunting to abduct someone.
o Fast-paced melodies indicate frenetic behavior – running around.
o Drums heighten tension.
o Spring rounds
o The trill at the beginning implies birds – like spring.
o Games of Rival Towns
o The face-paced melodies are like a competition.
o The constant changing of melodies
o The horns imply a hunt (wait, have I said this before…?)
o Mystic Circles of the Adolescents
o The horns once again imply a hunt – they are looking for the glorified one.
o The melodies are cyclical – and circular. :-D
Essentially, if you get this essay, do Berlioz. Berlioz is easy. Stravinsky is hard.
Stravinsky is too hard to understand and really doesn’t include that many narrative
elements – in my humble opinion.
How do the pastoral and folk-like elements in the pieces we have studied contribute
to their listeners' musical perception? You may concentrate on one or two scores,
but consider all five pieces from this course in your essay.
Pastoral indicates natural, country, love, idyllic.
Orfeo
o
o
o
o
o
The pastoral was a common setting for pieces at that time.
The music in the upper world is pastoral.
The chittarone as basso continuo is pastoral.
Melodious tunes.
Creates a sense of calm and happiness that can be starkly contrasted to the disaster
of Euridice’s death and the sounds and feelings of the underworld.
Messiah
o Umm, is there something pastoral about Messiah?
o I mean, I suppose… it makes people happy and calm and shows how the Messiah
makes life good.
o Umm, maybe the use of biblical verses is folk-like because it is familiar to the
audience.
o Also, it is in English
9th
o Again, is there something pastoral about the 9th?
o Well, “ode to joy” is a folk-melody that is catchy and traditional-sounding.
o The Turkish March is also folksy.
o These folk-like melodies make the audience feel like the music they are listening
to is a close and accurate representation of society.
Symphonie Fantastique
o Well the “Scene aux Champs” is pastoral because it’s out on a countryside – this
makes the audience more able to follow the plot.
o In addition, the idée fixe sounds folksy – it again makes people feel like they are
listening to something that is really part of society.
Sacre
o Stravinsky put several folk melodies into Sacre. Some came from books; others
he composed.
o They are all pleasant sounding but Stravinsky plays with the idea by making them
foreign an uncomfortable through the use of polytonality and dissonance.
o The audience believes that in some foreign culture, those sounds would have been
the base and indigenous sounds.
Please discuss how the premieres of the five works we have studied were a
collaboration among several individuals.
Orfeo
o Collaboration between Claudio Monteverdi (composer), Alessandro Striggio
(librettist), and the prince of Mantua Francesco Gonzaga (money, control).
o Monteverdi composed the music.
o Striggio wrote the poem/lyrics – and essentially formatted the story as appropriate
for the stage.
o Gonzaga first thought of the idea to do this, provided the money and the space. He
ordered it performed for his father and the court. He also asked his brother to get
them a castrato from Florence (or Venice?).
Messiah
o Collaboration between George Handel (composer), Charles Jennens (librettist),
William Cavendish, and Matthew Dubourg
o Handel: composed music, directs part of performance, played the harpsichord and
played organ concertos during intermissions.
o Jennens: wrote the libretto – arranged a series of religious texts. The libretto was
important in shaping the whole piece. (he was upset at the quality of music that
Handel produced to go with his lyrics).
o Cavendish: invited Handel to go to Dublin and put on concerts for charities.
o Dubourg: led the orchestra, keeping them together with his “demonstrative violin
playing”
9th
o Collaboration between Ludwig Van Beethoven, Ignaz Schuppanzigh, and Michael
Umlauf.
o Beethoven composed the music and rehearsed the soloists.
o Schuppanzigh led the orchestra, helped plan the concert, and held rehearsals for
the strings.
o Umlauf conducted the performance, including the singers.
Symphonie Fantastique
o Collaboration between Hector Berlioz, François-Antoine Habeneck, and the
women in Berlioz’s life.
o Hector Berlioz came up with the storyline, organized the entire concert, and
composed the music.
o Habeneck conducted the orchestra for the performance.
o The women in Berlioz’s life inspired the story: Harriette Smithson, Camille
Moke, and Estelle Fournier.
Sacre du Printemps
o The “Four idiots”: Nicholas Roerich, Vaslav Nijinsky, Sergei Diaghilev, and Igor
Stravinsky – and Pierre Monteaux.
o Roerich was an extra archeologist and knew a lot about the culture. He came up
with the idea originally and designed the set and costumes.
o Nijinsky choreographed the ballet to the piece – revolutionized ballet.
o Diaghilev started the Ballets Russes (the ballet company that was involved) and
provided the funding for the performance. He also organized a lot.
o Stravinsky composed the music and helped the performers (musicians and
dancers) understand it.
o Monteaux conducted the orchestra – few others could have handled that level of
difficulty.
For each of the five pieces we have studied, please discuss what elements of the
premieres were beyond the composer's control.
Orfeo
o Very few things were in Monteverdi’s control because he was essentially a feudal
servant.
o He had control over the music and maybe a little control over the lyrics but little
else.
o He couldn’t control the setting, the audience, the musicians, the singers, the date.
Messiah
o Handel was brought to Dublin to give charitable concerts so he didn’t get much of
the profits.
o Dublin didn’t have a lot of great talent so he didn’t have the best musicians to
work with – perhaps.
o Some didn’t want their musicians playing in this piece (because it was
sacrilegious) so he couldn’t get many musicians.
9th
o Beethoven couldn’t hear so he couldn’t conduct very well nor really be sure that
people were playing in tune – he had to rely on others to do that.
o Vienna had no concert hall.
o Beethoven had little money so he couldn’t afford to spend much on the concert
and was obsessed with making profits.
o The music he composed was difficult and he was too stubborn to change it so he
couldn’t control whether the soloists were able to perform it well.
o There were few rehearsals and thus the overall quality was out of his control.
Symphonie Fantastique
o Berlioz demanded many instruments in his piece but he couldn’t control whether
or not those instruments were available.
o He had trouble finding a performance space.
o The effect of the audience’s reaction on other members of the audience was out of
his control – well, that’s out of any composer’s control.
o The performance was less than perfect because there were not enough rehearsals.
Sacre
o The audience was the most significant element that was out of Stravinsky’s
control. They were extremely judgmental.
o In addition, having the performance in the Theatre Des Champs-Elysees meant
that he was associated with Astruc which was kind of negative – that was out of
his control b/c it was Diaghilev’s decision.
o The choice of choreographer was out of his control b/c Diaghilev was the money.
o Whether or not Nijinsky understood and could follow the music was out of his
control.
o Whether or not Monteaux (the conductor) could sufficiently understand/follow
the music in order to conduct the orchestra was out of his control.
o The skill of the ballerinas – whether they would be able to do it – was out of his
control.
o Whether or not the performance would go on through the mayhem was out of his
control.
o The press’ reaction the next day was out of his control.