Survey of Western Music (MUS 115)
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2 Table of Contents Course Pack, Fall 2014 Table of Contents Course Outline.................................................................................................................................................... 6 Required Materials ........................................................................................................................ 6 Course Content and Schedule ........................................................................................................ 7 Basis of Student Assessment (Weighting) ...................................................................................... 8 Grading System ........................................................................................................................... 15 Recommended Materials ............................................................................................................ 16 ....................................................................................................................................... 18 Module 2: Sound and Feeling ................................................................................................................... 19 Magic of the Film Score ......................................................................................................................... 19 Module 3: Elements of Music ................................................................................................................... 20 Listening, Hearing, Experiencing.......................................................................................................... 20 Building Blocks of Music ....................................................................................................................... 20 Most Familiar Modern Instruments ..................................................................................................... 22 A Brief History of Notation .................................................................................................................. 28 Module 4: Postmodernism ........................................................................................................................ 29 Matters of Organization: Serialism ...................................................................................................... 29 Matters of Organization: Aleatoricism ................................................................................................ 30 Matters of Organization: Minimalism ................................................................................................. 31 Matters of Timbre: Extended Technique ........................................................................................... 32 Matters of Timbre: Electronic Instruments ....................................................................................... 35 Matters of Location: Environmental Music ....................................................................................... 36 Module 5: Classical Antiquity ................................................................................................................... 39 Module 6: Early Christianity ..................................................................................................................... 40 Chant in Local Christian Communities................................................................................................ 40 Gregorian Unification............................................................................................................................. 41 3 Table of Contents Course Pack, Fall 2014 Module 7: The Medieval Church .............................................................................................................. 42 Carolingian Organum ............................................................................................................................. 42 Romanesque Polyphony ......................................................................................................................... 43 Gothic Style .............................................................................................................................................. 43 Module 8: The Poetic Middle Ages.......................................................................................................... 44 Ars Antiqua ............................................................................................................................................... 44 Ars Nova .................................................................................................................................................... 46 Module 9: Ranaissance ............................................................................................................................... 48 Humanism and the Exaltation of (Wo)Man ....................................................................................... 48 Reformation and Counter-Reformation .............................................................................................. 50 Module 10: Baroque Rationalism ............................................................................................................. 53 The Common Practice Period ............................................................................................................... 53 Le Nuove Musiche....................................................................................................................................... 54 Instrumental Baroque ............................................................................................................................. 56 High Baroque ........................................................................................................................................... 58 Module 11: Rococo: Elegant and Sensitive ........................................................................................... 63 Module 12: Classical Enlightenment........................................................................................................ 64 Absolute Music ........................................................................................................................................ 64 Enlightenment Opera ............................................................................................................................. 67 Romanticism Threatens Classicism ...................................................................................................... 68 Module 13: Romanticism........................................................................................................................... 70 Classicism comes apart ........................................................................................................................... 71 Miniatures ................................................................................................................................................. 73 Virtuosi ..................................................................................................................................................... 76 Orchestra Tales ........................................................................................................................................ 77 Traditional Forms.................................................................................................................................... 81 Stories on Stage ....................................................................................................................................... 83 Emerging Nationalism in Many forms................................................................................................. 88 4 Table of Contents Course Pack, Fall 2014 Module 14: Modernism.............................................................................................................................. 89 Opera ........................................................................................................................................................ 90 Dance ........................................................................................................................................................ 92 Silver Screen, Small Screen .................................................................................................................... 96 Impressionism.......................................................................................................................................... 97 Expressionism.......................................................................................................................................... 98 Neoclassicism........................................................................................................................................... 99 Post-Romanticism ................................................................................................................................. 101 Neo-Romanticism ................................................................................................................................. 104 Contemporary Voice for Modern Song ............................................................................................. 106 Broadway – West End .......................................................................................................................... 108 .......................................................................................................................................... 111 Study of Music............................................................................................................................................ 112 Western Classical Music on World Stage ............................................................................................... 113 Hidden Meanings ....................................................................................................................................... 120 Classification of Instruments ................................................................................................................... 126 Easing into Music Terminology............................................................................................................... 128 Performance Practice ................................................................................................................................ 130 Multimovement Works: Glossary ........................................................................................................... 133 Number Titles of Compositions ............................................................................................................. 138 On a Concert Program.............................................................................................................................. 140 Forms and Shapes in Music ..................................................................................................................... 142 Orchestral Instrumentation ...................................................................................................................... 146 5 Course Outline Fall 2014 School of Arts & Science MUSIC MUSIC 115 SURVEY OF WESTERN MUSIC Fall 2014 COURSE OUTLINE The course description is online @ http://camosun.ca/learn/calendar/current/web/mus.html Please note: the College electronically stores this outline for five (5) years only. It is strongly recommended you keep a copy of this outline with your academic records. You will need this outline for any future application/s for transfer credit/s to other colleges/universities. 1. Instructor Information (a) (b) (c) (d) (e) (f) Instructor: Office Hours: Location: Phone: Email: Website: Dr. Mary C. J. Byrne By appointment Office 320, Victoria Conservatory of Music, 900 Johnson Street 250-386-5311 x. 5000 Alternative Phone: marybyrne@shaw.ca www.marybyrneflute.ca 2. Intended Learning Outcomes Upon completion of this course the student will be able to: 1. 2. 3. 4. 5. 6. Present thoughtful and discriminating commentary on composer, period, and genre style. Discuss select aspects of developments in musical instruments, including voice and orchestra. Discuss music in relationship to social, political, and scientific norms. Present research in written or other format on topics related to music. Discuss relationships between the disciplines of music and non-musical fields. Present a performance review of a live concert of classical music and/or related musical genres 3. Required Materials (a) Texts: Greenberg, Robert, How to Listen to Great Music: A Guide to Its History, Culture, and Heart. London: Plume-Penguin, 2011. The textbook is available at Lansdowne Campus Bookstore for $18.50; you also have the option to obtain the text in electronic format option from your favourite bookseller should you choose that. Course Pack prepared for this course, available at Lansdowne Campus Bookstore (b) Other Device with full text input capability, internet access and audio-video function. Camosun Library account for online access of Naxos and Oxford Online databases. “Desire to Learn” Profile 6 Course Outline Fall 2014 Ticket ($10 at group rate, to be purchased through instructor in mid-September) and personal transportation to attend Pacific Opera production of Das Rheingold by Richard Wagner on October 14, 6:30-10:30 at the Royal Theatre (see Google Maps) Please mark this date with its change of meeting location and time on your calendar now! 4. Course Content and Schedule Our survey of Western music will give an introduction to music in Western culture, from classical Greek antiquity to the present day, through listening and discussion of seminal works of music in the context of parallel social, political, and cultural developments. Emphasis is on classical and art music. No prior experience with classical music is required. Hopefully, this perfectly describes what you wish to take away from this course. In the many times I've directed this course, I have thrilled to the breadth of knowledge and experience brought into the classroom by you, the student and the class, most of it gained through passionate listening to and perhaps even creating music. It is my hope that this course helps you connect the dots of your own personal musical experiences to the vast continuum that is music, opening your ears to new sounds, ideas, concepts, and tools and giving you something concrete upon which to hang your passion for this expression of music. Three aspects of the course are equally essential to your success in the course and to your fullest experience in music through this course: 1) attendance at the weekly class meetings, materials introduced and discussed here will not be repeated elsewhere in the course; 2) weekly listening assignments, reflections, and personal study, keeping these current maximizes your classroom experience; and 3) keeping a close eye and ear on the electronic resources of this course – Naxos Music Library, Desire to Learn, and associated internet sources. Class Meeting Schedule: Class meets as scheduled on Camlink with the following exceptions: October 14, 2014 when we meet at the Royal Theatre 6:30-10:30 for the Pacific Opera Victoria production of Das Rheingold by Richard Wagner. Class meets at Royal Theatre (805 Broughton Street), 6:30-6:40 for seating prior to start of opera at 7:00. Directions may be found at www.rmta.bc.ca ; Google Maps will show you the right location if in doubt. November 11, Remembrance Day observation. Module Schedule (Desire to Learn [D2L]) September 2, Modules 1-3 September 9, Modules 3-4 September 16, Modules 5-6 -- $10 due for Opera ticket September 23, Modules 7-8 -- $10 due for Opera ticket September 30, Module 9-10 – last opportunity to submit $10 for Opera ticket 7 Course Outline Fall 2014 October 7, Module 10 (5:30-6:45), Midterm 1 (7:00) – pick-up Opera ticket October 14, attend Pacific Opera Victoria production, 6:30-10:30, Royal Theatre October 21, Module 11 October 28, Module 12 November 4, Module 12 (5:30-6:45), Midterm 2 (7:00) November 11 – no instruction, Remembrance Day November 18, Module 13, Term Paper due November 25, Modules 13-14 December 2, Module 14 5. Basis of Student Assessment (Weighting) Assignments (50%) – see below, and Module 1 on D2L Midterm 1 (10%) – October 7, 2014 – see Module 15 on D2L Midterm 2 (10%) – November 4, 2014 – see Module 15 on D2L Term Paper (15%) – November 18, 2014 – see Module 1 on D2L Final Examination (15%) – check Camlink for exact day, time and location Assignments (50%) There is a sequence of weekly listening assignments (see below, Listening Schedule) l for which the mark is calculated as an average AFTER dropping the lowest three scores. Assignments are due in electronic copy through D2L by the prescribed time given below. Please note: instructions associated with individual dropboxes will cease to be visible once the dropbox has closed. A small percentage penalty is assessed for late submission of work within the week due; it becomes a more substantial penalty for increasingly late submission. Late work may be deposited in the next available open drop box. No work is accepted for marks after the last class date for any reason whatsoever. Through these listening reflections, you are asked to study and hopefully enjoy the work and lives of some of the most respected composers in Western history. Please do some background research on each composer (Oxford Online through library database, or other resource) and the works (Classical Archives or other resource). If you find yourself especially interested in any one composer, do read or listen to more as you have time. Try to really get to know each composer, her or his music, how the music reflects the time and place in which it was written, and how it speaks to you as a listener in 2014 Canada. You should strive to become so familiar with the style of each composer that you feel you could pick out her/his music just by listening and could easily share observations and understandings about the music with others, both those who are music aficionados and those who are musical newbies. 8 Course Outline Fall 2014 As you encounter the assigned music, look for your own answers to questions such as these: What does the composer have to say about her/his time and place? How does this music affect me? Do I like this? Why? What seems unique or common about this composer’s music? Why might this music be considered great? Can this music speak to audiences of today? What kind of music might this composer write if s/he were still composing (if retired or passed on)? Am I most aware of the rhythm, melody, harmony, text, instrument, etc.? For each composer, please submit a personal reflection on your experience with the music, commenting or reflecting upon on your experience with each work. Most will choose to submit a written prose reflection, and length of the response will vary with the writer. If you do not feel that prose is your style, please consult with instructor regarding other options. In each reflection it is expected that you will have something insightful to offer about the music of each composer and that you will communicate well your full and individual, personal engagement with the music. Each reflection will be marked from 20 points based upon these criteria (see also the rubric attached to the relevant D2L dropboxes. As a substitute for the weekly composer assignment, you may submit a critical review of (1-2 pages) and concert programme/ticket from a live concert performance. You will still be held to account for any information which would be expected to be gained from doing the composer assignment. A maximum of 3 concert reviews may be substituted for assigned written work during the term. These websites of Victoria-based concert organizations might also be of interest to you: http://www.balletvictoria.ca/ http://finearts.uvic.ca/music/events/ http://www.aventa.ca/ http://victoria-baroque.com/ http://www.pov.bc.ca/ http://www.victoriasymphony.ca/ http://www.earlymusicsocietyoftheislands.ca/ Listening Schedule and due dates for submission of Listening Reflections Due September 9 (11:59 pm, D2L dropbox), listening reflections for: John Williams (or an alternate musical artist of your choice) – 2 compositions – listen from Naxos Music Library or do free search on the web: #2-7, 9, 18 Hans Zimmer (or an alternate musical artist of your choice) – 2 compositions – listen from Naxos Music Library or do free search on the web: #8, 12, 15-17 A favorite musical artist, consider a third film composer or a composer of music for gaming or media – 2 compositions – listen from Naxos Music Library or do free search on the web. The following links might be helpful for inspiration: http://www.imdb.com/list/FoiEz6pJZ6w/ ; http://listverse.com/2010/02/27/15most-influential-jazz-artists/ ; http://www.gamesradar.com/10-great-video-game- 9 Course Outline Fall 2014 composers/; http://www.rollingstone.com/music/lists/100-greatest-artists-of-alltime-19691231/talking-heads-19691231 Due September 16 (11:59 pm, D2L dropbox), listening reflections for: R[aymond] Murray Schafer – 2 works chosen from course pack selections #19, 113, 400 – listen from Naxos Music Library Sofia Gubaidulina – 2 works chosen from course pack selections #364, 366, 367 – listen from Naxos Music Library George Crumb -- 2 works chosen from course pack selections #97, 99-101 – listen from Naxos Music Library You may substitute music by either the composer John Cage (#85-87. 95, 96) or Phillip Glass (#89-91, 93, 94) for one of the composers above – listen through Naxos Music Library and submit to the dropbox for the composer you are skipping. For all remaining listen reflections, listen from Naxos Music Library unless instructed otherwise. Due September 23 (11:59 pm, D2L dropbox), listening reflections for: Hildegard von Bingen – 3 works chosen from course pack selections #133-135 Guillaume de Machaut – 3 works chosen from course pack selections #141-144 Guillaume Dufay – 3 works chosen from course pack selections #146-148 Josquin Desprez – 3 works chosen from course pack selections #149-152 Due September 30 (11:59 pm, D2L dropbox), listening reflections for: Giovanni di Palestrina – 3 works chosen from course pack selections #163, 164, 167 Giulio Caccini – 3 works chosen from course pack selections #168-171 Claudio Monteverdi – 3 works chosen from course pack selections #173-175 Due October 7 (11:59 pm, D2L dropbox), listening reflections for: Antonio Vivaldi – 3 works chosen from course pack selections #187, 189, 190 George Frederich Handel – 3 works chosen from course pack selections #191-194 Johann Sebastian Bach – 3 works chosen from course pack selections #59, 197-205 Due October 14 (11:59 pm, D2L dropbox), listening reflections for: Wolfgang Amadeus Mozart – 3 works chosen from course pack selections #210, 219-231 Franz Joseph Haydn – 3 works chosen from course pack selections #211, 212, 214, 215, 217, 218 Giacchino Rossini – 3 works chosen from course pack selections #312, 313, 315 If you have the urge to explore the music of an Italian opera composer of the next generation, you may substitute selections by Italy’s favorite son, Giuseppe Verdi (# 319, 322) for those by Giacchino Rossini Due October 21 (11:59 pm, D2L dropbox), listening reflections for: Ludwig van Beethoven – 3 works chosen from course pack selections #232-247 Franz Schubert – 3 works chosen from course pack selections #248, 250-255 10 Course Outline Fall 2014 Gustav Mahler – 3 works chosen from course pack selections #368, 370, 371, 390 Due October 28 (11:59 pm, D2L dropbox), listening reflections for: Robert Schuman – 3 works chosen from course pack selections #257, 258, 260, 261, 264, 267 Felix Mendelssohn-Bartholdy – 3 works chosen from course pack selections #256, 266, 278, 279, 298, 318 Johannes Brahms – 3 works chosen from course pack selections #302-309 As an option to explore some of the women composers of this period you may do a free search on Naxos Music Library or online for the music of Clara Schumann, Fanny Mendelssohn, or Ceçile Chaminade and substitute this composer’s music for the selections by Robert Schumann. Due November 4 (11:59 pm, D2L dropbox), listening reflections for: Frédérich Chopin – 3 works chosen from course pack selections #270, 271, 273, 274 Franz Liszt – 3 works chosen from course pack selections #272, 275-277, 281 Nicolai Rimsky-Korsakov – 3 works chosen from course pack selections # 287-289 Due November 11 (11:59 pm, D2L dropbox – Yes, due … even though it is a statutory holiday and there is no class on this evening), listening reflections for: Pyotr Tchaikovsky – 3 works chosen from course pack selections #283, 286, 299301, 327 Richard Strauss – 3 works chosen from course pack selections #290, 291, 293, 294, 377, 396 Antonín Dvořák – 3 works chosen from course pack selections #268, 310, 311 If you have a draw to the music of Scandinavia rather than the music of eastern Europe you may substitute 3 works of Jean Sibelius (#292, 295, 369) for those of Antonín Dvořák Due November 18 (11:59 pm, D2L dropbox), listening reflections for: Dmitri Shostakovich – 3 works chosen from course pack selections #359, 364, 365, 375, 378 Serge Prokofiev – 3 works chosen from course pack selections #78, 342, 345, 357, 372, 376 Joseph-Maurice Ravel – 3 works chosen from course pack selections #53, 76, 334, 339, 353 If you would prefer to study the works of an edgy composer, you may substitute 3 works by Béla Bartók (#340, 361, 363, 381) for the music of Serge Prokofiev, and/or 3 works by Arnold Schoenberg (#80, 296, 356, 394) for the music of Maurice Ravel. Due November 25 (11:59 pm, D2L dropbox), listening reflections for: Claude Debussy – 3 works chosen from course pack selections #33, 55, 352, 354, 355 Aaron Copland – 3 works chosen from course pack selections #343, 344, 349, 397, 402 11 Course Outline Fall 2014 Edward Kennedy “Duke” Ellington – 3 works chosen by free search of Naxos Music Library or online sources. Duke Ellington makes a lot of people very happy. If, however, you prefer to explore rhythmic energy of a less predictable sort, you may substitute 3 works by Igor Stravinsky (#332, 333, 335, 337, 358, 360) for the music of Ellington. Alternately, if you have a favourite jazz/pop artist or even one whose music you are simply interested in exploring, now would be the time to substitute 3 works from that composer for the music of Ellington. Due December 2 (11:59 pm, D2L dropbox), listening reflections for: George Gershwin – 3 works chosen from course pack selections #331, 348, 384 Leonard Bernstein – 3 works chosen from course pack selections #350, 389, 398, 407, 408 Serge Rachmaninov – 3 works chosen from course pack selections #297, 373, 388 While Rachmaninov is the more well-known composer, I have two composers whose music makes my “Desert Island List” – both for their unabashed Romanticism and sheer delightful beauty. If you’d like to see what I mean, feel free to substitute 3 works by Ottorino Respighi (#383, 385, 386) or by Samuel Barber (#374, 379, 393) for the works of Serge Rachmaninov. Now … if only I could figure out a way to work in the singularly splendid work by Gustave Holst: The Planets (#382)! Reading Schedule Please read from the textbook and the course pack the given chapters in advance of the indicated course. These materials will be tested on the Midterms and Final which follow the assignment date most closely. September 9: Textbook chapters 1, 2, and 4; course pack sections “Study of Music,” and “Western Classical Music on the World Stage” September 16: Textbooks 3, 5, and 6; course pack sections “Hidden Meanings,” and “Classification of Instruments” September 23: Textbook chapters 7-9; course pack sections “Easing into Music Terminology,” and “Performance Practice” September 30: Textbook chapters 10-13; course pack sections “Multimovement Works [Glossary],” and “Number Titles of Compositions” October 7: Textbook chapter 14 October 14: Textbook chapter 27; Pacific Opera Victoria materials in hardcopy the previous class as linked through Module 16, Opera Going October 21: Textbook chapters 15 and 16; course pack sections “On a Concert Program” and “Forms and Shapes in Music” October 28: Textbook chapters 17-19; Instruments” 12 course pack section “Orchestral Course Outline Fall 2014 November 4: Textbook chapters 20 and 21 November 18: Textbook chapters 22-26 November 25: Textbook chapters 28-30 December 2: Textbook 31-33 Quiz Schedule September 9 – the following three “quizzes” close at 5:30 on September 9. None is required, but each is worth extra credit on the first midterm. For students joining the course after the first week will receive an extension on the deadline to September 16. Musical Me Dropbox Desire to Learn Quiz Naxos Music Library Quiz September 16 -- the following “quiz” close at 5:30 on September 16. It is not required, but it is worth extra credit on the first midterm. For students joining the course after the first week will receive an extension on the deadline to September 23. Instruments Quiz October 21 -- the following “quiz” close at 5:30 on October 21. It is not required, but it is worth extra credit on the second midterm. Opera Going Quiz November 1 -- the following “quizzes” close at NOON on November 1. required, but each is worth extra credit on your term paper. Term Paper Outline Quiz Plagiarism Quiz Neither is Term Paper (15%) Due November 18, 2014 to D2L Dropbox The paper should explore the relationship of music with or to a non-music field or discipline, perhaps your own personal field of academic study (your major): Your written work should express your engagement with the topic. The paper should de 2000-2500 words. A paper which falls short of this guideline will be assessed on an individual basis for “completion of argument.” If the paper feels thoroughly-argued and complete, then a shorter paper may receive full marks. Your written work should be thoughtful and well-researched. Your paper should give all evidence of full research, reasoned argument, and appropriate personal observation. You should give full evidence of engaging with any music referenced. Include a full list of references formatted according to Chicago Manual, APA, or MLA style. A 13 Course Outline Fall 2014 minimum of five edited sources is a good starting point in addition to any sonic source. Since it is not a heavily edited source, avoid using Wikipedia or Wiki-like sources unless supporting these sources with substantial research from specialists in the field. For assistance please visit the excellent staff at the Library and Learning Commons or online through SFU at http://www.lib.sfu.ca/help/subject-guides/contemporaryarts/music/home Your written work should be entirely your own work and should be presented entirely in your own words, according to accepted academic practice including appropriate notes and reference annotations It is possible that this topic might not require full citations or bibliography depending on the perspective of the paper, but must include these if demanded by the content of the paper. Your instructor has a preference for Chicago Manual of Style and footnotes; however, you may choose any style format you desire as long as every inclusion which requires citation includes a citation which directs your reader to the exact source of the information. Please consult the Camosun Calendar for academic penalties for plagiarism and academic misconduct, and one of the fine websites detailing how to avoid the problem all together: http://library.acadiau.ca/tutorials/plagiarism/ or http://www.lib.sfu.ca/help/subjectguides/contemporary-arts/music/home Submitted papers should reflect accepted scholarly writing and formatting style and practice. For assistance consult English Help Centre (Ewing Building) or Writing Center (Dawson Building), or online through SFU at http://www.lib.sfu.ca/help/writing Choose your topic carefully, making it a topic about which you are genuinely interested in discovering more. Make it your goal to express your understanding of your research rather than to give a simple enumeration of what you found out from your sources. In other words, interpret your findings and bring them to life! Topics in this category often become quite large. You may wish to discuss your topic choice with the instructor prior to investing a lot of time in your research, but this is not required. You may also be asked for a few spoken words for the class regarding your paper topic, just so that the whole class might know what you explored and discovered – very impromptu, there is no reason to make a prepared statement (just be ready for the question). If you would prefer to explore a non-written option for the papers – oral presentation, PowerPoint, videography, arts performance – please speak with instructor ASAP and no less than three weeks before due date. Understanding is granted those whose first language is not English. Examinations (35%) Midterm 1 (10%) – October 7, 2014 Midterm 2 (10%) – November 4, 2014 14 Course Outline Fall 2014 Final Examination (15%) – check Camlink after mid-October for date, time, place Midterm examination will take about 1 hour at the end of class. The Final examination will take about 2 hours in a designated session during exam week. Each will be made up of a variety of questions (~ 40 for midterm, ~ 50 for final) Short answer questions based on listening to music in the examination Short answer questions based on reading, class materials, and weekly assignments Longer answer questions (1-2 on each midterm, 3-4 on final examination) Examination are thorough – hard but not impossible – and will be based equally on in-class and out-of-class study of the previous month for the midterms, and of the full term for the final. The student who diligently attends class, reviews the week’s material after each class, and completes the assigned listening in a thoughtful and timely fashion – in essence, practicing their materials as would be expected from a music student learning an instrument – will do well on the examinations. No formal review of material will be given in advance of the examination; however, a list of terms and music to be covered will be given at the previous class session. It is promised that all works and concepts tested on the final examination will have been discussed directly in class. PLEASE NOTE – RE: MIDTERMS – if you miss a midterm, you have limited options for making up the examination. (1) You must have a note from the appropriate professional stating clearly why you were unable to be present at the class meeting of midterm examination; (2) you must take the make-up examination at the Victoria Conservatory of Music (900 Johnson Street); (3) you must complete the make-up examination before the marked midterm examinations are returned to your classmates the week after the original exam. A word about plagiarism and academic misconduct: Plagiarism is a serious academic offence, see: http://camosun.ca/about/policies/education-academic/e-2-student-services-&-support/e2.5.1.pdf Academic misconduct, likewise, is a serious offence, see: http://camosun.ca/learn/calendar/current/pdf/academic.pdf failure to cite the work of other authors or sources, or indulging in plagiarism of any kind will result in a mark of “0” for the assignment in question, in addition to any penalties incurred under the broader Camosun Academic Conduct policy. Incidences of suspected plagiarism will incur the penalty above and then be investigated through one-on-one discussion between instructor and student to determine appropriate course of action. 6. Grading System Standard Grading System (GPA) 15 Course Outline Fall 2014 Percentage Grade 90-100 85-89 80-84 77-79 73-76 70-72 65-69 60-64 A+ A AB+ B BC+ C 50-59 D 0-49 F Description Grade Point Equivalency 9 8 7 6 5 4 3 2 Minimum level of achievement for which credit is granted; a course with a "D" grade cannot be used as a prerequisite. Minimum level has not been achieved. 1 0 Temporary Grades Temporary grades are assigned for specific circumstances and will convert to a final grade according to the grading scheme being used in the course. See Grading Policy E-1.5 at camosun.ca for information on conversion to final grades, and for additional information on student record and transcript notations. Temporary Grade I IP CW Description Incomplete: A temporary grade assigned when the requirements of a course have not yet been completed due to hardship or extenuating circumstances, such as illness or death in the family. In progress: A temporary grade assigned for courses that, due to design may require a further enrollment in the same course. No more than two IP grades will be assigned for the same course. (For these courses a final grade will be assigned to either the 3 rd course attempt or at the point of course completion.) Compulsory Withdrawal: A temporary grade assigned by a Dean when an instructor, after documenting the prescriptive strategies applied and consulting with peers, deems that a student is unsafe to self or others and must be removed from the lab, practicum, worksite, or field placement. 7. Recommended Materials or Services to Assist Students to Succeed Throughout the Course LEARNING SUPPORT AND SERVICES FOR STUDENTS There are a variety of services available for students to assist them throughout their learning. This information is available in the College calendar, at Student Services, or the College web site at camosun.ca. STUDENT CONDUCT POLICY There is a Student Conduct Policy which includes plagiarism. It is the student’s responsibility to become familiar with the content of this policy. The policy is available in each School Administration Office, at Student Services, and the College web site in the Policy Section. 16 Course Outline Fall 2014 TO PURSUE TOPICS OF MUSIC THEORY SEARCH THESE MUSIC THEORY LINKS: http://www.musictheory.net/ -- Ricci Adams Music Theory, an interactive romp through the basics. http://www.soundadvicedirect.com/about.html -- Sound Advice is Camosun’s entry-level theory programme and is home-grown here in Victoria. 17 Module 2 Sound and Feeling MODULE 2 SOUND AND FEELING MAGIC OF THE FILM SCORE At the first class meeting, we will have listened to a selection of these brilliant scores, and through them have discovered some of the remarkable qualities of music which read as universal to listeners. In the following week you will have the opportunity to further explore three composers in depth: John Williams, Hans Zimmer, and a composer of your choice. You might find inspiration for your free-choice composer on one of the IMDB databases http://www.imdb.com/list/ls000036474/ or http://www.imdb.com/list/ls005359850/ . Some my favourites for the two recommended composers are below. Music heard in class is drawn from the following: 1. * Jerry Bock (b. 1928) and John Williams (b. 1932), Fiddler on the Roof (film 1971) 2. * John Williams (b. 1932), Jaws (1975) 3. * John Williams (b. 1932), Close Encounters of the Third Kind (1977) 4. * John Williams (b. 1932), Star Wars Double Trilogy (1977-1983, 1999-2005) 5. * John Williams (b. 1932), Indiana Jones Tetralogy (1981, 1984, 1989, 2008) 6. * John Williams (b. 1932), E.T. The Extra-terrestrial (1982) 7. * John Williams (b. 1932), Saving Private Ryan (1998) 8. * Hans Zimmer (b. 1957), Gladiator (2000) 9. * John Williams (b. 1932), Harry Potter and the Philosopher’s Stone (2001) 10. * Howard Shore (b. 1946), Lord of the Rings Trilogy (2001-2003) 11. * Klaus Bedelt (b. 1967), Pirates of the Caribbean: The Curse of the Black Pearl (2003) 12. * Hans Zimmer (b. 1957), Last Samurai (2003) 13. Harry Gregson-Williams (b. 1961), Kingdom of Heaven (2005) 14. * Patrick Doyle (b. 1953), Harry Potter and the Goblet of Fire (2005) 15. * Hans Zimmer (b. 1957), The Dark Night (2008) 16. * Hans Zimmer (b. 1957), Angels and Demons (2009) 17. Hans Zimmer (b. 1957), Inception (2010) 18. * John Williams (b. 1932), War Horse (2012) 19 Equally fun is the 2012 tribute to video gaming music by the Ohio State University Marching Band http://www.youtube.com/watc h?v=rNzOVxHhjmQ . Module 3 Elements of Music MODULE 3 ELEMENTS OF MUSIC We struggle to find a definition of music. Even the venerable dictionaries of music often decline the opportunity to define “music.” Is it an art? Is it a science? Is it a language? Is it the sound? Is it the feeling? Is it the message? You see! Not something easy to define. In fact, we might just avoid going too deeply into that question ourselves. I’ll share my personal definition, but ultimately we each must come to our own definition of this marvelous essence that is music. In this module we will spend a bit of time breaking down music into component parts and start to build a vocabulary by which we can speak about music. LISTENING, HEARING, EXPERIENCING Listening and hearing are not the same things – your parents told you this! More than this parental reprimand, a lover of music understands that listening and hearing are only the starting point for experiencing music. We often take listening and hearing for granted, but not only are these different for different individuals, these evolve in us as an individual throughout our lifetime. This simple fact gives us the opportunity to always experience our environment and our music – no matter how familiar – in a new and unexpected way. If interested in the effects of music and neurology, may I recommend: Oliver Sachs, Musicophilia 19. R. Murray Schafer narrates Listen (2009), directed by David New, National (Knopf, 2007), and Film Board of Canada http://www.nfb.ca/film/listen/ Montreal-based Daniel Levitin, This Is Your Brain on 20. Evelyn Glennie narrates Touch the Sound: A Sound Journey (2004), directed Music: The Science of by Thomas Reoidelsheimer, Filmquadrat and Skyline Productions a Human Obsession http://www.youtube.com/watch?v=JL9u5blDE8U (Plume, 2007) BUILDING BLOCKS OF MUSIC During this module, we will work in class through a PowerPoint presentation, The Nature of Music. Here we will consider building blocks of music. There are quite a few terms and concepts imbedded in this PowerPoint, so do be sure to review it on D2L after the class meeting, making notes as you see fit so that terms will be easily recallable at exam time. Unfortunately, you won’t be able to review this music directly from the PowerPoint, nor will the selections be obtainable through online sources. Hopefully your recollections from class will be of service to you. The music used to illuminate these concepts will largely be music of the non-European, hence nonWestern tradition. Music selections are, for the most part, field recordings, and are drawn from the following two sources: Jeff Todd Titon, ed., et al., Worlds of Music: An Introduction to the Music of the World’s Peoples (Belmont, CA: Schirmer, 2005), and Guy L. Beck, ed., et al., Sacred Sound: Experiencing 20 Module 3 Elements of Music Music in World Religions (Waterloo, ONT: Wilfrid Laurier University Press, 2006). Both of these texts are excellent in treating specialized aspects of what is best termed ethnomusicology. Both texts assume an advanced understanding of music. The titles of the musical selections of this discussion are given below so that you may easily take notes on the presentation. 21. Songs of hermit thrushes. Maine, USA (1999) If interested in music as a function of human sociology, may I recommend: Daniel Levitin, The World in Six Songs: How the Musical Brain Created Human Nature (Toronto: Viking Canada, 2008). 22. “Nag Beigu” (“Ferocious Wild Bull’), traditional “Praise Name Dance (19th century) honouring King Naa Abudu from the kingdom of Dagbon. The performers here are of Lunsi tradition. Ghana (1984) 23. “Hakusen no” (“A White Fan”), Wedding Song performed by the Geisha Shitaya Kotsuru accompanying herself on Shamisen. The text speaks metaphorically of the white fan as a shining shield (marriage) preserving serenity, in this case portrayed as dark pines and as deep calm waters. In all marriage is describes as something to be sought. 24. “Lullaby,” traditional Zuni. New Mexico (1950). This soothing 2-note lullaby coos to the little boy with terms of endearment. 25. Bubaran “Kembang Pacar,” University of Wisconsin-Madison Javanese Gamelan Ensemble. Madison, WI (2000) 26. Festival Drumming, Taiko Ensemble Yuukyuu-kai. Bamberg, Germany (2000) 27. WT Akyeampong (b. 1900), Bompata Hymn Tune, as realized by Postal workers canceling stamps. Ghana (1975) 28. Bhagavad Gītā 18:65-66, sung by Guy L. Beck (2005). This chant transmits ideals of surrendering of self to a higher purpose. 29. Qur’ān recitation (sūra 1.107), al-Fātitha, recited by Hafiz Kani Karaca (1997). This recitation is an invocation to Allāh and affirming Allāh as the sole focus of devotion. 30. Tibet Contour Chant, chanted by the Tibetan monks of the Drepung Monastery (1989) 31. Invocation: Mangalacharanam, Three Gems: Trisaranam, Chanted by the Theravāda monks form the Mahābodhi Society, Calcutta, India (1999). The chant repeated exhorts the participant/listener to seek refuge in Buddha 21 Module 3 Elements of Music 32. “Weeping Pilgrim” from The Sacred Harp (1844), a book of over 250 hymns and songs for communal choral singing published b Benjamin Franklin White (1800-1879) and Elisha J King (1821-1844), Georgia, USA. MOST FAMILIAR MODERN INSTRUMENTS During this module, we will spot our way through a PowerPoint presentation, Modern Voices and Instruments, in class. It takes some practice to be sure what instrument you are hearing, and even the most experienced listener can get it incredibly wrong if the instrument is used in a way that it not typical for the instrument. Still it is worth pausing to listen to the variety of musical instruments available to us for music-making in the west here in the 21st-century. The works chosen to exemplify the vocal ranges and instrument varieties are largely available through the Naxos Music Library or through open-source online. A majority of the selections have been penned in the 20th or 21st centuries, although some hale from the pens of much earlier composers. Additional to these selections, the Naxos Music Library, under the “Naxos Music Library Playlist” tab, hosts a series of themed collections, many of them dedicated to the music of individual instruments. I have marked these instruments below with a small NML after the instrument name. Likewise, if you are shaky on your knowledge of modern concert instruments, check out the following websites, Even though many of these websites are focussed toward kids, they are good: BBC Guide to the Orchestra http://www.bbc.co.uk/orchestras/learn/guidetotheorchestra/ “Arts Alive” Instrument Lab http://www.artsalive.ca/en/mus/instrumentlab/, National Arts Centre Orchestra SFS Kids Music Lab http://www.sfskids.org/templates/splash.asp, San Francisco Symphony DSO Kids Listen http://www.dsokids.com/ , Dallas Symphony Orchestra You may particularly enjoy these oldies-but-goodies. Garrison Keillor, Young Lutheran’s Guide to the Orchestra (comedy, but still the musical and character representation of the various instruments of the orchestra are quite valid – perhaps avoid this one, however, if you do not wish to participate in comedy which pokes fun at a religious denomination. Finally this is on YouTube with visual imagery provided by stills of Gerard Hoffnung’s charming comic caricature cartoons of the instruments! http://www.youtube.com/watch?v=iHtkuLGT9uc Leonard Bernstein, Young People’s Concerts, episode on Orchestration: an oldie, but goody. Be sure to get all the parts. http://www.youtube.com/watch?v=6UKcSH4IiSk How much time you spend immersing yourself in the sound and temperament qualities of the most familiar modern instruments is up to you. I can only say your enjoyment of music is likely to be greater if you are not constantly wondering what instrument you are hearing. At a minimum, you should become conversant with the names of the most common musical instruments (including proper spelling and pronunciation), what makes the instrument sound, and its instrument family, both common and official. When you feel that you have your head wrapped around the essential qualities, families, and characteristics of these instruments, try your hand at the quiz on D2L. A perfect score will give you an extra 5 points toward your first midterm. 22 Module 3 Elements of Music Flute NML 33. * Claude-Achille Debussy [pronounce DEh-bus-ee] (1862-1918), La flûte de Pan: Syrinx (1907): this little gem of the flute repertoire originated as incidental music for a long lost play Psyché by Gabriel Mourey. A performance of this work has been added to the playlist, but may I humbly recommend the following performance http://www.youtube.com/watch?v=E-L18wM5e10 Piccolo 34. * Anonymous, Bird Fancier’s Delight (1717). These tiny works, originally for sopranino recorder, were part of a popular fad of the 18th-century : teach your pet bird to sing specific tunes. With your recorder in hand and book of tunes for your budgie, your budgie could learn exactly its correct and most elegant song. Today these are most often performed for pleasure by players of piccolo. Alto Flute 35. * Torben Snekkestad (b. 1973), Francis Sketches (2009). Forming part of a composition project by alto-flutist Eva Østergaard the work capitalizes on the unique church interior at the mediaeval church Løgumkloster (Jutland, Denmark) and the compositional insight of her fellow Danish composers. The composer speaks quite poetically about the work at http://www.dacapo-records.dk/en/recording-spaces-and-places--eva-ostergaard.aspx Oboe NML 36. * Benjamin Britten (1913-1976), Metamorphoses after Ovid for oboe alone (1951): the work might also be performed on saxophone (and sometimes alto flute!). Here on oboe http://www.youtube.com/watch?v=gp3Qj-PH-jA Mvt. 3, Niobe Mvt. 5, Narcissus English horn 37. * Vincent Persichetti (1915-1987), Parable XV for English Horn, op. 128 (1973). No. 15 for English horn is one of 25 total Parables by Persichetti, each focussing on an aspect of the solo or exposed duo instrumental performance (excepting two for larger ensemble) composed over the course of 21 years beginning in 1965. http://www.youtube.com/watch?v=CkTiWmDB8bA Clarinet NML 38. * Igor Stravinsky (1882-1971), Three Pieces for Clarinet Solo (1919) http://www.youtube.com/watch?v=472KbWLCAb8 Bass Clarinet 39. * Ulrich Leyendecker (b. 1949), Two Etudes for Solo Bass Clarinet (1990). The second of these etudes is an abstraction of Chopin’s famous Polonaise, op. 17, no. 4 (our # 214). 23 Module 3 Elements of Music Saxophone NML 40. * Ryo Noda (b. 1948), Improvisation III for Saxophone (1974): Here the Japanese-born composer draws on the style of traditional shakuhachi performance and casts it for saxophone. http://www.youtube.com/watch?v=3Sy1tlH-bmY Saxophone family 41. * Helmut Rogl (b. 1960), Swinging Memories, op. 47 (20--). This is one of several saxophone quartets from the pen of Helmut Rogl, here featuring the four “common” saxophones: soprano, alto, tenor, and baritone. Bassoon NML 42. * Karl-Erik Welin (1934-1992), Solo for Bassoon (1983). Contrabassoon 43. * Daniel Dorff (b. 1956), Sonatina d’Amore for two contrabassoons (1998). This is simply a serious fun piece for a VERY unlikely combination of instruments: two contrabassoons! http://www.youtube.com/watch?v=NiMhGDMz8L4 Trumpet NML 44. * Fisher Aubrey Tull (1934-1994), Eight Profiles for Trumpet Solo (1980). Born, raised, trained, and careered in Texas, as a trumpeter Tull brings deep and personal understanding to these Profiles for Trumpet. http://www.youtube.com/watch?v=OJMGGa0t4Xw French horn NML 45. * Richard Wagner (1813-1883), “Siegfried’s Horn Call” from Siegfried (18). One of the most memorable and virtuosic solo in music for any instrument is imbedded as a central theme in Wagner’s massive music drama recounting the heroic tales of the Norse hero Siegfried, who by his death will bring about the downfall of the gods and Valhalla. http://www.youtube.com/watch?v=YRyVaMiURxc Trombone NML 46. * Iannis Xenakis (1922-2001), Keren for Solo Trombone (1986). http://www.youtube.com/watch?v=A85ezEJiQow Tuba NML 47. * William Kraft (b. 1923), Encounters II for Solo Tuba (1964) http://www.youtube.com/watch?v=rzYzHoCXVUA 24 Module 3 Elements of Music Percussion 48. * Edgard [Victor Achille Charles] Varèse (1883-19650, Ionisation (1929–1931). Written for thirteen percussionists, this is the first free-standing concert hall composition for percussion alone. This work paved the way for brilliant percussion ensembles such as Toronto-based Nexus. http://www.youtube.com/watch?v=wClwaBuFOJA 49. * Bob Becker (b. 1947), Palta (1982, revised 1998) written for percussion solo (amplified tabla, congas, or drum set solo) with accompaniment by eight players: crotales, glockenspiel, marimba, songbells, steel pan, vibraphone, electric or acoustic piano and electric bass guitar, tabla, and conga. http://www.youtube.com/watch?v=siFr7JOO1Vg Harp NML 50. * Gabriel Pierné (1863-1937), Impromptu-Caprice in Ab major for harp, op. 9 (1900) http://www.youtube.com/watch?v=Xbga8ziRYSU Guitar NML 51. * Joaquin Turina (1882-1948), Fandanguillo, op. 36 (1926) http://www.youtube.com/watch?v=1Tqh6_e_X5s 52. * Federico Torroba (1891-1982), Suite castellana for guitar (1956) http://www.youtube.com/watch?v=gMqyzPWLebM Piano NML 53. * Joseph-Maurice Ravel (1875-1937), Jeux d’eau [Playing water] (1901) http://www.youtube.com/watch?v=J_36x1_LKgg&list=RDJ_36x1_LKgg 54. * Éric [Alfred Leslie] Satie (1866-1925) Gymnopédies (1888). These delicate, transparent, fragrant piano works are forward looking and years before their time. http://www.youtube.com/watch?v=rIjWutnXZz8 55. * Claude-Achille Debussy (1862-1918), Suite bergamasque (1905) No. 3, Clair de Lune http://www.youtube.com/watch?v=-ip64cG7gK4 Organ 56. * Charles-Marie Widor (1844-1937), Symphony no. 5 in f minor, op. 42, no. 1 (1878). The master organist Widor had a long and distinguished career as organist taking the keyboard at St-Sulpice in Paris for an astonishing 64 years, and retiring only at the age of 89! During his tenure he wrote five organ “symphonies” to show off the symphonic capabilities of StSulpice’s massive organ. Of these the most frequently played is the showpiece toccata which concludes “no. 5.” http://www.youtube.com/watch?v=DKejfYzB3ak 25 Module 3 Elements of Music Violin NML 57. * Nicolò Paganini (1782-1840), Caprice for Violin solo in g minor, op. 1, no. 24 (1802-1817, published in 1819) http://www.youtube.com/watch?v=_OKPUausH64 Viola 58. * Max Reger (1873-1916), Suite no. 1 in g minor for solo viola, op. 131 (1915) http://www.youtube.com/watch?v=qaHhjnfhIiU Cello NML 59. * Johann Sebastian Bach [pronounced BAHK or even BAHhh] (1685-1750), Suite no. 1 in G major for Solo Cello (1717-1723). The playlist includes the complete work in a recent performance and recording. For a treat, a 1927 recording of Pablo Casals (credited with discovering the works) performing the “Prelude” is included. This second recording is a bit tattered, but the musicianship is exquisite – Casals was the great cellist of his day, if not all time, and one of the supreme musicians of the 20th century. Listening to music sometimes makes it difficult to discern the separation and overlap of the creative (composer) and the recreative (performer) musicians in the equation. Done well, the result is greater than the sum of the parts. http://www.youtube.com/watch?v=PCicM6i59_I Double bass 60. * Julien-François Zbinden (b. 1917), Hommage à J.-S. Bach, op. 44 (1969). This work brilliantly combines the style of J. S. Bach’s unaccompanied cello suites with a thematic substructure using the pitches B-flat, A, C, B … or in German nomenclature B-A-C-H. http://www.youtube.com/watch?v=hnC_BJ95Xxc Harpsichord 61. * François Couperin [pronounced cooper-an] (1668-1733), “Première ordre: l’enchantresse” from Livres de Clavecin in 22 Ordres (1713-1730), performed on harpsichord 62. * Philippe Rameau, “Les niais de Sologne de deux doubles” from “Suite in D major” from Pièces de Clavecin (1724), performed on harpsichord Voice-types and Ranges, in descending order high-to-low: Sopranino or Coloratura 63. Glitter and Be Gay (Leonard Bernstein, Candide) #407 64. Poor Fool and Think of Me (Andrew Lloyd Webber, Phantom of the Opera), #412 Soprano 65. Summertime (George Gershwin, Porgy and Bess), # 331 66. The Lusty Month of May (Jerome Kern, Camelot), #410 26 Module 3 Elements of Music Mezzo-soprano 67. Colors of the Wind (Alan Menken, Pocahontas) #351 68. Not While I’m Around (Stephen Sondheim, Sweeney Todd), #411 Alto/Contralto 69. Climb Ev’ry Mountain (Richard Rodgers, The Sound of Music), #409 70. Something Wonderful (Richard Rodgers, The King and I), #405 Tenor 71. Maria (Leonard Bernstein, West Side Story), #408 72. On the Street Where You Live (Frederich Loewe, My Fair Lady), #406 Baritone 73. Oh, What a Beautiful Morning (Richard Rodgers, Oklahoma), #403 74. Nearly Was Mine (Richard Rodgers, South Pacific), #404 Bass 75. Ol’ Man River (Jerome Kern, Showboat), #401 A number of iconic and popular works feature individual instruments in signature roles: 76. * Maurice Ravel (1875-1937), Bolero (1928) See http://en.wikipedia.org/wiki/Bol%C3%A9ro for the order of instruments as they are heard in the solo role. 77. * Benjamin Britten (1913-1976), Young Person’s Guide to the Orchestra (1946) Instruments in order of appearance: Full orchestra, Woodwinds, Brass, Strings, then Percussion; Piccolo and Flute; Oboes; Clarinets; Bassoons; Violins; Violas; Cellos; Double Basses; Harp; Horns; Trumpets; Trombones and Bass-Tuba; Percussion (Timpani; Bass Drum & Cymbals; Tambourine & Triangle; Snare Drum & Wood Block; Xylophone; Castanets & Gong; Whip; Percussion tutti); full orchestra 78. * Serge Prokofiev (1891-1953), Peter and the Wolf, op. 67 (1936) 79. * Paul Tripp (1911-2002) and George Kleinsinger (1914-1982), Tubby the Tuba (1945) 27 Module 4 The Classical Avant-Garde A BRIEF HISTORY OF NOTATION During this module, we will consider in class a PowerPoint presentation, A Brief History of Notation. The PowerPoint will bring together a variety of sources to demonstrate how the state and progress of notation has limited and enabled the kind of music that a composer can create and impart in written form. The PowerPoint includes a number of terms and concepts which you will want to be able to recall at the time of the midterm, so please review the PowerPoint after class and again before the midterm exam. The music attached to these notation examples will be drawn from various time periods and so therefore will be scattered through the coursepack, but all will be available on Naxos Music Library. Recitation markings for poetic reading, Odes of Sappho, 3rd-century CE Papyrus, “Cologne Papyri;” Cologne, Germany: accompanying music, free interpretation of a poem by Sappho using 14th century models (unnumbered) Unheightened Neumes (Cheironomic), 9th-century; Toledo, Spain: accompanying music, Vox Clamatis ,#122 Heightened Neumes (Diastematic), 12th Century; Benevento, Italy and Segovia, Spain: accompanying music, Qui manducaverit ,#121 Square Notation, 12th Century onward, Plainchant Hymnal; Seville, Spain: accompanying music, Agios o Theos, #123 Square Notation, 12th Century onward with illuminations, Plainchant Hymnals; Victoria and Albert Museum, London, England: accompanying music, Gloria, Laus, #124 Mensural Notation, late 13th to 16th century; White Notation, Italy; Coloured Notation, St. Emmeram Codex, Germany: accompanying music, Philippe de Vitry (1291-1361), In Mari miserie, #139 Giovannini di Palestrina (1525-1594), Hodie Christus Mass, #167 Giulio Caccini (1551-1618), Amor, Io Parto, #168 Johann Sebastian Bach (1685-1750), Suite in G major for Cello, #59 Wolfgang Amadeus Mozart (1759-1791), Jupiter Symphony no. 40, #222 Ludwig Van Beethoven (1770-1827), Eroica Symphony no. 3, #235 Franz Schubert (1797-1828), Erlking, #251 Piotr Illyich Tchaikovsky (1840-1893), 1812 Overture, #286 Arnold Schoenberg (1874-1951), Pierrot Lunaire, # 356 Terry Riley (b. 1935), “In C”, #88 28 Module 4 The Classical Avant-Garde MODULE 4 CLASSICAL POSTMODERNISM During this module we will consider some of the most modern avant-garde trends in classical music making, guided by a PowerPoint presentation, Postmodernism. The PowerPoint will help place works in context and build your vocabulary of terms in association with classical music of the last halfcentury. I recommend that the PowerPoint be reviewed after the class meeting and again prior to the first midterm. . Some of what we cover here will touch on popular music or media music, insofar as we will hear similar musical possibilities, tone colours, and soundscapes. Still the purpose here is consider what is going on today in the world of classical art music. Much of what we will find might seem absurd or difficult on the surface, but it is in digging beneath the surface that we find a language unencumbered by preconceptions. From there it is a short step to begin the journey to discover a flexible music capable of expressing what still seems inexpressible in the 21st century. MATTERS OF ORGANIZATION: SERIALISM Serialism – a technique used to pre-set a series of notes or other musical elements – stepped forward at the very beginning of the 20th century as an alternative organizational system to that provided by traditional scales and chords. The first composers to use this technique were those of “The Second Viennese School:” Arnold Schoenberg, Alban Berg, and Anton Webern. These composers pioneered a compositional technique which sought to erase the polar draw of tonic (the root note of a scale) by designing a method to make the 12-notes of the octave (a normal hand’s reach on the piano) equal in usage. Intense preplanning of the order of events through gridded matrices, looking much like a word-search puzzle, leaves room for the composer to exercise an unusual level of discretion in the realization of the composition. While the technique was first applied only to pitches (dodecaphony, or the 12-tone system), by the mid-20th century the technique was applied to all building blocks of music including rhythm and expression (total serialism). 80. * Arnold Schoenberg (1874-1951), Fünf Orchesterstücke [5 Pieces for Orchestra] Op. 16 (1909). While it may not be immediately evident, these Five Orchestra Pieces are for massive orchestra, capitalizing on the diverse orchestral colours enabled by a large selection of possible instrumental voices. This hallmark is most audible in third movement “Colors,” where the composer’s use of dodecaphonic (12-tone) technique focusses the listener’s attention on the slowly shifting shades. "Farben", Mässig. [Colors, moderate] 81. * Anton Webern (1883-1945), 6 Pieces for Large Orchestra (1909, rev. 1928). Directly modeled on Schoenberg’s Five Orchestral Pieces of the same year and also using dodecaphonic technique, Webern’s work is positively diminutive by comparison and one struggles to accept 29 Module 4 The Classical Avant-Garde at appellation “for Large Orchestra.” Ultimately, while Schoenberg rejected serial technique, Webern embraced it, becoming highly influential on the total serialist Milton Babbitt and aleatoricist John Cage decades later. 82. * Milton Babbitt (1916-2011), Solo e Duettini for 2 Guitars (1989): While considering the implications for this work of the Babbitt comment above, I will simply note that Babbitt’s 1958 provocative article “Who Cares If You Listen” makes for fascinating reading http://www.palestrant.com/babbitt.html. 83. * Milton Babbitt (1916-2011), My Ends are My Beginnings for solo clarinet (1978). While Babbitt is perhaps best known for his work with RCA Mark II Synthesizer at the ColumbiaPrinceton Electronic Music Center, he worked all his compositional life on serial models of The Second Viennese School. Here pitch, rhythm, and artistic nuance are all governed by pre-arranged serial matrices ordering the elements with mathematical precision. 84. * Milton Babbitt (1916-2011), Swan Song no. 1 for flute, oboe, violin, cello, and two guitars (2003). This fully serial work takes as its inspiration the unlikely model of the Baroque dance suite. The most obvious recollections of the earlier style are the instrumentation which resembles the 18th-century sonata ensemble and the light motion of the movements. MATTERS OF ORGANIZATION: ALEATORICISM Simply put, aleatoric music means “chance music” – a plan is set before the music begins, it is set in motion, and what happens, happens. We make our decisions and live with the outcome. Unfailingly, aleatoric music always reflects reality! It is fun, it is free, and it gives a lot of room to both shake your head in disbelief and reflect upon the balance of silence, sound, and meaning. 85. John Milton Cage, Jr. (1912-1992), 4’33” (1952): for any instrumental combination – I’ll explain! Or check out what is up through the following websites from the Metropolitan Museum of Modern Art http://www.moma.org/visit/calendar/exhibitions/1421# and Open Culture http://www.openculture.com/2013/10/see-the-curious-score-for-john-cagessilent-zen-composition-433.html 86. * John Milton Cage, Jr. (1912-1992), Atlas Eclipticalis (1961): the score for this full orchestral work was created by overlaying a large sheet of staff paper with a star atlas from the work of Czech astronomer Antonín Bečvář. Various views of the night sky across the equator are rendered in sound by full orchestra in untimed performances. 30 Module 4 The Classical Avant-Garde MATTERS OF ORGANIZATION: MINIMALISM As a musical movement, Minimalism would seem like the new kid on the block, but it actually derives from a very old source. Music in minimalist style is built of small fragments of music which repeat over and over, with only the slightest changes from one to the next without really evolving. Often the timing of episodes and entrances is a matter of spontaneity. The idea itself, however, is a part of the musical techniques of Southeast Asia and in particular to the gamelan orchestras of the South Pacific Islands where individual instruments are assigned single repeating rhythms which may or may not be in sync with other instruments. All instruments continue in their individual rhythms until the whole orchestra comes back to the beginning. In both styles, one is meant to enjoy the subtle and slow moving changes. If you are unfamiliar with the gamelan, here are a few of the many options to experience the gamelan in action http://www.youtube.com/watch?v=HfrOSJRCsfM or http://www.youtube.com/watch?v=sZZTfu4jWcI or http://www.youtube.com/watch?v=3vezWaMh3M0 or http://www.youtube.com/watch?v=2937xfI_kKI 87. * John Milton Cage, Jr. (1912-1992), 3rd Construction for 4 Percussionists (1941). Written in the early days of the percussion ensemble literature, this “Construction” is composed loosely on a gamelan technique of repeating rhythmic patterns. In this case, unlike gamelan performance, the rhythmic patterns are passed between performers. Player I: North West Indian rattle (wooden), 5 graduated tin cans, 3 graduated drums (tom toms), claves, large Chinese cymbal (suspended), maracas, teponaztli Player II: 3 graduated drums (tom toms), 5 graduated tin cans, claves, 2 cowbells, Indo-Chinese rattle (wooden, with many separate chambers), lion's roar Player III: 3 graduated drums (tom toms), tambourine, 5 graduated tin cans, quijadas, claves, cricket callers (split bamboo), conch shell Player IV: tin can with tacks (rattle), 5 graduated tin cans, claves, maracas, 3 graduated drums (tom toms), wooden ratchet, bass drum roar 88. * Terry Riley (b. 1935), In C (1964): written for any combination of instruments but best with 35 musicians, give or take, this work is often considered the first work of minimalism. Its concise score may be viewed at IMSLP http://javanese.imslp.info/files/imglnks/usimg/4/47/IMSLP00899-TerryRiley-InC.pdf and the Wikipedia article for the piece shows many of the various combinations of instruments which have recorded the work The work is performed without conductor and each player is asked to make her/his own decision regarding when to begin playing, when to move to the next episode and when to stop, except for the chosen instrument who will play repeated Cs through the full duration of the work: each performance is entirely unique. 89. * Philip Glass (b. 1937), Einstein on the Beach (1976): this opera appeared at a time when American-composed opera was attempting a comeback with some considerable success. 31 Module 4 The Classical Avant-Garde This fully minimalist work is over 4 hours long and can twist the brain with its unrelenting unfolding of the music. The opera is one of a trilogy tracing the lives of men who have been important in the existence of humanity, in this case Albert Einstein. Excerpts may be found at http://www.philipglass.com/audioplayer/audioplayer.html although there are also performances in Naxos Music Library. 90. * Philip Glass (b. 1937), Glassworks (1981): this mature minimalist chamber work may be heard as a complete work or as individual works at the indication of the composer. Early recordings by the composer http://grooveshark.com/#!/album/Glassworks/182902 feature an ensemble of mostly acoustic instruments, while later performances (Naxos Music Library) feature fully-synthesized performance. 91. * Philip Glass (b. 1937), Koyaanisqatsi (1982): a non-verbal film exploring the dysfunction of living, juxtaposing scenes of urban and natural America. Lyrics are in Hopi with English titles. http://www.philipglass.com/audioplayer/audioplayer.html 92. * John Adams (b. 1947), The Chairman Dances: Foxtrot (1985): Adams offered this breathless orchestral showpiece to the Milwaukee Symphony. The 13-minute composition was drawn from sketches and music then slated for Act 3 of his opera Nixon in China. The opera was a critical and popular success and now has a place in the permanent repertoire as does this orchestral outtake. 93. * Phillip Glass (b. 1937), String Quartet no. 4 “Buczak” (1989). The later works of Phillip Glass are indeed minimalist but have lost most vestiges of the freneticism of his earlier works. The dark tone of this quartet owes to its conception as a remembrance of Glass’ friend, artist Brian Buczak, who died the year previous of AIDS. 94. * Phillip Glass (b. 1937), String Quartet no. 5 (1991). The fifth string quartet is actually Glass’ eighth work for the medium; his three youthful string quartets were rejected and discarded from his corpus. Unlike the sombre quality of the previous quartet, this quartet glows with airy beauty. MATTERS OF TIMBRE: EXTENDED TECHNIQUE Instruments (and their players) are capable of so much more than we traditionally ask of them. While each instrument has its characteristic sound as a matter of what comes most naturally to the instrument, each also has a range of acoustic options which can be accessed by skillful performers. These, so-called, extended techniques expand the tone and expression range often giving options for natural, animlian, other-worldly, or mechanical sounds. 32 Module 4 The Classical Avant-Garde 95. * John Milton Cage, Jr. (1912-1992), Primitive for String Piano (1942): prepared piano. A mere thirteen notes are used in this composition, giving the whole a tight, constricted feel which ultimately focuses attention on the rhythm. Prepared piano is merely a modification of the traditional piano to achieve non-traditional sounds. Usually, preparation of a piano is achieved by putting objects on or near the strings (don’t try this at home)! The preparation of the piano here is achieved by placing screws and bolts around the strings of the thirteen pitches. The YouTube video here walks through the preparation of the piano. http://www.youtube.com/watch?v=nwoPhzTuRK4 96. * John Milton Cage, Jr. (1912-1992), In the Name of the Holocaust (1942): prepared piano. This work considers this difficult WWII theme. It was written during, not after the war for the choreographer Merce Cunningham – the material was truly fresh and controversial. The preparation of the piano is achieved by placing screws and bolts around the strings; additional to the preparation, the performer reaches into the piano case and plays upon the strings directly as if a harp. http://www.youtube.com/watch?v=KcC7vlV_j2M 97. * George Crumb (b. 1929), Five Pieces (senza misura) for Piano (1962): prepared piano http://www.youtube.com/watch?v=_rEB2TGx0zU 98. * Luciano Berio (1925-2003), Sequenza V for Trombone (1965). Berio composed no fewer than fourteen Sequenzas. In each, each composed for a specific solo instrument, Berio explores the very broadest possible expressions of the individual instrument, often asking the performers to employ common and radical extended techniques, electronic manipulations, and choreography. It is a joyful yet non-traditional performance that is captured on YouTube at this link http://www.youtube.com/watch?v=ZqlUhN7TbAk 99. * George Crumb (b. 1929), Vox Balaenae [Voice of the Whale] (1971): trio for electric flute, electric cello, and electric piano. Crumb’s exotic masterpiece capitalizes on non-traditional playing of traditional instruments. In the opening “Vocalise” the flutist is asked to sing and play simultaneously creating a primordial sound, while the following “Archeozoic” – a beautiful pun on arco, meaning bow, as in cello bow – asks the cellist to bow normally, but to slide gently and specifically up the strings to produce the effects of seagulls. http://www.youtube.com/watch?v=CV30hbpycUg As a new twist on an old concept, William Close’s creation of Earth Harp gives some otherworldly tones. See his website http://earthharp.wordpress.com/about/ and a selection of Youtube videos http://www.youtube.com/watch?v=pIfeB L7vUcw and others you might seek. 100. * George Crumb (b. 1929), Makrokosmos (1972-1979) is a series of four volumes of works for piano alluding to, if not modeled upon the Mikrokosmos by Béla Bartok from earlier in the century. Of the full set, the first two volumes, each containing 12 works inspired by signs of the zodiac, are by far the most popular. While complete performances of the one 33 Module 4 The Classical Avant-Garde of the first two books, and even the first two volumes together, are common, it is rare for the full set of four to be performed. 1. Primeval Sounds (Cancer) 7. Music of Shadows (Libra) 2. Proteus (Pisces) 8. The Magic Circle of Infinity (Leo) 3. Pastorale (Taurus) 9. The Abyss of Time (Virgo) 4. Crucifixus (Capricorn) 10. Spring-Fire (Aries) 5. The Phantom Gondolier (Scorpio) 11. Dream Images (Gemini) 6. Night-Spell I (Sagittarius) 12. Spiral Galaxy (Aquarius) 101. * George Crumb (b. 1929), Ancient Voices of Children: A Cycle of Songs on Texts by Federico García Lorca (1970): song cycle for mezzo-soprano, boy soprano, oboe, mandolin, harp, amplified piano, toy piano, percussion for three players including prayer stones, Japanese temple bells, and musical saw. The mezzo-soprano, in addition to traditional singing, also sings purely phonetic sounds into the piano where the piano’s strings vibrate sympathetically with the singer. The boy soprano role is also choreographed. All the performers are also asked to speak whisper or yell at times. Follow this link (and scroll down) to view an interview with George Crumb: the landscape of which he speaks is ancient; the Kanawa River which flows through his hometown is the thought to be the oldest river in North America. http://toddtarantino.com/hum/crumb_ancientvoices.html An excellent note on the work is included at http://www.laphil.com/philpedia/music/ancient-voices-of-children-georgecrumb El Niño Busca Su Voz 102. Stomp Dance Troupe, Stomp Out Loud! (HBO, 1997). The performance art theatrical-musical troupe Stomp raises the art of creating percussion instruments and mobilizing life actions in the service of music to new heights. For some very cool vocal-choral extended techniques, check out the soundtrack to Honda’s 2006 commercial voiced over by the Hollywood Film Chorale Sound Effects Choir … http://www.youtube.com/watch?v =gjyWP2LfbyQ 103. Ian Clarke (b. 1964), The Great Train Race : The Flute As You Don’t Usually Hear It Played (2002) ; and it is possible you won’t get to hear it at all, but sometimes I have the opportunity to play this one for the class to demonstrate how broad is the range of my simple instrument. 104. Scott Crothers (b. 19--), Prelude #1 for ¼-tone piano (2008): quarter-tones exist as a matter of physics. All modern string instruments and most wind instruments have the ability to play not only quarter-tones but the infinite range of all possible intervals and pitches available within physics. Many non-western musical traditions use a full range of quarter-tones and smaller, even if these have dropped away from western tradition. In recent years these have come back into usage here in the west, and specialty instruments are being built, such as the quarter-tone piano. http://www.youtube.com/watch?v=v5sI-s4E9js 34 Module 4 The Classical Avant-Garde MATTERS OF TIMBRE: ELECTRONIC INSTRUMENTS Electronic Instruments have been a reality since the mid-18th century, ever since humans began to harness the power and potential of electricity. To the list below, one might be tempted to add the battery of cannon added to the score of Overture Solonnelle, 1812 by Piotr Tchaikovsky, enabled by the 1872 invention of the electronic firing mechanism. We must also recognize that small organs of the Wurlitzer and Hammond organs were electrically powered from the late 19th century, and large pipe organs have been electronically driven since the early 20th century. Here is a sampling of those electronic instruments which have largely come and gone: Denis d'Or by Václav Prokop Diviš (c. 1750) – the first, yet no example survives! http://en.wikipedia.org/wiki/Denis_d'or Clavecin Électrique by Jean-Baptiste Thillaie Delaborde (1759) – one example survives http://en.wikipedia.org/wiki/Clavecin_%C3%A9lectrique Musical Telegraph by Elisha Gray (1876) https://emhistory.wikispaces.com/1876+Musical+Telegraph Choralcelo by Melvin Severy and George B. Sinclair (1888/1909) http://www.amica.org/Live/Publications/Past-Bulletin-Articles/Choralcelo/index.htm Teleharmonium, Telharmonium, Dynamophone by Thaddeus Cahill (1897/1912) http://www.youtube.com/watch?v=PPlbXl81Rs0 Singing Arc by William Duddell (1899) http://www.youtube.com/watch?v=Dk37D_tkCCc Theremin by Léon Theremin (1920) http://www.youtube.com/watch?v=w5qf9O6c20o Ondes Martenot by Maurice Martenot (1928) http://www.youtube.com/watch?v=v0aflcF0-ys/ Even with so many early electronic instruments, it would be the mid-20th century before specific compositions exploiting the electronic media would be composed. 105. * Pierre Schaeffer (1910-1995), Etude aux chemins de fer (1948). This is the first work of musique concrète, a form of music which developed from a process of recombining tape recorded music or sound to create effects for film and TV. https://www.youtube.com/watch?v=aL77mHnCrNs . If you are thrilled by the process, please continue on to this BBC Documentary film from 1958 at http://www.youtube.com/watch?v=c4ea0sBrw6M/ and follow with one of our most enduring pieces of musique concrete: the theme to BBC’s popular television series, Dr. Who http://www.youtube.com/watch?v=75V4ClJZME4/ 106. *Karlheinz Stockhausen (1928-2007), Kontakte (1958-1960). Composed at a crossroads in Stockhausen’s compositional life, the work could well be placed under the serialism section above – it is a work of total serialism with all elements of the composition directed by a 35 Module 4 The Classical Avant-Garde mathematical matrix – or in the environmental music section below, because Stockhausen conceived a very specific listening environment of well-placed speakers and rotating microphones by which the audience should experience the work. http://www.youtube.com/watch?v=aNt6a5xFOnE if you would like to watch as much as listen. In effect, the pipe organs of the last five centuries can be classified as synthesizers as they capably recreate the tone colours of a variety of instruments by a slick and judicious combination of pipes to create composite tones. Electronic synthesizers which could composite and recreate tones, as opposed to simple electronic instruments, came along only in the mid-20th century, first analogue and then digital. * Milton Babbitt (1916-2011), Ensembles for Synthesizer (1964). In this seemingly chaotic work, Babbitt has used the term ensemble to mean, on the one hand, a group of performers for which the synthesizer provides all the necessary parts, and also the groups or sonic events which make up the piece, many of which are only a few seconds in length. http://www.youtube.com/watch?v=W5n1pZn4izI&feature=kp 107. Bülent Arel (1919-1990), Music for a Sacred Service: Postlude (1961): originally for composed for electronic tones on magnetic tape. On Grooveshark at http://grooveshark.com/#!/search/song?q=B%C3%BClent+Arel+Postlude+From+%22 Music+for+Sacred+Service%22 108. Daria Semegen (b. 1946), Electronic Composition No. 1 (1971): considered by the composer to have been “realized” rather than “composed” despite the title. http://www.youtube.com/watch?v=4s-Flvsdclw MATTERS OF LOCATION: ENVIRONMENTAL MUSIC You would need to expect that the Pacific Northwest, with its emphasis on “green” would be a leader in a musical style known as environmental music – and in this case you are absolutely right! However, environmental music is about a lot more than sustainability. Environmental music comprises two aspects. On the one hand we can understand environmental music as music that is created to be performed within a specific environment, indoor or more-commonly outdoors. On the other hand we can understand environmental music as music which incorporates sounds which originate in an environment that is not usually associated with music. Clearly this casts a wide net which could be made to capture virtually every piece ever written. The music selections below should help show where some of the limits are. 109. * Alan Lamb (b. 1944), Journey on the Winds of Time (1987/8): here the composer creates a work of music from pre-recorded sound. The recorded sounds are those of wind singing through abandoned telegraph wires in the Australian Outback. The original recordings caught the interest of the sound engineers completing the soundtrack of the original Star Wars movie. 36 Module 4 The Classical Avant-Garde 110. * Hildegard Westerkamp (b. 1946): Gently Penetrating Beneath the Sounding Surfaces of Another Place (1997) for two-channel tape. The work is both composition and documentary employing recorded sounds from New Delhi in 1992. 111. * John Adams (b. 1947): On the Transmigration of Souls (2002); this powerful work was composed by New York’s most resident composer on commission by the New York Philharmonic to commemorate the events of September 11, 2001. Here Adams combines recorded sounds from the immediate aftermath of the event, voice recordings from the following year, symphony orchestra, and choir to overwhelming effect. 112. * R(aymond) Murray Schafer (b. 1933), Wolf Project (on-going). Please see http://www.tnq.ca/article/notes-wild-account-words-and-music-r-murray-schafers-andwolf-shall-inherit-moon for a lengthy and highly reflective piece in Schafer’s own words describing both Wolf Project and the epilogue of Patria, “And Wolf Shall Inherit the Moon.” Tapio for Alphorn Aubade for Trumpet Nocturne for Clarinet Sun Father, Earth Mother 37 Module 4 The Classical Avant-Garde 38 Module 5 Classical Antiquity MODULE 5 CLASSICAL ANTIQUITY 600 BCE - 400 CE Classical antiquity is our historical and philosophical starting point for the study of Western music. We will find a few useful and interesting trinkets from earlier times, certainly; but for sure, we start here because it is in this thousand-year period which moves us into history from prehistory and with that we can observe music with relative fullness. Scientists speculated about the nature of music. Mathematicians defined music in numbers. Philosophers pondered the place and effect of music. Artists sculpted and painted musical activities. Writers captured musical stories in their prose and poems. Myth held music in high esteem, and the gods leveraged it for their own gain. It was a heady time for music! During this module we will consider in class a PowerPoint presentation, Musical Antiquity, which will help us trace the big picture of music in the ancient world. The PowerPoint contains a lot of basic information, terms and ideas, many of which will return on the midterm exam, so I would recommend that you return to this PowerPoint after class and again prior to the midterm. Photographs from world museums will help to illuminate the period. In class we will hear music in Roman-style, recreated from verbal and pictorial sources, by the current Italian recreative music group, Synaulia. All compositions are newly composed by Walter Maioli and his team of musician/performers, and are inspired by Ancient Rome (1st and 2nd centuries CE). Some of the selections we will hear also figured prominently in the soundtrack of the movie Gladiator (2000) alongside the music of Hans Zimmer. Synaulia has a very informative website http://www.soundcenter.it/synauliaeng.htm if you would like to investigate this area more. There you can find pictures and descriptions of all instruments used, including much archeological background. The work of this artistic team, admittedly more fantasy than fact, features prominently at http://www.youtube.com/watch?v=ZbW_b_gM6Rk&list=RD02uJLXyBzMci0 and many of these tracks can be heard on http://grooveshark.com/#!/artist/Synaulia/958878 . 113. Animula Vagula (double flute, 2 tympana, cymbal) 114. Tibia Duplex (double fistulae), et alia 115. Recitation: Delphic Oracle 116. Recitation: Aeneid by Virgil 39 If you are interested in the conflicts of music, philosophy, science, and religion, may I suggest: Stuart Isacoff, Temperament: How Music Became the Battleground for the Greatest Minds of Western Civilization (Vintage, 2003) Module 6 Early Christianity MODULE 6 EARLY CHRISTIANITY 300 CE - 800 CE Early in the first century of the Common Era (CE) a rabbi from Nazareth in Israel was received by an increasingly large community as the long-awaited Messiah, or in Greek, the Christ. Even after his death by crucifixion for what had been deemed by the Roman government in the region as traitorous acts, his message spread and the community of believers grew. Music which set the important texts of this up-start religion spread throughout the Roman Empire – first in secret, until Christianity became an official religion in 313 CE. When the religion was recognized legally, the music could be heard and written down safely, but by this time the many Christian communities of the Roman Empire had their own chants for use in devotion and worship. Eventually, at the supposed instigation of Pope Gregory I “The Great” – this supposition is not fully accepted – these chants would be collected as the official music for the Roman Catholic Church, even though we recognize that some individuality persisted in some locales, and, for that matter, may continue to this day. As the dominant literate religion in Europe north of the Pyrenees and west of the Danube, and as guardians of much of the learning and knowledge in late antiquity, the church’s monks, priests, monasteries and royals preserved much of this music, even if that archive was to the exclusion of secular and non-Christian music. During this module and the next, we will work through a PowerPoint, Spirituality of the Church. As you know by now, the many terms and concepts for this module are covered in the PowerPoint. I suggest you review the PowerPoint after class and then again prior to the midterm. Some works may be found on Naxos Music Library (marked *). Unmarked titles may be found on GrooveShark at http://grooveshark.com/#!/search?q=tres+riches+heures+moyen+age+1. CHANT IN LOCAL CHRISTIAN COMMUNITIES BYZANTINE, VISIGOTH, LOMBARD, OLD ROMAN, GALLICAN (300 CE – 600 CE) 117. “Alleluia” from services for Holy Monday (week before Easter): example of Byzantine Chant, centered at Constantinople, c. 400 CE. An impassioned, melismatic presentation of a single word: Alleluia 40 Module 6 Early Christianity 118. “Hymn to the Virgin Mary” from the liturgy (church service) of St. John Chrysostom: example of Greek-influenced chant from Antioch, Turkey, c. 400 CE. A brief but emotional hymn in praise of the virtues of the Virgin Mary. Text and translation http://en.wikipedia.org/wiki/Axion_Estin 119. Psalm 110 (from the Old Testament of the Bible): Tecum principium in die virtutis tue: example of Milanese (centered at Milan in northeastern Italy) and Ambrosian (named for St. Ambrose [340-397] of the church at Milan) chant, c. 375 CE. Beginning with verse 3 of the Psalm speaks of the relationship between God and earthly Lords. Latin and English at http://www.medievalist.net/psalmstxt/ps109.htm 120. Communion: Qui manducaverit; example of Beneventan (centered at Benevento in southern Italy) or Old Lombard chant, c. 350 CE. The text imparts preparation for the Eucharist. 121. * Sacrificium: vox clamantis: example of Visigothic, later called Mozarabic (literally “Christian in an Arab land”) chant, centered in Toledo, Spain, c. 400-700 CE. The text is common to both Old and New Testaments regarding the foretelling of coming of (Christian) Messiah: A voice cries out in the Wilderness. 122. * Adoration of the Cross: Agios o Theos, Sanctus Deus: example of Old Roman Chant, centered in Rome, Italy, c. 500 CE. The prayer is an invocation to God, here is a macaronic presentation of Greek and Latin. Various translations may be found at http://en.wikipedia.org/wiki/Trisagion GREGORIAN UNIFICATION (600 CE – 800 CE) 123. * “Versus de l’eveque Theodulf d’Orleans: Gloria, Laus”: example of Gallican chant, broadly centered in what is now France. Much of this body of chant will later be codified into what is now known as Gregorian Chant. Here the text calls out: All glory, laud, and honour, to Christ, Redeemer, King! Full text in Latin and English may be found at http://www.preces-latinae.org/thesaurus/Hymni/GloriaLaus.html 124. * “Viderunt Omnes” : example of Gregorian Chant (plainsong, or plainchant). Text at http://en.wikipedia.org/wiki/Viderunt_Omnes 41 Module 7 The Medieval Church MODULE 7 THE MEDIEVAL CHURCH 800 CE - 1300 CE Monophonic chant had been primary musical vehicle of the Catholic Church for over 500 years. Despite the fact that Pope Gregory, anecdotally, had set in motion a process of codification of these chants at the beginning of the 7th century, the collection of chant into an official Roman Rite would continue into the 10th century. Even as the Roman Rite was forming, Christian communities continued with varying degrees of independence in their choices and usages of music for worship. Three successive classical revivals – in the early 9th century with Holy Roman Emperor Charlemagne, through the 11th century with the three Holy Roman Emperors Otto I, II, and III; and again in the mid-12th century leading to the Gothic cathedrals – each spurred on a new development in the way music was composed and performed. One practice which gained in popularity at the same time was the introduction of what we might call harmony. In point of fact, true harmony is something different from medieval-period practice, but the effect is somewhat the same: polyphony came into being in Western music. This practice forced an insurmountable wedge between music in the East and music in the West. The story of how polyphony – spreading out from the region that is now modern-day France – became the reigning practice in Western music is the focus of this module. To aid this discussion, we will continue through the PowerPoint, Spirituality of the Church; there you will find terms and concepts for your consideration. CAROLINGIAN ORGANUM EMERGENCE OF “COORDINATE HARMONY” (800 CE – 1200 CE) 125. * Domine, labia mea aperies: Psalm 51, verses 15 and 16, here presented as a plainchant in antiphony texture; followed by a sequence on Deus in adjutorium meum in parallel organum. While this example originates from Aquitaine region of modern France (late 12th Century), it is exemplary of the older Carolingian style of parallel organum. Text at http://www.biblegateway.com/passage/?search=Psalm%2051&version=ESV. The plainchant alone in antiphonal texture is found on Naxos (see folder) but does not include the sequence in parallel organum 42 Module 7 The Medieval Church ROMANESQUE POLYPHONY BREAK-AWAY VOICES (1000 CE – 1200 CE) 126. O primus homo coruit: Originates from Aquitaine region of modern France, verses for the Matins service for Christmas Day, here a 2-voice (organum duplum) florid organum, single voice over original plainsong (late 12th century). This example may be heard at http://grooveshark.com/#!/search?q=primus+homo . The text invokes Jesus Christ as “first among men.” GOTHIC STYLE NOTRE DAME AND AQUITAINE (1150 CE – 1300 CE) 127. * Magister Leoninus “Leonin” (fl. 1150-1201), Viderunt Omnes, 2-part free organum (organum duplum) on the chant of the same name, Paris, Notre Dame Cathedral and universitas magistrorum et scholarium [Université de Paris]. The term of Notre Dame School is applied to the music originating from the Cathedral masters for the hundred years 1150 – 1250 CE. 128. * Magister Leoninus “Leonin” (fl. 1150-1201), Alleluia Pascha nostrum, 2-part organum (organum duplum) on the chant of the same name. See page 18 in textbook for details. This lovely Easter chant – Alleluia, Our Sacrificed Lamb – is best heard at http://www.youtube.com/watch?v=PLyuWGI1sYM . Note the alteration between sections of polyphonic (here, florid organum) and monophonic textures. In the David Munro performance, the bell is added as a matter of performance practice. 129. * Magister Perotinus, “Perotin” (fl. 1200), Viderunt Omnes 4-part free organum (organum quadruplum) on the plainchant by the same name, Paris, Notre Dame Cathedral and universitas magistrorum et scholarium [Université de Paris]. 43 Module 8 The Poetic Middle Ages MODULE 8 THE POETIC MIDDLE AGES 800 CE - 1400 CE Even as the Catholic Church strove to standardize its music repertoire for the whole of its dominion, individuals wrote music to express his or her own mind, heart, and desires. Some of these beauties survive for us to encounter them afresh. What we know today as the Ars Antiqua – old art – bears a simplicity and directness that results from a well-set poem which is responsive only to the needs of the words. Shockingly relevant for the 21st century, many song texts – and they are texted songs, almost exclusively – resonate with fervor and a passion not usually attributed to the middle ages, freely mixing sacred and profane. The musical vehicle is virtually always monophonic or a would-be monophony with a light accompaniment, giving a strong immediacy of message. Here we find the troubadour’s song, the courtier’s ode, the mystic’s visions, and reality clothed by the illusions of theatre. In all cases the Ars Antiqua, in its secular forms, is the expressions of the individual. The 14th century was a time of renewed interest in learning; a high period of Scholasticism, dedicated to training in practical subjects like medicine, had taken over, moving away from pure monastic learning. A new art – Ars Nova – emerged in 1322 enabling the joining of many voices in a single complex song. With this Ars Nova, notation stepped forward in a way that could dictate and control rhythm, permitting and encouraging many independent musical lines to merge as single composition. Poet-musicians carried the day, but not by contributing poems for the solo singer: no, these poets blended poems, languages, chants into works of mind-boggling nuance, word play, and double (triple) meaning. The result was the glory of the age: the motet – deriving from the French word for “word,” mot. With an ability to notate rhythm, musicians were no longer reliant on a text to keep the group in sync. Alongside the proliferation of wordy motets, instruments begin to assert their own unique voices and qualities. As all these voices and instruments played together, slowly, inexorably concepts of consonance and dissonance began its shift and the sophistication which would ultimately become our modern understanding and practice of harmony began to emerge. The PowerPoint, Ars Antiqua … Ars Nova, brings together our concepts and terms for this module. I recommend reviewing this PowerPoint after class and again before the midterm. All of the starred (*) selections below may be found on the Naxos Music Library. ARS ANTIQUA (800 CE – 1300 CE) 130. Anonymous, La Chanson de Roland (9th century). This epic poem in the minstrel tradition is amongst the first to extant sources of song texts from middle ages Europe. The poetry 44 Module 8 The Poetic Middle Ages describes the exploits of Charlemagne against the Moors of Islamic Spain. A performance in Montreal (1981) may be heard (French only, visual stills only) at http://www.youtube.com/watch?v=rZ1KP8LH_IU . The full translated text may be found at http://www.gutenberg.org/files/23819/23819-h/23819-h.htm . The French text may be found at http://www.hsaugsburg.de/~harsch/gallica/Chronologie/11siecle/Roland/rol_ch01.html 131. * El Cant de la Sibil·la [Song of the Sibyl] : Liturgical Drama for Christmas Eve. It has been sung nearly continuously on Mallorca since the 10th century. The text is based on prophesy of the Apocalypse taken down by Eusebius [Pamphili] of Caeserea in the 4 th century. The Catalan text and translation are best viewed at http://en.wikipedia.org/wiki/The_Song_of_the_Sibyl. A modern UNESCO documentary (please ignore the musical introduction and interludes, as these are not of the period) shows some of the variety of modern presentation on Mallorca http://www.youtube.com/watch?v=TrNK8NG0nA4 132. * Hildegard von Bingen (1098-1179), O virga ac diadema: an example of a Da Sancta Maria Sequentia, or a hymn (sung poetry) to the Virgin Mary. Such hymns are usually in rhyming poetic couplets. Text and translation in CD Booklet or online at http://vita-nostra-inecclesia.blogspot.ca/2010/09/o-virga-ac-diadema.html along with a lovely video performance.. 133. * Hildegarde von Bingen, O viridissimi virgo: an example of a sequence to the Virgin Mary (Da Sancta Maria Sequentia). Text and translation may be found in the CD booklet on online at http://allpoetry.com/O-Viridissima-Virga . 134. * Hildegard von Bingen (1098-1179), Ordo Virtutum (c. 1151): Earliest known morality play, composed in monophonic song except for the single speaking role of the devil. Text and translation of the small fragment hosted by Naxos may be found in the accompanying CD booklet. The full text and translation thereof may be found at http://www.oxfordgirlschoir.co.uk/hildegard/ordovirtutumtext.html . 135. * Bernart de Ventadorn (b. 12th century), Quan vei la laudate mover: unascribed Troubadour chanson. The excerpt is, perhaps, not quite purist, but does give the effect of the song’s simple ballade style. Full text and translation may be found at http://faculty.txwes.edu/csmeller/humanexperience/ExpData09/03Biee/BieeWRTs/4uEurWRTs/uEurR_BernV-Lauz.htm 136. * Alfonso X El Sabio (1221–1284), attributed, Santa Maria Leva, no. 320 from Cantigas de Santa Maria ("Canticles of Holy Mary"), a set of 420 poems with musical notation, written in Galician-Portuguese. If seeking this on Naxos, please note that the provided recording is given by female voice accompanied by string instruments (not quite traditional), while the excerpt played in class is by, dare I say, the more authentic unaccompanied male voice. 45 Module 8 The Poetic Middle Ages You’ll have to hunt for it a bit, but you may will find the text and translation on page 22 at http://www.warnerclassics.com/sungtexts/0825646941506.pdf 137. * Adam de la Halle (1237-1288), l“Robins m’aime” : Rondeau or chanson drawn from the musical drama, “Le Jeu de Robin et de Marion.” The text and translation may be found on the accompanying CD booklet or online at http://rachellesmusichistoryblog.blogspot.ca/2011/10/robins-maime.html . If interested, the CD includes the full play and its music. ARS NOVA TRECENTO IN FRANCE AND ITALY (1300 - 1400 CE) 138. * Philippe de Vitry (fl. 1310-1316), “In mari miserie” chanson from the satire play Le Roman de Fauvel. The tale of Roman de Fauvel is an satirical allegory about a horse named Fauvel. The name Fauvel is an acronym of the French words for six of the seven deadly sins of the church : Flattery, Avarice, Villainy (V, being U), Fickleness (variété), Envy, and Cowardice (lâcheté). The original poem was written in 1310 by Gervais de Bus. De Vitry ’s text Ars Nova notandi (1322) inaugurated notational control over rhythm. A synopsis of the full allegorical poem may be found at http://musicologicus.blogspot.ca/2007/05/roman-defauvel.html or the single song at http://camerata.rjweb.org/programs/cc_program13a_2007-05-06.pdf , page 4. The particular text metaphorically equates rescue from sea and storm with redemption from the seven deadly sins. 139. * Adam de la Halle, “Mout / Robins m’aime / PORTARE” : Motet combining a new melody on the text “Mout me fu grief …” and the existing melody on the text of “Robins m’aime,” all spun over top of the plainchant accompanying the word PORTARE. Read the texts deeply and seek their hidden meanings and comparisons for full effect; see attached CD booklet. 140. * Guillaume de Machaut [pronounce Ma-show] (1300-1371), “Credo” from “Misse de Notre [Nostre] Dame,” first full setting of the mass ordinary by a single composer. Text and Translation on booklet. Do feel free to listen to the other four movements of the mass as well – each has a discernibly different character! The text of the full ordinary of the mass may be found at http://www.kitbraz.com/tchr/hist/med/mass_ordinary_text.html . 141. * Guillaume de Machaut (1300-1371), “Puis qu'en oubli” Le Voir Dit. Rondeau 18: One of Machaut’s most famous songs, it originates as a simple poetic rondeau of simple rhymed 46 Module 8 The Poetic Middle Ages meter, but displays musical and rhythmic sophistication. Text and translation in the booklet. Or online at http://en.wikipedia.org/wiki/Guillaume_de_Machaut 142. * Guillaume de Machaut (1300-1371), De toutes flours: Ballade, so named for its poetic form, not actually its musical style. The polyphonic setting could be taken by four voices (with little possibility of hearing the text) or with a combination of any “four” voices or instruments. Here on Naxos, the performance is quite quick and given by two singers, recorder and plucked instrument in unison, and viol; followed by a repetition on organ. The classroom example is four voices, much slower, and much more pensive. The text and translation may be found at http://www.lib.latrobe.edu.au/MMDB/composer/H0031031.HTM . 143. * Guillaume de Machaut (1300-1371), Amour et biaute / Quant en moy voint / Amara valde: 3 voice Motet (M1). Do enjoy the play of moments of consonant beauty (to our ears) and the shocking stridency. See page 21 of textbook for details 144. * Francesco Landini (1325/35-1397), Che pena è quest'al cor [c. 1350]: balata. Two versions are given on the play list, one for voices only and one for lute and viol. The music is the same, the difference is in the performance resources. The text and translation may be found at http://www.lib.latrobe.edu.au/MMDB/composer/H0045020.htm . 47 Module 9 Renaissance MODULE 9 RENAISSANCE 1400-1600 It has long been considered that the learning of the ancients disappeared with the fall of the Roman Empire in the west, plunging Europe into a dark age where ignorance and superstition enslaved and ensnared the populace. We know this isn’t quite true – many regions thrived as centers of enlightenment and learning, or as centers of great economic and social prosperity – rather, the dark age myth is a romantic invention of the very-romantic 19th-century. What is certain, however, is that late in the 14th century, Florence and the court of Lorenzo d ’Medici was introduced to translations of texts by the Greek philosophers, principally Plato. These texts had been largely unknown since antiquity. Once they had been reintroduced to this eager audience, they caused in a sensation in Florence (and later in The Netherlands), bringing about nothing short of a revolution, a renewal of the ideals of classical antiquity: Renaissance Humanism, elevating the acts of man (and woman) through eloquence and beauty. Gone was the utilitarianism of the preceding age; no more working simply to serve a societal purpose or creating art to serve only God. Now, learning was desired for the purpose of bettering oneself through the studia humanitatis – grammar, rhetoric, history, moral philosophy, poetry and Greek – and moreover, to aspire to, participate in, and to love beauty: in essence to engage in what we consider a liberal arts education. Beauty in the arts was expressed in balance, form, proportion, a certain mathematical elegance. In music, secular themes are pronounced, nature is acknowledged, characterization steps forward, instrumental music is accepted on par with vocal music, and in vocal music a new style of polyphony call homophony aligns all the voices and makes words understandable to the listener. Neither was the Church immune from change. Early in the 16th century, the schism instituted by Martin Luther in Germany torn the church apart permanently: Catholic and Protestant. The Catholic Church responded with a Counter-Reformation movement. All the while, changes in religious practice brought about changes in music, changes which still affect us and enchant us today. During this module we will gather our discussions through a PowerPoint presentation, Renaissance. Please review it after class and again before the midterm. Musical selections may be found on the Naxos Music Library. HUMANISM AND THE EXALTATION OF (WO)MAN 145. * Guillaume Dufay [pronounced Doof-eye] (1397-1474), Adieu ces bons vins de lannoys (1426), a very secular 3-voice rondeau from the young Dufay. In this performance, the beautiful polyphonic writing is tenderly given to plucked and bowed strings supporting a single voice; recorder offers commentary. An element of theatricality is added with the voice fading to 48 Module 9 Renaissance the distance toward the end. The text is a sorrowful farewell to the singer’s homeland; translation may be found at http://www.recmusic.org/lieder/get_text.html?TextId=1654 146. * Guillaume Dufay (1397-1474), Nuper Rosarum Flores / Terribilis est locus iste (1436), isorhythmic motet for the dedication of Brunelleschi’s dome completing the Duomo (Cathedral) at Florence Italy, Santa Marie del Fiore (St. Mary in the Flowers). The lengthy anonymous text proclaims the glories of Florence over a cantus firmus “terribilis est locus iste” used for the consecration of churches: the English translation of the cantus may be paraphrased as “This place is awesome!” Terribilis est locus iste! The full text may be found at http://www.recmusic.org/lieder/get_text.html?TextId=46201 147. * Guillaume Dufay (1397-1474), Missa L’homme armé (c. 1460), one of the first examples of a cyclical mass, where all the sections of the mass use the same tune – in this case the thoroughly secular popular tune “L’homme armé” which has a lightly engaging rhythm and elegant melodic shape – as cantus firmus (given on the playlist). Many composers jumped on this text as cantus for polyphonic works. Whether it was a matter that the juxtaposition of radically different, even competing sentiments was merely tolerated or heartily embraced for irony is not known. Text and translation of this Mass movement are in the accompanying booklet or http://www.kitbraz.com/tchr/hist/med/mass_ordinary_text.html 148. * Josquin des Prez (c. 1450-1521), Absalon, fili mi (c. 1497), 4-voice motet based on the Biblical text of King David, Samuel 18:33. The tune itself became terribly popular and was used as cantus for many contemporary polyphonic works. Text and translation are found in the booklet or http://www1.cpdl.org/wiki/index.php/Absalon,_fili_mi . 149. * Josquin des Prez (c. 1450-1521), Tu solus qui facis mirabilia (c. 1500), motet. Unlike the polyphonic motets heard previously in the course, this one is in homophonic texture: the syllables all move together, so the text is easy to understand. This was a musical gift of the Renaissance period! Along with this comes what we would consider beautiful sonorities and harmony that seems to tell you what to expect next and when the music will come to a halt. Additionally the overall mood is reflected in the music. Modernity is knocking on the door! The text and translation are in the accompanying booklet or http://www3.cpdl.org/wiki/index.php/Tu_solus_qui_facis_mirabilia_(Josquin_des_Prez) 150. * Josquin des Prez (c. 1450-1521), El Grillo (c. 1505), secular madrigal for unaccompanied voices. Few compositions of any time are as fun as this one. The cricket chirps away! Text and translation at http://www.recmusic.org/lieder/get_text.html?TextId=870 151. * Josquin des Prez (c. 1450-1521), Mille Regretz (first published 1549 posthumous), secular chanson for 4 unaccompanied voices. Forty-five years after El Grillo, Josquin is still pushing all the emotional buttons! And a thoroughly modern sentiment to boot! Text and translation at http://www.recmusic.org/lieder/get_text.html?TextId=29878 49 Module 9 Renaissance 152. * Tielman Susato (1510-1570), Pavana “Le Battaglia:” this posturing dance would have been popular at court, which for the Renaissance period most certainly meant the Medici court in Florence, Italy (although it would have been heard in court in England and the Netherlands as well). The playlist performance is statelier than that played in class, which is much more festive. Instruments differ between the two, but this is okay! At the time musicians would use the instruments in hand. In both performances, period instruments are used. 153. Anonymous, Pavana “La Monina” and Gagliard “La Mafrolinea:” considered today to be dance music popular at the Medici court in Florence, Italy. 154. Guglielmo il Giuggiola (attrib.), Canzona di lanzi venturieri: example of Florentine (Florence, Italy) canto. Here our poet recounts the story of perpetually war-ready troops whose custom it is to always carry which them their arms and armour. 155. * Thomas Weelkes (1576-1623), As Vesta Was from Latmos Hill Descending (1601) from Thomas Morley’s (1557-1602) madrigal collection The Triumphs of Oriana (1601). See textbook, page 28, for insight into this work. 156. * Carlo Gesualdo (1556-1613), Beltà, poi che t’assenti (1611) for 5 voices from Book 6 of Madrigals, pungent and unexpected, this madrigal is a most extravagant expression of mannerism. Text and translation in accompanying booklet or http://lyrics.wikia.com/Carlo_Gesualdo:Belt%C3%A0_Poi_Che_T'assenti/en. REFORMATION AND COUNTER-REFORMATION (1500-1600) 157. * John Dunstaple [Dunstable] (1390-1453), Veni Sancte Spiritus/Veni Creator (date unknown). Too early to be a work of the reformation, it is included here because it was a casualty for the Reformation in England and the resultant dissolution (and destruction) of the monasteries and much of England’s religious wealth and art along with it. Dunstaple’s surviving works come to us today only from continental sources. This spectacular work is an isorhythmic motet combining two of the great hymn texts of the Church: Veni Sancte Spiritus, the so-called “Golden Sequence” for Pentecost, and Veni Creator Spiritus, an invocation of the Holy Spirit. Even within the strict principles of isorhythm one hears sonorities which are warm to our ears, a foretaste of what is to come from the island kingdom of Great Britain. Text and translations are in the accompanying booklet, or http://en.wikipedia.org/wiki/Veni_Creator_Spiritus and http://en.wikipedia.org/wiki/Veni_Sancte_Spiritus 50 Module 9 Renaissance 158. * Thomas Tallis (1505-1585), Spem in Alium (1570), 40-voice motet (8 choirs of 5 voices each) written for the Matin (morning) service; the text comes from the Sarum Rite (Salisbury, Wiltshire, ENGLAND) and is adapted from the Book of Judith. The work survives for us in a manuscript used for the investiture of Henry Frederich, son of King James I, as Prince of Wales in 1610. Many consider this the ultimate expression of the motet. Text, translation, and contrafactum (poetic rendering) is found at https://en.wikipedia.org/wiki/Spem_in_alium 159. * Michael Praetorius (1571-1621), Es ist ein Ros ensprungen: 1599 hymn tune (Speyer Hymnal, Cologne), here sung by choir in Praetorius’ 1609 harmonization. Several texts and translations are found at http://en.wikipedia.org/wiki/Es_ist_ein_Ros_entsprungen 160. * William Byrd (1540-1623), Ave Verum Corpus, motet for Festival of Corpus Christe, c. 1600. The short Eucharistic hymn text is from the 14th century and is attributed to Pope Innocent VI. Text and translation at http://en.wikipedia.org/wiki/Ave_verum_corpus 161. * Michael Praetorius (1571-1621), In Dulci Jubilo: 1607 setting by Praetorius. The original hymn poem was written by Heinrich Seuse in 1328 in a macaronic mix of medieval German and Latin, a poem which was sung to him by angels in a vision. The poem has several modern English translations, and the tune has been set numerous times by many composers of repute. Various versions of the text and translations at http://en.wikipedia.org/wiki/In_dulci_jubilo 162. * Giovannini Pierluigi da Palestrina (1525-1594), Missa Papae Marcelli (1555). This mass is one the earliest examples of the fully composed mass which does not have a single unifying musical element such as a cantus firmus. While written some years after his death (1562), the mass was written in honour of Pope Marcellus who reigned a mere 3 weeks in 1555. Three movements are given: Kyrie, Gloria, and Sanctus. Text and translations are in the booklet or http://en.wikipedia.org/wiki/Mass_(music) 163. * Giovannini Pierluigi da Palestrina (1525-1594), Lamentationes Ieremiah [Hieremiae] Prophetae (1588). The large-scale work comprises settings of the Tenebrae (Maundy Thursday) liturgy as drawn from the Book of Lamentations from the Hebrew Bible: here you will find three movements. There are a further two books, one for Good Friday and another for Holy Saturday. Each is beautiful in its own angst-ridden right. The settings are all for 4 or 5 voices are set in full, but clear polyphonic style. Texts and translations are found in the booklet or http://www2.cpdl.org/wiki/index.php/Lamentations_of_Jeremiah 164. Giovanni Francesco Anerio (1567-1639), Nell’apperir del sempiterno sole (soprano, mezzosoprano, tenor voices acapella). http://www.corostelutis.it/content/nellapparir-delsempiterno-sole 51 Module 9 Renaissance 165. * Tomas Luis de Victoria (1548-1611, known as the Spanish Palestrina), O Magnum Mysterium (1572), Motet. Text and translation in booklet or http://en.wikipedia.org/wiki/O_Magnum_Mysterium 166. * Giovannini Pierluigi da Palestrina (1525-1594), Missa “Hodie Christus natus est” (1575). The 8-voice mass for Christmas is built upon a cantus firmus from the motet Hodie Christus natus est, Today Christ Is Born! Text and translations in the booklet and http://en.wikipedia.org/wiki/Mass_(music) 52 Module 10 Baroque Rationalism MODULE 10 BAROQUE RATIONALISM 1600-1750 It is difficult to put both “Baroque” and “Rationalism” in the same heading. On the one hand, the two words express opposites: Baroque implies something over-wrought and misshapen, while Rationalism implies something logical. Rationalism, beyond implying logic and order, stressed the classical ideal (again!) of reason or scientific method as the vehicle to attain knowledge. In this, the rational person knew that experience gained by the senses was to be considered suspicious and certainly not a reflection of reality. Sensory stimulus was not to be shunned, only treated with care. Enter music! As the 17th century dawned, musical expression of the emotional content of a text became paramount. Emotions were to be presented descriptively, in a logical fashion, one at a time, so that the listener could deeply consider and respond to each one personally. To a great extent, this made music and rationalism odd bed-fellows, but bed-fellows none-the-less. In this long musical era, the manner in which composers and performers managed musical expression changes from the idea’s inception in 1600 to its final flowering around 1750. At first Le Nuove Musiche – the new music – envisioned in Florence, Italy sought to recreate the music of antiquity, edging more toward a lean rhetoric and recitation style than toward a true melody: very rational. Over the next 150 years sometimes wildly expressive elements were added both at the compositional level and at the performance level, making more and more elaborate, and leaving less and less to the imagination of the listener. Because humans rarely experience emotions in a balanced and proportioned fashion, and sometimes we carry our emotions to excess, it is no surprise that Baroque music might indeed seem misshapen, even when aiming for rationalism. THE COMMON PRACTICE PERIOD With this module we move into what we call the Common Practice Period. By the time we arrive at 1600, we find that scales with their nearly-magnetic draw toward tonic (the start-finish notes of the scale) have pushed aside older church modes. With a scalar system comes tonality, the harmonic ramification of drive towards tonic. Within tonality we find a developing predictability in the order of chords – we still use this basic ordering in a common 12-bar blues or pop song. The various melodies that make up the counterpoint – either polyphonic or homophonic – move against each other usually in opposite directions rather than parallel directions. Not less important: the notational system had settled to its essentially modern form. Taken all together, by The Common Practice Period, the language of music which we use today was essentially set, and we can read it and understand it in today’s musical terms with about the same ease we can read and understand the plays of William Shakespeare. 53 Module 10 Baroque Rationalism During this module we will use the PowerPoint, Baroque Rationalism, to help guide our discussion. The terms and concepts in association with this module are included there. Please review the PowerPoint after class and then again prior to the midterm so that your concepts are fresh and full in your mind and ear. LE NUOVE MUSICHE (1600-1700) Written in 1601, Giulio Caccini’s Le Nuove Musiche set a new perspective for music composition. In this text, Caccini postulated a new approach to music where the text is all, and the expression of the text is given over to the most basic melodic delivery lofted over a supportive bass line, assisted by the barest chordal accompaniment. Important words linger, sobbing words throb, and happy words laugh: all is given over to the perfect deliver of the text. Immediately this new style – monody – gave birth to opera. 167. * Giulio Caccini (1545-1618), Amor, io parto (Le Nuove Musiche, 1601): Setting of an elevenline madrigal text by an unknown author; it is often described as “the plaint of the hapless lover” for voice, plucked chordal string instrument (lute/harp), and plucked viola da gamba (class example); or for voice theorbo (plucked string) and bowed viola da gamba (playlist example). The text roughly translates as: I leave and my heart breaks, but the one I leave feels nothing for me. Text and translation http://www.recmusic.org/lieder/get_text.html?TextId=42556 168. * Giulio Caccini (1545-1618), Dolcissimo sospiro (Le Nuove Musiche, 1601): set to a 9-line madrigal text by Ottavio Rinuccini is set with great affectation (Affekt in German): voice and viola da gamba alone. The text roughly translates as: I hear your sighs and offer my heart … Ease my grief! … But perhaps you sigh for someone else? Text and translation at http://www.recmusic.org/lieder/get_text.html?TextId=4 169. * Giulio Caccini (1545-1618), Amarilli Mia Bella (Le Nuove Musiche, 1601). Everyone should be loved so much! Text and translation at http://www3.cpdl.org/wiki/index.php/Amarilli,_mia_bella_%28Giulio_Caccini%29 . 170. * Giulio Caccini (1545-1618), Belle rose porporine (Le Nuove Musiche, 1601): a setting of this most famous canzonetta text by Gabrielo Chiabrera, set with great energy, which is added to by the performers. In the canzonetta an unrequited observer tries to decipher the inscrutability of a laugh and a smile, whose secrets are guarded by rosy cheeks. Text and translation at http://www.recmusic.org/lieder/get_text.html?TextId=42573 171. * Jacopo Peri (1561-1633), Euridice (1600): One of the first operas ever written; this on a libretto by Ottavio Rinuccini is based on books X and XI of Ovid's Metamorphoses. Orpheus and Euridice have been popular operatic characters over the years because of Orpheus’ connection with music. In these two excerpts the action is set and concluded: 54 Module 10 Baroque Rationalism the character La Tragedie sings a prologue extolling the virtues of earthly monarchs and referencing the Seine (the opera was written for the wedding of Henry IV of France and Maria de Medici), followed by a pastoral scene with nymphs, shepherds and Euridice prior to her death; at the end of the opera Orpheus rejoices with the safe delivery of Euridice (not Ovid’s ending). See textbook page 73 for illumination on this fascinating early opera. Libretto may be found at http://books.google.ca/books?id=exjoXt6kiYC&pg=PR16&lpg=PR16&dq=Euridice,+Prologue:+Io,+che+d%27alti+sospir+vaga+e +di+pianti+text&source=bl&ots=6J9HfdcMl&sig=S77BzRH1TP4FVTCvXXlOcn6Bj94&hl=en&sa=X&ei=jFP3UeC7JIGCiwLnt 4EQ&ved=0CDoQ6AEwAg#v=onepage&q=Euridice%2C%20Prologue%3A%20Io%2C %20che%20d%27alti%20sospir%20vaga%20e%20di%20pianti%20text&f=false Prologue, “Io, che d'alti sospir vaga e di pianti” (La Tragedia) Act 2, Scene 5, “Gioite al canto mio, selve frondose” (Orfeo, Chorus) 172. * Claudio Monteverdi (1567-1643), L’Orfeo favola in musica [The Legend of Orpheus in Music], SV 318 (1607): An example of early opera, attempting to recreate the style of ancient Greek drama in sung recitation on a libretto by Alessandro Striggio treating the musically-relevant Greek myth of Orpheus and Euridice. Monody in its purest conceptual form: fully inflected text adhering to word and poetry rhythm; music, while not unmelodic and certainly singable, is not necessarily memorable and not readily transferable to alternate text. See textbook page 75 for additional illumination on this work. Libretto in booklets Act 1, “Ritornello -- Dal mio permesso amato” Act 3, “Possente Spirto e formidabil Nume” Act 4, “Ritornello – Qual honor di te fia degno”: 173. * Claudio Monteverdi (1567-1643), Vespero della Beata Virgine or simply Vespers (1610). This work was Monteverdi’s application submission to the Vatican to become Maestro di Capella (he did not get the posting) and possibly to St. Mark’s Cathedral in Venice (where he did get the position). Each of these first three movements (indeed, of the whole work) represents a different musical style, all in favor in 1610. As a whole the work is a compendium of possibility at the opening of the Baroque era. At the opening you might also notice how Monteverdi reused some of the music from the opening of Orfeo. Full libretto and translations in the accompanying booklet. Versicle and Response (Psalm 96:1) – cantor, choir, orchestra Psalm, Dixit Dominus (Psalm 110) – vocal sextet with instrumental sextet Motet, Nigra Sum (Song of Songs [Solomon] 1:1-6) – solo tenor with basso continuo 174. * Claudio Monteverdi (1567-1643), L'incoronazione di Poppea [The Coronation of Poppea], SV 308, (1642-43). Monteverdi’s last opera is set on a libretto by Giovanni Francesco Busenello. The opera is one of the first be based upon historical people and events (Roman Emperor Nero and his mistress Poppea), drawing on the writings of Tacitus, Suetonius, 55 Module 10 Baroque Rationalism among others. More than forty years after his the origin of opera, this now is noticeably tuneful. See textbook page 76 for additional insight on this work. Libretto in the accompanying booklet. Act 1, Scene 5: Disprezzata Regina (Ottavia, Nutrice) Act 2, Scene 6: Hor che Seneca e morto (Nerone, Lucano) Act 2, Scene 9: Tu che dagli avi miei (Ottavia, Ottone) Act 3, Scene 7: A dio, Roma (Ottavia) 175. * Heinrich Schütz (1583-1643), “Singet dem Herrn ein neues Lied,” SWV 35 from Symphoniae Sacrae (Book II, 1647) – Psalm 98 and Doxology are set for soprano and ensemble; note conversational style between singer and instrument, and the way each vers is set to different music. Text and translation at http://www0.cpdl.org/wiki/index.php/Psalm_98 176. * Heinrich Schütz, “Es steh Gott auf” from Symphoniae Sacrae (Book II, 1647); Psalm 68 is set for male duet with instruments; note use of the instruments with the rhythm to establish an overall mood for this work. Text and translation at http://www.sfbach.org/text-es-stehgott-auf-swv-356 177. * Henry Purcell [pronounced Purse-l] (1659-1695), Dido and Aeneas, S. 626 (ante 1688). Here Purcell demonstrates his usual uncommon ease and unfailing precision at setting the English language. Purcell sets Nahum Tate’s libretto as a beautiful opera in three scenes and a prologue of great dramatic power with brilliant text painting. Sinfonia (Instrumental) Shake the Clouds (Aria) Ah, Belinda (Aria) When I Am Laid in Earth (Aria) INSTRUMENTAL BAROQUE (1600-1700) By the end of the Renaissance, instruments were occasionally being trusted to take a vocal line from a madrigal. In opera, instruments took prominent roles, both in incidental music and as supporting partners for singers. It wasn’t long before instruments stepped forward to take their own place as expressive vehicles for wordless music. 178. * Giovanni Gabrieli (1554-1612), Canzon septimi toni no.2, from Sacrae Symphoniae (1597): as a very loose definition of canzon, the form of this work is free and changing section by section as if imitating in instruments the type of music which might be set to very expressive poetry (for example, the 13th-14th-century Italian Canzona). The playlist gives 56 Module 10 Baroque Rationalism three performances: one on period instruments, one with modern brass quintet and organ, and one with modern brass ensemble. Note how the instrumentation significantly changes the sound quality and mood of the music. 179. * Giovanni, Gabrieli, Canzon duodecimi toni á 10, from Sacrae Symphoniae (1597): [When listening in class only:] unlike the previous which is performed on modern brass instruments, this more closely adheres to original conception of instrumentation using period instruments such as organ, cornetts, violins, and the ever-popular sackbutt. Note how the change of instrumentation changes the whole quality and edge of the music. The playlist gives two performances, one on period instruments and one on modern instruments. 180. * Matthias Weckmann (c. 1616-1674), “4 verses from Magnificat secondi toni” (composition date unknown). Weckmann was student of the far more well-known Jan Pieterszoon Sweeklinck. The contrapuntal compositional style is self-evident to the ears and visually engaging in video presentation. 181. * Girlamo Frescobaldi (1583-1643), “Toccata Prima” from Toccate d’Involuntura de cimbalo del Primo Libro (1615): performed on harpsichord. 182. Girlamo Frescobaldi (1583-1643) Canzona XIII della la Biachina (1628), Violin, cornett, chitarrone, harp, and organ 183. * Marin Marais (1656-1728), 32 Couplets des Folies d'Espagne from Deuxième livre de pièces de viole for viola da gamba and figured bass (1701): while written simply as a variation set on this famous 17th-century sarabande, the variety of spirit and mood shown in the couplet variations lends themselves to dance both on the origianl sarabande dance tune and on the subsequent variations 184. * Johann Pachelbel (1653-1706), Kanon und Gigue für 3 Violinen mit Generalbaß, PWC 37: better known as Pachelbel’s Canon in D 185. * Archangelo Corelli (1653-1715), Concerto Grosso, op. 6, no. 1 (1708). The authorship of these works is mildly disputed with Francesco Geminiani being the strongest candidate to push Corelli off the title page. 186. * Antonio Vivaldi (1678-1741), Concerto in D major, Op. 10, No. 3, “Il Gardellino” for flute/recorder and orchestra, RV 428 (1728): mvt. 1. 57 Module 10 Baroque Rationalism 187. * Alphonsus Maria de Liguori (1696-1787), Tu scendi dalle stelle [You Descend from the Stars] (1732), Pifferi (pipes or shawms), and zampagna (cornemuse or bagpipes). Naxos recording is with modern instruments and includes choir; the class video shows performance on 16 thcentury period instruments. HIGH BAROQUE (1700-1750) A full hundred years into the period we call Baroque, music hardly sounded the same as it did back in 1600 when its style was set in motion. Here at the Baroque pinnacle, commonly called the High Baroque, many of the hallmarks are still there. Melody still soars above a bass line connected lightly to it with chords. Notes still weep and sigh with the text, and passages still run up hill and tumble back down at the barest suggestion of the words. Only now, the music has become grand and florid – fully earning its title Baroque. Some of the greatest musician-composers who ever lived worked their craft at this time, in every aspect of the art. Music was already starting to show some signs of changing style, an indication that florid and fancy would soon give way to prim and elegant. In the meanwhile, however, George Friedrich Handel and especially Johann Sebastian Bach synthesized the finest elements of the High Baroque and created treasures of humanity. 188. * Antonio Vivaldi (1678-1741), Le Quattro Stagioni (1723), The accompanying sonnets – the basis of the composition, originally in Italian – are anonymous but are presummed to be of Vivaldi’s authorship. Please see textbook page 57 for deeper context for these well-known works. The sonnets and their translations may be found at http://en.wikisource.org/wiki/The_Four_Seasons_Sonnets 189. * Antonio Vivaldi (1678-1741), L'Olimpiade (1734), one of at least 50 if not closer to 100 operas from Vivaldi’s musical pen on a libretto by the great poet-writer-librettist of his day, Pietro Metastasio. See textbook page 54 for further connections beyond simple affect and into the realm of the purely instrumental. Text and translation at http://www.recmusic.org/lieder/get_text.html?TextId=11226 Act 2, scene 5: Siam navi all’onde algenti 190. * Georg Friedrich Handel (1685-1759), Messiah, HWV 56 (1741): on a libretto by Charles Jennens, adapted from Hebrew Bible and the Christian New Testament. Please see both pages 43 and 85 of the textbook for further context on the Sinfonia and the “Hallelujah” Chorus. #1 Sinfonia (Part 1, Scene1) #18 Aria, Soprano (Part 1, Scene 5), “Rejoice Greatly, O Daughter of Zion” #44 Chorus (Part 2, Scene 7) “Hallelujah!” Arguably the most famous of choruses from the most famous of all oratorios, the “Halleluiah Chorus” is a staple of the Christmas season despite the fact that only the first of the oratorios 58 Module 10 Baroque Rationalism three parts is linked to Christmas (specifically “The Annunciation”), the other two parts covering “The Passion” (events leading to Easter) and “The Aftermath” (including Judgement Day). The “Hallelujah Chorus” closes part 2. #45 Aria, Soprano (Part 3, Scene 1), “I Know That My Redeemer Liveth” – the first notes of this aria adorn Handel’s tomb at Westminster Abbey, London, England #48 Aria, Bass (Part 3, Scene 2), “The Trumpet Shall Sound” 191. * Georg Friedrich Handel (1685-1759), Water Music, HWV 348 and 349 (1717), selections: Water Music is comprised entirely of stylized dances (in two suites) which were intended as concert music, not dance music, and was composed with the knowledge that the performers (a 50-piece orchestra) would play from barge near the King’s barge as both travelled down the Thames River. This event was captured on canvas by the contemporary painters Edouard Jean Conrad Hamman and Giovanni Antonio Canal “Canaletto. See page 84 of the textbook for greater context. From Suite 1, HWV 348 1. Overture (Largo – Allegro) 2. Adagio e staccato 3. Allegro – Andante – Allegro da capo 4. Minuet 5. Air 6. 7. 8. 9. 10. 11. Minuet Bourrée Hornpipe Allegro Allegro (variant) Alla Hornpipe (variant) 192. * Georg Friedrich Handel (1685-1759), Music for the Royal Fireworks, HWV 351 (1749), selections: A suite of stylized dances (Handel preferred the title “overture” but was overruled by the King) to accompany the fireworks in celebration of the Treaty of Aix-lachapelle, ending the War of Austrian Succession and, amongst other things, guaranteed the Hanoverian succession to the British throne. The fireworks themselves were disastrous, setting the launching barge on fire. The events of this exciting day are captured in contemporary etchings. 1. 2. 3. 4. 5. Ouverture: Adagio, Allegro, Lentement, Allegro Bourrée La Paix: Largo alla siciliana La Réjouissance: Allegro Menuets I and II 193. * Georg Friedrich Handel (1685-1759), Sonata in g minor for Recorder and Basso Continuo, HWV 360 (ante 1710), “Adagio” and “Presto” movements: in these small intimate sonatas, the work of the basso continuo is clearly audible (and completely enjoyable). The performance featured in class includes a rollicking bassoon and wild harpsichord on the basso continuo part with Michaela Petri’s effervescent ornaments above in the recorder. The playlist performance is tamer but delightful. 59 Module 10 Baroque Rationalism 194. * Georg Phillip Telemann (1681-1767), “Methodical” Sonata in d minor for Flute and Basso Continuo (1728-1735), Andante and Allegro: in this impressive set of sonatas, Telemann composed possible solutions and options for improvised ornamentation which the performers were required to add in order to complete the effect of the music. 195. * Johann Sebastian Bach (1685-1750), Toccata and Fugue in d minor, BWV 565 (Date ???). This very famous work by J. S. Bach is most likely not by the great master. No copy in the composer’s hand survives and the music doesn’t really pull the right punches to be J.S. Bach (it sounds just a bit too 19th-century). We may never confirm the true composer or for that matter that JS Bach didn’t compose it. Until that time, we will call it J.S. Bach’s, for lack of a better alternative! The end result of this controversy is that the work is no longer in favour amongst performers – the simple question of just what kind of organ (baroque or romantic) should be used for performance is too big an issue. In the end, perhaps the best presentation of all is the transcription by Leopold Stokowsky which is featured in the 1939 Disney production, Fantasia. That version is included on the playlist along with his transcription of the “little g minor fugue,” itself a very open way to experience and follow a fugue! 196. * Johann Sebastian Bach (1685-1750), Passacaglia and Fugue in C minor, BWV 582 (17061713). This youthful work by Bach is not only one of his greatest works, but also one of the greatest variation works ever composed. See page 101 of the textbook for focussed attention to this work. 197. * Johann Sebastian Bach (1685-1750), Brandenburg Concerto no. 2, BWV 1047 (1708-1717): mvt. 1, Allegro: solo instruments (the concertino) are flute, trumpet, violin, and oboe. Bach’s trumpeter, Gottfried Reiche, died of a stroke shortly after performing this work. It is believed that the physical strain of performing the equisitely high trumpet part was the cause of the stroke. For more on this grisley story, see the 1734 account at http://www.peakviewmusic.com/Brandenburg%20Concerto%20No.%202%20Piccolo%2 0Trumpet%20part.2.html . See pages 105-110 in the textbook for more about the whole of the Brandenburg 6 Concertos, while pages 52 and 62 speak directly to this concerto. 198. * Johann Sebastian Bach (1685-1750), Brandenburg Concerto no. 4, BWV 1049 (1708-1717), mvts. 1 and 2, Allegro and Air; the concertino group is two recorders and violin – usually now the recorders are replaced by flutes, but “period” performances, such as this one, are also popular May I suggest an excellent read: Stuart Isacoff’s 2003 non-fiction book: Temperament: How Music Became the Battleground for the Greatest Minds of Western Civilization 199. * Johann Sebastian Bach (1685-1750), The Well-Tempered Clavier, BWV 846–893, Book 1 (1722), Prelude and Fugue in C major: and Prelude and Fugue in c minor. At this time Clavier referred to any keyboard instrument, and is performed today on all variety of keyboard instruments; in class we will hear this performed on piano, although Bach’s score clearly shows need for an instrument with a different kind of sustaining power. Page 68 of the textbook walks gently through the mechanics of a fugue. 60 Module 10 Baroque Rationalism (203a) * And now for something completely different: in the last 19th century, the French composer Charles Gounod took Bach’s original C major prelude, repeated one bar, and penned over-top his exquisite “Ave Maria.” You’ll find a recording of this work for tenor and piano on the Naxos Music Library playlist. 200. * Johann Sebastian Bach (1685-1750), Goldberg Variations, BWV 988 (1741). Here Bach gives us one of the most extensive variation works ever written. Modern listeners can still swoon to the nuances of finely-wrought canons and note-play. The Goldberg of the title may have been the work’s first performer, Johann Gottlieb Goldberg. 201. * Johann Sebastian Bach (1685-1750), Christ lag in Todes Banden, BWV 4 (Easter, 1707), text by Martin Luther. The full text and translation may be found at http://www.bachcantatas.com/Texts/Chorale012-Eng3.htm Sinfonia: strings and continuo Verse I: "Christ lag in Todes Banden" - The alto, tenor, and bass voices sing free counterpoint, while the cantus firmus is sung by the soprano in unadorned, long notes. iii. Verse II: "Den Tod niemand zwingen kunnt" - for soprano, alto and continuo. iv. Verse III: "Jesus Christus, Gottes Sohn" - for tenor and continuo with 2 violins obbligato. v. Verse IV: "Es war ein wunderlicher Krieg" - for soprano, alto, tenor, bass and continuo. vi. Verse V: "Hier ist das rechte Osterlamm" - for bass, strings and continuo. vii. Verse VI: "So feiern wir das hohe Fest" - for soprano, tenor and continuo. viii. Verse VII: "Wir essen und leben wohl" - A chorale, sung and played by the whole ensemble. i. ii. 202. * Johann Sebastian Bach (1685-1750), Magnificat, BWV 243 (Christmas Vespers, 1723), “Quia Respexit”: text is from the Roman Rite, drawn directly from the Christian Bible, Gospel of Luke, chapter 2. Full text and translation at http://www.bachcantatas.com/Texts/BWV243-Eng3.htm – scroll down to movement 3. (3) Quia Respexit – Soprano, continuo, and oboe d’amore obbligato 203. * Johann Sebastian Bach (1685-1750), Wachet Auf, ruft uns die Stimme, BWV 140 (Advent, 1731), selections: text is from the Christian Bible, Gospel of Matthew, Chapter 25. Full text by Phillipp Nicola and translation may be found at http://www.emmanuelmusic.org/notes_translations/translations_cantata/t_bwv140.htm (Chorus) Wachet auf, ruft uns die Stimme (Chorale) Zion hört die Wächter singen (Chorale) Gloria sei dir gesungen 204. * Johann Sebastian Bach (1685-1750), Mass in b minor (1749, assembled from earlier compositions), selections 61 Module 10 Baroque Rationalism Kyrie: (Chorus) Kyrie, eleison Credo: (Chorus) Gratia agimus tibi Credo: (Duet) Domine Deus Credo: (Chorus) Qui tollis peccata mundi 62 Module 11 Elegant and Sensitive MODULE 11 ROCOCO: ELEGANT AND SENSITIVE 1720-1770 Certainly, there are defining moments in music history which initiate an almost immediate change in style or approach. The cusp between Baroque and Classical period is not one of these defining moments. This dramatic and substantial change in music was brought about over several decades, beginning in France with the harpsichordists, François Couperin and later, Philippe Rameau. Their contribution was to simplify and clarify music away from the entwined counterpoint of the late Baroque. This simplifying and clarifying process in the waning decades of the Baroque Period is known as the Rococo movement. Rococo changes were uniquely suited to the hands of the solo keyboard player, but not to the exclusion other instrumental groups. Springing out from a Parisian centre, the ideals soon caught the attention of the sons of Johann Sebastian; in particular Carl Phillip Emmanuel working in Berlin at the Prussian Court and Johann Christian working in London were highly influential on the next generation of composers: Franz Joseph Haydn and Wolfgang Amadeus Mozart. True, Emmanuel’s style was polar-opposite from his brother Christian’s. Still both individual styles were moving into new territory, unlike their father’s older, retro style. Their father was the culminating genius of the Baroque period, but it was the sons who proposed a new direction. Our PowerPoint, Classical Enlightenment, highlights terms and concepts in association with this transitional time: please review it after class and again prior to the midterm. 205. * François Couperin (1668-1733), “Sixiême ordre: les barricades mistérieuses” from Livres de Clavecin in 22 Ordres (1713-1730), performed on harpsichord. . 206. * Philippe Rameau [pronounced Ram-o] (1683-1764), “Allemande” from “Suite in e minor” from Pièces de Clavecin (1724), performed on harpsichord. 207. * Johann Christian Bach (1735-1782), Overture: Adriano in Siria (1765): the light, airy gallant style is represented in the work of this son of the great J. S. Bach. His music, as well as that of the older styled works of “Papa” Bach was highly influential on the style of Wolfgang Amadeus Mozart. 208. * Carl Philip Emanuel Bach (1714-1788), Sonata in g minor, Wq 65/17 (1746): The stormy and irrational perspectives of this son of the great J. S. Bach were highly influential on the style of Franz Joseph Haydn and a hallmark of the empfindsamerstil (the sensitive style). 63 Module 12 Classical Enlightenment MODULE 12 CLASSICAL ENLIGHTENMENT 1770-1820 Repeatedly in history, the elite thinkers and artists of Europe have aspired to the ideals of classical antiquity: the form, logic, and proportion embodied in ancient thought and art seemed to be blissfully free from romantic flights of fancy and high emotionalism. To the ancients, as to modern aspirants, the universe unfolds with immutable order ordained from before time and revealed in the perfection of numbers, geometry, and music. These ideals returned to prominence again in the late 17th century in the form of the Enlightenment. The Age of Enlightenment was an essential French ideal, stressing the importance of reason and scientific method, individualism and a decidedly antiaristocratic or anti-monarchical perspective. Before the Age of Enlightenment gave way to the romantic movements of the 19th century, many political revolutions would be waged, many monarchies would fall, and many aristocrats would be pushed from their pedestal (or beheaded) to make way for the individual common man. In music these principles manifest first through the rococo and gallant styles of the 18th century (previous module) and culminated in the high classical style. The high classical style demanded a perfection of form and balance in all things including music. Such a perfection of balance and form in music is accompanied by mechanisms that allow glimpses of the individual and a way by which characters can be experienced in relationship to each other. It is further suggested that music alone, without the assistance of text of super-musical intent – what we call absolute music – is sufficient to the task of expression. Indeed this is what we see in the High Classical Period. During this module we will use a PowerPoint, Classical Enlightenment, to help guide our discussion. There will be many concepts and terms in this PowerPoint. It is vital that you return to this PowerPoint after class and again before the midterm. ABSOLUTE MUSIC Music for so long had been associated with words for its primary expression that it was virtually unthinkable that instruments would have the capacity to express with equal strength without recourse to the voice. Indeed, there had been instrumental dance music, processional music, ceremonial music, meditation music, but this music had appeared to be in the service of a secondary need – to move, to celebrate, to pray. During the 17th and 18th centuries, instruments did begin to gain their own expressive repertoire – concertos and sonatas for treble instrument, complex imitative works and fantasias for keyboards; yet here these works seemed to show the capacities of the instrument or performer. Now in the late 18th century, the classical period saw the rise to dominance of instrumental music which tells all that needs to be told musically through the strongly narrative 64 Module 12 Classical Enlightenment and rhetorical Sonata Forms. With no words necessary, no extra-musical association necessary, the instruments complete the whole story. This is absolute music! 209. * Wolfgang Amadeus Mozart [pronounced MOAT-sart] (1756-1791), Serenade no. 13 for Strings in G major, K. 525 (1787), Eine Kleine Nachtmusik: musicians regard this very popular work as a supreme and perfect example of Sonata form. See pages 116-118 of the textbook for a bit of additional information on this very well-known work. 210. * Franz Joseph Haydn [pronounced HIDE-n] (1732-1809), String Quartet no. 30 in Eb major, op. 33, no. 2, “Joke,” Hob. III:38 (1781): the string quartet did not exist as a form or as an entity prior to Haydn’s time – early, contemporary biographers suggest that this the thirtieth of Haydn’s string quartets is it amongst the oldest string quartets in the current repertoire. 211. * Franz Joseph Haydn (1732-1809), String Quartet no. 63 in Bb major, op. 76, no. 4, “Sunrise,” Hob. III:78 (1797): here the substantial change in writing for string quartet from the op. 33 Quartets from 16 years earlier is evident in the independence of the part and the broad range of expression. 212. * Franz Joseph Haydn (1732-1809), Symphony No. 29 in E major Hob. I/29 (1765): this early symphony of Haydn is lightly scored for two oboes, two bassoons, two horns, strings and continuo. For the time being the basso continuo continues to provide a foundation for most orchestral ensembles, even though it has effectively disappeared from chamber music forms such as the string quartet. Tiny gems such as these were custom-composed for intimate spaces such as the public rooms at Esterhazy palace. 213. * Franz Joseph Haydn, Symphony no. 83 in g minor, “Le Poule” [“The Hen”] Hob. I/83, (1787): Haydn is credited with being “The Father of the Symphony” largely because devoted so much creative energy to developing this important sonata-form (itself only just coming into existence at the time of Haydn’s birth). More than 35 years separate the composition of Haydn’s first and last symphonies. In that time Haydn defined the symphonic form, established the workings of what would become the symphony orchestra, and created more than 100 delightful gems of the modern repertoire. The nickname is not Haydn’s, but owes to the pecky second subject of the first movement and the insistent BA b-DA b-DA b-DA rhythms throughout the movement. 214. * Franz Joseph Haydn (1732-1809), Symphony No.88 in G major, Hob. I/88 (1787): See page 154 of the textbook for illuminating thought on this work. 215. * Franz Joseph Haydn (1732-1809), Symphony No. 92 in G major, Hob. I/92 (1789): See page 132 of the textbox for focussed thought on this fine symphony. 216. * Franz Joseph Haydn (1732-1809), Symphony no. 94 in G major, “Surprise,” Hob. I/94 (1791): the nicknames of most works by Haydn are not assigned by Haydn, but are added 65 Module 12 Classical Enlightenment by later publishers, performers, or critics. A quick glance at the following site will illuminate the many colourful names given to Haydn symphonies over the years: http://en.wikipedia.org/wiki/List_of_symphonies_with_names 217. * Franz Joseph Haydn (1732-1809), Symphony no. 45 in F# minor “Farewell:” the last movement is the reason for the title! 218. * Wolfgang Amadeus Mozart (1756-1791), Twelve Variations on “Ah vous dirai-je, Maman,” K. 265 (1781). See textbook page 128 to explore these elegant variations. 219. * Wolfgang Amadeus Mozart (1756-1791), Symphony no. 38 in D Major, K. 504, “Prague” (1788) 220. * Wolfgang Amadeus Mozart (1756-1791), Symphony no. 40 in g minor, K. 550 (1788): this is one of only two minor-key symphonies Mozart wrote. Its urgent and stormy disposition makes it absolutely characteristic of the intoxicating Sturm und Drang movement sweeping German-speaking countries in the late 18th century. See textbook pages 140-141 221. * Wolfgang Amadeus Mozart (1756-1791), Symphony No. 41 in C major, K. 551, “Jupiter” (1788). This last symphony of Mozart is scored for a full classical orchestra: flute, two each oboes, bassoons, horns, trumpets, strings and timpani – no continuo! The symphony’s nickname derives apparently from impresario Johann Peter Salomon who coined the term and appended it to an early arrangement for piano. The symphony was Mozart’s last symphony. See page 144 of the textbook. 222. * Wolfgang Amadeus Mozart (1756-1791), Piano Sonata no. 11 in A major, K. 331 (1778 Paris or 1783 Vienna): the move to write sonatas for single instrument without basso continuo took place essentially in Mozart’s lifetime. Sonatas for instruments without harmonic capability – woodwinds and strings – continued to include keyboard (usually now piano); however, the enormous flexibility and powerful expression of the new pianoforte (or simply piano) made it an instrument capable of standing on its own. 223. * Wolfgang Amadeus Mozart (1756-1791), Quartet for Flute and Strings in D major, K. 285 (1777/1778): Here the flute takes the role usually assumed by the first violin of a string quartet. 224. * Wolfgang Amadeus Mozart (1756-1791), Quintet for Clarinet and Strings in A major, K. 581 “Stadler”: the newly invented clarinet was made a serious instrument by the clarinetist Anton Stadler. Composers of the day began to recognize its enormous expressive capabilities, its huge range, and its extraordinary capacity for intimacy. 66 Module 12 Classical Enlightenment 225. * Wolfgang Amadeus Mozart (1756-1791), Concerto for clarinet and orchestra, K. 622 (1791): the capabilities of the newly invented clarinet and its particular brand of expression – broader than all other wind instruments of the day – are heightened and featured throughout. 226. * Wolfgang Amadeus Mozart (1756-1791), Concerto for Bassoon and Orchestra in Bb major, K. 191 227. * Wolfgang Amadeus Mozart (1756-1791), Concerto for Piano and Orchestra no. 17 in G major, K. 453 (1784). See page 163 of textbook for additional illumination. ENLIGHTENMENT OPERA Baroque opera had been dedicated to themes of history and myth of classical antiquity. Ultimately, Baroque opera would become stylized and oddly rigid; even so it was also filled with spectacle and special effects. In the last decades of the 18th century, Enlightenment philosophy opened the door to stories of today, triumphs of the common man, local content, and a certain modern mythology. These characters can be loved, admired, or laughed at because you know them, you know the type. During this time and for all time, no one did this better than Wolfgang Amadeus Mozart. 228. * Wolfgang Amadeus Mozart (1756-1791), Le nozze di Figaro, ossia la folle giornata, [The Marriage of Figaro or the Day of Madness], K. 492 (1786) on a libretto by Lorenzo Da Ponte setting the 1784 play La folle journée, ou le Mariage de Figaro by Pierre Beaumarchais. The play was second of a scandalous trilogy which was banned in Vienna at the time owing to its unflattering representation of the aristocracy. See textbook page 173. Texts and translations, respectively, at http://www.opera-arias.com/mozart/le-nozze-di-figaro/cinque..dieci..venti/ http://www.opera-arias.com/mozart/le-nozze-di-figaro/se-vuol-ballare/ http://www.opera-arias.com/mozart/le-nozze-di-figaro/porgi-amor-qualche-ristoro/ Sinfonia Act 1, Duet: Cinque, dieci, venti, trenta Act 1, Cavatina: Se vuol ballare, Signor Contino Act 2, Cavatina: Porgi, amor, qualche ristoro al mio duolo 229. * Wolfgang Amadeus Mozart (1756-1791), Il dissoluto punito, ossia il Don Giovanni, (The Rake Punished or Don Giovanni) K. 527 (1787, Prague) on a libretto by Lorenzo Da Ponte, and based upon Alexander Pushkin’s theater comedy The Stone Guest. Despite the dark finale, the opera – in the same spirit as the play – is a buffa opera. See textbook page 173-176. Texts and translations, respectively, at http://www.opera-arias.com/mozart/don-giovanni/madamina-il-catalogo-e-questo/ http://www.opera-arias.com/mozart/don-giovanni/gia-la-mensa-e-preparata/ 67 Module 12 Classical Enlightenment Act 1, Aria: Madamina, il catalogo è questo Act 2, Finale: Giá la mensa preparata 230. * Wolfgang Amadeus Mozart (1756-1791), Die Zauberflöte (The Magic Flute), K. 620. See textbook pages 173, 241 and 242. Texts and translations, respectively, at: http://www.opera-arias.com/mozart/die-zauberfl%C3%B6te/hm-hm-hm-hm/ http://www.opera-arias.com/mozart/die-zauberfl%C3%B6te/der-h%C3%B6lle-rache/ http://www.opera-arias.com/mozart/die-zauberfl%C3%B6te/pa-pa-pa-papageno/ Act 1, Sinfonia-Overture Act 1, Scene 1, Quintet: Hm hm hm hm Act 2, Scene 6, Aria: Der Hölle Roche kocht in meinem Herzen Act 2, Scene 10, Duet: Papageno! Papagena! The textbook also considers Idomeneo, La Clemenza di Tito, Abduction for the Seraglio, and Cosi fan tutti – each a masterpiece and worthy of every exploration. ROMANTICISM THREATENS CLASSICISM Classical forms are perfect and elegant, well-formed and proportioned. It doesn’t seem to be in the nature of artists to be content with elegance and proportion for long. No blame there! It is an ideal that so rarely bears out in reality. Almost as soon as the classical forms came into existence, composers began to push against the forms. Restraint wouldn’t hold for long and sure enough, the megalithic figure of Ludwig van Beethoven cut across the bow of the pure classicists and dramatically pointed classicism down an unchangeable path toward Romanticism. 231. * Ludwig van Beethoven [pronounced BAY-toe-ven] (1770-1827), Sonata no. 8 in c minor, op. 13, “Pathetique” (1798-99): the power and expression of the piano is exploited in this early work by Beethoven, a fine example of his early-period style. 232. * Ludwig van Beethoven (1770-1827), Sonata no. 14 in c# minor “quasi una fantasia,” op. 27, no. 2, “Moonlight” (1801): as Beethoven wrestles the restrictions of Classical period form, he explores the possiblity of creating moods and tearing down formal boundaries as necessary to gain his desired effect. 233. * Ludwig van Beethoven (1770-1827), Sonata no. 20 in G major, op. 49, no. 2 (1795-6). See textbook page 134 for a compelling description of the enchanting closing Rondo. 234. * Ludwig van Beethoven (1770-1827), Symphony no. 3 in Eb major, op. 55, “Eroica” (1803): many musicians point to this symphony and declare this to be the arrival of the 68 Module 12 Classical Enlightenment Romantic period; however over-stated this may be, certainly this work turns the tide of Beethoven’s craft and puts music on an irreversible course toward romanticism. Beethoven’s most heroic works are in the key of Eb major, and in fact many composers are seen returning to certain keys for certain effects or points of metaphor from the 18 thcentury forward. The following links trace some of those consistencies: http://www.wmich.edu/mus-theo/courses/keys.html or http://biteyourownelbow.com/keychar.html 235. * Ludwig van Beethoven (1770-1827), “Razumovsky” String Quartet no. 1, op. 59., no. 1 (1806) 236. * Ludwig van Beethoven (1770-1827), Bagatelle no. 25, “Für Elise,” WoO 59 (1810/1867). This very famous work by Beethoven – Charles Brown’s friend Schroeder popularized this work in the animated Charlie Brown shorts – was only published 40 years after Beethoven’s death, hence WoO [without opus] 59. The work is clearly by Beethoven – we have the sketches in his hand – but it was never given a final publisher’s copy by Beethoven and so the versions we hear today have been transcribed from these very scratchy sketches by other musicians over the years. Who was Elise? This and other similar questions regarding the women in Beethoven’s life have occoupied musicologists for nearly 200 years. Beethoven, who clearly loved women, never married, never had a longterm relationship, but still expressed great passion toward a number of women, most famously his “Immortal Beloved.” Still, we cannot determine who these women were, such was the level of anonymity he provided them ... if you can count two centuries of speculation as anonymity. By the way, you can no more take the ascertions of the 1994 film Immortal Beloved as fact than you can those of the 1984 film or 1979 stageplay Amadeus, but Gary Oldman makes a wonderful, almost lovable Beethoven, and Tom Hulce as Mozart is only one of the many gems in the acclaimed latter film. 69 Module 13 Romanicism MODULE 13 ROMANTICISM 1808-1900 It is very difficult to say when the Classical Period becomes the Romantic Period. If you ask me on any one day of the week, I will probably give you a different starting date of the period based on what I was just listening to. From the late 1790s we start to see the signs of definitive stylistic change, and by 1820 we can no longer deny that Romanticism is in full bloom. Today, because that’s what seems right as I write this, I will call it at 1808. With Beethoven’s composition and premiere of the great 5th and 6th symphonies we can only gape in wonder at the romantic esprit he exercised in the composition of these works. I could have just as easily said that the page turned with the “Moonlight” Sonata in 1801 or the 3rd Symphony in 1803. You will notice, of course, that we ended the previous module, Classical Enlightenment, with Ludwig van Beethoven and opened this module with Ludwig van Beethoven. How could we not? As a true megalith of music, Beethoven sits astride the whole of music history as surely as he spans the continuum from Classical to Romantic periods. What about after Beethoven? Well, that is a good question! In many respects, composers spent the next 100 years wondering what could be done with music after Beethoven. Composers and performers find their ways, of course. Some composers push wildly bigger – Berlioz, Mahler, Wagner, and Strauss – while other composers head toward intimate miniatures – Schubert, Schumann, and Chopin. Quick improvements to instrument brought on by the industrial revolution encourage some composers to explore orchestral colours – Mendelssohn, Rimsky-Korsakov, Berlioz – and others to focus on the virtuosic options for a single instrument – Rachmaninov, Liszt, Chopin, Paganini. Then there was the whole phenomenon of nationalism which saw major and minor composers alike – too many to give here – pressing forward their own ideas of national identity through music. And still the old forms persisted recognizably – Tchaikovsky, Brahms, Dvorak, Sibelius – and opera flourished – Verdi, Rossini, and Wagner. So much music! The common thread shared by all is unquestioned personal expression. It is music of the hero or music of the victim, music of the lover or music of unfulfilled music of the nation or music of the repressed. During this time music is never – I think it is safe to say – never neutral. Always there is a point to prove or a burden to bear. This is romanticism! 70 Module 13 Romanicism CLASSICISM COMES APART Despite the heady words above, the fact remains that Romanticism in music is not a complete change in style from Classicism, but rather Classicism remade. Almost throughout the period, we recognize at least the vestiges of the classical form. Sometimes, the forms are actually given in full, but often they are pulled apart of transformed. The classical forms, therefore, are not relics of the past, but vehicles of a vital contemporary expression. To a certain extent, the forms become metaphors, and listeners are invited to move deeply into the music; building, creating, and relating connections between parts of a whole which offer a full narative of relationships and revelations. It takes practice to hear this, but if you invest the time in a life of listening, these works rarely fail to yield up new insights decades after a first hearing. Even without that long experience, it is possible to hear the works in this section as expanded classical works – often, absolute music – with a twist, usually to be found in the connection between the movements and themes from movement to movement. 237. * Ludwig van Beethoven (1770-1827), Symphony no. 5 in c minor, op, 67 (1808); when musicians speak of “The 5th” this is the work we speak of; it is difficult to argue that any other work in the repertoire embodies a more perfect working of the smallest of motifs. 238. * Ludwig van Beethoven (1770-1827), Symphony no. 6, op. 68, “Pastorale” (1808). This enchanting and rare “happy work” of Beethoven figures prominently in the textbook: pages 202-207, 216, and 244. 239. * Ludwig van Beethoven (1770-1827), Piano Concerto no. 5 in Eb, op. 73 “Emperor” (1811) May I suggest an excellent read – an entwined tripartite non-fiction tale: Russell Marti’s 2001 book Beethoven’s Hair 240. * Ludwig van Beethoven (1770-1827), Piano Trio no. 7 in Bb major, op. 97 “Archduke” (1811) 241. * Ludwig van Beethoven (1770-1827), Symphony no. 9 in d minor, op. 125 “Choral” (1824). While chronologically the completion of this work dates from Beethoven’s last years, the ideas which lead to its final form began in Beethoven’s mind as early as 1793 when he first became acquainted with the essays of Schiller. A setting of An die Freunde was contemplated as a cantata in 1811. The original fourth movement of this symphony was planned to be a different, purely instrumental movement – those sketches eventually became the last movement of the Op. 132 String Quartet. The idea of including voice in the symphony, with this poem only came to Beethoven the year before the work was completed. See textbook 49, 187, 206, 218, 248-9. Text and translation at http://en.wikipedia.org/wiki/Symphony_No._9_%28Beethoven%29 71 Module 13 Romanicism 242. * Ludwig van Beethoven (1770-1827), Missa Solemnis in D major, op. 123 (1824): setting of the Ordinary of the Catholic Latin Mass. Many people consider this the greatest setting of the mass ever composed. Personally, I’d listen to Bach’s Mass in b minor before making this call. 243. * Ludwig van Beethoven (1770-1827), 33 Variations on a Waltz by Diabelli for Piano, op. 120, “Diabelli Variations” (1824). See textbook pages 126-127 for a quick walk-through of this most excellent variation work. If you fall in love with it, please backtrack and enjoy also “The Goldberg Variations” by J. S, Bach. 244. * Ludwig van Beethoven (1770-1827), String Quartet no 13 in Bb major, op. 130 (1825). This late string quartet is found in two versions, both unconventional. Either way you chalk it, the six movement structure is strange. For starters, Beethoven reverses (as he often does) the order of 2nd and 3rd movements: dance and song, rather than song and dance. Then he gives a second pair of dance and song! Now the fun begins! You may proceed to the published finale – a light-hearted rondo-type movement – or you may take on the dark and strenuous original finale: the Grosse Fuge, or the big fugue. It is big indeed: too hard for a quartet of Beethoven’s day, and not appealing enough to engage the publisher. So in a very uncharacteristic move, Beethoven removed his original finale and published it separately as his opus 133 (below) and replaced it an alter-ego movement. 245. * Ludwig van Beethoven (1770-1827), String Quartet no 15 in A major, op. 132 (1825). The quartet’s last movement includes themes which were originally contemplated by Beethoven for the finale of the 9th Symphony. The unusual form of this late quartet includes a first movement with two expositions and two developments, and a rogue march preceding the rondo finale. 246. * Ludwig van Beethoven (1770-1827), Grosse Fuge, op. 133 (1826). See note above at #246. This fugue has a strong degree of contortion to it. It is a fabulous way to conclude and draw together the above string quartet, but it is also a fantastic stand-alone work. Luckily when Beethoven pulled it from the string quartet, he didn’t reject it. 247. * Franz Schubert [pronounced SHOE-bert] (1797-1828), Symphony no. 8 in b minor, D. 759, “Unfinished” (begun 1822): first two movements are complete, a third movement is roughly complete but was never orchestrated; it is possible that a 4th movement may have been composed but ultimately became the finale for Schubert’s ballet Rosemunde. There are no apparent reasons why Schubert left this symphony incomplete. Schubert’s 9th Symphony, the “Great C major” was composed in 1828 shortly before his death, and published only in 1840 as the 7th Symphony. 248. * Hector Berlioz (1803-1869), Episode de la vie d'un Artiste...en cinq parties: Symphonie Fantastique, op. 14 , H 48 (1830, with later revisions): full-out programme symphony with a story line written by Berlioz, included in the score, and instructed to be distributed to all 72 Module 13 Romanicism concert members so as to fully appreciate the work. You will find that programme at http://www.hberlioz.com/Scores/fantas.htm . The symphony was written to express the unrequited love Berlioz felt toward the Irish actress Harriett Smithson: Berlioz and Smithson married and but only lived together a few years before separating. MINIATURES Some composers can command a grand scale, while others such as those in this section excel in painting deep and detailed on very small canvasses. The common point to these works is a small number of performers. It doesn’t mean that these are uniformly intimate works, although the lieder and the chamber music pieces are in this section. Elsewhere we will look to the works written specifically for virtuosic display. Here, however, we will delight in the conversation between just a few instruments, and thrill to the variety of stories which can be told with just a few musicians. 249. * Franz Schubert [pronounced SHOE-bert] (1798-1828), Gretchen am Spinnrade [Gretchen at the Spinning Wheel], op. 2, D.118 (1814): text is excerpted from the play Faust (1808) by Johann Wolfgang von Goethe, considered one of the greatest works of German theatre. In this lied, the piano represents the spinning wheel. Note the beautiful stop and restart of the spinning wheel as Gretchen’s daydreams lead her to kiss her man and then to return to reality. The text and translation may be found at http://myweb.dal.ca/waue/Trans/Goethe-Gretchen.html 250. * Franz Schubert (1798-1828), Erlkönig [The Erlking, or The Alder King or The Elf King], op. 1, D. 328 (1815): text is excerpted from the ballad opera entitled Die Fischerin (1782) by Johann Wolfgang von Goethe. In this lied, the piano represents a galloping horse. The text and translation may be found at http://en.wikipedia.org/wiki/Der_Erlk%C3%B6nig See pages 210-211 of the textbook to follow the narrative more fully. 251. * Franz Schubert (1798-1828), Die schöne Müllerin, ein Zyklus von Liedern, gedichtet von Wilhelm Müller [The lovely maid of the mill, a song cycle to poems by Wilhelm Müller], op. 25, D. 795 (1823). Schubert set a selection of twenty of Müller’s poems as lieder and fashioned them into a narrative story about a young man, a miller’s daughter, and the journey from youth to death through the valley of unrequited love. The piano drives much of the emotional energy of the cycle, assuming throughout the role of “the brook” which takes on and exhibits various anthropomorphized perspectives. The full text and translation of all 24 lieder in the cycle may be found at http://www.recmusic.org/lieder/assemble_texts.html?SongCycleId=48 – just click ENG under each title and then go back and do the same for the next one, etc.. (1) “ Das Wandern” (2) “Wohin?” (3) “Halt!” (4) “Danksagung an den Bach” 73 Module 13 Romanicism 252. * Franz Schubert (1798-1828), Winterreise [Winter Journey], op. 89, D. 911 (1827): song cycle of 24 poems by Wilhelm Müller. The full cycle treats themes of death through the metaphor of winter. Schubert himself had famously said that each night he fell asleep hoping for death to overtake him and that each morning came as a disappointment to him. While not clearly autobiographical, the literary themes resonated with the composer. The text and translation may be found at http://www.recmusic.org/lieder/assemble_texts.html?SongCycleId=47 (1) “Gute Nacht” 253. * Franz Schubert (1798-1828), String Quartet no. 14 in d minor, D. 810, “Death and the Maiden” (1824): named after his 1814 lied by the same name, D. 531 the tune (no words) of which forms the basis of the second movement. Schubert wrote this quartet at a time when he knew that he was dying of syphilis. The lied upon which the second movement is based is one of the most compact and hard hitting works in the whole of song. The original lied is on a poem by Matthias Claudius; text and translation may be found at http://www.recmusic.org/lieder/get_text.html?TextId=3856 254. * Franz Schubert (1798-1828), Piano Quintet in A major, op. posthumous, D. 667 (1819), “Trout”: again, the nickname comes from the lied “Die Forelle” [“The Trout”] which gives its tune to the last movement variations of the Quintet. The Quintet was written for a non-standard instrumentation: piano, violin, viola, cello, and string bass. The lied upon which the variation movement is based has been put on the playlist. The text and translation of that lied may be found at http://www.recmusic.org/lieder/get_text.html?TextId=23955 255. * Felix Mendelssohn (1809-1847), Lieder ohne Worte [Songs without Words] (1829-1845) 256. * Robert Schumann (1810-1856), Papillons, op. 2 (1832). Briefly noted on page 216 of the textbook. 257. * Robert Schumann (1810-1856), Carnaval, op. 9 (1834). Briefly noted on page 216 of the textbook. 258. Fanny Hensel (née Mendelssohn, 1805-1847), String Quartet in Eb Major (1834) 259. * Robert Schumann (1810-1856), Kreisleriana, op. 16 (1838). It may be tempting to assume these named for the great violinist Fritz Kreisler, but he was yet to be born! Instead, namereference goes to Johannes Kreisler, a recurring character with elements of manicdepression, in the works of E. T. A. Hoffman. Briefly noted on page 216 of the textbook. 74 Module 13 Romanicism 260. * Robert Schumann (1810-1856), Kinderszenen [Scenes from Childhood], op. 15 (1838): the beautiful and famous Träumerei (no. 7) is given on the playlist. It is a complete contrast to the overtly virtuosic Kreisleriana. 261. * Clara Schumann (née Clara Josephine Wieck, 1819 – 1896), Drei Romanzen, op. 11 (1835). How wrong she was when she wrote on 26 November 1839, "I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose — there has never yet been one able to do it. Should I expect to be the one?" She should answer “yes.” 262. * Clara Schumann (née Clara Josephine Wieck, 1819 – 1896), “Liebst du um Schönheit” (1841) from Zwőlf Gedichte aus F. Rűckert's Liebesfrűling fűr Gesang und pianoforte von Robert und Clara Schumann, Op. 12; published originally as part of Robert's Gedichte aus Liebesfrühling, op. 37. This lied is given on the playlist [performed by Victoria-native Susan Platts]. Text and translation at http://www.recmusic.org/lieder/get_text.html?TextId=14093 . 263. * Robert Schumann (1810-1856), Myrthen, 26 songs, op. 25 (1845). Music practitioners and listeners will have strong opinions as to the better composer of lieder: Schubert or Schumann. This is a tiny taste of Schumann’s lieder (Text and translation in the accompanying booklet). Generally speaking, Schumann delves psychologically deeper through broad melodies and rich harmonies (he was the stronger pianist), whereas Schubert has the theatrical edge with greater tunefulness and picturesque piano effects. Not to be left out of the mix, however, is Clara Schumann, Robert’s wife; herself, one of the most esteemed pianists of the mid-19th century, a prolific and gifted composer, and strong influence on many musicians of the first rank. (1) “Warming” [“Dedication”] 264. Fanny Hensel (née Mendelssohn, 1805-1847), Sechs Lieder, op. 1 (1846) 265. * Felix Mendelssohn (1809-1847), String Quartet no. 6 in f minor, op 80 (1847). This quartet is the last major work from the pen of Felix Mendelssohn. His sister Fanny’s death was a tragic blow to Felix, prompting this out-pouring of sorrow and within months his own death. 266. * Robert Schumann (1810-1856), Fantaisiestücke, op. 73 (1849). Originally for clarinet and piano, this work was “okayed” by the composer for cello or viola and piano as well. A performance on each clarinet and cello has been placed on the playlist. 267. * Antonín, Dvořák [pronounced dVOR-jacque] (1841-1904), Slavonic Dances, op. 46 (1878) and op. 72 (1886): each dance of the total sixteen is in the style of, but not directly quoting, a traditional dance of Slavic or Slovak origin. These dances were originally written for the 75 Module 13 Romanicism common “parlour” instrumentation of “piano four-hands” or two players at the same piano! VIRTUOSI In stark contrast to the intimacy of the miniatures above, these works for solo performer – whether subtle or bold – were calculated to show the performer on the stage to the highest effect. Really all the concertos from the end of the Baroque forward to today (21st century) can be counted in this category, but for our purposes here we focus only on the most extreme – the performers who really only composed for themselves and their own instruments. 268. * Nicolò Paganini (1782-1840), Caprices for Violin Solo, op. 1 (1802-1817, published 1819). Further down on this section you will find a second reference to the Devil and his violin. It was part of the popular media of the day that Paganini’s formidable, supernatural violin prowess was bought from the Devil with his very own soul. The 24th caprice of this set plays directly into that legend. 269. * Frédéric Chopin (1810-1849), Fantaisie-Impromptu, op. post. 66 (1834). Usually, a composer’s opus numbers are a good indicator of composition order, but there are always exceptions. The exception here lies in the fact that Chopin reportedly did not want this work published. Despite his wishes, however, the work was published after his death – hence opus posthumous [op. post.] – and has subsequently become one of his most popular works. It has been noted that the fact that this work shares the same key with Beethoven’s “Moonlight” Sonata, and along with the key, shares a certain similarity of harmony and feeling. 270. * Frédéric Chopin (1810-1849), Nocturne in c minor, op, 48, no. 1 (1841): One of Chopin’s many nocturnes, a form which barely existed prior to Chopin’s magnificent compositions under this title. 271. * Franz [Ritter von] Liszt (1811-1886), Etude d'execution transcendante, S 139, No.5 “Feux follets” [Transcendental Etude, no. 5, “Will o’ the Wisp”] (1852) 272. * Frédéric Chopin [pronounced SHAW-pe(n) in Polish, more usually SHOW-pan in English] (18101849), Mazurka in a minor, op, 17, no. 4 (1834): One of Chopin’s many nationalistic works, drawing on the spirit and rhythms of this native Polish dance. See pages 213-4 in the textbook. 76 Module 13 Romanicism 273. * Frédéric Chopin (1810-1849), Polonaise in A major, Op. 40, No. 1 “Military” and Polonaise in C minor, Op. 40, No. 2 (1838). Together the two express two opposite but not competing views of Poland and her people. See page 257 in the textbook. 274. * Franz [Ritter von] Liszt [pronounced LIST], or by his Hungarian birth name Liszt Ferencz or Ferenc (1811-1886), Hungarian Rhapsody no. 2 in c# minor, S. 244 (1847). See textbook page 261. 275. * Franz [Ritter von] Liszt (1811-1886), Mephisto Waltz no. 1, S 514, “Der Tanz in der Dorfschenke” [“The Dance in the Village Inn”] (1852). This particular Mephisto Waltz replays a scene from Nikolaus Lenau’s Faust where Mephistopheles [READ: the Devil] plays leads the dancing at a village wedding with a borrowed fiddle. 276. * Franz [Ritter von] Liszt (1811-1886), Totendanz, [Dance of the Dead], S 126 (1849). Liszt brought his formidable piano skills together with his orchestral sensibility to create this dramatic show piece – a Paraphrase on Dies Irae (the Christian plainchant, “O, Day or Wrath; O, Day of Mourning”). The chant is used as a basis of this piece (it also plays prominently in the fifth movement of Berlioz’ Symphonie Fantastique). The work is said to be inspired by 14th-century etchings and drawings depicting scenes of The Black Death. ORCHESTRA TALES From early in the 19th century, orchestral instruments were undergoing rapid transformation from primitive sticks with holes, tubes with bells, and other inflexible designs to the sophisticatedly flexible and versatile instruments we use today. Additional to the development of basic instruments, smaller and larger instruments within the families – piccolo, English horn, contrabassoon, bass tuba, double bass – were developed, effectively expanding the range of the orchestra to the limits of human hearing, while adding a wealth of colour possibilities. More instruments meant more players, more players meant that a conductor was a good idea to help organize, balance, and shape the mighty symphony orchestra. With this powerful tool at their disposal, composers were now free to let their imaginations fly and create fantastic tales driven by the resources of the orchestra. 277. * Felix Mendelssohn (1809-1847), Ein Sommernachtstraum [A Midsummer’s Night Dream] Overture, op. 21 (1826) and Incidental Music, op 61 (1842): written fifteen years apart, the Overture was written as a concert overture “just because,” while the incidental music was written at the request of King Frederich Wilhelm IV of Prussia – Mendelssohn’s employer – to accompany a stage production of Shakespeare’s play by the same name. For the incidental music, Mendelssohn drew from the earlier ideas of his Overture and completed a full 40 minute suite of music. The overture is considered on Page 216 of the textbook. 77 Module 13 Romanicism 278. * Felix Mendelssohn (1809-1847), Die Hebridean [The Hebrides] in D major, Op. 26, MWV P7, "Fingal's Cave" (1832): a colourful concert overture which was originally titled The Lonely Island and at one time bore the title Fingal’s Cave: the latter title is still commonly used today. Mendelssohn’s visit to Fingal’s Cave on Staffa Island (Hebrides Archipelago, Scotland) was most certainly the inspiration for this work which he dedicated to Frederich Wilhelm IV of Prussia. 279. * Hector Berlioz (1803-1869), Roméo et Juliette, op. 17, H 79 (1838). Berlioz called this 7movement choral symphony a symphonie dramatique. The symphony is based upon Shakespeare’s play of the same name, a play near and dear to Berlioz’ heart as he fell in obsessive love with the lead actress of the 1827 Parisian productions: Harriett Smithson, Berlioz’ idée fixe from the previous selection. Shakespeare’s text was adapted to libretto by Émile Deschamps. 280. * Franz [Ritter von] Liszt [pronounced LIST], or by his Hungarian birth name Liszt Ferencz or Ferenc (1811-1886), Les préludes [d'après Lamartine] (1856): symphonic poem based on an ode by Alphonse de Lamartine, Nouvelles méditations poétiques. Despite the obvious poetic association with Lamartine, Liszt included the following expression – apparently personal, and definitely after the fact – in the front of the score to Les preludes. Please see http://en.wikipedia.org/wiki/Les_pr%C3%A9ludes for that text. 281. * Modest Mussorgsky (1839-1881), St. John’s Night on Bald Mountain (1867 and 1886): This tone poem has a disjointed compositional history. Mussorgsky referred to the work as a “musical picture” and as such is commonly considered the first Russian tone poem. Still Mussorgsky did not live to complete his very Russian work. That honour goes to Nicolai Rimsky-Korsakov who completed the orchestration and publication of the work as a “fantasy” in 1886. Mussorgsky wrote to his friend Balakirev about the piece almost dispassionately (http://timerime.com/en/event/467832/Night+on+Bald+Mountain+by+Modest+Muss orgsky/) ; whereas Rimsky-Korsakov gives full Russian ardor in his introduction to the published score (http://en.wikipedia.org/wiki/St._John%27s_Night_on_the_Bare_Mountain ). 282. * Pyotr Illyich Tchaikovsky (1840-1893), Romeo i Dzhulietta Fantaisie-Ouverture [Romeo and Juliet] (1869). Otherwise better known as a composer of dance and music with a dance flair, Tchaikovsky’s sense of narrative allows him to achieve some of his fullest moments of sweeping melody in his concert overtures. See pages 201 and 216 in the textbook. 283. * Modest Mussorgsky (1839-1881), Pictures at an Exhibition [Pictures from an Exhibition – A Remembrance of Viktor Hartmann] (1874): Mussorgsky wrote this 10 movements suite for piano in less than two weeks following the sudden death of Russian nationalist artist Viktor Hartmann. The piano work is a bravura showpiece for pianists, but the work is best known in its arrangement for orchestra by the French composer Maurice Ravel 78 Module 13 Romanicism 284. * Bedřich Smetana (1824-1864), Ma Vlást [My Fatherland] (1874-79), no. 2, Vltava [The Moldau] (1875): What seems on the surface to be a six movement work, Ma Vlást is actually a set of six independent pieces: the second of the set, Vltava, being the most frequently performed. 285. * Pyotr Illyich Tchaikovsky (1840-1893), Ouverture Solonnelle “1812,” op. 49 (1880): Tchaikovsky pulls out all the stops, adding to the traditional orchestra 16 military cannon, a full carillon, and any extra brass players obtainable to bring to life the narrative of the historical Battle of Borodino with instrumental forces only, as surely as could any verbal narrative. Oddly enough, the effects that Tchaikovsky sought were virtually unattainable with the artillery technology available at the time of its composition. 286. * Nikolai Andreyevich Rimsky-Korsakov (1844-1908), Capriccio Espanol [Capriccio on Spanish Themes], op. 34 (1887): This extroverted showpiece for orchestra was originally conceived as a work for solo violin and orchestra. The solo violin does take a leading role, but it is the whole of a very virtuosic orchestra which takes center stage. Here Rimsky-Korsakov does not mere assign parts to instruments of the orchestra, but rather demonstrates his supreme skill at working with full orchestra by composing for orchestra from the beginning. See page 269 of the textbook. An excerpt from Rimsky-Korsakov’s autobiography regarding this piece may be found at http://www.kennedycenter.org/calendar/?fuseaction=composition&composition_id=2101 287. * Nikolai Andreyevich Rimsky-Korsakov (1844-1908), Svetliy prazdnik [Russian Easter Festival Overture], Op. 36 (1888). The work draws on melodies and chants of the Russian orthodox liturgy. It is dedicated to the memories of Modest Mussorgsky and Alexandr Borodin, two fellow members of Russia’s "Mighty Handful” or “Russian Five.” See textbook page 26. 288. * Nikolai Andreyevich Rimsky-Korsakov (1844-1908), Sheherezada, op. 35 (1888): Immediately on the heels of Capriccio Espagnol, Rimsky-Korsakov was moved by The Book of One Thousand and One Nights [The Arabian Nights]. While he gave the movements specific titles in the beginning, in later editions he removed the titles so that the listener would hear “oriental fairy tales” rather than specific events – musicians today still use the original titles, however. His original programme may be found at http://en.wikipedia.org/wiki/Scheherazade_%28Rimsky-Korsakov%29 See page 269 of the textbook for even more detail. “The Sea and Sinbad’s Ship” “The Kalendar Prince” “The Young Prince and the Young Princess” “Festival at Bagdad -- The Sea – The Ship Breaks Against a Cliff Surmounted by Bronze Horsemen” 79 Module 13 Romanicism 289. * Richard Strauss (1864-1949), Tod und Verklärung [Death and Transfiguration], Op. 24 (1888– 89). In 1894 Strauss described the tone poem at http://www.cosymphony.com/ProgramNotes/Death_and_Transfiguration_Strauss.pdf 290. * Richard Strauss (1864-1949), Till Eulenspiegels lustige Streiche [Till Eulenspiegel's Merry Pranks], Op. 28 (1895). Till Eulenspiegel is playful prankster from medieval German folklore. His character dates back to the early 14th-century and has roots throughout German-speaking lands. He variously travels through the Holy Roman Empire exposing the vices and failings of “men.” 291. * Jean Sibelius (1865-1957), Lemmenkäinen Suite: Four Sketches from the Kalevala (1895): The Swan of Tuonela. Sibelius’ richly evocative tone poem grants the voice of the mythical swan which circles the Isle of the Dead to the English horn. 292. * Richard Strauss (1864-1949), Also sprach Zarathustra [Thus Spoke Zarathustra], Op. 30 (1896). This ultra-famous work was inspired by Friedrich Nietzsche's philosophical treatise of the same name. Stanley Kubrick used the opening 90 seconds of music – Sunrise – in his 1968 film 2001: A Space Odyssey. The full work is nearly 60 minutes long and explores Nietzche’s unanswered question: God or Man? 293. * Richard Strauss (1864-1949), Don Quixote: Phantastische Variationen über ein Thema ritterlichen Charakters [Fantastic Variations on a Theme of Knightly Character], Op. 35. (1897) This work is a large-scale theme and variation work, call it a combination of tone poem and concerto for cello, viola and large orchestra based on the novel Don Quixote de la Mancha by Miguel de Cervantes. See pages 206-207 of the textbook 294. * Jean Sibelius (1865-1957), Finlandia (1899). While it never became the national anthem for an independent Finland, the great hymn of Finlandia has been adapted and adopted by many whenever lofty sentiments need to find voice. 295. * Arnold Schoenberg (1874-1951), Verklärte Nacht [Transfigured Night], op. 4 (1899): String sextet loosely based on the poem by the same name by Robert Dehmel. Schoenberg does not set the actual text, rather uses it for inspiration. The playlist performance is given by string orchestra rather than simple string sextet. The inspirational poem and translation is found at http://en.wikipedia.org/wiki/Verkl%C3%A4rte_Nacht . See page 298 of the textbook. 296. * Sergei [Vasilievich] Rachmaninov (1873-1943), Isle of the Dead, op. 29 (1908). Eventhough written in the 20th century by a fairly young Rachmaninov on a progressive topic, the work is viewed more as a work of late romanticism than a work of the modern era. Rachmaninov was inspired by Arnold Böcklin's painting of the same name which he had seen displayed at the salons in Paris the previous year, 80 Module 13 Romanicism TRADITIONAL FORMS Despite the unfettered freedom of single-movement orchestral pieces – overtures, tone poems, and symphonic poems – not all composers found inspiration in those flexible forms all the time or even ever. For many composers the attraction to the older classical forms was strong, full of possibility. With these forms abstract stories could be told and big-picture ideas could be explored: good and evil, dark and light, death and resurrection. Traditional forms embody the possibility of relating these stories without implying scenery or events. In some cases, stories might be avoided entirely, simply allowing the forms to express themselves as the earlier Classicists intended. 297. * Felix Mendelssohn (1809-1847), Symphony no. 4 in A major “Italian,” op. 90 (1851). Mendelssohn’s “Italian” Symphony feeds into the popular fad of exoticism, when cold northern countries imaged the warmth southern countries. Here Italy is evoked through a rollicking saltarello, a popular dance from Naples. 298. * Pyotr Illyich Tchaikovsky (1840-1893), Symphony no. 4 in f minor, op. 36 (1878): Mvt. 3. Sometimes we say that Tchaikovsky only wrote three symphonies, the 4th, 5th, and 6th. While we know this is just jest, it does mark the reality that Tchaikovsky’s last three symphonies are a cut above, and the work of a mature and experienced composer. Generally speaking the 4th Symphony is good natured, particularly the third movement which is built around playful pizzicato (plucked) string writing. 299. * Pyotr Illyich Tchaikovsky (1840-1893), Symphony no. 5 in e minor, op. 64 (1888): Like Berlioz’s Symphonie Fantastique, Tchaikovsky’s 5th is a cyclical symphony where a single theme – taken from fellow composer Mikhail Glinka’s Life of the Tsar as setting for the words, “turn not into sorrow” – is present in all four movements. Unlike Berlioz’s symphony where the repeating theme is a tangible recollection, Tchaikovsky’s theme undergoes intense and deliberate transformation from the distant and down-trodden perspective of the opening to the triumphant march at the close of the symphony. 300. * Pyotr Illyich Tchaikovsky (1840-1893), Symphony no. 6 in b minor, op. 74 (1893): Tchaikovsky’s last completed orchestral work, the premiere took place a mere 9 days before Tchaikovsky’s death. A second performance of the work took place after his death as a memorial service for the composer. Subtitled “Pathétique,” the work is often (yet erroneously) considered to be the composer’s testament to his own mortality. While the title is Tchaikovsky’s, our understanding of the word as “pathetic or arousing pity” is not what is meant by the original Russian Патетическая (Patetičeskaja) which means something more akin to “passionate and emotional.” 301. * Johannes Brahms (1833-1897), Piano Quintet in f minor, op, 34 (1864): Out of the proliferation of overtly romantic, directly programmatic, predominatingly large scale works emerges a renewed spirit of romantic neoclassicism as embodied in the music of Johannes 81 Module 13 Romanicism Brahms. Even in his lifetime, Brahms and his music were seen as such the antithesis to Wagner and his music that composers worldwide began to philosophically align themselves as either “Brahmsian” or “Wagnerian.” . 302. * Johannes Brahms (1833-1897), Hungarian Dances, Books 1 and 2 (1869), Books 3 and 4 (1880), WoO 1. These works were written for the popular configuration of “piano fourhands,” or two players at one piano. We know them better today in Brahms’ orchestrated versions. For most familiar fun, test out number 5 from book 1 … and see page 263! 303. * Johannes Brahms (1833-1897), Variations on a Theme by Haydn [St. Anthony Variations]. Op. 56b (1873). Variation pieces can sometimes seem dull, with the same tune repeating over and over. However, for the creative listener, exploring the changing qualities of the theme as it is put through its variation gymnastics can be great fun, especially here where the theme starts out unbalanced in its length and then is treated so richly in the variation. 304. * Johannes Brahms (1833-1897), Piano Concerto no. 2, op. 83 (1881): throughout the concerto the piano and orchestra engage in the most delightful conversation and collaboration. 305. * Johannes Brahms (1833-1897), Symphony no. 1 in c minor, op. 68 ([1854-] 1876). The themes of his first symphony may have originated from his youth, but Brahms was a mature and respected composer before he felt ready to tackle the form of the symphony. Most of his composing life, Brahms claimed to have been conscious of the spectre of Beethoven held over German composers and even all of composition. 306. * Johannes Brahms (1833-1897), Violin Concerto in D major, Op. 77 (1878) This beautiful concerto, Brahms’ only one for violin was written for and dedicated to the great violinist and his own personal friend Joseph Joachim. 307. * Johannes Brahms (1833-1897), Symphony no. 4 in e minor, op. 98 (1885). In his last symphony, Brahms plays homage to the old masters in fine form by crafting a massive and wonderful passacaglia, continually varying the melody and materials above an eight-note descending bass figure, for the last movement. 308. * Johannes Brahms (1833-1897), Clarinet Quintet in B minor, Op. 115 (1891). Late in his life, and technically after he had retired from composition, Brahms was compelled to write a number of works of overwhelming beauty featuring the clarinet. All of these works were written for the virtuoso clarinettist, one of history’s first, Richard Mühlfeld. 309. * Antonín Dvořak (1841-1904), Symphony no. 9 in e minor, op. 95, B. 178, “From the New World” (1893): mvt. 2 and mvt. 4. This symphony, as a quirk of the Dvořak 82 Module 13 Romanicism cataloguing system was long known as the Symphony no. 5, and may still be found noted that way today. 310. * Antonín Dvořak (1841-1904), Concerto for Cello and Orchestra in B minor, Op. 104 (1895). Written for his friend and cellist Hanuš Wihan. Wihan, Dvořak had long refused his friend’s request on the grounds that he felt cello was a fine orchestral instrument but completely insufficient for a solo concerto despite some earlier notable successes such as the concerto by Schumann. STORIES ON STAGE Opera, ballet, stage plays, all beg for great music, great stories, great heroes and heroines. With the resources of the romantic orchestra and a refined bel canto vocal technique for singers, composers obliged! No story or tale was past consideration and full musical treatment. 311. * Gioachino Rossini (1792-1868 Il barbiere di Siviglia, ossia L'inutile precauzione [The Barber of Seville, or The Useless Precaution] (1816), excerpts: opera buffa in two acts based on Pierre Beaumarchais' comedy Le Barbier de Séville (1775), itself originally an opéra comique with a mixture of spoken play and music. Texts and translations for the following arias, respectively: Sinfonia Ecco ridente in cielo/There, laughing in the sky: Act 1, scene 1, Serenade (town band) and Cavatina (Count), under Rossina’s window http://www.opera-arias.com/rossini/il-barbiere-di-siviglia/ecco-ridente-in-cielo/ Largo al factotum della città/Make way for the factotum of the city: Act 1, scene 2, Figaro’s Cavatina – a patter-song unequalled by many other composers or aria http://www.opera-arias.com/rossini/il-barbiere-di-siviglia/largo-al-factotum/ Una voce poco fa/A voice just now: Act 1, scene 5, Rossina’s pyrotechnic Cavatina. See page 233 of the textbook to follow this very special Cavatina more closely. http://www.opera-arias.com/rossini/il-barbiere-di-siviglia/una-voce-poco-fa/ 312. * Gioachino Rossini (1792-1868), La Cenerentola, ossia La bontà in trionfo [Cinderella, or Goodness Triumphant] (1817), dramma giocoso in two acts on a libretto was by Jacopo Ferretti. In an unusual move, Rossini casts the heroine as a contralto, to express her downtrodden state. Still the role is a coloratura role demanding extreme prowess on the part of the singer. The joyous aria is at the conclusion of the ball when Cenerentola has fallen in love with her prince. No translation of the lyrics is currently available online, but the following link has a number of film clips of great mezzos creating this role; Cecilia 83 Module 13 Romanicism Bartoli is particularly fun to watch. cenerentola-20-non-piu-mesta.html http://operaomniablog.blogspot.ca/2013/01/la- "Nacqui all'affanno … Non piu mesta" (Angelina’s aria, act 2) 313. * Carl Maria [Friedrich Ernst] von Weber [pronounced VAY-ber] (1786-1826) Der Freischütz, [The Freeshooter], op. 77, J. 277 (1821) is a German opera with spoken dialogue on a libretto by Friedrich Kind. While following the outlines of a singspiel, its emotional depth leads musicologists to claim it as the first important German Romantic opera. With a plot and music based on German folk legend and German folk tunes, it is also one of the earliest works of overt nationalism. To see an English translation of the text, scroll to “No. 10” at http://www.opera-arias.com/weber/der-freisch%C3%BCtz/libretto/english/ . See the textbook pages 241-8. Act 2, Scene 4, Finale: “Wolf’s Glen Scene” http://www.youtube.com/watch?v=xv31lyk0rGs 314. * Gioachino Rossini (1792-1868), Overture to the Opera “Guillaume Tell” (1829): instrumental introduction to Rossini’s last opera. As with all Rossini’s operas, and many other operas from the early 19th century, the quest for colourful and broad representation in music of the drama leads to the introduction of new and exotic instrumental sounds into the orchestra. Rapid developments as a result of the incipient Industrial Revolution bring new capabilities to instrumental performance through sophisticated mechanical changes to individual instruments. Reference to this work is made on page 230 of the textbook. Prelude: Dawn Storm Ranz des Vache [Call to the Cows] Finale 315. * Mikhail Ivanovich Glinka (1804-1857), A Life for the Tsar [Жизнь за царя, Zhizn' za tsarya] (1836) This potent nationalistic opera is based on an original Russian libretto by Nestor Kukolnik, Georgy Fyodorovich Rozen, Vladimir Sollogub and Vasily Zhukovsky. The story is a depiction of the17th-century historical General Ivan Susanin, who pushed back invading Polish army and lost his life in the process under the leadership of Tsar Mikhail Romanov. A selection of the orchestral incidental music is given on the playlist. See page 266 in the textbook. 316. * Hector Berlioz (1803-1869), La Damnation de Faust, Op. 24, H 111 (1846). Berlioz called this work a légende dramatique or a dramatic legend, which loosely means a non-staged dramatic work or perhaps even a secular oratorio. The work is for four solo voices, 7-part chorus, children's chorus and orchestra. Today, it is the sparkling incidental music betraying Berlioz’ deft hand at the art of orchestration which continues to be heard on the concert stage. 84 Module 13 Romanicism 317. * Felix Mendelssohn (1809-1847), Elijah, op. 70 (1846). Mendelssohn’s oratorio was written originally to a German libretto based on the story of the Biblical prophet Elijah as told in the Old Testiment/Hebrew Bible, 1 and 2 Kings. When Mendelssohn received a commission from the Birmingham Festival in England, he translated the libretto to English. The soprano part was famously composer for his dear friend, “The Swedish Nightingale,” Jenny Lind. See page 206 of the textbook. 318. * Giuseppe Fortunino Francesco Verdi (1813-1901), La Traviata [The Fallen Woman] (1853), libretto by Francesco Maria Piave, adapted from a the play La dame aux Camélias (1852), itself adapted from the novel by Alexandre Dumas, fils. . One of the most beloved operas of all-times, by one of the most beloved opera composers of all time. While his operas are far from realistic, none-the-less they somehow transcend the overt perkiness of the much of the music to create entirely believable characters. As much as anything, Verdi and his librettist Francesco Maria Piave were masters of dramatic development. Verdi capped off the drama with an unfailing ability to set scenes of incredible intimacy – monologue or not – with extraordinary sensitivity, as well as to create some of the grandest choruses of all operatic historic. Texts and translations, respectively, may be found at: Act 1: Brindisi (The Toast): “Libiamo ne’lieti calici” http://www.opera-arias.com/verdi/la-traviata/libiamo-ne-lieti-calici/ Act 1: “Follie! Follie!” http://www.opera-arias.com/verdi/la-traviata/follie-follie-delirio-vano-equesto/ 319. * [Wilhelm] Richard Wagner (1813-1883), Tristan und Isolde [Tristan and Isolda] (1865): This Music Drama represents perhaps Wagner’s most advanced and supreme use of chromaticism and harmonic suspension, whereby Wagner coils the tension tight and refuses to let it relax for the full duration of the Music Drama until the final moment. The Prelude includes a particular chord – now traditionally sounding to our ears – which shocked audiences, musicians, and critics at the time for its unorthodox preparation and resolution: we know this know at “The Tristan Chord.” For this Music Drama Wagner chose the 12th century chivalric romance (set in Scotland) of Tristan and Isolde – star-crossed lovers just like (but predating) Romeo and Juliet. See pages 218, 249-254, and 303 in the textbook. The text and translation of Isolde’s Liebestod aria – it is a consummation of love after death – are not easily accessible online, but you may enjoy watching a range of performances at this site: http://www.wagneropera.net/Themes/Liebestod.htm Prelude Act 3: Liebestod [Love Death] 320. * [Wilhelm] Richard Wagner (1813-1883), Die Meistersinger von Nürnberg [The Mastersingers of Nuremberg] (1868): using the historical setting of 16th-century Nuremberg, Die Meistersinger is not only Wagner’s only mature comedy, his only work not based on legend or myth, the only work for which the story is entirely original to Wagner, the opera holds the distinction of being virtually the longest single opera (at 4.5 hours) which plays regularly in the operatic repertoire. Additionally, it is interesting to note that for this opera, Wagner returned to the 85 Module 13 Romanicism simpler form of opera, not composing this stage work according to the principles of Music Drama. Prelude Act 2, Scene 6: Beckmesser’s Serenade http://www.youtube.com/watch?v=0PW9cU2eyLw Act 3, Scene 5: The Feast of St. John, and the Singing Competition 321. * Giuseppe Fortunino Francesco Verdi (1813-1901), Aïda (1871). This huge opera by Verdi is on a libretto by Antonio Ghislanzoni on commission by Isma'il Pasha, Khedive of Egypt. The origin story is in dispute, variously attributed to French Egyptologist Auguste Mariette, Temistocle Solera, or Metastasio. The setting is in the Old Kingdom and tells of forbidden love of an Egyptian commander and a captured Ethiopian princess. See the textbook pages 238-240. Act 4, Scene 2: “Tomb Scene” http://www.youtube.com/watch?v=SSDsIu6syeM 322. * Georges Bizet (1838-1875), Carmen (1875), a French opéra comique with libretto by Henri Meilhac and Ludovic Halévy, based on the short novel of the same name by Prosper Mérimée (1845). The novel bears strong resemblance to Alexander Pushkin's poem "The Gypsies" (1824) which was not only known in France, but translated into French by Mérimée. Texts and translations are a bit hit or miss online, but may be found best at: Act I: Tra la la la, coupe-moi (Carmen, Zuniga, Women) http://www.opera-arias.com/bizet/carmen/tra-la-la-la-coupe---moi/ Act I: Seguidilla and Duet: Pres des remparts de Seville (Carmen, Don Jose) http://www.opera-arias.com/bizet/carmen/pres-des-remparts-de-seville/ Act II: Couplets: Votre toast, je peux vous le rendre (Escamillo, Chorus, Carmen) http://www.opera-arias.com/bizet/carmen/votre-toast-je-peux-vous-le-rendre%28toreador-song%29/ Act IV: March and Chorus: Les voici! les voici! (Children, Sellers) http://www.opera-arias.com/bizet/carmen/les-voici-les-voici/ 323. * Edvard Grieg (1843-1907), Peer Gynt, Op. 23 (1875): Grieg’s incidental music to Henrik Ibsen's 1867 play by the same name was later broken into two four-movement orchestral suites: Suite No. 1, Op. 46 includes the famous “Morning Mood” and “In the Hall of the Mountain King” while Suite No. 2, Op. 55 includes the lovely “Solvieg’s Song.” 86 Module 13 Romanicism 324. * [Wilhelm] Richard Wagner (1813-1883), Der Ring des Nibelungen (composed from 1849, first produced in full 1876): a monumental cycle of four operas (music dramas) based upon the Old Norse sagas –the Icelandic Völsunga saga, the Prose Edda, the Poetic Edda, the Legend of Norna-Gest, and the chivalric Vilking [sic] Saga – and the Nibelungenlied, a Middle High German epic poem on pre-Christian Germanic heroic motives. For the music dramas of “The Ring,” as we are wont to call it in colloquial practice, Wagner wrote text and music, and eventually arranged for the building of the Festspielhaus in Bayreuth, Bavaria, GERMANY so that the works could be staged and produced exactly as he had envisioned them. “The Ring” is nearly 16 hours in total and traces an extremely complex plot line involving numerous characters – god, demi-god, half-human, human, spirit, and races of myth such as dwarves and giants – in complex, irrational, and often incestual relationships. Literary themes frequently function only on the level of metaphor and do not gain by literal interpretation. The Los Angeles Times produced the following interactive website to help direct patrons through the relationships of the convoluted and family in advance of the LA Opera production of “The Ring” in the summer of 2010. http://www.latimes.com/entertainment/news/arts/la-ca-ringfamilytreehtml,0,4574276.htmlstory The great musical comedienne Anna Russell gives a legendary analysis and synopsis of “The Ring” encapsulating the highlights in a 20-minute, musicologically sound monologue. Don’t pass this up! You can find her at http://www.wagneropera.net/Operas/IntroRing.htm Das Rheingold [The Rhine Gold] (1869): Scene 1 – Rhine Maidens, Rhine Gold, and Alberich. http://www.wagneropera.net/Operas/Intro-Rheingold.htm Die Walküre [The Valkyrie] (1870): Act 3, Scene 1, “The Ride of the Valkyries” http://www.wagneropera.net/Operas/Intro-Walkure.htm Siegfried (1876): Act 2, Scene 2 – http://www.wagneropera.net/Operas/Intro-Siegfried.htm Götterdämmerung [Twilight of the Gods] (1876): Act 3, Scene 2, “Funeral March”; Act 3, Scene 3, “Brünnhilde’s Immolation”, and “Finale”. http://www.wagneropera.net/Operas/Intro-Gotterdammerung.htm “Siegfried’s Horn” 325. * Aleksandr Borodin (1833-1887), Polovtsian Dances (1880): taken from his unfinished opera Prince Igor, these dances now constitute one of the major showpieces of the orchestral repertoire. In the opera, the dances were danced in sequence accompanied by full chorus. In an orchestral setting neither choir nor dancers are present, and the missing choir parts have been redistributed to instruments within the orchestra, notable the clarinet, oboe, and English horn. While the dances (and opera) are Borodin’s work, they were not completed at the time of his death, and were subsequently completed by the great Russian composers of the day Nicolai Rimsky-Korsakov and Aleksandr Glazunov 87 Module 13 Romanicism 326. * Pyotr Illyich Tchaikovsky (1840-1893), The Nutcracker, ballet in 3 acts (1892), based upon ETA Hoffmann’s The Nutcracker and the Mouse King. You might also like to look into the music from Tchaikovsky’s other two very famous ballets: Swan Lake (1875) and Sleeping Beauty (1890). Feel free to substitute excerpts from one of these ballets for The Nutcracker, if you like. EMERGING NATIONALISM IN MANY FORMS Powerful movements of political and cultural nationalism swept across the Eurasian continent through the 19th century, escalating after continent-wide political unrest in 1848 and culminating in the revolutions of the 20th century, perhaps even continuing into the period of The Cold War (or beyond, even to today). Nationalism manifest in many cultural forms: in writing, art, dress, dance, and music. Where music is concerned, composers picked-up on folk songs, traditional dances, old tales, national events, heroic biographies, indigenous instruments and elevated these in a way that spoke to the people of the nation of a national identity. It was music for the nation by one of the sons or daughters of the nation; it spoke to its people and told outsiders what the nation meant. Sometimes nationalism is the most defining quality of a piece of music and sometimes it is just one element of many. Here is a list of the works from this and the next module which most readily might be considered works of nationalism: 250 288 331 386 251 292 332 390 252 295 333 391 253 314 335 392 268 316 343 393 273 321 344 395 274 324 375 397 282 325 380 401 284 326 381 403 285 327 383 404 286 328 385 408 88 Module 14 Modernity MODULE 14 MODERNISM 1890 TO TODAY Modernism in music covers many divergent styles, attempting to catch up all of the deliberate attempts to throw-off the reliance on tonality beginning in the last decade of the 19 th century as well as all the deliberate attempts to preserve and prosper romanticism and by extension classicism into the 20th century. It includes a host of “-isms,” each of which struggles for its own identity and each of which may only include the names of a few composers in a specific “school” or collective. During these last 125 years, we note formative events that prompted a change in musical language: industrialism with its electronics and machinery, two world wars and a cold war, active racism and genocide, scientific innovations which allow us to discover and destroy ourselves and our world. With our long-term well-being and survival under constant threat, and yet with a greater expectation of longevity and safety, we have given ourselves and our world a paradox within which to exist. Music has struggled to contend with and express the paradox and the elements that create it. These themes persist to today, and, recalling Module 4, we recognize that composers have gone to greater and greater lengths to achieve expression. It is during these years that radio and recording, TV and film, and eventually computers and internet have all changed the way we listen to and hear music, as well as what we expect from our music. The same vehicle of radio which first brought concerts into our living rooms and allowed us to dance in our parlours also brought news of death at the front. In time, we asked our media to tell us about today quickly and immediately: pop, rock, R&B, Hip Hop, and others responded. We allowed our media to move us physically and eventually swing, rock ‘n’ roll, and disco would put us on our feet and define eras. As a listening personhood, whether we recognized it or not, we rediscovered for ourselves the joys of listening to a poem well-set, and took particular joy in it if it also encouraged us to tap our toes and nod our heads: blues and country-western took up the call. We have tended toward short forms in the 20th century. Some would say that this is as much as we can focus on, but in all likelihood the truth is closer to a matter of potency – a quick, deep immersion soon followed by another quick, deep immersion. And so, we reserved the concert hall and theatre for those longer expressions – the expressions which benefit from time to unfold, continuing relationships to be revealed and explored over time, music which needs us to sit and to ponder the implications of what we hear. It is this latter music we will consider in this module. We are not dismissing the shorter forms, but those come to us with a greater familiarity and so we can set them aside temporarily knowing that when we return to them they will make sense to us. The longer forms which ask us to spend time with them need us to do just that: spend time with them. So we do! During this module, we will use a PowerPoint, Musical “-isms” in the 20th Century, to help coordinate our study. Please turn to that after class and again before the final exam to further familiarize yourself with terms and concepts in this module. 89 Module 14 Modernity OPERA As the 19th century came to a close and the 20th century dawned, opera continued to be a prime expression for dramatic tales. In the days that preceded films with sound, opera remained the prime theatrical entertainment for upper-classes and socialites across Europe and now in the major cities of North America: Montreal, Toronto, New York, Chicago, Boston, and Washington, DC. Definitely, the strong place of Opera would be threatened and, in some locations usurped by “Talkies” and high-end musical entertainments such as light opera, operetta, and musical theatre. It is hard to draw lines between the various forms of sung theatre, although generally speaking, it can be assumed that at this time: opera treats serious subject matter using continuous music; operetta (light opera) treats entertaining subject matter with spoken dialogue and a strong emphasis on cheerful and colorful music; and musical theatre treats serious but uplifting subject matter emphasizing spoken dialogue with emotional music including song and dance. You see! Not a lot of difference! Ultimately, operetta would drop away as a contemporary form of composition: the operettas we hear today are more time capsules of the 19th century – Gilbert and Sullivan (England), and Franz Lehar (AustroHungary). In the 21st century the line continues to blur with opera companies performing both musical theatre and operetta, and musical theatre groups ranging into the area of opera and operetta. Likewise, composers blur the lines Andrew Lloyd Webber’s Phantom of the Opera and Bernstein’s Candide – found in the musical theatre section below – are more opera than musical theatre except that they was originally written for London’s West End not London’s Covent Garden, or for Broadway and not the Metropolitan Opera. The operas included in this section share the common theme of difficult topics: murder, madness, torture, execution, suicide, and racism. In Italy, such a true-to-life topic and treatment was called Verismo – truth – with Puccini as its master craftsman. In Germany, explorations of the beingwithin, however mad, would fall under the category of Expressionism (see below), lead in opera by the Second Viennese School’s Alban Berg. In the US, there is no particular categorization – note particularly that John Adam’s Nixon in China from Module 4, minimalism, would be in this grouping if not given in the earlier module. You should know that there are several other opera composers of the 20th century whose works are highly celebrated but are not represented here: Benjamin Britten (England) and Richard Strauss (Germany). Most active composers of the last 150 years wrote opera – Stravinsky, Barber, Shostakovich, Dvorak, Debussy etc. – and many of these operas are not only very good but are often performed in large and small opera houses worldwide. In Canada, we have a stronger tradition of opera performance than of opera composition; however, it must be acknowledged that the dominant opera companies in Canada – Canadian Opera Company (Ottawa) and Pacific Opera Victoria (yes, our own Victoria) – actively commission and present operas from Canadian composers. Whether these enter the repertoire will remain to be seen. 327. * Giacomo Puccini (1858-1924), Tosca (1900): based on the 1887 play La Tosca by French playwright Victorien Sardou for the actress Sarah Bernhardt., the libretto by Luigi Illica and Giuseppe Giacosa for Puccini’s opera was four years in the making after nearly two years attempting to get the rights to set the play. Text and translations may be found, respectively, at: 90 Module 14 Modernity http://www.opera-arias.com/puccini/tosca/vissi-d%27arte-vissi-d%27amore/ http://www.opera-arias.com/puccini/tosca/o-dolce-mani-mansuete-e-pure/ Act 2, Visi d’arte Act 3, O dolci mani and closing scene 328. * Alban Berg (1885-1935), Wozzeck, op. 7 (1914-1925): Considered the first opera to be composed in the style of the 20th-century avant garde, Berg blends 20th-century atonality, Wagnerian leitmotivs, and Baroque instrumental forms into a shocking theatre piece dealing with the brutal, compromised, and exploitive life of “the poor.” Short for an opera a 1.5 hours, the violence of the work makes that more than enough time for a full experience! The opera now has an established place in the repertoire. A succinct synopsis is given at http://www.metoperafamily.org/metopera/season/synopsis/wozzeck?customid=140 by the Metropolitan Opera Scene 4, with interlude (at the Pond) Scene 5 (on the street in front of Marie’s house) 329. * Alban Berg (1885-1935), Lulu (1935 The libretto was adapted by Berg himself from two plays by Frank Wedekind Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (Pandora's Box, 1904). The opera was complete through Act 3, Scene 1 and in “short score” – or music without full orchestration– or music without full orchestration – to the end at the time of his death. Act 2, Interlude (silent film) 330. * George Gershwin (1898-1937), Porgy and Bess (1935), libretto by DuBose Heyward, lyrics by Ira Gershwin: Gershwin conceived this as an “American Folk Opera.” He shocked American audiences by casting the opera and its choir-master in its entirety with Europeantrained African-American singer/actors. Unfortunately the opera was not received in the United States as legitimate until staged by the Houston Opera in 1976, even though, the opera had already had much success in Europe, opening at no less a house than La Scala in Milan in 1953. Gershwin’s opera, however, has never been free from concerns of racism, with musicians, audiences, and critics from all races noting that it is difficult to speak with the voice of another culture as Gershwin had presumed to do for the communities of South Carolina without falling into stereotypes and caricatures. Similarly, the presences of strong overtones of New York jazz and melodies which smack of Jewish liturgical music are heard as suspect. A small note regarding Gershwin and his music may be found in the textbook, pages 499-501 Act 1, Scene 1: Summertime Act 2, Scene 2: It ain’t necessarily so 91 Module 14 Modernity DANCE When the 20th century opened, dance in a theatre context really meant ballet. Ballet as a style originated in the dances of Renaissance Italy, and was elevated and perfected as a theatre style first in France – where it was incorporated into Grand Opera as well – and later in Imperial Russia which had imported French ballet models along with its French-born princesses who married into the Imperial family. Indeed all of the ballets in this section except the last two blend this twinned tradition: French and Russian. The Ballet Russe ( http://www.russianballethistory.com/ ) could be described as an émigré or refugee Russian ballet troupe led by the impresario Serge Diaghilev which set up semi-permanent residence in Paris in 1909. Really Diaghilev was running primarily in the face of the coming revolutions in Russia, but he also saw France in general and Paris in particular as being receptive to is radical visions of ballet. In Paris he surrounded himself with the best and brightest of local artists – Pablo Picasso, Jean Cocteau to name a few – and ex-pat Russian musicians, dancers, and choreographers – Vaslav Nijinsky, Leonide Massine, Mikhail Fokine, and Igor Stravinsky. Working with these formidable artists Diaghilev and his Ballet Russe collaborated in the creation of stunning and shocking masterpieces of ballet and some of the most legendary riots in musical, artistic history. In North America, ballet was introduced as a serious theatre dance option by George Balanchine after his days with the Ballet Russe. If the Ballet Russe developed the style of neoclassical ballet moving away from the excessive classical ballet, Balanchine moved back toward classical ballet and created contemporary ballet in the process. It is this tradition that passed on to Martha Graham, Twyla Tharp, and Robert Joffrey, and resulted in the great musical collaborations with Aaron Copland in NYC. We can mention here one small subcategory: surrealism and its predecessor Dadaism. These two movements are not confined to the arena of dance, but two of the great surrealist scores do happen to be ballets. For our purposes we will note that Dadaism, which arose in Vienna, put forward nonsense as a reaction to the horrors of WWI and surrealism, which arose a bit afterward in Paris, prospered the practice of unlikely juxtaposition. The composer Eric Satie was major contributor to the former movement, while the latter movement is most fully seen in the Paris-based Spanish artists Salvador Dalí and Pablo Picasso. 331. * Igor Stravinsky (1882-1971), L’Oiseau de feu [The Firebird] (1910): This is the full ballet score written specifically for a production organized by the impresario Serge Diaghilev and his troupe the Ballet Russe. The Ballet Russe became a fixture on the Parisian arts scene for several decades, and ultimately participated in some of the most astonishing and noteworthy collaborations and productions of the 20th century, if not of all time. The dancers of the Ballet Russe were often exiles in Paris from St. Petersburg as a result of the political tensions in Russia. http://www.youtube.com/watch?v=fzCe7EozFJI . See pages 288-291 in the textbook. Closing dances: No. 18 – Infernal Dance of All Kashchei's Subjects No. 19 – Lullaby No. 20 – Kashchei's Awakening No. 21 – Kashchei's Death 92 Module 14 Modernity 2nd Tableau: No. 23 – Disappearance of Kashchei's Palace and Magical Creations, Return to Life of the Petrified Knights, General Rejoicing 332. * Igor Stravinsky (1882-1971), Petruchka (1911): The story of Petruchka is something of a Pinocchio type story, with Petruchka being a puppet at the Shrovetide Fair who subsequently comes to life along with his fellow puppets of a ballerina (whom he loves deeply, but who rejects him) and a Moor (who steals the love of the ballerina). After the sumptuous music of The Firebird, the brittleness and harshness of this score offended audiences as did its non-classical choreography (by Mikhail Fokine and The Ballet Russe) which included gymnastics and exercises in addition to more traditional gestures. Despite the non-traditional dance style, Stravinsky fills his score with recognizable folk tunes for a brilliant, vibrant, relatable score. Here is a recreation of the original choreography http://www.youtube.com/watch?v=JbWDG3LU4bc Part I: The Shrovetide Fair Introduction (at the Shrovetide Fair) The Charlatan's Booth Russian Dance 333. * Maurice Ravel (1875-1937), Daphnis et Chloë (1912): Again, composed for the Ballet Russe their impresario Serge Diaghilev. The scenario was adapted by the great choreographer Michel Fokine to be danced by Vaslav Nijinsky the 2nd century Greek romance by one Longus. . The huge orchestra Ravel used is almost unmatched in size and colour – including among other forces a textless part for full choir (on and off-stage) – anywhere in the orchestra repertoire. The size of the orchestra and the length of the ballet make the work virtually impossible to produce in a fully-staged format; however, the music remains a staple of the orchestral repertoire through two suites, the second of which giving the music of the ballet’s final scenes is the more popular of the two. Closing scenes (Suite no. 2) Lever du jour Pantomime Danse générale 334. * Igor Stravinsky (1882-1971), Le sacre du printemps [The Rite of Spring] (1913): Another Ballet Russe production. Now with increased confidence following a string of reasonable successes all collaborators set out to create something very special, something very shocking. http://www.youtube.com/watch?v=ewOBXph0hP4 See pages 293-4 in the textbook. Part 1: A Kiss of the Earth (L'adoration de la Terre) Introduction The Augurs of Spring: Dances of the Young Girls (Les Augures Printaniers: Danses des Adolescentes) Part 2: The Exalted Sacrifice (Le Sacrifice) Sacrificial Dance (The Chosen One) (Danse Sacrale (L'Élue)) 93 Module 14 Modernity 335. * Eric Satie (1866-1925), Parade (1917): this one-act ballet on a scenario by Jean Cocteau was yet another collaboration hosted by Serge Diaghilev for his Ballet Russe. . The ballet itself is yet another circus-themed ballet, although Satie’s music is far from the folk traditions of Stravinsky. 336. * Igor Stravinsky (1882-1971), L’Histoire du Soldat [A Soldier’s Tale] (1918): a theatre piece to be read, played, and danced by a small ensemble of instrumental septet (violin, double bass, clarinet, bassoon, cornet/trumpet, trombone and percussion), three actors (the soldier, the devil, and narrator, who also takes on the roles of minor characters) and a single dancer playing the non-speaking role of the princess (in some productions there may also be additional ensemble dancers). Less about war that wishful thinking on the part of the soldier, the plot follows a soldier on leave from the front who sells his violin to the devil in return for wealth. http://www.youtube.com/watch?v=DXSiMPFTUjg includes the full text in the original French. And this link will show some of the very creative choreography http://www.youtube.com/watch?v=ZWpLA7kqKtw 337. * Darius Milhaud (1892-1974), Le boeuf sur le toit, Op. 58 [The Ox on the Roof] (1920): a ballet by the most successful composer from the group “Les Six,” named after the bar where Milhaud would soon become a common fixture. The ballet is really a ballet about nothing, but rather a series of scenes (and music!) inspired by Brazil. It is rumoured that the work originated as the film score for a Charlie Chaplin silent film. 338. * Maurice Ravel (1875-1937), La valse, un poème chorégraphique (1920). Another Diaghilev commission, this work was first planned as a reworking of a waltz by Johann Strauss, Jr. (of Blue Danube Waltz fame … it is included on the play list in case it’s unfamiliar to you). At one time, La Valse was thought to represent the demise of European society as the waltz – a symbol of high society before WWI – is torn apart at the seams. Ravel dispelled those thoughts, calling it a portrait of society 1865. The ballet was never produced because Diaghilev thought it too much a caricature of a ballet. It remains today as a popular and colourful orchestral piece. 339. * Béla Bartók (1881-1945), A csodálatos mandarin [Der Wunderbare Mandarin, The Miraculous Mandarin or The Wonderful Mandarin] (1924) is a one-act pantomime ballet based on the story by Melchior Lengyel. The popular concert suite comprises about two-thirds of the original ballet's music. 340. * Darius Milhaud (1892-1974), La création du Monde [Creation of the World], op. 81a (1924]: Ballet in six sections. Here the story of the creation is told through African folktales and uses elements of African-influenced American jazz Overture 94 Module 14 Modernity 341. * Serge Prokofiev (1891-1953), Romeo and Juliet, op. 64 (1935). The first performance of this work was in Brno, Czech Republic in 1938. Prokofiev had his nose out of joint – as often happened according to the anecdotes – because the Soviet premiere was delayed until 1940. The scenario was by Adrian Piotrovsky and together the two collaborators worked hard to satisfy the Kirov Ballet’s new direction for ballet which was to shun virtuosic display and innovation. While it might seem this was the cause for delay, in fact, it was a shakeup at the top of the Kirov’s structure that prevented the ballet playing in the Soviet Union until 1940. The Dance of the Knights, no. 13, Act 1 is the standout dance, while the Gavotte, no. 18, also in the first act is borrowed from his earlier Classical Symphony. Dance of the Knights, no. 13, Act 1, http://www.youtube.com/watch?v=cFkZQ84YDlk Gavotte, no. 18, Act 1 342. * Aaron Copland (1900-1990), Rodeo: the Courting at Burnt Ranch [pronounced roe-DAY-oh] (1942): This second “cowboy ballet” by the established and experiences American composer Aaron Copland was commissioned by the great American choreographer Agnes de Mille, at this time very early in her career, herself commissioned to create the ballet by the Ballet Russe de Monte Carlo (the remnants of Serge Diaghilev’s troupe now exiled in the US by the War in Europe). The video quality of the 1973 television production is a bit suspicious http://www.youtube.com/watch?v=8PGkJkpK1yU but it gives an idea of de Mille’s choreography and its union with Copland’s score Scene 4: Saturday Night Waltz Scene 5: Hoe-Down 343. * Aaron Copland (1900-1990), Appalachian Spring (1944): This ballet, set to Copland’s fabulously evocative music, was a collaboration between Copland and one of America’s most respected dancer/choreographers, Martha Graham. The work was complete and choreographed before it received the title Appalachian Spring – Copland had always called it simply “Martha’s Ballet.” Martha finally suggested the title after a line in Hart Crane’s poem, “The Bridge.” True, the ballet was set in springtime on a farm Pennsylvania, and so “Appalachian Spring” seems absolutely perfect; however, the “spring” of Crane’s poem actually refers to a fountain or water spring, and a farm most definitely would not be found on the Appalachian ridge – a conundrum which bemused Copland throughout his life. Graham’s beautiful choreography can be seen in black and white at http://www.youtube.com/watch?v=XmgaKGSxQVw . Just be aware that the music is for the original smaller instrumentation of 13 players and is recorded monophonically. Scene 7: Variations on “Simple Gifts 344. * Serge Prokofiev (1891-1953), Zolushka [Cinderella], op. 87 (1944). Prokofiev’s take on this fairy tale, written for the Bolshoi Ballet, was based on a scenario by Nicolai Volkov. In the music, Prokofiev used many Baroque dances of the type that would have been popular at the time the story is set. Of the many fun quirks in the ballet, Prokofiev writes the step- 95 Module 14 Modernity sisters’ music as quite gawky, and good thing: the roles of the step sisters were danced by men in travesty, drag. Gavotte, no. 10, Act 1 Passepied, no. 21, Act 2 Bourrée, no. 22, Act 2 Waltz, no. 30, Act 2, http://www.youtube.com/watch?v=zI9oB_oCRlc SILVER SCREEN, SMALL SCREEN Film was the new art form on the block in the early decades of the 20th century. In the earliest period, sound could not me recorded along with visual images. From 1908, when the French composer Camille Saint-Saëns (whose music is very worthwhile to explore in its own right: Carnival of the Animals, Samson and Delilah, Symphony no. 3 “Organ”) composed songs specifically to be played by live performers during the screening of the film L’assisinat du duc de Guise, newly-composed music was considered as legitimate support for on-screen action. Synchronized sound was possible from 1923 and this encouraged composers to work with film directors in collaborative projects. By the 1930s composers of stature were contributing to music for film: Henri Mancini, Erich Korngold, Max Steiner, Dmitri Tiomkin, and Alfred Newman standout in the early days of the film score; later James Horner, Maurice Jarre, Bernard Hermann, Ennio Morricone, Alex North, Jerry Goldsmith, Danny Elfman, and those on our list in Module 2. Numerous concert music composers also contributed to the genre: Prokofiev, Shostakovich, Copland, Bernstein, and Glass (Module 4, Minimalism) from our featured composers. The study of the film musical is one of its own right, but it is worth keeping the names of Harold Arlen, Robert and Richard Shermann, Stephen Sondheim, and Alan Menken in mind. We can consider here one small subcategory: futurism. It not that futurism is a subgenre of film music, but rather that two of the great futuristic scores are given below. In futurism, we note either the depiction of machinery, mechanization, factories, and industrialism – in effect, dehumanizing aspects of society – in vivid detail, or the inclusion of machinery as a sounding element of the music. While one might include the taxi horns of Gershwin’s An American in Paris or the cannons in Tchaikovsky’s 1812 Overture as futuristic elements, it would be more common to the airplane propellers of Antheil’s Ballet Mécanique to count as fully futuristic – it’s a judgement call and can go either way. 345. * George Antheil (1900-1959), Ballet Mécanique (1924): a collaborative film project from the filmmakers Fernand Léger and Dudley Murphy. The use of the score to accompany the film was never realized in the composer’s life time.. It was not until 1990 when the film and score were experienced together http://www.youtube.com/watch?v=9SgsqmQJAq0 . The ballet of the film was of mechanical instruments and for this Antheil included parts for player pianos, airplane propellers and electric bells. The instrumentation is used to produce a dramatic, futuristic, percussive score. 346. * Arthur Honegger (1892-1955), Pacific 231 (1923): a tone poem, the first of a series of three Mouvements symphoniques, depicts the action of a Pacific 462 locomotive steam engine 96 Module 14 Modernity travelling between stations. In 1949 the tone poem was used as the backdrop for an otherwise silent film, a film which was highly acclaimed for its amazing footage of the locomotive engine in action. See the film at http://www.youtube.com/watch?v=BwDukkgAmk 347. * George Gershwin (1898-1937), An American in Paris (1928). Make no mistake about it! Gershwin’s colourful score about a home-sick American in Paris originated as a tone poem for large orchestra, and is still performed as that today. The 1951 Gene Kelly film of the same name was inspired by the tone poem, followed its rough story line, and used a good percentage of the music. Do enjoy the film! It is a delight! Just remember that the music predates the film by 23 years. 348. * Aaron Copland (1900-1990), Fanfare for the Common Man (1942). This famous work was composed for the Cincinnati Symphony and was inspired by a then-recent speech by the US Vice President, Henry Wallace. It was only much later adopted for use in popular media as the TV opener for sporting events for many decades. 349. * Leonard Bernstein (1918-1990), On the Waterfront (1954). Bernstein won an Academy Award for this brilliant and evocative film score. It is a joy to listen to on its own, but takes on extra dimensions when experienced in the film. 350. * Alan Menken (b. 1949) and Stephen Schwartz (b. 1948), Pocahontas (1995) IMPRESSIONISM Impressionism is really a French artistic movement. Even the artistic movement received the title by accident: an adoption of the title of Claude Monet’s 1873 painting Impression: Sunrise. In art, impressionism is achieved by capturing an impression on an artist of the light reflected from an object at an exact moment in time. Since these pieces of art are often created of little dots of colour, loose brush strokes, and therefore, indistinct outlines, the parallel is drawn with French music of the same period. Impressionist music is loose and mobile. Open harmonies lose the impulse of tonal direction and so can move from one to the next in non-traditional, non-tonal ways. This should not be mistaken as dissonant! To the contrary each simultaneous sounding of pitches is meant to be lovely, and it is meant to be loved in the moment without concern of what comes next. Like minimalism (Module 4), the wafting and indistinct quality of impressionistic music was inspired by music of gamelan, heard for the first time in Paris at the 1889 Exhibition universelle. The first impressionist composer, Claude Debussy, did not like the appellation, preferring the term symbolism. Symbolism was a style of writing practiced by poets and novelists which stressed the sound of words and sounds in addition to relying on hefty use of understandable symbols. The root of Debussy’s preference for symbolism over impressionism lies in the fact that symbolism is applied to a sounding, rather than a visual medium. Look for other impressionist works in Module 3, #33, #53, #54, and #55; and also include Ravel’s Daphnes and Chloe (# 334) on the list. 97 Module 14 Modernity 351. * Claude Debussy (1860-1918), Prelude á “L’Après-midi d’un faune” [Prelude to “An Afternoon of a Faune”] (music 1894; ballet production 1913): Inspired by Stephane Mallarmé’s exotic and intoxicating poem of the same name (http://www.angelfire.com/art/doit/mallarme.html), this scrumptious orchestral piece – nearly a tone poem, but not so literally descriptive – for full orchestra is often considered by musicologists to mark the beginning of modernism in music. 352. * Joseph-Maurice Ravel (1875-1937), Pavane pour infant défunte [Pavane for a Dead Princess] (1899, piano; 1910, orchestra). In the days of vinyl recordings, this small piece was the goto space filler at the end of a recording, and as such was one of the most recorded pieces of the late-20th century. Performances of both the piano and the orchestra versions are on the playlist. It is an excellent time to hear how perfectly Ravel composes for instrumental groups, thus was his formidable skill with orchestration. By the way, ignore the English translation of the title: there was no “dead princess,” rather Ravel, in a fit of symbolist sentiment, just liked the way the title sounded in his French language. 353. * Claude-Achilles Debussy (1862-1918), La mer, trois esquisses symphoniques pour orchestre [The sea, three symphonic sketches for orchestra] (1905) Dialogue du vent et de la mer [Dialogue between the wind and the waves] 354. * Claude-Achille Debussy (1862-1918), Préludes (Book 1, 1909 ; Book 2 1910) La fille aux cheveus de lin [The Girl with the Flaxen Hair], Book 1 no. 8 Brouillards [Mists], Book 2, no. 1 La cathédrale engloutie [The Sunken Cathedral], Book 1, no. 10 EXPRESSIONISM Expressionism as a movement began with poetry and visual arts, the most recognizable and associable painting being The Scream (1893) by Norwegian painter Edvard Munch http://en.wikipedia.org/wiki/Expressionism#mediaviewer/File:The_Scream.jpg Expressionists, in reaction to Impressionist, sought not to capture the external reflection but the interior reality of the being. Through this practice, the extremes of emotion and the psyche were probed: note, in particular the works of Sigmund Freud and Also Sprach Zarathustra by Friedrich Nietzche. The principal musician to follow the lines of expressionism was Arnold Schoenberg, himself a painter http://www.schoenberg.at/index.php?option=com_content&view=article&id=361&Itemid=533&l ang=en , who through the language of atonality – a refusal to give in to tonal implication – created works of disturbing content. 355. * Arnold Schoenberg (1874-1951), Dreimal sieben Gedichte aus Albert Girauds 'Pierrot lunaire', [Three Times Seven Poems from Albert Giraud's 'Pierrot lunaire'], op. 21 (1912 Melodrama in 21 movements on selected poems from Otto Erich Hartleben's German translation of Albert 98 Module 14 Modernity Giraud's cycle of French poems of the same name for flute, clarinet, violin, cello, piano, and singer. The poems are half narrated, half sung using Sprechtstimme. See page 301 of the text. Text and translation of poems may be found at http://www.dacapo.org/html/PierrotEnglish.html (1) Mondestrunken (Moon-drunk) (7) Der kranke Mond (The Sick Moon) (18) Der Mondfleck (The Moonfleck) NEOCLASSICISM I can hear it now: Oh, no, not again! Indeed the ideals of classicism return, but this time not so far back as classical antiquity. With neoclassicism of the 20th century, composer sought to elevate the pure forms of 18th-century classicism or to simply look back to other golden ages of music: Baroque or Renaissance or a national golden age (Louis XIV’s France, Elizabeth I’s England). A good part of the push toward this movement of neoclassicism was an attempt to reclaim values that seemed to have been shoved aside as a result of the Great War. Somewhat more pragmatically, however, is that fact that older styles required fewer players and could sustain stranger instrumentation – both an asset after losing so many musicians to the battlefields of Europe. 356. * Serge Prokofiev (1891-1953), Symphony no. 1 “Classical” in D major, op. 25 (1917): As a compositional project, Prokofiev tasked himself with two challenges. One, to create a symphony for a Mozartian sized orchestra in purely classical shape and proportion; and two, to compose without using the piano to guide his ear. The result is a wickedly hard orchestral showpiece that indeed accomplishes task one. 357. * Igor Stravinsky (1882-1971), Pulcinella [pronounced PULL-chin-ella] (1920): Commissioned by Serge Diaghilev and the Ballet Russe, this ballet proved the collaboration between some of the great artists of the day: The scenario and choreography were both by the great Leonide Massine, Pablo Picasso designed the original costumes and sets, and, of course, Stravinsky provided the score. Like Petruchka nearly a decade earlier, Pulcinella drew on the commedia dell’arte tradition, this time “properly” that of 18th-century Italy. For the ballet Stravinsky reworked music thought at that time to be by Giovanni Battiste Pergolesi (1710-1736), one of the great tragic figures of the early age and mover within the earlier gallant style. No. 1 – Overture ([1] Sinfonia in Suite) No. 14 – Tarantella ([4] in Suite) No. 17 – Gavotta con due variatione ([6] in Suite) 358. * Dmitri Dmitriyevich Shostakovich (1906-1975), Symphony no. 1, op. 10 (1925): mvt. 1. The first of fifteen symphonies, this lean, clean, and assured symphony comes was Shostakovich’s conservatory graduation project. It would be somewhat later before he really became acquainted with the work of the Russian expats working outside the Soviet 99 Module 14 Modernity Union. Until then, his art was shaped by strictly conservative teaching and prodigious youthful skills. 359. * Igor Stravinsky (1882-1971), Concerto in Eb Major “Dumbarton Oaks” (1937). Stravinsky wrote this work on commission to honour the 30th wedding anniversary of the owners – Robert Woods Bliss and Mildred Barnes Bliss – of the mansion Dumbarton Oaks in Washington, DC. The mansion is renowned for its exquisite music room and now for its museum and library. 360. * Béla [Viktor János] Bartók (1881-1945), Concerto for Orchestra, Sz. 116, BB 123 (1943): This fabulous showpiece for orchestra could just as well been called a symphony (even with its five movements); however, Bartók preferred the term concerto because he wrote for each instrument and instrument family in a virtuoso solo style. Mvt. 2 – Game of Pairs, or Presentation of the Couples Mvt. 3 – Elegia Mvt. 4 – Intermezzo 361. * Olivier Messiaen [pronounced MESSy-ann] (1908-1992), Quatour pour la fin du temps [Quartet for the End of Time] (1941): Quartet for violin, cello, clarinet, piano, mvts. 3, 4, and 8 Mvt. 3, Abime des oiseaux (The Abyss of the Birds) Mvt. 4, Intermede (Interlude) Mvt. 8, Louange a l'immortalite de Jesus (In Praise of the Immortality of Jesus) 362. * Béla [Viktor János] Bartók (1881-1945), Sonata for Solo Violin Sz. 117, BB 124 (1944) mvt. 1, Tempo di Ciaccona. This late work was commissioned by the violinist Yehudi Menuhin. Bartok responded with a gem full of Hungarian melodies, rhythms, and harmonies. 363. * Sofia Gubaidulina (b. 1931), Chaconne for solo piano (1962). A quarter century the junior to countryman Dmitri Shostakovich, Gubaidulina grew up with the Soviet injunction against formalism. Formalism in a Soviet context meant western musical experimentation. Avoiding formalism drove Soviet composers backwards to their roots, either folk roots or musical roots. Here, Gubaidulina uses the old Baroque form of the chaconne with its short repeating bass harmonic progression as the basis of an intense set of variations. 364. * Dmitri Dmitriyevich Shostakovich (1906-1975), Symphony no. 15 in A major, op. 47 (1971). The last symphony by Shostakovich resonates with a sardonic wit. His original intention was to call it “The Toyshop,” and vestiges of this child-like perspective abound: the imbedding of Shostakovich’s grandson’s name (S-As-C-H-E) as a melody and quotations from child-friendly works like Rossini’s William Tell Overture. In contradiction to the apparent simplicity, however, one also finds complex mathematical relationships in the rhythms and 12-tone implications in the melodic selections. Still, the symphony’s most 100 Module 14 Modernity outstanding feature might be its overall perspective of false militarism, false pride, and false smiles. It is a work that is hard to get the measure of, but from our western perspective we see that as indicative of Shostakovich’s inability to write what might be seen as critical of the government coupled with the desire to write something that his countrymen and – women would understand as sarcastic. What did he really mean? He didn’t tell us. 365. * Sofia Gubaidulina (b. 1931), Glorious Percussion (2008) is a large-scale concerto grosso for percussion and orchestra. Here Gubaidulina traces the history of percussion in a 40 minute romp. 366. * Sofia Gubaidulina (b. 1931), Offertorium, Concerto for Violin (1980), relatively sparse and spare, still there is an underlying romanticism and expressiveness from both soloist and orchestra. POST-ROMANTICISM Two very similar terms are afoot in the early 20th century. There are distinctions between them, and it is useful to know the differences, at least in a cursory way. The two terms in question are PostRomanticism and Neo-Romanticism: officially, what comes after Romanticism (Post-Romanticism) and Romanticism made new (Neo-Romanticism). In practice, the way the first of the two movements manifest is thus: in Post-Romanticism the Classical-period forms which formed the basis for early 19th-century Romanticism and which never really went away are carried forward in a continuing tradition, clothed in full Romantic musical clothing including large orchestras and strong harmonic tonality. 367. * Gustav Mahler (1860-1911), Symphony no. 4 (1901). In the last movement, Mahler introduces the voice to express the ideas that he felt instruments alone could not express. In this case Mahler writes three movements which express the threat of death, even the reality of death complete with funeral march. In the fourth movement, Mahler considers the heavenly life, which, after all, must include angels. Mvt. 1, Bedächtig, nicht eilen Mvt. 4, Sehr Behaglich (with Das himmlische Leben from Des Knaben Wunderhorn) Text and translation: http://en.wikipedia.org/wiki/Symphony_No._4_(Mahler) 368. * Jean Sibelius (1865-1957), Symphony no. 2 in D major, op. 43 (1902): Long before Sibelius was the acclaimed voice of Finnish nationalism, he composed both epic tone poems and symphonies of exceptional beauty in a musical language which ultimately became stereotypical of Scandinavia. Mvt. 3, vivaccissimo … Mvt. 4, Finale … 101 Module 14 Modernity 369. * Gustav Mahler (1860-1911), Symphony no. 5 (1902),. One of Mahler’s rare instrumentalonly symphonies. The huge orchestral forces which Mahler employs in the majority of the symphony are pared down to just strings and harp in the exquisite 4th movement, Adagietto. Mvt. 4, Adagietto 370. * Gustav Mahler (1860-1911), Das Lied von der Erde [The Song of the Earth] (1909). What really constitutes Mahler’s 9th symphony was titled poetically in an attempt to thwart the curse of the ninth symphony. It almost worked! In the meanwhile, Mahler used a device begun by Beethoven, used occasionally by other composers, and certainly used by Mahler in about half of his symphonies: the introduction of a lovely poetic text or two or three, entrusted to a singer or choir. Mahler never composed operas despite conducting opera and operetta for most of his career. Instead, Mahler treated the voice symphonically, either accompanying folksongs with symphonic resources, or incorporating song into his symphonies. Texts and translations may be found at http://en.wikipedia.org/wiki/Das_Lied_von_der_Erde Mvt 1: Das Trinklied vom Jammer der Erde [The Drinking Song of Earth's Misery] Poem by Li Po, Bei Ge Xing ( 悲歌行 ) [A Pathetic Song] Mvt. 6: Der Abschied [The Farewell] 371. * Serge Prokofiev (1891-1953), Piano Concerto no. 3 n C major, Op. 26 (1921): A virtuosic piano concerto by one of the most esteemed pianists of the early 20th century. If you listen carefully to this work side-by-side with the next by Rachmaninov, you can discern the strengths of each pianist, both a true virtuoso of the instruments. Rachmaninov at 6’ 6” had massive hands, not so much long in the fingers as broad across the palms http://en.wikipedia.org/wiki/Sergei_Rachmaninoff#mediaviewer/File:Rachmaninov.jpg and as such he could reach nearly twice the span of notes as a more normally-built pianist. Prokofiev was much more diminutive with tiny hands. Listening to this powerful concerto, you can sense those small hands charging up and down the keyboard, tumbling over each other. When you listen next to the Rachmaninov below, you will likely be aware of the massive clutches of notes Rachmaninov grabs at one time. 372. * Sergei [Vasilievich] Rachmaninov [pronounced Rock-MAN-in-off] (1873-1943), Rhapsody on a Theme by Paganini, op. 43 (1934): The Caprice no. 24 in a minor, op. 1 for Violin by the 19th-century violinist Nicolò Paganini (1782-1840) has been a favourite subject for sets of variations by numerous composers. Here Rachmaninov fashions a set of 24 variations (the “usual” number) for piano and orchestra to take the shape of a traditional three-movement concerto. 102 Module 14 Modernity 373. * Samuel Barber (1910-1981), String Quartet, op. 11 (1936): Mvt. 2, Poco adagio. The whole string quartet by this uncommonly lyrical American composer is worth considering, but it is the central Adagio which carries the weight of poignancy, despair and resolve lying side-by-side. Fabulous tension is created with trudging, climbing lines seeming to torque ever tighter. The year after the quartet’s completion, Barber arranged this central movement for string orchestra. The strongly funereal tone of the movement in the orchestral version has made it a go-to piece for sorrowful remembrances including state funerals and war films, most notably in the 1991 film Platoon. 374. * Dmitri Dmitriyevich Shostakovich (1906-1975), Symphony no. 5 in d minor, op. 47 (1937). Shostakovich had been strongly censured for his 4th Symphony; in fact he was nearly shipped to Siberia over it. Joseph Stalin himself had demanded that the 4 th Symphony be withdrawn because of its stridency, but Shostakovich boldly attempted a performance. That performance attempt was abandoned, resulting in a panicked flight from the concert hall of all who were there, and the 4th Symphony was not heard until 1961. As a part of his reconciliation with the Soviet government, Shostakovich wrote the strong, proud, dynamic 5th Symphony as a so-called response to just criticism. 375. * Serge Prokofiev (1891-1953), Symphony no. 5 in B-flat major, op. 100 (1944). Prokofiev was one of those rare Russian-born artists who worked in the west for a time and then chose to return to the Soviet Union even with its artistic directives and strictures. It is said that Prokofiev’s limited success in the west suggested to him that his style was better suited to his homeland. In fact his draw to the ballet was uniquely suited to the style of the Kirov and Bolshoi Ballets than of, say, the Ballet Russe; and his angular, upside-down melodies and backward-moving harmonies worked for the folk melodies and national perspective of his homeland. His style changed on return home, for sure, but not so much to lose himself. The 5th Symphony, written at the height of WWII, contains much of soaring beauty and exhilarating drive. His exquisite retrograde tonality was picked up by John Williams and used to great effect in the film score to Star Wars, Episode 1 (1999). 376. * Richard Strauss (1864-1949), Concerto in D major for Oboe and Small Orchestra, AV 144, TrV 292 (1945). One of the last works from the great romantic – perhaps the last romantic composer comes complete with one of the great stories of inception in all of music, truly rising from the ashes of Nazi Germany. 377. * Dmitri Dmitriyevich Shostakovich (1906-1975), String Quartet no. 8 in c minor, op. 110 (1960). Be warned: there is nothing happy about this String Quartet. Believed to be deeply autobiographical – Shostakovich imbedded his musical initials, D-S-C-H, in each movement – the whole is a dark study of the possibility of the string quartet. 378. * Samuel Barber (1910-1981), Piano Concerto, op. 38 (1962): The broadly lyrical concerto is a full-blooded example of post-romanticism, full of arching melodies, dense by warm harmonies, and all the energy expected from a solo concerto. A note regarding Barber and his music may be found on pages 404 and 405 of your text book 103 Module 14 Modernity Mvt. 2: Canzone: Moderato Mvt. 3: Allegro molto NEO-ROMANTICISM Neo-Romanticism, in contrast to Post-Romanticism, ignores the classical forms. Neo-Romanticism just embraces the musical language of Romanticism, the structural freedom allowed by Romanticism, the large and creative orchestra of Romanticism, the strong chromatic tonality of Romanticism. And the potential chaos and juxtapositions permitted by Romanticism. In short, Neo-Romanticism took all that made Romanticism Romanticism and took it to new and impressive heights. 379. * Charles Ives (1874-1954), Three Places in New England, Orchestral Suite no. 1 (1914). Ives’ Orchestral Suite is one of the first strong compositions to be written by an American composer, albeit one who sells insurance. This wild composition is famous for its layers of popular tunes in seemingly chaotic procession, cavalcading on top of one another as if a parade of different marching bands were stomping through the camp. II. Putnam’s Camp, Redding, Connecticut 380. * Béla Bartók (1881-1945), Romanian Folk Dances, Sz 56 (1915). The little set of six works, originally for piano, derives from seven folk songs and dances from the Transylvania region. Bartok collected these dances from the countryside. All six are on the playlist. 381. * Gustav Holst (1874-1934), The Planets Suite, op. 32 (1916): You will note that Holst only includes seven movements, each depicting antiquity’s characterization granted the planets in ancient astrology. The reason for only seven movements is that there is no ancient astrology associated with Earth and Pluto was not discovered until 1930. Music-lovers were pleasantly bemused when Pluto was defrocked of planetary status in 2006 and Holst’s suite again was astronomically correct. “Mars: Bringer of War” “Jupiter: Bringer of Jollity” “Neptune, the Mystic” 382. * Ottorino Respighi (1879-1936), Fontane di Roma [Fountains of Rome] (1916). In a spate of nationalistic fervor, Respighi wrote a triptych of Italian works, each celebrating one of the glories of Italy. In this work four of the renowned fountains of the city of Rome each depicted at a different time of day: Valle Giulia d’Alba at daybreak; Bernini’s Triton at midmorning with Frend horn standing in for Triton’s conch shell; my beloved Trevi, also by Bernini, rushing forth at noon; and the Villa Medici, twinkling high above Rome in the light of the dying sun. La Fontana di Valle Giulia all’Alba La Fontana del Tritone al Mattino 104 Module 14 Modernity 383. * George Gershwin (1898-1937), Rhapsody in Blue (1924): One of the earliest compositions to be considered “cross-over” between jazz and classical, its jazz elements tended to be rejected by traditional jazz musicians as charactures and not authentic enough. It was hard to pick a category for this one! The experimental tilt of Neo-Romanticism seemed to fit best. 384. * Ottorino Respighi (1879-1936), Pini di Roma [Pines of Rome] (1924). This second installment of Respighi’s Italian triptych pays tribute to the majestic umbrella pines (those wonderful bearers of pignoli, pine nuts) which arch over the Roman landscape: those of the Villa Borghese, the catacombs, the Janiculum Hill, and the Appian Way. The fourth movement – Pines of the Appian Way – is probably the greatest of the long orchestra crescendos in all of music, tracking the returning ghost armies of Rome on their procession into Rome and up the Capitoline Hill to the waiting Emperor at the Temple of Jupiter. Pini di Via Appia (Pines of the Appian Way) 385. * Ottorino Respighi (1879-1936), Trittico Botticelliano (1927). The last of Respighi’s triptych, here Respighi sets to music the three paintings by the 15th-century Florentine artist Sandro Botticelli: La Primavera [Spring] http://en.wikipedia.org/wiki/Primavera_(painting)#mediaviewer/File:Botti celli-primavera.jpg l’Adorazione dei Magi [Adoration of the Magi] http://en.wikipedia.org/wiki/Adoration_of_the_Magi_of_1475_(Botticelli) #mediaviewer/File:Botticelli_085A.jpg La Nascita di Venere [The Birth of Venus] http://en.wikipedia.org/wiki/The_Birth_of_Venus_(Botticelli)#mediaview er/File:Sandro_Botticelli_-_La_nascita_di_Venere_-_Google_Art_Project__edited.jpg 386. * Alban Berg (1885-1935), Violin Concerto (1935): This beautifully constructed monument of the 20th-century violin repertoire capably combines 12-tone compositional technique with episodes of traditional tonality. The tone row itself is packed with tonal elements. View the row at http://en.wikipedia.org/wiki/File:Berg_vn_conc_tone_row.png and a possible matrix at http://www.bearmccreary.com/images/concertmusic/12row1.jpg 387. * Sergei [Vasilievich] Rachmaninov (1873-1943), Symphonic Dances, op. 45 (1940). It is in the Symphonic Dances that we are reminded that Rachmaninov was Russian by birth and upbringing. There is a bit of Prokofiev, a bit of Stravinsky, and a bit of Rimsky-Korsakov in here. The harmonies are piquant and the melodies are lightly contorted, still the 105 Module 14 Modernity orchestra is richly Rachmaninov in its full flower. Throughout the work, Rachmaninov quotes his earlier works and also, again, the Dies Irae of liturgical chant setting up a battle between death and resurrection. While these dances were all along conceived as dances for orchestra, conversations had begun with Mikhail Fokine about the possibility of actually choreographing them. This probably would have become reality had Fokine not died suddenly in 1942. 388. * Leonard Bernstein (1918-1990), Halil, nocturne for Solo Flute, Piccolo, Alto Flute, Percussion, Harp and Strings (1981). The critically acclaimed work by Bernstein speaks of the destruction of the 1973 Yom Kippur War. CONTEMPORARY VOICE FOR MODERN SONG 389. * Gustav Mahler, Lieder aus “Das Knaben Wunderhorn” [Songs from “The Youth’s Magic Horn” (cornucopia)] (1899 a collection (not a cycle as there is no unifying narrative) of twelve settings for voice and orchestra of poems from the poetic collection by the same name of German folk poems edited by Achim von Arnim and Clemens Brentano (1805-1808). Texts and translations at the links below: (1) Der Schildwache Nachtlied http://www.recmusic.org/lieder/get_text.html?TextId=4588 (5) Das irdische Leben http://www.recmusic.org/lieder/get_text.html?TextId=4484 6) Des Antonius von Padua Fischpredigt http://www.recmusic.org/lieder/get_text.html?TextId=4462 390. * Zoltán Kodály (1882-1967), Háry János kalandozásai Nagyabonytul a Burgváráig [János Háry: his Adventures from Nagyabony to the Vienna Burg] (1926): a folk opera, typical of Hungary, in the style of a singspiel on a Hungarian libretto by Béla Paulini and Zsolt Harsányi, based on the comic tale Az obsitos [The Veteran] by János Garay. The orchestral suite gathers up the best and most colourful music from the opera, full of eastern European rhythms and instruments. 391. * Carl Orff (1895-1982), Carmina Burana: Cantiones profanæ cantoribus et choris cantandæ comitantibus instrumentis atque imaginibus magicis [Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magic images] (1936): Today the work is treated as a cantata setting of 24 poems from Carmina Burana, a medieval collection of very secular poems; ; however, Orff originally composed the work at a piece of what he called “Teatrum Mundi” or theatre uniting music, movement, and word. The work is rarely given today in 106 Module 14 Modernity choreographed, full-staged productions. The text and translation of this famous and dramatic movement is given at http://en.wikipedia.org/wiki/O_Fortuna Opening and closing segments: Fortuna Imperatrix Mundi 392. * Samuel Barber (1910-1981), Knoxville: Summer of 1915 (1947): A solo cantata for singer (usually soprano but may also be tenor) and orchestra, setting a portion of two texts by James Agee, in part from his essay "Knoxville" and also from the introduction to his Pulitzer Prize-winning posthumous novel, A Death in the Family. 393. * Arnold Schoenberg (1874-1951), A Survivor from Warsaw, op. 46 (1947): A singlemovement work for narrator, men’s chorus, and orchestra no commemorate the Jewish victims of the Holocaust. Full text, including English translation of Sh’ma Yisrael hymn may be found at http://en.wikipedia.org/wiki/A_Survivor_from_Warsaw 394. * Dmitri Dmitriyevich Shostakovich (1906-1975), From Jewish Folk Poetry, opus 79 (1948), a song cycle for soprano, mezzo-soprano, tenor and piano setting poetic texts (but not the actual melodies) found in a collection of Jewish folk songs compiled by I. Dobrushin and A. Yupoeticditsky, edited by Y. M. Sokolov (Goslitizdat, 1947). Due to Shostakovich’s recent censorship by Soviet authorities, the premier was delayed until 1955 and was controversial at that time. Text and translations may be found in the accompanying booklet on Naxos Music Library, but not yet broadly online. 395. * Richard Strauss (1864-1949), Vier letzte Lieder [Four Last Songs], op. post. (1948). The four last songs, based on poems by Hermann Hesse, are among Strauss’ last works – in fact, published after his death. These songs consider various aspects of the acceptance of death. Given Strauss’ death in 1949 after a long and rich life, it is nearly impossible to see these works as anything other than autobiographical. Texts are most easily found on Wiki http://en.wikipedia.org/wiki/Four_Last_Songs 396. * Aaron Copland (1900-1990), Old American Songs (1952): Two sets of traditional folk songs (five songs each) set for baritone and piano, later voice and orchestra 397. * Leonard Bernstein (1918-1990), Mass: A Theatre Piece for Singers, Players and Dancers (1971). This non-traditional mass, with additional texts and lyrics by Stephen Schwartz, is more theatre piece than religious work. Full of doubt regarding the existence of God, the work concludes with a restoration of faith. The work was commissioned by Jacqueline Kennedy for the opening of the John F. Kennedy Centre for the Performing Arts in Washington, DC. Simple Song 398. * Joseph Schwantner (b. 1943), Black Anemones (1980): A setting for soprano and piano of one of two poems by the Colombian-American surrealist poet Agueda Pizarro in English translation by Barbara Stoler Miller. 107 Module 14 Modernity 399. * R(aymond) Murray Schafer (b. 1933), Patria (1966-1990). Over the years of this composition, Schafer has modified the scope of the work several times, moving from opera to twelve-section staged music event: prologue, epilogue, and 10 intermediate sections for differing ensemble combinations of voices and instruments. Patria 5: The Crown of Ariadne Patria 6: Ra Epilogue: And Wolf Shall Inherit the Moon BROADWAY – WEST END 400. * Jerome Kern (188501945), Show Boat (1927): libretto by Oscar Hammerstein II based on the 1926 novel of the same name by Edna Ferber. Show Boat is considered the first musical play (piece of musical theatre by our common definition) as different from light opera or operetta, musical comedy, review, or follies Act 1: Ol’ Man River 401. * Aaron Copland [pronounced COPE-lund] (1900-1990), Quiet City for trumpet, cor anglais, and string orchestra (1940/41). Copland’s work began life as incidental music for the play Quiet City by Irwin Shaw. While Copland’s original music was written to parallel the life and attitudes of the lead character, Copland himself later conceded that the concert version had taken its rightful place as its own composition. 402. * Richard Rodgers (1902-1979), Oklahoma! (1943): libretto by Oscar Hammerstein II, based on Lynn Riggs' 1931 play, Green Grow the Lilacs. Oklahoma!, was the first collaboration between these two great artists and presents the beginning of one of the most fruitful theatrical teams in history. Act 1: Oh, What a Beautiful Morning 403. * Richard Rodgers (1902-1979), South Pacific (1949): lyrics by Oscar Hammerstein II, book by Hammerstein and Joshua Logan based on James A. Michener's Pulitzer Prize-winning book Tales of the South Pacific. Act 2: This Nearly Was Mine 404. * Richard Rodgers (1902-1979), The King and I (1950): lyrics and book by Oscar Hammerstein II, based on Margaret Landon’s 1944 novel Anna and the King of Siam itself based upon the memoirs of Anna Leonowens. Act 2: Something Wonderful 108 405. * Frederick Loewe (1901-1988), My Fair Lady (1956): book and lyrics by Alan Jay Lerner based upon George Bernard Shaw's Pygmalion, roles of many 20th-century works become indelibly linked to a specific performance or performer. Such is the case with Rex Harrison’s role as Professor Henry Higgins. Harrison’s performances withstood both stage and film as he famously spoke rather than sang the songs. Act 1: Why Can’t the English Act 1: On the Street Where You Live Act 2: Why Can’t a Woman Be More Like a Man 406. * Leonard Bernstein (1918-1990), Candide (1956 and 1974): the music for this charming operetta based on Voltaire’s 18th-century novelette by the same name is fully by Leonard Bernstein, but like so many 20th-century music stage works, Bernstein collaborated with no fewer than six lyricists and “book-writers.” The “book” by Lillian Helman used for the 1956 premiere was subsequently replaced in 1974 by one by Hugh Wheeler, which is considered to be closer to Voltaire’s novelette. Overture No. 15: Glitter and Be Gay 407. * Leonard Bernstein (1918-1990), West Side Story (1957): this book musical is based on William Shakespeare’s Romeo and Juliet but set in immigrant neighbourhoods of New York City – music by Bernstein, song lyrics by Stephen Sondheim, and book by Arthur Laurents. Bernstein, along with assistance from Sid Ramin and Irwin Kostal, orchestrated the full Broadway score of 75 instrumental parts to be covered by no more than 31 players: wind players and percussion players being responsible for more than one instrument – there are 27 percussion instruments to be played! While critical reception of the musical was focussed on Jerome Robinson’s choreography, critics identified Bernstein’s score as “… fascinatingly tricky and melodically beguiling …” (John Chapman, New York Daily News, 27 September 1957) Act 1: Prologue Act 1: Maria (408a) For a purely instrumental snapshot of the music, Bernstein compiled and composed Symphonic Dances from “West Side Story” in 1960. Find this on your playlist or at http://www.youtube.com/watch?v=srb2EyvTSGw with an aging Bernstein conducting the New York Philharmonic Orchestra. 408. * Richard Rodgers (1902-1979), The Sound of Music (1959): lyrics by Oscar Hammerstein II, book by Howard Lindsay and Russell Crouse, based on the memoir of Maria von Trapp, The Story of the Trapp Family Singers. Act 1: Climb Every Mountain 109 409. Frederick Loewe (1901-1988), Camelot (1960): book and lyrics Alan Jay Lerner and Moss Hart, based upon T. H. White's Once and Future King. For no direct reason other than timing and a certain enchanted quality, the musical became linked to the Kennedy White House. Act 1: The Lusty Month of May 410. * Stephen Sondheim (b. 1930), Sweeney Todd: The Demon Barber of Fleet Street (1979): music and lyrics by Stephen Sondheim, libretto by Hugh Wheeler, based on the 1973 play by the same name by Christopher Bond. Sweeney Todd as a character descends from Victorianperiod penny Romances. Act 2: Not While I’m Around 411. * Sir Andrew Lloyd Webber, the Baron Lloyd-Webber (b. 1948), Phantom of the Opera (1986), lyrics by Charles Hart based on the 1909 French novel Le Fantôme de l'Opéra by Gaston Leroux. . Considered to be a fully-fledged musical, the work demands fully operatic performances by several of the characters, imbeds a number of brilliantly conceived parody operas, and packs in a number of ensembles of the kind of complexity (although not quality) seen only in Mozart. Act 1: Notes/Prima Donna Act 1: Poor Fool, He Makes Me Laugh (Il Muto) Act 1: Think of Me 110 111 Study of Music STUDY OF MUSIC MARY C. J. BYRNE By taking this course you are embarking upon or extending your practice of musicology. Because it is an accurate and insightful expression of musicology, I quote the opening of the “Musicology” article of Wikipedia in full with modifications shown in [ ]: Musicology (Greek: μουσική = "music" and λόγος = "word" or "reason") is the scholarly study of music. The word is used in narrow, broad and intermediate senses. In the narrow sense, musicology is confined to the music history of Western culture. In the intermediate sense, it includes all relevant cultures and a range of musical forms, styles, genres and traditions. In the broad sense, it includes all musically relevant disciplines and all manifestations of music in all cultures. …. In the broad definition, the parent disciplines of musicology include history; cultural …[, social, religious,] and gender studies; philosophy, aesthetics and semiotics; ethnology and cultural anthropology; archeology and prehistory; psychology and sociology; physiology and neuroscience; acoustics and psychoacoustics; and computer/information sciences[, many of the hard sciences,] and mathematics. Musicology also has two [three] central, practically oriented subdisciplines with no parent discipline: [performance], performance practice and research; and the theory, analysis and composition of music. [Bold and italics added] The disciplinary neighbors of musicology address other forms of [the visual, plastic, literary, and performing] art[s, along with the history, theory, and practice of each] … [as well as aspects of] ritual and communication, … architecture; linguistics, literature and theater; religion and theology; and sport. Musical knowledge and know-how are applied in medicine, education and music therapy, which may be regarded as the parent disciplines of Applied Musicology. Traditionally, historical musicology has been considered the largest and most important subdiscipline of musicology. Today, historical musicology is one of several large subdisciplines. Historical musicology, ethnomusicology, and systematic musicology are approximately equal in size - if numbers of active participants at international conferences is any guide. Systematic musicology includes music acoustics, the science and technology of acoustical musical instruments, physiology, psychology, sociology, philosophy and computing. Cognitive Musicology is the set of phenomena surrounding the computational modeling of music.1 Ultimately, music and the study of music are about the music itself, that created and that recreated. It is to the end of enjoying and enriching the many benefits and joys of music that we dedicate our study. 1 Wikipedia, “Musicology,” http://en.wikipedia.org/wiki/Musicology (accessed 21 May 2010). 112 Western Classical Music on a World Stage WESTERN CLASSICAL MUSIC ON WORLD STAGE CONTEMPORARY REFLECTIONS ON TRADITIONAL MUSIC MARY C. J. BYRNE It is a seemingly impossible task – in fact, we are going to concede failure at the outset – yet we will make a stab at the unlikely: define Western Classical Music. For our purposes we will take the following as guidelines rather than rules – as a starting point, and then probably discuss and argue the points for the rest of the term and beyond. WESTERN . . . We could have just as easily used the appellation occident (as opposed to orient) to describe the region considered to be “The West” or “The Western World.” For our study we will take “Western” to mean having roots in Greco-Roman civilization. The only absolute that comes from this definition is the understanding that we are now limited to the past 2500 years, give or take a century: geographically we are still at sea as this definition does not denote the same territory over the past 25 centuries. As empires have risen and fallen since the time of Alexander the Great, boundaries and governments change and along with these so changes cultural practice. For our purposes, we will track our geography along with the Roman Empire. The story of Western Music begins temporally with this broad area of the Mediterranean world. In this vast Empire (shown here about 300 CE), the religious movement we now know as Christianity was first legalized (313 CE) and then assumed a dominating role within the Empire (through the 4 th century). It was a time of turmoil for the Roman Empire with numerous challenges on the borders of the empire by neighbouring tribes and internal divisions caused by power-hungry political and military. Even Italy and the city of Rome herself were threatened. Map, www.ccs.k12.in.us/.../Roman_Empire_Map.png With the seat of political government officially moved to Constantinople in 395 CE, the Empire was split for one final time east-and-west, leaving the western Empire in the hands of the minor political leaders and the religious leadership of the Catholic Church. It is with the split of the Roman Empire that we first are able to place a finger on the general geographic outlines of “The West.”. Map, http://en.wikipedia.org/wiki/File:Western_Roman_Empire.png Further challenges to the decaying Western Roman Empire continued for the next centuries, both from “barbarian tribes” of the north (Germany, Scandinavia) and east (Danube region, Eastern Europe), from the northwest (native tribes of the British Isles), and from the south and adjoining Middle East and Iberian Peninsula (Muslim Empire). By the year 800 CE little of the territory of 113 Western Classical Music on a World Stage Europe could claim to be of the old Roman Empire, but a central core of Europe could rightly claim to be firmly held under the Roman Catholic Church. Map, http://en.wikipedia.org/wiki/File:Ostrogothic_Kingdom.png On Christmas Day 800 CE, the Roman Catholic Pope – representative of the Papacy of the Church, which for nearly 400 years had wielded full political power over the old Western Roman Empire – gave control of nearly all remaining lands to the Frankish King Charlemagne and anointed him Holy Roman Emperor in return for allegiance to the Catholic Church and military protection. Map, http://neon.niederlandistik.fuberlin.de/static/nedling/taalgeschiedenis/Frankenrijk_onderKDG.jpg From the establishment of the roots of the Holy Roman Empire in 800 CE through the next 1000 years we see the territories of Western Europe being drawn in, becoming “The West.” Through the 17th and 18th centuries we may also add the political court of Russia at St. Petersburg with its strong liaison with the French court at Paris. Through the 19th, 20th, and 21st centuries we now add many (but not all) of former European colonial countries and regions to our official map of “The West” including all of North America and Greenland, all of South America, Australian and New Zealand, South Africa and some smaller areas on the African continent, Russia and most states of the former Soviet Union, Turkey, and finally again Greece herself along with most of the Balkan states. Since the middle of the 20th century and with the advent of wide-spread communication technologies, areas traditionally comprising the orient– Japan, China, Korea, and other areas of Southeast Asia – may now be considered largely, but not exclusively “western” for the purposes of considering contemporary art and popular music. Indigenous peoples throughout this vast geographic region are not necessarily drawn into the western cultural sphere where music is concerned. Map, http://en.wikipedia.org/wiki/File:V%C3%A4steuropa-karta.png In truth, in recent decades it may be possible to consider any region of the world to embrace the ideals of the West where contemporary art and pop music are concerned except those areas which have for many centuries been politically and religiously Muslim, a culture which embraces unique ideals regarding music. Regardless of the presence of Western musical ideals in some of the music from a particular geographic location, many indigenous cultures practice and embody musical ideals which differ from Western musical practice, for example Canadian First Nations and Australian Aboriginal. . . . CLASSICAL . . . May I begin by going on record: I am not in favour of making hard distinctions between “types” of music? I have no objection to using terms to designate musics which have similar qualities, but I am not fond on allowing those loose designations to define or pigeon-hole music. To permit the latter is to open the door to isolating some music and even dismissing some music. This must not be permitted as all music may be understood as an expression of the culture which gives it birth. Still it may be useful to attempt placing rough outlines on the designation “classical.” When considering music, we labour under a triple whammy regarding the word “Classical.” 114 Western Classical Music on a World Stage Allow me first to quote from the New Grove Dictionary of Music and Musicians: ‘Classic, Classical’ evolved from the Latin classicus (a taxpayer, later also a writer, of the highest class) through the French classique into English ‘classical’ and German Klassik. In one of the earliest definitions (R. Cotgrave: Dictionarie of the French and English Tongues, 1611), classique is translated as ‘classical, formall, orderlie, in due or fit ranke; also, approved, authenticall, chiefe, principall’. The two parts of this definition will be retained here and glossed as (i) formal discipline, (ii) model of excellence, supplemented by (iii) that which has to do with Greek or Latin antiquity (Dictionnaire de l’Académie, 1694), and (iv) that which is opposed to ‘romantic’, the latter understood as morbid and unruly (Goethe, 1829).2 A not dissimilar definition comes from The Oxford Dictionary of Music: Term [classicism] which, applied to mus[ic], has vague rather than specific meaning: (1) Mus. comp. roughly between 1750 and 1830 (i.e. post-Baroque and pre-Romantic) which covers the development of the classical sym. and conc. (2) Mus. of an orderly nature, with qualities of clarity and balance, and emphasising formal beauty rather than emotional expression (which is not to say that emotion is lacking). (3) Mus. generally regarded as having permanent rather than ephemeral value. (4) ‘Classical music’ is used as a generic term meaning the opposite of light or popular music.3 With this in mind, we find that our triple whammy is thus: Music may be described as “Classical” in order to differentiate it from music which is “Popular” or “Folk” in nature. Definition by differentiation is hard to argue, and frankly, is a bit of a cop-out. The underlying assumption here is that “Classical” music is more difficult to understand and less immediate to the listener than either “Folk” or “Popular” music. This simply is not true as a rule! “Folk” music can be differentiated from “Art” music in that we can trace the origin of any single piece of “Art” music with fair accuracy whereas “Folk” music usually has an undefinable point of origin. “Popular” music can be differentiated in many respects from “Concert” music simply on the basis of intended performance venue or vehicle, but even this is going out on a very narrow limb. Usually the appellation of “Classical” in this case is applied either as an act of derision or as an act of snobbery – depending on the personal stance of the speaker! Still, if we are carefully observant we can discern at the roots of this misunderstood and misdirected use of the classification “Classical” some characteristics which do, in fact, set aside “Classical” from “non-classical” music. Daniel Heartz and Bruce Alan Brown. "Classical." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.library.uvic.ca/subscriber/article/grove/music/05889 (accessed July 25, 2010). 3 "Classical." In The Oxford Dictionary of Music, 2nd ed. rev., edited by Michael Kennedy. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.library.uvic.ca/subscriber/article/opr/t237/e2198 (accessed July 25, 2010). 2 115 Western Classical Music on a World Stage o “Classical” music tends to exhibit characteristics of large-scale unfolding over a period of time, usually requiring the listener to retain an aural memory of an idea experienced in the beginning of the work, relate it to an idea experienced later in a work, and make a connection or reflection based on those experiences which creates a further experience. o “Classical” music tends to exhibit characteristics of dramatic tension and resolution, usually on multiple levels – there is usually a balance between anticipation and delivery, usually a certain but not necessarily predictable logic to the unfolding of the work. o “Classical” music is usually a written, composed form – limiting improvisation to a small, specified set of possibilities. Performers are asked to interpret rather than participate in the act of composition, especially in recent centuries. It is usually possible to drop a clean line between the existence of a work of “Classical” music as separate from the existence of a work through a specific and identifying performance. o “Classical” music often contains strong, persistent, and frequently structural elements of aural metaphor and symbolism, whether overt or subliminal, as well as implications of character or temperament. o “Classical” music often embodies deliberate assignation and selection of instrument/voice based on the need for specific qualities or temperaments of the music to be manifest by specific qualities and capabilities of a particular instrument. These qualities are not limited to “Classical” music – “Classical” music exists in many cultures including non-Western traditions – but “Western Classical” music will nearly always embody these qualities. While not succumbing to a declaration that “Western Classical” music is the purview of the educated elite, it must be confessed that often it does take a measure of learning, or at least experience, in order to begin to draw out of much of meaning embodied in works of “Western Classical” music that the composer intended. Music may be described as “Classical” as opposed to “Romantic” as with (iv) in our New Grove definition – “that which is opposed to ‘romantic’” – or (2) in the Oxford definition – “Mus[ic] of an orderly nature, with qualities of clarity and balance, and emphasising formal beauty rather than emotional expression (which is not to say that emotion is lacking). In a way (2) defines and clarifies (iv). Throughout musical history some styles of music inherently lean more toward the “Classical” side and others more to the “Romantic” side. The same can be said of styles within the visual arts including painting, sculpture, and architecture among others. The same can also be said of many literary arts. When we separate “Classical” and “Romantic” in this context “Classical” is defined as beautiful by reason of clarity of form and “Romantic” is defined as beautiful by reason of emotional affectation. 116 Western Classical Music on a World Stage In this context “Classical” music is understood to mimic the ideals of classical Greco-Roman antiquity – beauty by clarity – hence the attribution of the term “classical.” Music History includes what we know as a specific “Classical Period.” Our Classical Period is roughly defined by the years 1750-1800(25) and by the music of Haydn, Mozart, and a young Beethoven. In giving the title of “Classical Period” to this style of music, musicologists aver the sentiment that at this time music reached a peak of “beauty by clarity” which has been unsurpassed by all other styles. Admittedly this is a subjective call on the part of musicologists, but one which, in my opinion, is completely justified. When we use the word “Classical” as part of Western Classical Music we mean the first salvo in our “triple whammy.” . . . MUSIC The great Grove Dictionary of Music and Musicians devotes 21 print pages to pussy-footing around a definition of “Music.”4 My beloved Harvard Dictionary of Music by Willi Apel, second edition, however, makes a pretty good stab at it, pointing out that the word “Music” – in all likelihood5 – derives from the Muses of Greek antiquity, the nine of whom oversaw all aspects of human cultural endeavour: Epic Poetry, Lyric Poetry, Choral Poetry, Tragedy, Comedy, Music, Dance, History, and Astronomy.6 Even within the time of the Muses, when there was virtually no line between sacred and secular in any aspect of life, in the hands of Greek (and later) philosophers “music” edged into the realm of the metaphysical, the mystical, the cultish, and even the forbidden. In the Middle Ages scholars included Music among the sister sciences – the quadrivium: Music, Astronomy, Mathematics, and Geometry.7 Part of the problem of achieving definition is – not the least of which – that Music must be recognized as part art, part science, and part metaphysics. In fact, we have more success categorizing broad aspects of music than we do defining it. Plato, for example – almost like applying genus and species – categorized types of music as scientia harmonica, scientia metrica, and scientia rhythmica, or the science of pitch, the science of meter, and the science of [textual] rhythm respectively.8 The medieval theorist Boethius divided music as musica mundana, musica humana, and musica instrumentalis: harmony of the universe, harmony of the human soul and body, and harmony of produced sound.9 St. Isidore of Seville in the early 7th century termed music as musica harmonica, musica organica [ex flatu], and musica rhythmica [ex pulsis digitorum]: music of the voice, music of tuneful instruments, Bruno Nettl. "Music." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.library.uvic.ca/subscriber/article/grove/music/40476 (accessed July 25, 2010). 5 Medieval writers also suggested an origin of the word “Music” in the ancient Egyptian word for water: moys. This possibility is somewhat more circumstantial, but none-the-less lends a refreshing twist to the idea of music. 6 Interesting that at this stage that both “History” and astronomy are considered” human endeavours,” and that the visual arts are entirely missing. 7 An absolutely fascinating book on this very topic is Temperament: How Music Became the Battleground for the Greatest Minds of Western Civilization by Stuart Isacoff 8 Willi Apel, “Music,” Harvard Dictionary of Music, second edition (Cambridge, MA: Harvard University Press, 1979). 9 ibid. 4 117 Western Classical Music on a World Stage music of drums.10 The 14th century witnessed the emergence of musica mundana (of the universe), musica humana (of humans), musica vocalis (of animal voices), musica artificialis armonica (of spoken word), musica artificialis armonica prosaica metrica rhythmica (of metered and rhymed prose), musica artificialis instrmentalis cordae (of strings), musica artificialis instrumentalis ventus (of winds), and musica artificialis instrumentalis pulsus (of percussion).11 As late as 1500 CE theorists were resurrecting Aristoxenos’ simple division of music into practical (performance, artistic, or sounding) and theoretical (scientific, written, or scholarly) disciplines of 300 BCE: these broad divisions as well as many of the smaller ones above persist to this day.12 These many annotations of some of the historical divisions of music do less to bring us closer to a definition of music than they do in highlighting where some of the problems of achieving a useful definition lie. To complicate further, even within Western languages, the word “Music” does not always seem to represent the same entity, in the same way not everyone might agree on what is meant by the colour “Purple.” In some languages the word for “Music” clearly includes poetry and/or drama, whereas English tends to separate the three words. Alternately, in common English usage it is sometimes unclear of whether we are speaking of “Music” in a literal or metaphorical sense, as in “music to my ears.” For every person who attempts to define “Music” there is little limit to the number who disagree with the definition. I hypothesize the following: In the beginning is “Sound.” “Sound” has loudness or softness (“Dynamic”), character or colour (“Timbre”), duration, and an acoustic vibration frequency (“Pitch”). “Sound” becomes “Tone” as differentiated from “Noise” when it acquires an intangible and subjective aspect of pleasantness. When “Tones” are combined and organized OR heard to be combined and/or organized, “Music” emerges. ”Tones” and their opposite “silences” may be understood to be organized within time into perceivable, even recognizable patterns of “Rhythm;” “Tones” may be understood to be organized in patterns of rise and fall, however slight, creating a perceivable, even recognizable “Melody.” “Western Music.” with its assumptions of deliberate human genesis and creation within a cultural context, further suggests: A recognizable “Pulse;” Metrical organization of tones, rhythms, and pulses on smaller or larger frameworks (“Meter”); Organization of tones and melodies according to set pitch patterns such as “Modes” or scales; ibid. ibid. 12 ibid. 10 11 118 Western Classical Music on a World Stage Potential presence of multiple layers, actual or implied, of melody resulting in “Harmony.” Potential effect of “Harmony,” actual or implied, to add further dimension to “Rhythm” and/or “Meter;” A power of motion and spirit (temperament) suggestive of song, dance, meditation, or recitation; A communicative power “Western Classical Music” with its greater assumptions of formal structure and aesthetic value, further suggests: Organization into formal structures of melody, harmony, rhythm, and meter (“Form”); Deliberate selection and cultivation of tone colours (“Timbres”); Beauty, within the perspective of the communicated message; An implied but not requisite ideal that both performance and listening are deliberately undertaken and that both benefit from special practice of skills not normally routine to daily life 119 Hidden Meanings HIDDEN MEANINGS SOME OF THE MYTHOLOGY BEHIND THE THEORY AND ART OF MUSIC MARY C. J. BYRNE ~ RHYTHM~ Current music has a preference for 2’s and 4’s, and the multiples of these numbers. For example: beats accents, bar, measure, meter sub phrase full phrase or melody Row, row, row boat gently down stream. Merrily, merrily, merrily, merrily, life but dream your the is a 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 1 6 7 8 2 1 For each FULL PHRASE/MELODY: whether there are 8, 16, 24, 32, 40, or 48 BEATS, there will usually still be only 8 big ACCENTs. There will usually be two SUB-PHRASEs– one rising and needing to “continue”, one falling and coming to conclusion. So much of our music fits this model that we feel somewhat uncomfortable when a piece of music departs from this plan … of course good composers know how to both work within this plan giving much that is new and meaningful AND to break these rules of thumb for interest and gentle (or deep) provocation. If we took this one step further, you would probably find that either 2 or 4 full phrases make a VERSE One significant pattern which differs from this practice is the “12-Bar Blues”: its pattern is 48 beats, 12 bars, 3 sub-phrases, 1 full phrase. Movie soundtracks will also often depart from this pattern because of the need to align music with action – and movie action rarely has patience for something so predictable as 2’s and 4’s. If we looked the other direction – a SUBDIVISION of each beat – we find that “square-ish” division of the beat into 2’s and 4’s is popular, but so is “rounded” lilting division into 3’s. These patterns are very common to European-based music, but less so for non-European music. If we consider music with Eastern European and African influence, we see that ACCENT patterns may easily be groups of 5 or 7 beats. Ultimately, this produces a peg-legged effect with irregular accent patterns. Many western composers and performers have picked up on this enticing sound and used it to great effect. Notable here are the 5 beat marching pattern of Middle Earth’s Uruk hai written by Howard Shore in the film score of Two Towers, and the 7-beat pattern of Danny Elfman’s theme song for The Simpson’s or Hans Zimmer’s Angels and Demons soundtrack. Calypso music usually has a peg-legged 8-beat pattern. 8-beat patterns often divide into PULSEs of 3+3+2 beats instead of the more predictable 2+2+2+2 beats. 120 Hidden Meanings Older forms of music had definite preference for ACCENT patterns of 3 beats. In addition to the preference for a beat SUBDIVISION of 3, these multiples of 3 were considered to be “holy” aligning with the idea of the Holy Trinity for music of the Mediaeval and early Renaissance periods. Through the Baroque and early Classical period we had a definite preference for ACCENT patterns of 3 beats, because this made for cool dance steps, since 1-2-3, 1-2-3, 1-2-3, 1-2-3 comes out L-R-L, R-L-R, L-R-L, R-L-R. Evenso all of this, the SUB-PHRASE, FULL PHRASE, and VERSE will still usually be 2’s and 4’s Taken all together, we humans tend to feel BEATS and ACCENTS of 2’s, 4’s and their multiples as strong; 3’s and its multiples as gentle; and 5’s, 7’s and irregular groupings as exotic. ~ PITCH, SCALE, AND MODES ~ The notes which make up our music are named by letters of the alphabet (at least in English and German). A B C D E F G A … our minor scale! C D E F G A B C …our major scale! Today these letters DO designate specific pitches, described by exact frequencies of vibration; however, early on – in the days of ancient Greece – the letters represented something more like proportions of vibration frequency. If you would like to read into this further, may I highly recommend the book Temperament: How Music Became the Battleground for the Greatest Minds of History by Stuart Isacoff The same Greek mathematician, Pythagoras, who gave us X 2 + Y2 = Z2 also made pioneering strides into the understanding of the scientific physics behind musical tones. He discovered that dividing a string (like on a violin or on a guitar) into perfect fractional proportions would produce most of the notes of today’s major or minor scale. A B “C” 1:1 (8:9) 4:5 Proportions of a string D E F 3:4 2:3 3:5 G A. 9:16 1:2 Full length Pythagoras focussed only on proportions using only 1, 2, 3, 4, and 5; and so the proportions of B and G are worked out mathematically, and therefore, are considered somewhat less pure. However, here, even in ancient Greece, the seeds of our modern scales were sown! In ancient Greece, scales were called tonoi. These tonoi used the very pitches described above. Tonoi had interesting names like Dorian, Phrygian, Lydian, and Mixolydian, which referred to regions of the Grecian world where the patterns of notes, the tonoi, were prevalent: Lydia and Phrygia on Asia Minor, Dorian referring to a region on the Peloponnesian Peninsula. Some 1000 years later, mediaeval musicians adopted these same names for the scales then being used by music in the Roman Church liturgy. Mediaeval musicians called their scales “modes,” and even though the mediaeval modes had the same names as the Greek tonoi they did not have the same notes (or as near as we can figure today, the same manner of working). The principal mediaeval church modes looked something like this: 121 Hidden Meanings D E E F F F G G G G A A A A B B B B C C C C D D D D E E E F F F G G G A A A B B F F G Dorian Phrygian Lydian Mixolydian There were also three theoretical modes: A B B C C C D D D E E E C Aeolian Locrian Ionian You may notice that this theoretical group includes our present major and minor scales. It is hard to say why musicians began to prefer the sound of the present major and minor scales, but it probably had something to do with the beauty of the harmonies that could be created with major/minor scales and the satisfying movement from harmony to harmony that could be achieved within major/minor. One way or the other, the shift toward the major-minor system seems to have begun in the 13th and 14th centuries, was in full swing by the mid-16th century, and had finally settled by the beginning of the 18th century. Allow me to return to the mediaeval modes for a moment: it is interesting to note that while, for example, the Dorian mode stretches from D to D, it is important to note that music in the Dorian mode actually revolves around the one of the middle notes, usually the fifth one but sometimes the third. The note at the center of the mode was actually considered the most important note, and so was called the dominant note. This terminology becomes important again with major and minor scales, although in major/minor it means something a little bit different – still it is interesting that the term returns in our modern system. It perhaps seems odd to us that the strongest, most dominant note of the mode might be somewhere in the middle rather than on the end: after all, we tend to practice our scales end-to-end now-adays. If you think about it, however, many tunes begin higher or lower than, or swirl around the final pitch before settling on it: prove this to yourself by humming “Happy Birthday.”... In mediaeval theory, “Happy Birthday” would be in the Mixolydian mode – using the full range of G to G – with a dominant (finishing note) of C. In tonal scale theory “Happy Birthday” would be said to be in C major. Same tune, different theory. This is one of the difficulties musicologists encounter when studying centuries of music: the theory changes over time! In today’s usage we give each note of a scale both a number (“scale degree”) and a specific name/title based on where the note falls within the scale. Glance back to the top of this section and follow the notes/pitches of A minor through from left to right: you see that A is the first note, B the second, C the third, E the fourth, etc. Here is the list of scale degrees and names for A minor: A B C D E F G first note second note third note fourth note fifth note sixth note seventh note scale degree 1 (tonic) scale degree 2 (supertonic) scale degree 3 (mediant) scale degree 4 (subdominant) scale degree 5 (dominant) scale degree 6 (submediant) scale degree 7 (subtonic or leading tone) Take particular notice of scale degree 5, dominant; scale degree 3, mediant; scale degree 4, subdominant; scale degree 7, leading tone. Amongst other things, here is our significant return of the term dominant: remember this as we take on the next concepts. ~ CIRCLES AND INTERVALS ~ Musicians like to use circles to help demonstrate certain principles of music construction. A simple circle showing the alphabetical notes of music can help demonstrate the principle of musical intervals: the musical space between pitches (notes). We begin by placing the seven alphabet letters of our notation around a circle: 122 Hidden Meanings A G B F C E D If you start on A and travel clockwise around the circle, you identify the notes of the “a minor” scale. If you start on C and travel clockwise around the circle, you identify the notes of the “C major” scale. “A minor” is not the only minor scale we use – there are 14 others – but it is the easiest to work with just in letters. Likewise, C major is not the only major scale – there are also 14 others – but again it is the easiest to work with using simple letters. We can now use this circle to help demonstrate the “musical intervals.” For musicians, intervals are identified numerically, giving the distance around the circle between two pitches. In a way, it’s like playing a musical game of “One potato, two potato.” For example, if you were to go from A to B clockwise around the circle, then A would be “one potato” – or one – and B would be “two potato” – or two. Since the count is one-two, we would call this interval the interval of a second. In fact any two adjacent notes around the circle gives the interval of a second: for example, AB, CD, EF, GA. A G B F C E D Expand this process! Go from A to C clockwise around the circle: A would be “one potato” – or one – and B would be “two potato” – or two – C would be “three potato” – or three. Since the count is one-two-three, we would call this interval the interval of a third. In fact skipping one note as you move around the circle gives the interval of a third: for example AC, DF, GB A G B F C E D 123 Hidden Meanings By the time you add the “fourth potato” you are describing the interval of the fourth: for example AD, DG A G B F C E D The process can be continued: find the interval of a fifth by skipping 3 notes; a sixth by skipping 4 notes; a seventh by skipping 5 notes; and finally an octave (an eighth) by going full circle back to the starting note. The idea of intervals may seem very abstract and unnecessary to enjoying music. However, as we chat about the music different time periods, as we attempt to describe why music of different times sounds different, we often find that we are turning to intervals to try to illuminate the workings of the music. As we move into and through “The Common Practice Period,” it is not only the space between individual notes, but the space between chords (groups of simultaneous notes) that comes to define many of the qualities of the music. ~ CIRCLES AND KEYS ~ We will now encounter the “greatest” and most befuddling circle in music study: The Circle of Fifths. The reason that this is so difficult for so many people, even experienced musicians, is because many concepts have to come together to make the whole work. If the understanding of this Circle is elusive for you, don’t worry: we can still get much of the information that we ultimately need from this circle just by looking at it. If you will indulge me, take the next thing I say on faith … because, honestly, I’m skipping past a LOT of learning and experience here. To create a Circle of Fifths, we need to first identify our fifths. Beginning with C, find the note a fifth higher – G (also the dominant of the C scale). From G we find the next fifth up – D (also the dominant of the G scale). From D we again find the next fifth note up – A (again the dominant of the D scale). If we continue this process for a full seven times, each time finding the dominant of the previous scale, we get the series: C, G, D, A, E, B, F# (F-sharp), and C#. We wrap these notes clockwise around a circle from C at the top. C G D A E C# F# 124 B Hidden Meanings We then carry out a similar process, moving counter-clockwise around the interval circle from C to find the fifth below C – here we find F (the subdominant of the C scale). From F we again seek the fifth below – Bb (B-flat), again the subdominant of the F scale. Doing this seven full times, we get the series: F, Bb, Eb, Ab, Db, Gb, and Cb. These we wrap counter-clockwise around the circle above: complete with overlap of notes (enharmonic notes – sounding the same in modern usage, but given different names). F C G Bb D Eb A Ab E Db/C# Cb/B Gb/F# And … behold! The Circe of Fifths! It may not seem like much, but ultimately it is a very useful little circle. We will come back to it just as a visual reference as we move through the class material ~ AND ~ TO PURSUE TOPICS OF MUSIC THEORY FURTHER, SEARCH THESE MUSIC THEORY LINKS … http://www.musictheory.net/ Ricci Adams Music Theory, an interactive romp through the basics. http://www.soundadvicedirect.com/about.html Sound Advice is Camosun’s entry-level theory programme and is home-grown here in Victoria 125 Classification of Instruments CLASSIFICATION OF INSTRUMENTS MARY C. J. BYRNE Humans have gone to great lengths to develop instruments to help give voice to the expression of music … and we have done this for a very long time (http://www.bbc.co.uk/news/scienceenvironment-18196349 from May 2012) We may yet realise that we humans are not alone in this practice. At the same time, we are quickly broadening our understanding and acceptance of what is an instrument. In recent years musicologists have found benefit to assigning instruments a designation of “family,” somewhat as biologists assign Domain, Kingdom, Phylum, Order, Class, Family, Genus, and Species to life forms. Over history the way we classify instruments, both formally and colloquially, has changed. Generally instruments within a family have a similarity in playing method and sounding mechanism. Each instrument retains its own “voice” through timbre (pronounced “tamber” -- the colour, characteristic, or quality of a sounding pitch) and tessitura (“range” – high or low – of an instrument or voice), in addition to strengths, areas of ease, historical usage and an overall personality Here is a quick overview of those broad families – our common or colloquial designation on the left and the formal Hornbostel-Sachs classification on the right: Common Woodwinds Brass Percussion Hornbostel-Sachs Classification Flute, clarinet, saxophone, oboe, bassoon Trumpet, trombone, French horn, tuba Xylophone, Marimba, chimes, maracas, shakers drums Aerophone: Free, non-free, and unclassified Ideophones: Struck, plucked, friction, and blown Membranophone: Struck, plucked, friction, singing, and unclassified Strings Violin, viola, ‘cello, guitar, harp Chordophone: simple and complex Keyboard piano, organ Mixed: usually a chordophone or anaerophone Voice Soprano, Alto, Tenor, Bass voices Not classified Electronic or amplified Synthesizer, Electric bass Electrophone Please take time to scan the Wikipedia article on Hornbostel-Sachs classification of instruments at http://en.wikipedia.org/wiki/Hornbostel-Sachs as it is excellent in synopsizing this complex topic, and showing the breadth and depth of musical instruments worldwide 126 Classification of Instruments CONCERNING ‘VOICE’ Musicians use this term “voice” to designate a variety of musical occurances or entities: (1) the human voice; (2) the “voice” our sounding soul of the instrument; or (3) a line of music performable by a single performer (vocal or instrumental). We will attempt some further definitions. Soprano: a high voice (vocal or instrumental), usually that carrying the melody. “Soprano” defines the whole range of high-voiced singers, usually female or children’s. Within the soprano tessitura, musicians commonly make several divisions: The highest of the high women’s voice is sopranino, or coloratura (see down). A high child’s voice (unbroken) is treble, or descant. Lightness and purity is implied. A moderately high, or limited range soprano voice is mezzo soprano, or simply mezzo A songful high woman’s voice is designated “lyric soprano” A heavy high woman’s voice is designated “dramatic soprano” Alto: in modern usage, a moderately high voice (vocal or instrumental). In very old music (1000 years ago) “Alto,” which comes from the Latin word altus, meaning high, represented the highest voice, usually a descant above the melody. Today with singers “alto” represents the approximate speaking range of the average woman, and implies a certain huskiness or mellowness of timbre. Both men and women are capable of singing alto. To our modern ears an alto voice can sound low, as is it usually the lower voice of women or children. A very low female voice is contralto. Contralto always designates a woman’s voice, but this woman may be able to sing very low into the tenor or even baritone register. A high trained-falsetto men’s voice is countertenor. An unchanged male voice or an extremely high natural male voice (VERY rare) may be an alto A low child’s voice may be alto (boy or girl) Tenor: in modern usage a moderately low voice (vocal or instrumental). In very old music “tenor” refers to the melody (from the Latin tenere meaning “to hold”). Today “tenor” defines a naturally high men’s voice. A true male tenor voice is usually a very-trained voice with a very short-lived career, as sustained singing in this register is very difficult on the vocal apparatus. Within the tenor tessitura, musicians commonly make several divisions: A very high, light, and flexible men’s tenor voice is designated leggiero tenor A strong, warm, but not heavy men’s tenor voice is designated lyric tenor A bright, high, and heroic men’s tenor is designated spinto tenor A strongly dramatic, ringing, emotive, and powerful men’s tenor is designated dramatic tenor, or tenore de fooza, or rubusto A dark, rich, very powerful men’s tenor is designated heldentenor Baritone: in modern usage, a moderately low voice: this can apply to voice or instrument. As previously, the men’s baritone voice has divisions and designations as do tenor and soprano, but is mostly limited to “lyric” and “dramatic.” A deep, low men’s baritone voice is designated Bass-baritone Bass: in modern usage, a low voice: this can apply to voice or instrument! In singing the men’s bass voice is divided lyric and dramatic, and also high (hoher) and low (profundo) 127 Easing into Music Terminology EASING INTO MUSIC TERMINOLOGY MARY C. J. BYRNE Much musical terminology comes from languages other than English. Sometimes just recognizing the roots of the musical words and their non-English counterparts makes remembering them much easier. Words beginning with … “Cant…” or “chan…” derive from the Latin word meaning “to sing or recite.” and so nearly always refer to use of the human voice: cantabile (singing style), cantata (large work for voice), canto (song or verse), chant (singing or song in speech rhythm), chanson (song), chanteur (singer), cantor (lead singer), etc. “Son…” derive from the Latin word meaning “to sound” and so nearly always refer to use of instruments: Sonata (a large work for instruments); sonatina (a small sonata) “Sym…,” “Sim…,” “Sin…” derive from words meaning “to sound together” and so nearly always refer to music by larger ensembles (usually instruments): Symphony, Sinfonia (large orchestral forms of music or a orcestras) “Concert…” derive from the Latin word meaning “to harmonzie or rehearse” and so nearly always refer to music played together: concert, concerto (solo playing with orchestra), concertino (solo instrument of a concerto, a small accordion, or a small concerto). There is an older association with the Latin word meaning “to contest or to fight,” implying in its meaning a good natured fight between “warring” virtuoso soloist and virtuoso orchestra. Words ending in … “…phony” or “…phonic” derive from the Greek word meaning “voice, utterance,” and so nearly always refer to how many different kinds of sounds (utterances) make up the music: Monophony (single [mono] melody without any accompaniment), polyphony (multiple [poly] melodies at the same time); antiphony (two or more melodies one after the other [call and response] or performed by musicians separated significantly in space); homophony (multiple melodies [or melody and accompaniment] all using the same rhythm); dodecaphony (music freely using all possible pitches); heterophony (music with extreme complexity of simultaneous rhythms); even symphony (multiple instruments coming together). “…tonic” derive from the word for “tone or pitch” and so nearly always refer to a type of scale and the kinds of pitches which make up the scales: pentatonic (five-note Asian, East European, or Celtic scales), diatonic (our modern major and minor scales), and even the term “tonic” itself (the name-note or central pitch of a scale) Unlikely relations … “Organ” and “organum” both derive from the same root word in Ancient Greek meaning “tool or instrument.” In the earliest days of the first millineum CE “organum” meant any instrument, but rather specifically the organ. How “organum” came to be applied to the style of polyphonic music of the Notre Dame School and beyond is unkonwn, but prosumably is 128 Easing into Music Terminology so named because in this style voices produce a sound similar to an organ or to a the type of musical sound produced instrumentally. “Monody” and “Monophony” both have their roots in the prefix “mono” meaning “single.” “Monody” is the oldest of the two terms dating back to the 16th century and signifies a single melody (voice or instrument) lightly supported by a simple accompaniment. “Monophony” as a term did not appear until the 18th century when historians of music began to attempt to classify music into categories: here it was used to designate music of a single unaccompanied melody “Symphony” has two distinct meanings, one being a large orchestra including strings, woodwinds, brasses, and percussion (sometimes singers); and the other being a formal composition (usually in four specific movements) for orchestra. “Opera” is the plural of the Latin word “opus” meaning “work” and so an opera may be considered a large sung theatre piece consisting of many individual works. In later usage, beginning in the late 18th century the word “opus” came to be applied by publishers to designate the order of published works by a composer, and so a work given the designation opus 42 is the 42nd published work by that particular composer. 129 Multimovement Works: Glossary PERFORMANCE PRACTICE MARY C. J. BYRNE It is no mystery that styles of music change over time: we enjoy this, expect this, and usually delight in this; however, even today, the art of music performance is taught and learned principally as a part of an oral tradition. Certainly today we have recordings, audio and video – what I marvellous asset! In days past we had books, treatises, teaching methods, personal logs, and the writings of music critics that tell us today what music performance was like in long ago days. Sometimes we get lucky and have a source of notated music with verbal text saying essentially “play this passage this way” – Telemann’s Methodical Sonatas for violin and/or flute leap to mind. We even have ancient “recording devices” like music boxes, musical clocks, or player pianos which can give us a hint as to how notation might be interpreted – a series of small compositions for “musical clocks” by Franz Joseph Haydn are particularly fascinating. Frequently we are even lucky enough to have the older instruments themselves, which even if not playable in present condition (like our 9000-year-old bone flute), can be scanned using MRI and other imaging techniques and from there, be replicated and played to hear what they sound like – consider the work done by paleoarcheologists reproducing dinosaur calls from reconstructions of skulls. We even have pioneering technologies which enable us to scan and read electronically old recordings on wax cylinder or shellac disc, making these devices “playable’ without risking then damage inflicted by mechanical needles and spinning parts. Still the fact remains: no matter how deep our resources and how rich our clues, we find it tricky to know exactly how much music would have been performed and how it would have sounded when first written. The art of attempting to recreate original performance as closely as possible is what we call performance practice. Our quest to discover and put into practice original performance techniques is a little bit archaeology, a little bit anthropology, a great deal of artistic reasoning, and a whole lot of luck! What I learned as a young flute student in the late 1970s about performance of 17 th- and 18thcentury music is entirely different from what I teach my own students now in the second decade of the 21st century. A practical starting point for discovering “original sound” is to think on the actual instrument or instrument type likely to have been used. Even this can be difficult! For example, words meaning “flute” today certainly meant “recorder” in the 16th century, most likely meant “recorder” in the 17th century, probably meant “recorder” in early 18th-century Germany but “flute” in France, and at all times in Scandinavian and Iberian countries all bets are off! Et cetera, et cetera and so forth. Even when “flute” is the instrument meant, it isn’t our current keyed silver pipe but something more like a stick with holes. The general tone quality of many of these instruments can be mimicked on the modern flute, but we have to know what we are aiming for. Sometimes performers opt to not play baroque music on a modern flute, or choose to perform on modern reproductions of 17th-century style instruments exclusively. We then consider the performance venues and setting. Choral works from the 15th century were mostly likely to be performed in a large cavernous church or cathedral as part of a religious service. 130 Multimovement Works: Glossary A string quartet from the early 19th century was probably intended for performance in a living room for an intimate group of friends or maybe only for the enjoyment of the performers. It was assumed that opera in the 17th and 18th centuries would be background music, secondary to dinner, and that listeners would go and come from the audience chamber to hear only their favourite singers and to cavort with their favourite consorts in the meanwhile. It is tricky at the best of times to move these works into the modern concert hall: sacred music frequently loses its impact in a secular setting, chamber music loses its intimacy when performed for 1000s of listeners in a huge hall, and opera can leave something to be desired when audience members are actually sitting still and paying full attention. We move on and consider issues of the written notation. Some notation can’t be deciphered at all: we have yet to find a “Rosetta Stone” for 9th-century (or earlier) notation, for example. Frequently the notational symbols used are familiar to us but appear to have different meanings in different locations, different times, or even by different composers working closely in time and location. We have to concede that some rhythmic notation we have today simply did not exist in earlier times: does this mean that the rhythms weren’t used at that time or just couldn’t be notated precisely? We do the best we can with these, studying instructional manuals from the time or place or composer to attempt to read the notation correctly, or studying what appear to be parallel practices which still exist in other cultures. It’s a little like trying to make good sense out of Shakespeare or Beowulf on the written page, from the spoken word, and under staged performance! At this point, we enter the tricky discussion of pitch! To a certain extent, we are pretty sure what those “dots on the page” mean as far as pitch goes, but there are some pretty grisly and controversial issues which raise their ugly head here. To give you a taste of what’s been a-foot, here’s a short list. Our familiar major and minor scales did not come into common usage until the 17th century but were starting to be used in the 14th century and weren’t worked into firm notation until the late 18th century: this means that all you learned for your Conservatory exams can be completely out the window for about 500 years’ worth of music. A practice of Musica Ficta (false music) existed for centuries which essentially acknowledged that yes, the notation said to play these pitches but really you changed it all to these pitches in practice (Raymond Luxury-Yacht = Throatwarbler Mangrove … don’t worry if you don’t get that!). Our scheme of half-steps and whole-steps didn’t exist until the 18th century and wasn’t embraced until the 19th century – this means that how instruments have been tuned over the last 150 years is completely different than in all previous times: dare I mention that even today choirs, orchestras, bands, and keyboard instruments actually function within a variety of tuning systems? And lastly – for the short list – the “center of pitch” has been getting higher and lower over the centuries (a kind of musical climate change?): the acoustical frequency of written pitches in the 17th century was anywhere from one half-step to one full-step lower than the same written pitch today, but written pitches in the 19th century might have been one quarter- to one halfstep higher than the same written pitches today. These are the big-ticket items, but these are by no means all that needs considering. When all is said and done, it is a wonder that anyone can cope with music performance. In essence what we musicians do is attempt to determine the appropriate performance practice of general categories of compositions, and make the choice to apply or not to apply these practices to our own performance. For example, some musicians choose to focus on one kind or style of performance: a cellist may opt to perform only on viola da gamba and therefore to play only music from the 15 th to 18th centuries; a bass player may opt to play only electric bass and therefore to focus only on music from the mid-20th century to today; a male baritone singer may choose to train as a countertenor and thus perform 131 Multimovement Works: Glossary exclusively music from before the 19th century; a singer may dedicate herself to the practice of Bel Canto singing and therefore perform only roles from 18th century opera; some string players only play string quartets and not symphonic works … the list goes on. Other musicians are more generalist and we attempt to bring elements of other styles of performance into whatever we play at the time: for example, I do not play the 17th-century flute or the recorder but I will bring elements of these instruments and their sounds/styles to my performance on modern flute; one of our local singers in internationally renowned for her light early music voice but copes perfectly well with giant 19th-century romantic repertoire; a good friend of mine is an excellent guitar player but is also really great to work with on both the Renaissance lute or on the Middle eastern Oudh. When all is said and done, musicians have a sense that the ear is the final arbiter of style – either it sounds good or it doesn’t, to put it in shockingly black and white terms! Each musician finds her or his own niche, and each attempts “to do right” by the music, and to represent the composer and music as well as possible. Does this really make that much of a difference? Well, yes and no! Sometimes a work is so indelibly linked to a particular performer – can we hear Yellow Submarine without thinking of The Beatles, or Over the Rainbow without hearing Judy Garland – that we can’t separate the piece itself from the performance. I don’t think that we’d find ourselves enriched if Hannah Montana decided to perform Michael Jackson’s Thriller, and really it takes a Celine Dion impersonator to sing music from Titanic with any credibility. Music, particularly of the past century, is often allied with a specific performer or performance, and to not duplicate that as closely as possible makes the piece sound odd! Here the performance practice is EVERYTHING! On the other hand, some can sustain a lot of reinterpretation and still be beautiful. Recorded performances from the 1950s by the Bach Aria Group (music by Johann Sebastian Bach) are as far in style from how I would play those same works today as one can get, but my heavens they are beautiful. Just because a work is performed on original instruments, in the original location, under original conditions, does not mean that the performance is beautiful … and the opposite is also true. Recordings I loved in my youth I sometimes fine comical now for the wilful excesses of the performer. Conversely, as a kid I didn’t understand what Haydn and Beethoven were up to and so I thought the music was just weird and anachronistic, and trust me, I had only limited patience for opera. Yet after hearing handful of enlightened performances of each my curiosity was piqued; now I chuckle at Haydn, shake my head in unabashed awe at Beethoven, and weep through more operas than I care to admit. When all the elements of a performance come together – whether by talent, or learning, or instinct, or accident, or intent – when the performance really comes together, something special happens. All of the work performers do attempting to get into the spirit of the composer, and to blend ourselves with the esprit of the music, is all done in service of the music and in the hope that magic happens. 132 Multimovement Works: Glossary MULTIMOVEMENT WORKS: GLOSSARY MARY C. J. BYRNE “Ordinary” Requiem 17th and 18th centuries Bel canto opera seria opera buffa Mass in the Roman Catholic and related Christian Traditions Kyrie (God have mercy) Gloria (Glory to God in the highest …) Credo (I believe …) Sanctus (Holy, holy, holy) and Benedictus (Blessed is he who comes …) Agnus Dei (Lamb of God) These are the oldest set pieces of the Roman Catholic liturgy, and are the “movements” usually committed to music. A handy acronym for remembering the order of these movements is: Kiss Geese Crossing SouthBound Avenues. Other “movements” may be added from the “Proper” of the Mass: Introit (Call to worship); Gradual, Tract, Sequence (hymns or responses); Psalms (Song of praise); Alleluia (response). A useful way to remember “Ordinary” and “Proper” is: sections of the Ordinary are what is expected to be included, but it is Proper to add extra musical elements. Mass for the dead includes the non-joyful elements of the Ordinary, and broad inclusions from the Proper. Composers enjoy dramatic opportunity of the extra elements (Proper) added to the Introit: Requiem aeternam (Grant eternal rest). Gradual: Requiem aeternam … lux perpetua (light eternal) Tract: Absolve, Domine (Forgive, O Lord) Sequence: Dies irae, dies illa (Day of wrath) Offertory (Free the souls of all the departed) Pie Jesu (O sweet Jesus) Libera me (Free me) In Paradisum (In paradise) Opera Up to 5 Acts: each act usually opens with an instrumental work, usually called “sinfonia,” and later in the period sometimes called “overture” or “entr’acte.” By 18th century the outlines had settled into opera seria or semiseria (formal and stylized) is characterized by 3 Acts, opera buffa (savvy and street smart) by 2 Acts. Drama proceeds through a series of paired vocal selections for individual (and sometimes small groups of) characters. The pair is comprised of a recitative – which gives the narration – and an aria – which provides commentary. This pattern of play and the need to have more time on stage for main characters than supporting characters as well as more time off-stage for main characters to rest voices is part of what contributes to 133 Multimovement Works: Glossary Tragedie lyrique Singspiel 19th century Grand Opera Operetta Music Drama the complex plot of the traditional opera. Dances or scene-shaping music may be interspersed (Incidental or Banda music). French operas always have a formal ballet in the middle act Choruses are used for crowd scenes and are usually confined to beginning and ends of acts (unless otherwise indicated by the drama) Each small subscene is called a NUMBER. The above is very typical for Italian opera (both in Italy and in Germany). During this time, opera in France is called tragedie lyrique and is gives great importance to spectacle, mob scenes, instrumental music, dance, short and snappy arias. Opera in England is more theatrical and light-hearted even so, but failed to develop a strong tradition owing to the English prejudice against staged works during the 17th century. Singspiel in Germany is essentially a drama with music, essentially what we would now equate with Musical Theatre. Operas under any of these types and titles may be known alternately as “Bel canto” (beautifully sung) works owing to their style of singing, or as “Number operas” after the construction of the opera itself. All of the above parts are still present and the general shape of the opera remains the same (except for Music Drama); however, divisions between sections are increasingly blurred and begin to run more seamlessly between each other. Ultimately there is less distinction between recitative and aria, and by late in the century it may be difficult to determine where one ends and the other begins. French Grand Operas retain more of the older sections longer – adding much spectacle. Smaller casts of characters means more focus on main characters and less involved plots – plots become more play-like. Small operas of light quality (or light opera) focus on spoken drama interspersed with music. These are the precursors of our modern Musical Theatre and are particularly popular in Vienna. Organization of a Music Drama is different from a traditional opera. Quoting from the Harvard Dictionary of Music (1979): “[Here] all the constituent arts are transfigured, sacrificing their individuality and some of their special characteristics for the larger possibilities of development opened up by the new association.” Construction is of continuous music with no formal stops except at ends of acts. No distinction between aria and recitative – all is dialogue with emotion incorporated as is in normal speech. Drama is coordinated through use of leitmotivs – musical identifiers for characters, moods, events, objects, etc. Wide variety of hodgepodge (no plot) musical entertainments emerged through the end of the century: “Cabaret” in western Europe coupled food and entertainments as does a modern jazz hall; “Pantomime” (in Britain descending from 17th-century “Masques,” or in Europe descending from 16th-century Commedia dell’arte) included elements of song, skit, and circus in a street-smart topical entertainment; “Burlesque” and “Minstrel Shows” in the US were similar to Pantomime but bawdy (Burlesque) or racist (Minstrel) and considered inappropriate for wide 134 Multimovement Works: Glossary Into the 20thcentury Verismo/realisme Magnificat Stabat mater Passion Gloria Baroque/Classical Bach’s Suite French Overture audience; “Vaudeville” in the US resembled Pantomime, pushed Minstrel Shows to the side, and set the stage for the television “Variety Show.” Late 19th-century reactions to Music Drama resulted in development of topics and plots of extreme, even difficult realism known as Verismo/realisme depending on your location. Opera may be shaped according to traditional principles and divisions, or Music Drama, or a combination of both. Operetta in Europe is taken by Britain and North America is “Musical Theatre” Oratorio By all forms an unstaged opera on a religious topic, usually a full dramatic telling of a large scale Christian Biblical story. Music, form, and movements will be identical to that of opera (although “never” Music Drama, opera buffa, or light opera varieties) of the parallel period. Setting of each line of text of the Song of Mary (Luke 1: 46-55) – My soul doth magnify the Lord Associated with Advent (four weeks preceding Christmas) Setting of each line of text of the 13th century sequence relating the suffering of Mary, mother of Jesus, at Jesus’ crucifixion. Associated with Holy Week (the week preceding Easter) and Good Friday (day of Jesus’ crucifixion) Setting of the Biblical gospel texts (either literally or dramatically interpreted) relating the story of Jesus’ crucifixion and the time leading up to that event. Setting of each line of the text of the Greater (Gloria in excels is Deo) or Lesser (Gloria patri) Doxology – hymn of thanks and praise Cantata A “miniature Oratorio” – narrating either a sacred or secular story – conventions will be the same as the oratorio of the day, except that the performance forces are much smaller, there are usually many fewer movements, and there are no division into Acts. Suite A set of instrumental dances, possibly introduced by an overture: dances are most often typical of the period (usually those found at royal courts), but are stylized, i.e. not intended to be actually danced. May be performed by one instrument, a chamber ensemble, or larger orchestra. Identified by the famous acronym ACSOG Allemande – processional dance of German origin Courante (slow French dance) or Corrente (running Italian dance) Sarabande – sultry slow dance of Spanish origin Optional – free selection of dances Gigue – quick-step dance of British origin A pompous instrumental movement of two sections – an entry procession and snappy quick step – followed by a series of typically French dances and songs (might actually be set for dance or drawn from previous theatrical work) 135 Multimovement Works: Glossary Sonata da camera Classical Period Romantic and beyond Pre-Baroque Baroque Sonata da chiesa Classical Period Solo Sonata Italian suite consisting of a prelude and a following free dances Set for chamber ensemble (just a few instruments), hence the name: camera means chamber. A set of light works usually in a dance style (but not intended for dance), or in a lyric style (but not intended for singing). These suite-like works were used principally as background music for events – often found in what we know today as the traditional “50 minute set” still used as industry standard for “club music,” “garden music, “ or “reception music.” These suite-like works come by many names: Divertimento, Cassation, Notturno, Serenades A selection of individual dances and songs from a larger, usually theatrical, work, i.e. selections from … A set of national-style dances of no set format Sonata single-movement instrumental work in contrasting sections: variously named canzona, canzone a sonar, ricercar, or sonata multi-movement instrumental work, usually for small groups of instruments Literally, Sonata in church style (chiesa means church), which implies now secular elements such as lowly dances Four movements: Slow (Adagio) – Fast (Allegro) – Slow (Adagio) – Fast (Allegro) Sonata a due or duo sonata – is in two “voices/lines,” treble and bass but requires THREE players: remember bass in this period means basso continuo, or bass instrument with harmonic-fill instrument. Sonata a tre or trio sonata – is in three “voices/lines,” two treble and one bass but requires FOUR players: remember bass means basso continuo Sonata a quattro or a cinque – is in four or five “voices/lines” respectively, and was mostly likely performed by small orchestra. Sonatas were also sometimes written for solo keyboard instrument. A multi-movement instrumental work, for single instrument or for small groups of instruments – but a completely different type of work than the baroque sonata. Solo keyboard sonata Solo sonata: melody instrument with keyboard – flute and piano, violin and piano, etc. chamber sonata – trio, quartet, or quintet of instruments orchestral sonata – symphony Three movements: Fast (allegro) – Slow (Adagio) – Fast (allegro or dance) 136 Multimovement Works: Glossary Chamber Sonata Orchestral Sonata duo trio quartet quintet Symphony Romantic and beyond Baroque Classical and Romantic Late Romantic and beyond Song Cycle Four movements: Fast (allegro or sonata form) – Slow (Adagio or songstyle) – Minuet or Scherzo (dance-style) – Fast (Allegro or rondo) string duo: violin and cello piano (flute, clarinet) trio: piano (flute, clarinet) plus string duo string trio: violin, viola, and cello piano (flute, oboe) quartet: piano (flute, oboe) plus string trio string quartet: two violins, viola, and cello flute (clarinet, oboe) quintet: flute (clarinet, oboe) plus string quartet larger groups of stringed instruments, with or without wind, brass, or percussion instruments. Base forms and structures remain essentially the same as in the classical period, except that composers made conscious decisions to accept and work within these practices or to intentionally press, expand, contract, and challenge these. Each composer and work must be encountered individually. Concerto Generally in three movements: Fast (allegro) – Slow (Adagio) – Fast (allegro) Usually the soloist and the orchestra are featured in alternating blocks Generally in three movements: Fast (allegro or sonata form) – Slow (Adagio or song) – Fast (Allegro or rondo) The soloist is usually featured as musical leader accompanied by the orchestra, while the orchestra is periodically featured in a leadership position. Generally in the same three movements as the previous style Increasingly the soloist comes to be integrated as a dominant solo voice within the orchestra, sometimes featured, sometimes absorbed. Song in Large Compositions The 19th century gave birth to the German lied (in the plural lieder). A lied is a song based specifically on German romantic poetry, composed for solo singer and piano, where the piano participates as a character or object in the story. Most lieder are freestanding, but where several or many are drawn together as a continuous narrative this is called a “song cycle.” In the late 19th century, song cycles could be set for more than one singer in alternation (never more than one signer per song) or for larger instrumental accompaniment like full orchestra. French romantic or symbolist poems could be set individually (chansons) or as a song cycle. This was popular in the last decades of the 19 th and first decades of the 20th century. English poetry could likewise be set into song cycles. In the mid-20th century, some recording artists conceived of albums as a continuous narrative through several or all the tracks, thereby continuing the song cycle tradition. 137 Number Titles of Compositions NUMBER TITLES OF COMPOSITIONS MARY C. J. BYRNE It is hard to know how many works have been composed through history: I would consider it safe to say millions. With this many compositions in existence, it is important to have identifiable names. Composers and their publishers must create distinct names for compositions, and where those distinct names do not really exist then to add more qualifiers to clarify meaning. If a work carries a very distinctive title – Scheherazade, Also sprach Zarathustra, Four Seasons – we really don’t need any further information once we know the composer’s name (and sometimes it is clear even without the composer’s name). Since the advent of publishing, however, most composers choose to apply “opus numbers” to their works. Opus is the Latin word for work, and when used in a musical title is abbreviated “op.” A composer will usually apply the designation opus 1 to her/his first published work. In such a case, the note “op. 1” will be placed after the title proper, for example in Violin Concerto, op. 1. If the concerto had been published after the composer’s death the abbreviation is “op. post.,” meaning opus posthumous – this indicates that the composer did not make the decision as to whether the composition should be published: Violin Concerto, op. posth. If a work is published without the composer’s blessing, the composition might carry the notation of WoO, meaning “without opus”: Violin Concerto, WoO Sometimes compositions are published as sets such as Chopin did with many of his opus 64 waltzes. In this case, the whole set has an opus number, and then each individual waltz has a number. For example Chopin’s Trois Valses is his opus 64; the first waltz of this set is number (no.) 1, the second is no. 2, and the third no. 3. And so … the first waltz would be: Waltz, op. 64, no. 1 Many works are written in a specific key. Often this key is given in the title. For this very same waltz, written in the key of D-flat major, the title reads: Waltz in D-flat major, op. 64, no 1 Sometimes it happens that an additional number appears in title. This would be the case if Chopin chose to number just his waltzes. For this waltz, Chopin’s 6 th waltz, a fuller title might read: Waltz no. 6 in D-flat major, op. 64, no. 1 Lastly, if a publisher feels that a nickname applied to a work with an otherwise plain name would help sales, then the nickname is added to the end of the title. A nickname sometimes comes from the composer her or himself, sometimes from the publisher trying to boost 138 Number Titles of Compositions sales, and sometimes from popular usage by performers themselves. Therefore with our waltz – the famous “Minute Waltz” – our final title is: Waltz no. 6 in D-flat major, op. 64, no. 1, “Minute” In the days prior to composers publishing within their lifetimes, we cannot rely on this complex of opus numbers. Here we have to rely on later musicologists to gather up and catalogue the works of these older composers. You will recognize this fact by seemingly odd collections of letters and numbers after titles. For example the works of J. S. Bach are catalogued in the Bach Werke Verzeichnes, and so Bach’s titles are followed by BWV 1034 – this is the Sonata no. 5 in e minor for flute and continuo. Here is a short list of composer catalogues: J.S. Bach: Bach Werke Verzeichnes – BWV W.A. Mozart: Koechel (named for the cataloguer) – K. or sometimes KV Franz Schubert: Deutsch (named for the cataloguer, Otto Erich Deutsch) – D. F. J. Haydn: Hoboken Verzeichnes – H (followed by a complex of Roman numerals) G. P. Telemann: Telemann Werke Verzeichnes – TWV G. F. Handel: Handel Werke Verzeichnes – HWV Unlike “opus numbers” which usually indicate some kind of loose chronology of composition, composer catalogues usually group like-works together. Therefore, all the operas might be numbered together, followed by all the symphonies, followed by all the sonatas. For example all of J.S. Bach’s sonatas for flute are numbered together: the three flute sonatas with klavier are BWV. 1030-1032, and the three with continuo are BWV 1033-1035, even though almost 15 years separate the composition of the earliest (BWV 1032) and the latest (BWV 1035). These catalogues will also contain incomplete and doubtful works. For example BWV 1032 was not actually finished (or so it appears form the manuscript), and both BWV 1031 and BWV 1033 are thought to be by composers other than Johann Sebastian (the first by his son Carl Phillip Emanuel, and the latter by an unknown composer but perhaps harmonized by Johann Sebastian – or possibly the other way around.) 139 On a Concert Program ON A CONCERT PROGRAM MARY C. J. BYRNE Pirating and Plagiarism Permitted February 21, 2011 Old School House @ Qualicum Beach Date and Place of the concert, including YEAR Mary Byrne, flutes Wendy Stofer, piano Performers Title includes opus or catalogue numbers is included on the on the title pages Full title of each work to be played is given to the left Programme Instruments or voices for each performer or soloist Composer’s name is given in full to the right, with arranger or adapter given below Sonata in F major, KV 376, ............................................................. Wolfgang Amadeus Mozart Allegro Andante Rondeau: Allegretto grazioso Six Metamorphoses after Ovid, op. Pan Phaeton Niobe Bacchus Narcissus Arethusa from Die Aurnhammer-Sonaten (1781) composed for Piano and Violin Title includes key, if composer includes it on the title page “from …” may appear on the title line or in this position under the composer’s name; date is optional. Benjamin Britten 40 ............................................................ composed for Oboe solo (1952) performed on Alto Flute who played upon the reed pipe which was Syrinx, his beloved who rode upon the chariot of the sun for one day and was hurled into the river Padus by a thunderbolt who, lamenting the death of her fourteen children, was turned into a mountain Sometimes the composer’s birth [and death] dates are given at whose feasts is heard the noise of gaggling women’s tattling tongues and name. shoutingUsually out of boys below her/his the date of the composition is who fell in love with his own image and became a flower not given unless it is an identifier as part of the title, and then who, flying from the love of Alpheus the river god, was turned into a fountain it is given on the title line. Fantaisie Brillante sur “La Déesse et le Berger de DUPRATO” ............... Jules Demersseman Titles which are Forms are NOT italicized, titles which are “poetic” are italicized; opus and catalogue numbers are not italicized. Comic opera by Jules Duprato (Paris, 1863) Intermission Sonatina ............................................................................................................ Lennox Berkeley Moderato Adagio Allegro moderato composed for Treble Recorder and Piano (1940) If there are movements to the work, these will be listed below the title, often just the Italian tempo marking of the movement. Tirana: Homenaje a Sarasate ................................................................................. Jesús Guridi posthumous dedication (1971) Sonatina in G major, op. 100 ............................................................................. Antonín Dvořák Allegro risoluto composed for Violin and Piano (1893) Usually a title such as this includes the instruments as a part of the title, and these should be included if on the title page of the work. Because this programme has special circumstances, the original instrumentation is 140 name given below the composer’s On a Concert Program Pirating and Plagiarism Permitted Programmes may include programme notes to share information about works to be heard or curatorial choices made with regards to the selection of the works; and may include texts and English translations of songs to be performed. Mary Byrne, flutes Wendy Stofer, piano "… A daring romp which at every turn challenges us to reconsider our beliefs of what is appropriate music for the flute!” It is no mystery that in the last four centuries composers have tended to be either highly discerning In a flute-o-centric world it is easy to indict composers who sometimes have shockingly shunned the flute in favour of instruments considered more capable, more beautiful, or more expressive – recall Mozart's famous, alleged aversion to the flute! With this programme flutist Mary Byrne along with pianist Wendy Stofer will fearlessly assume the guise of the Hungarian violin, the Spanish recorder, and the "mythological" oboe; press the limits of 19th-century operatic repertoire and broaden the scope of the 20th century recorder; and, yes ... even gently suggest that Mozart might like to reconsider his opinion on the flute. Mary Byrne – Flutist – teaches flute and flute pedagogy at the Victoria Conservatory of Music, where she also serves on the Artistic Directorate and as Head of the Woodwinds, Brass and Percussion Department. She performs regularly with the Victoria Symphony, Aurora Trio (Flute, Viola and Harp), Fairwinds Quintet (Woodwind Quintet) and the Island Chamber Player, in addition to appearing as solo and chamber recitalist with the many concert series events of Vancouver Island. She is an active lecturer on diverse topics of musicological interest and an avid adjudicator at music festivals and competitions throughout Canada and the United States. Dr. Byrne holds a Ph. D. in Musicology from the University of Victoria, as well as B. Mus. in Wind Performance and Music Education, and M. Mus. in Flute Performance degrees from the University of Michigan. Her major flute studies have been undertaken with Keith Bryan, Lois Wynn, and Carol Kniebusch Noe, with great influence from Bonita Boyd. Wendy Stofer – pianist – began piano studies at the age of four. She received a Bachelor of Music degree from the University of Washington studying with the renowned pianist Bela Siki, and a Master of Music in accompanying and chamber music from the University of Michigan under Eugene Bossart. While pursuing doctoral studies with Martin Katz at the University of Michigan, Ms. Stofer was appointed as visiting instructor/faculty accompanist to the University of Alaska Fairbanks where she subsequently taught for five years. Ms. Stofer has performed in recitals with flutists Trevor Wye, Susan Hoeppner, Fiona Wilkinson, Amy Hamilton and Carol Kniebusch Noe, violinist Benny Kim, soprano Paulina Stark, as well as other performers of international reputation. Since returning to her native Victoria in 1991, she has been much in demand as accompanist and chamber musician, and has been pianist for the Victoria Choral Society for the past eighteen years. 141 Forms and Shapes I n Music FORMS AND SHAPES IN MUSIC MARY C. J. BYRNE Musicologists have identified a certain predictability in the shapes of some kinds of movements. It is entirely possible to enjoy listening without knowing these forms; however, there are three compelling reasons you might want to take on the challenge of wrapping your mind around this. First, music moves through time. When you understand the general shapes of some of these longer movements, it may be possible for you to begin to predict what will happen next, and how much longer there is to go – it’s like reading a map, only hearing a map in sound. Second, composers really expect that listeners can do this, and therefore, they have great fun playing with the listener’s sense of expectation. Third, since the form of the music is like the skeleton upon which the composer hangs the clothes of the music, you can enjoy the play and variation of the detail of the melody, harmony, and rhythmic pulse. Does this make or break your sense of the beauty of the work? No! Does it deprive you of getting the meaning or the story? No! Does it allow you to delight in the hidden mysteries of the music? Perhaps! Mostly, it brings you closer to engaging the genius of some composers. If it’s not for you, don’t worry about it – it may just be too much information to clutter an otherwise perfect listening experience. If you’re curious, read on. SONGS . . . VOCALLY INSPIRED, BUT VERY POSSIBLE ON INSTRUMENTS! Songs themselves are driven by text, words, poetry, narration, or lyrics. The music which underlays the text is expected to be singable and hopefully memorable. The shape of the melody of a wellcomposed song fits the nuances of the poetry, the rhyme and the word stress. We know instinctively when this works and when it doesn’t. Even with the emphasis on words, the pattern of the music is what we musicians characterize in letters, almost as if poetry. Much Pop music and/or songs we encounter daily are in what we might call AABA form. By this we mean that the tune takes place once (A), it repeats with new words (A), there is a contrasting section (B), and then the first tune comes back with new or old words (A). The letters indicate repetition (or newness) of melody or musical theme. Some tunes – our traditional Christmas carols or national folk tunes – have only one tune but many verses of words: this is called strophic and might be represented by AAAA… however many we need. Some tunes have these same verses, but the verses are separated by a short refrain or what we might call the “chorus” – this doesn’t really change the form 142 Forms and Shapes I n Music Most old songs – particularly earlier operas – are in a simple ABA form. This would represent a main section (A), a contrasting center section (B), and a repeat of the main section (A). Sometimes we call this “aria form,” or “song form.” We even expect to find this form in the song-like movements of instrumental works. We also sometimes call these arias “Da Capo” arias – da capo means “from the top” in Italian and indicates a straight repeat of the first section (although in some practice the repeat is not really straight, but highly ornamented and almost improvised). Some song movements in instrumental works are actually variation movements. This means that the same tune repeats over and over, but with increasing variations applied each time to fancy up the tune. Usually instrumentalists are asked to perform at the height of their technical capabilities by the end of a variation movement. This is really another take on AAAAA. DANCES . . . KINAESTHETICALLY INSPIRED BY THE MOVEMENT OF THE BODY Dances are always shaped according to the expected sense of motion – slow or fast, smooth or leapy – and always give exactly enough beats to complete the required step sequence (unless the choreography is done later, as in most modern dance): old dances (Minuets, sarabandes, even polkas and waltzes) have specific step patterns which must be completed. Again, however, it is the music which we characterize in letters. Most very old dances (before the late 18th century) – both courtly and popular – are in binary form: AABB … one short tune repeated, and a second short tune repeated. Beginning with the 18 th century, instrumental dances increasingly came in danceable pairs (see below). Both forms were to accommodate the formal dance step patterns of the time. Usually in suites, symphonies, and other “sonata-type” works, dances are paired: for example Minuet and Trio (essentially two minuets, the second one played by a smaller group [a trio]), or Passpied 1 and 2. Essentially the pair of dances makes for a single movement. The first of the two dances would be AABB, the second CCDD, but we always go back and play the first dance again without the repeats AB. Therefore, the whole movement would be AABB CCDD AB. As a side note, this is a pattern and practice that all musicians learn as a part of their first year of music history study; therefore when experienced musicians sit down to play a dance movement, no one ever asks “do we take the repeats?” – we just know this is the game plan and this is how we play. THE INSTRUMENTAL SONATA OF THE CLASSICAL PERIOD AND BEYOND As we find music losing its dependence on the voice and making strong demands on the abstraction of instruments (beginning in the mid-18th century), large multimovement instrumental works emerge and virtually all are held under the term “sonata.” A sonata for an orchestra is called symphony. A sonata for 2 violins, viola, and cello is called a string quartet. A sonata for solo instrument and orchestra is a concerto. Other groups of instruments are possible and lend their own name to the final title, but nearly all of these instrumental forms from the 1770s onward are, in some way, sonatas. 143 Forms and Shapes I n Music ALLEGRO MOVEMENTS Allegro is the Italian word for “happy, fast.” Generally, we expect first and last movements of multimovement instrumental works to be fast, therefore allegro movements. Last movements of instrumental works are often “Rondo form” – an old word deriving from “round dances” and poetic rondeau. In a rondo, there is a single identifiable, recognizable tune – this is the rondo theme and we call it A. We hear (A), then we have a different tune (B) followed by a return of (A), then there is another tune (C) followed again by (A). This pattern continues, alternating familiar (rondo theme) and new for a pattern like ABACADAEA… First movements of sonata-type works are usually cast in a very complex but elegant form which has come to be known to us as “Sonata-Allegro Form,” or sometimes simply “Allegro Form” or “Sonata Form” or “First-movement Form:” all of these names clearly betray the strong association of this form with this type of work. Sonata-Allegro is particular to the Classical period and beyond, and variations of this form will be found throughout the symphonies, chamber music, concertos, and even solo sonatas of this period and beyond. Here’s how this works! FIRST MOVEMENT (SONATA ALLEGRO) FORM The whole philosophical idea behind the Sonata-Allegro Form is to take the listener on a journey, beginning in the home key, moving away though different keys, and then returning home. Along the way we experience a variety of musical ideas or characters, at first given plainly, then quickly related to each other; when the return home is made the intention is for the listener to hear what is now familiar in a new light. The journey is complete and the listener has been changed. Exposition: the first section of the sonata-allegro movement. This section accounts for fully half of the movement. In the exposition, the composer will give a series of contrasting themes, always in two groups. The first group of themes will always be in the home key, the tonic key (usually the titlekey of the piece): the first group themes are usually perky. The second group of themes will be contrasting in style (usually lyrical) and will NOT be in the home key but will be in a related key: this group of themes will always conclude in the dominant key, the most propulsive key available. Honestly, this is where we lose most people! If you’re still with me, however, then keep going it gets easier from here. The exposition now repeats! After the repeat of the exposition, we are roughly halfway through the movement. Development: Now the composer will take many or all the themes presented and mix them up: a bit here, a bit there, different combinations, some exaggeration here and there. In this section the composer will usually weave through different keys, searching for the home key. Here the themes or characters are put into relief against each other so that the listener can experience them with fresh ears and new enlightenment. Suddenly… the Recapitulation arrives! Recapitulation: Here the exposition is “repeated” but not exactly! Unlike the exposition, here in the Recapitulation, all the themes stay in the home key. 144 Forms and Shapes I n Music SONATA ALLEGRO NARRATIVE: THE WIZARD OF OZ Introduction (optional) Suspenseful or exciting opening music Exposition The opening music and credits set scene First set of themes ................................ Tonic key (I) Tunes are similar Key stays home Dorothy (our principal character) and Toto are home in Kansas and dream of going Over the Rainbow With Dorothy we meet the friendly farm hands Second set of themes ........................... related keys Tunes are new Key is close but not home Section concludes: It has moved away from home key .. Dominant key (V) Suddenly her world changes The evil neighbour takes Toto away\ Dorothy runs away from home we meet the traveller who sends her home but she isn’t home safely, all are gone! REPEATS! Pretend that all this repeats in the story! Second set of themes ........................... related keys Tunes are new Key is close but not home Section concludes: It has moved away from home key .. Dominant key (V) Suddenly her world changes The evil neighbour takes Toto away\ Dorothy runs away from home we meet the traveller who sends her home but she isn’t home safely, all are gone! First set of themes ................................ Tonic key (I) Tunes are similar Key stays home Dorothy (our principal character) and Toto are home in Kansas and dream of going Over the Rainbow With Dorothy we meet the friendly farm hands Development Many of the themes are reheard ......... Mixture of wild keys but differently presented Remote keys fragmented unstable recognizable but hidden relationships are different but elements of characters remain Themes are experienced in new light Suddenly there is a great storm Dorothy (injured) “sees” snips of familiar folks The neighbour transforms into a wicked witch Dorothy “awakes” and the world is in colour Familiar people are there but in new roles Many new things and characters are there too. After a great journey and difficulty she realizes: There is no place like home! Recapitulation First set of themes ................................ Tonic key (I) in full So home she goes! She is home, but things are a bit different. We see Dorothy and her friends but she no longer wants to leave. She “knows” her friends journeyed with her Second set of themes ........................... Tonic key (I) There is no place like home All is heard in new light Section ends on home base ................. Tonic key (I) This time, her world does not change She is home, her friends are there She was “away” but never really left. Now she sees everything with new eyes. Closing music to affirm spirit of music Coda (optional) 145 closing credits and music, story done Orchestra Instrumentation ORCHESTRAL INSTRUMENTATION MARY C J BYRNE Classical Orchestra Early Romantic Orchestra Late Romantic Orchestra Modern Orchestra Woodwinds 2 Flutes 2 Oboes 2 Clarinets (in C, Bflat, or A) 2 Bassoons Woodwinds (Piccolo) 2 Flutes 2 Oboes (English horn) 2 Clarinets in B-flat, A (Bass Clarinet in B-flat, A) 2 Bassoons (Contrabassoon) Woodwinds Piccolo 3 Flutes 3 Oboes English horn Clarinet in E-flat 3 Clarinets in B-flat, A Bass Clarinet 3 Bassoons Contrabassoon Woodwinds Piccolo 2 Flutes 2 Oboes English horn 2 Clarinets in B-flat, A Bass Clarinet (and/or Clarinet in E-flat) 2 Bassoons Contrabassoon Brass 2 or 4 Horns (in any key) 2 Trumpets (in any key) Brass 4 French Horns in F 2 Trumpets in F (2 Cornets in B-flat) 3 Trombones (2 Tenors, 1 Bass) (Tuba) Brass 8 French Horns in F 4 Trumpets in F, C, Bflat 4 Trombones (3 Tenors, 1 Bass) (Euphonium) (Wagner Tubas (2 Tenor, 2 Bass)) Tuba Brass 4 French Horns in F 3 Trumpets in B-flat 3 Trombones (2 Tenors, 1 Bass) Tuba Euphonium Percussion Timpani Percussion Timpani Snare Drum Bass Drum Cymbals Triangle Tambourine Glockenspiel Percussion Timpani Snare drum Bass drum Cymbals Tam-tam Triangle Tambourine Glockenspiel Xylophone Chimes Percussion Timpani Snare Drum Tenor Drum Bass Drum Cymbals Tam-tam Triangle Wood block Tambourine Glockenspiel Xylophone Vibraphone Tubular bells Keyboards Celesta Organ Keyboards Celesta Piano Strings 2 Harps 16 Violins I 16 Violins II 12 Violas 12 Violoncellos 12 Double basses Strings Harp 16 Violins I 14 Violins II 12 Violas 10 Cellos 8 Double bass Strings 6 Violins I 6 Violins II 4 Violas 3 Violoncellos 2 Double basses Strings Harp 14 Violins I 12 Violins II 10 Violas 8 Violoncellos 6 Double basses 146 147
