The Masters:
Tradition, Rebellion, and Innovation
Lesson Plan
Call & Response 2012
Haydn, Beethoven and Philippe Hersant
Call & Response 2012 Concert
March 16, 2012, Herbst Theatre, San Francisco
INTRODUCTION
The relationship between tradition and rebellion is an interesting one with a broad and dynamic scope.
Imagine this - an artist paints a portrait so realistic it seems as if the person is sitting directly in front of
the viewer. It’s a huge success, loved by critics and wealthy art collectors alike. It becomes a tradition
to have your portrait painted by this artist and other artists imitate this style to generate their own
success. Until one day, a portrait artist decides to make the skin of the painting’s subject blue instead of
a realistic skin tone. It’s a rebellion. Critics ridicule the blue skinned portrait – they call the artist crazy,
and claim there is no demand for pictures of people with blue skin. But then a few artists think, “Wow,
I’ve always wanted to be free of conventional colors. Now I can paint subjects any way I wish. I’m free
of the shackles of convention and tradition. That artist who painted blue skin was a creative genius – a
real innovator!” And then suddenly, portraits of people with skin of every color start appearing on
gallery walls – in fact, limbs no longer need to be attached to the traditional places, bodies don’t have to
be shaped in a realistic way – and a new period of art is ushered into the world.
How are traditions established? Why do we rebel against tradition? What is a rebellion and can it have a
lasting impact? This year Call & Response examines the complex concepts of tradition and rebellion and
how they influence creativity. This theme is ever-present in our culture through the creation of new art
and social movements. In order to achieve a full picture of the relationship between tradition and
rebellion, with innovation as its product, we first look at the broad concepts and relevant examples.
CALL & RESPONSE OVERVIEW
For 13 years the Cypress String Quartet has brought Call & Response to San Francisco Bay Area
schools, community centers and concert audiences. The program was born out of the Cypress String
Quartet’s commitment to presenting music as a dynamic and ongoing process of inspiration. The term
“Call & Response” is often associated with Jazz and Gospel music: the idea being that a musician places
a musical “call” to which another musician “responds”. Each year the Cypress creates a concert program
linking music of the past to music of the present by commissioning a composer to respond to the call of
music, literature or ideas.
The project culminates in a public concert presented by the Cypress String Quartet. For the 2012
program, the Cypress String Quartet has commissioned French composer Philippe Hersant to respond to
lyrical masterpieces by Haydn and Beethoven: Haydn’s Op. 20 No.1 and Beethoven’s Opus 127.
By integrating the new with the familiar, “Call & Response” explores how contemporary music is the
natural evolution of older works. The outreach presentations, pre-concert talks, and other activities that
surround the series bring music into the community and help audiences understand music as a dynamic
and ongoing process of inspiration. With this series, the Cypress String Quartet is creating a public
forum where a broad group of people comes together and shares in the universal meaning of music.
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DISCUSSION GUIDE
Note to teachers: This lesson plan is structured as a guide to help you lead a discussion about the
themes and music of Call & Response this year. Feel free to take some ideas from this guide and tailor
them to the needs of your individual classrooms and curriculum.
Theme: Tradition, Rebellion and Innovation
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Tradition: An inherited or already established way of thinking or doing things, often handed down
over generations.
Discussion Question: What are some traditions you can think of?
Examples: Putting up a Christmas tree, eating turkey for Thanksgiving, or seeing
fireworks on 4th of July
•
Rebellion: Open opposition to authority.
Discussion Question: What are some examples of rebellions you can think of?
Examples: The American Revolution, a mutiny
•
Relating tradition and rebellion: Traditions are sometimes not best for everyone in every
circumstance. When people become disenchanted from a tradition, there is the opportunity for
rebellion from tradition.
Example: It is a tradition to eat a turkey on Thanksgiving, but you decide to eat pasta instead.
You are rebelling against the tradition of eating turkey every Thanksgiving.
Discussion Questions:
What are some examples of rebelling against tradition?
What are some consequences when you rebel against tradition?
Think broadly! A rebellion with lasting impact is often considered a revolution.
Are there any cultural or historical revolutions you can think of?
Against which traditions did these big cultural revolutions rebel?
•
Innovation: An introduction of something new by making changes in something established. This
can be done by introducing new methods, ideas, or products.
Example: Jazz music took elements of different musical styles and melded it into a new style.
Think about it: Rebelling from tradition allows something new to be created.
•
Looking at these three terms: Can you see a connection?
Example: Where did the American Revolution come from? (Tradition: British Empire)
What did the American Revolution result in? (Innovation: new country founded on ideals)
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EXTENDED EXAMPLES
Impressionism
Example of Academic painting
Pierre-Auguste Cot, The Storm
Claude Monet’s definitive Impressionistic Painting
Sunrise, Impression
The Impressionist movement was created out of a society of artists called the Anonymous Society of
Painters, Sculptors, Printmakers, etc., which organized an exhibition in Paris. Their exhibition was in
rebellion against the annual Salon exhibition organized and curated by Académie des Beaux-Arts. The
Anonymous Society avoided naming the exhibition and style of art, but it was a clear rebellion from the
Academic form of painting. The movement was later named “Impressionism,” after a critic claimed
Claude Monet’s painting Impression, Sunrise was an “impression” or sketch and not a finished work.
The Impressionists employed a radical technique of short brush strokes that convey forms, distinct
colors, and light. Rather than using darker, sober colors, Impressionists used bright ones and instead of
using grey, white and black, they used those same bright colors to convey shadow and contrast. As a
result, Impressionism revolutionized the painter’s palette, introducing new pigments to the artist’s
paints. Furthermore, Impressionists rebelled against the subject matter of the Academic paintings, by
painting scenes from everyday life (mostly in Paris), rather than posed paintings, and also larger and
varying landscapes.
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Discussion Questions:
What similarities and differences do you see between the two paintings?
How do the artists’ actions create a rebellion?
How does the artists’ art create a rebellion?
Do you see this movement as an innovation? How and why?
What do you think is the lasting influence the Impressionist movement has on other art that you have
seen?
Mickey Mouse
Mickey Mouse, one of the most recognizable characters in the world, was created when Walt Disney
was rebelling against a former boss who had sold the rights of his character, Oswald the Lucky Rabbit.
Walt either had to take a gigantic pay cut, or sell the rights to the character along with most of his
animation staff to Universal Studios.
Various iterations of Oswald the Lucky Rabbit
(Source: http://9poundhammer.blogspot.com/2010/07/mysteries-of-cartoonland.html)
In rebellion, Walt Disney left Universal Studios to create his own animation studio and looked to create
a new character for his new studio for which Disney would hold exclusive rights. Disney created a
mouse character inspired by a pet mouse he had as a boy. Note that the first version of Mickey Mouse
looks a lot like the original character of Oswald.
Mickey Mouse (Source: http://en.wikipedia.org/wiki/File:Steamboat-willie.jpg)
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Since the character’s big debut in Steamboat Willie, Mickey has evolved into the character we recognize
today.
(Source: http://www.gregorich.com/animation/disney/sericels/image4.html)
Discussion Questions:
How were Walt Disney’s actions a rebellion and what did it produce?
Does it seem to you that Mickey Mouse is based on the character of Oswald? In what ways?
How has the character been changed since its original design?
Are you surprised Mickey has changed so much?
Do you think these changes within the character could be considered a rebellion or innovation against
the old characters?
What are the differences between rebellion, innovation and evolution?
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Tradition and Rebellion in Classical Music
Now that we have examined Tradition, Rebellion, and Innovation, let’s talk about them as they relate
specifically to the string quartet. While it is hard to imagine the time in which Haydn and Beethoven
were composing as a period of evolving culture, the creation of new music—both new forms and new
pieces— was as dynamic a process then as it is in present-day. The composers in this year’s program are
at the forefront of the creation of the string quartet, each making significant contributions to the string
quartet of today.
Haydn and the Birth of the String Quartet
Though the origin of the string quartet is hard to trace, Franz Joseph Haydn is credited with discovering
and developing the possibilities of the string quartet genre and establishing a chamber music tradition.
The story goes that in the late 1750’s on a Baron’s estate in Weinzierl, Haydn was asked to provide
some music for the musicians available—two violinists, a violist, and a cellist. Haydn soon realized the
potential for this instrument grouping: during his lifetime he composed over 60 string quartets.
Haydn discovered that the combination of these four instruments creates a distinct harmonizing balance
full of interesting possibilities. Much like the voice parts in a choir (soprano, alto, tenor and bass), the
violins are the treble, higher-pitched instruments, while the cello is the foundation and the viola fits in
the middle. The instruments complement each other, blending at times to create a unified sound like a
chorus, while at other times playing opposing lines in conversation, sounding more like four individuals.
Haydn holds the title of the “father of the string quartet” for many reasons. First of all, he created a form
unlike any that had been heard before him. Every piece he wrote for string quartet came from his
imagination. He was exploring the form by establishing an expected format and as soon as that format
was popular, he rebelled against his own tradition – in other words, he was constantly innovating. Not
only did he develop the genre and make it popular, but he also provided inspiration for Mozart,
Beethoven and every composer who followed. Mozart dedicated six of his quartets to Haydn,
acknowledging his admiration for the older composer. Haydn taught the volatile young Beethoven
(which didn’t go well.) Beethoven did learn from Haydn and respected his music, but he would soon
rebel against the old traditions of chamber music writing that Haydn had set in place, and forever change
how composers thought of the string quartet.
Beethoven and the Development of the String Quartet
Beethoven’s Late Quartets—the last six of the total eighteen—are considered today to be some of
music’s greatest masterpieces. Beethoven revolutionized the string quartet as an art form, writing music
too complicated for anyone but skilled professional musicians to play. His quartets explored musical
challenges, pushed the boundaries of musical expression and were rich with deep, personal emotion.
Beethoven reworked the genre of the string quartet from a witty, clever and accessible conversational
style to an incredibly sophisticated form of expression that delves into the most intimate, private and
primal human emotions. Since then, the quartet has been an important form where composers have
demonstrated their skill, rebelled against old traditions and expressions in music, and innovated beyond
the compositional language of their time.
Beethoven’s Op.127 follows a traditional form – especially for Beethoven. It is in four movements, and
uses the more traditional order of movements – placing the slow movement second and the scherzo
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third. Even within the traditional movement structure Beethoven goes his own way, lengthening the
movements and writing a false ending in the third movement. The finale starts as if it is going to be a
dramatic finale, only to dissolve into what sounds a lot like a folk tune – and it concludes with a
lighthearted and transcendent coda. While the structure and overall feel of Op.127 is traditional – the
harmonic language is far beyond what Haydn could have imagined possible (and Haydn was pretty
adventurous). Much of Beethoven’s genius lies in his ability to work his creative and rebellious musical
magic into the traditional forms. In a way he was very sneaky with his rebellious spirit – and knew how
to placate traditionalists enough that they could allow themselves to like his music.
Hersant and the Present-day String Quartet
A big part of what drew the Cypress String Quartet to Hersant’s music is the way he combines the
sounds of the instruments he uses in unique and unconventional ways. In his pieces that are for
conventional instrumentation he still manages to surprise in his approach to sounds, registers, timbres,
and ways in which the instruments are played. Hersant’s pieces are very lyrical and based in melody and
song. His new quartet written for Call & Response this year will undoubtedly rebel against the
traditions of the string quartet we all have heard before, putting his own unconventional and lyrical spin
on the classical string quartet.
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Terms to Review
Coda – The concluding section of a movement. Oftentimes a coda will combine earlier themes from the
piece, introduce some sort of new material, or maybe increase in dynamic or tempo to create excitement.
Composer - A person who writes music.
Innovation - An introduction of something new by making changes in something established, usually
by introducing new methods, ideas, or products.
Lyrical Music- Music expressing emotions in a magical and beautiful way. This means that much of the
music’s appeal lies in its sweeping and songful melodies.
Rebellion - Open opposition to authority.
String Quartet - “String” from the violin family of stringed instruments, and “quartet,” Italian for four,
is an ensemble made up of two violins, a viola and a cello. Much like the voice parts in a choir (soprano,
alto, tenor and bass), the violins are the higher-pitched instruments, while the cello is the bottom and the
viola fits in the middle. The four instruments sometimes blend to create a unified sound like a chorus,
while at other times play opposing lines in conversation, sounding more like four individuals.
Theme - An idea that forms the basis or starting point for a composition or a major section of one.
Tradition - An inherited or already established way of thinking or doing things, often handed down
over generations.
Variation – A modified version of a previously stated theme by way of ornamental changes, altered
rhythms or harmony, or other forms of development.
Terms in the Music
Haydn Quartet in E flat Major, Op. 20 No. 1
I. Allegro Moderato: (Italian, moderately lively)
II. Minuetto - un poco Allegretto: (Italian: minuet - a little fast) A minuet was a popular court dance in
triple time, distinguished by its stately grace and balanced musical structure. The standard minuet had
three sections, of which the first and third were identical.
III. Affettuoso e sostenuto: (Italian, affectionate, with tender warmth, and sustained)
IV. Finale - Presto: (Italian, Final - very fast)
Beethoven Quartet in E flat Major, Op. 127
I. Maestoso - Allegro: (Italian: Majestic - Lively.)
II. Adagio, ma non troppo e molto cantabile: (Italian, slowly, but not too much, and very singing)
III. Scherzando vivace: (Italian, joking and fast) “Scherzando” comes from the Italian word for joke—
“scherzo.” A scherzo is a fast movement of a multi-movement work like a quartet. Beethoven composed
scherzos in place of the traditional minuet that classical composers used—like Haydn in his Op. 20 No.
1. Beethoven is famous for these movement—his scherzos were often humorous, though very bold and
musically complex.
IV. Allegro (Italian, lively)
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LISTENING GUIDE
“The Augurs of Spring: Dances of the Young Girls” Rite of Spring, Igor Stravinsky
Igor Stravinsky’s work, Rite of Spring is an example of rebellion from tradition in classical music.
Stravinsky uses innovative rhythmic structures and orchestration to achieve a unique sound, which
continues to be iconic in more contemporary classical music. The piece was written as a ballet and its
subject matter was outside of the box and caused a huge sensation.
Discussion Question: How is this music different from other music you have heard?
4’33, John Cage
This ground-breaking piece is meant to remove the artist and the composer from the process of creation.
The idea behind the piece is that the audience listens to the sounds they are producing. The piece itself is
a rebellion against societal norms and concert etiquette and continues to generate questions about the
definition of music.
Discussion Question: Do you think this is music? Do you think this is art?
It Don’t Mean a Thing, Duke Ellington and Louis Armstrong
Jazz music, while integral in US culture and music today, was not always a genre that existed. At the
beginning of the 19th Century, artists combined many music styles into music that involved swung
rhythms, group interaction, and improvisation. While a very loose genre, now encompassing a variety of
different styles and forms, the foundation of jazz is seen as African American population’s rebellion
from the more European-based music still present in the United States.
Giant Steps, John Coltrane
John Coltrane is a jazz musician who popularized “Modal Jazz,” a style that rebelled against jazz’s
initial form by focusing improvisation on melody, rather than harmony and chord progression.
Discussion Question: How is jazz seen as a rebellion? How are these two pieces similar and different?
It’s Like That, Run DMC
Run DMC’s sound is viewed as a rebellion from more funk-based dance grooves, using a more
aggressive, less danceable approach to rap, which is a trend that continues in the genre today.
Essentially, Run DMC responsible for bringing hardcore hip-hop rap music from an underground
movement into the cultural fold.
Discussion Question: What does this music sound like to you? Do you think this song would be popular
today?
For Your Listening Reference:
Call & Response 2012 Pieces
String Quartet Op. 127, Ludwig van Beethoven
String Quartet Op. 20, No. 1, Franz Joseph Haydn
Selections from Philippe Hersant
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Composer Biographies
Franz Joseph Haydn, 1732 - 1809
Sometimes referred to as “Papa Haydn” for his role as the so-called “father of the String Quartet”, Franz
Joseph Haydn was the first of the three great composers of the Viennese Classical School, followed
closely by Mozart and Beethoven. In his lifetime, he saw, and indeed influenced, the development of
musical style from the Baroque period to the Classical.
Haydn was born in a small Hungarian town to a family of 12 children, of whom only six survived
infancy. In spite of the strict discipline imposed on the household by their mother, the Haydn children
enjoyed entertainment at home thanks to family concerts organized by their father. Though lacking any
formal musical training himself, their father had learned to play the harp, and accompanied the
children’s singing on such occasions. Encouraged by a family friend, Haydn’s parents sent him away at
just six years of age to begin his musical education in a neighboring town, where he began to learn a
variety of instruments. From the age of seven until he was 18, he was a member of the choir of St.
Stephen’s Cathedral in Vienna, where he improved his singing and added the harpsichord and violin to
the instruments he learned. At age 18, Haydn was kicked out of St. Stephen’s, the official reason being
that he’d been caught playing a practical joke on another student, supposedly cutting off the other boy’s
pig-tail during class. In any case, his voice had changed unsuitably for the choir, and his music director
needed a reason to expel him So Haydn embarked on the “starving artist” phase of his musical career,
living in Vienna — playing, teaching, and composing music. To his good fortune, he was soon
introduced to the local nobility under whose patronage his career would flourish.
Haydn’s most important court appointment was as court composer to the Esterházy family (Prince Paul
Anton, and after his death, his brother Prince Nikolaus). Prince Nikolaus established the family seat in
Hungary, in a grad country estate called Esterháza, said to rival the palace of Versailles in France. Prince
Nikolaus’s wishes to expand and modernize the family’s musical repertory combined with the isolation
of country life worked to Haydn’s advantage, providing an environment in which his creative genius
could thrive. He composed operas, symphonies and quartets (among other works) as his imagination
guided him, without the distractions that might have come from having competing composers nearby.
During this time, Haydn essentially invented the string quartet (musical ensembles prior to that were
usually arranged for trios, often featuring the harpsichord).
An agreement with Prince Nikolaus enabled Haydn to publish his music after 1779, which enhanced his
reputation and fortune considerably throughout Europe. By the end of his life, Haydn was so widely and
highly respected that even as Napoleon’s armies made their way into Austria in 1809, Napoleon himself
ordered his men to stand guard at Haydn’s home, and to ensure that no harm come to the great
composer.
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Ludwig van Beethoven, 1770 - 1827
Ludwig van Beethoven is commonly recognized as the bridge composer between the Classical and
Romantic eras of music. His music is most often categorized into three periods: the earliest being his
continuation of the Viennese Classical school of Mozart and his teacher, Haydn; the middle “heroic”
period, where Beethoven begins to develop an individual style that diverges from past musical
traditions; and the late period, where Beethoven furthers the radical transition from classical style to
open the door for new possibilities in the romantic period.
Beethoven grew up in Bonn, Germany in a musical family. His father was rather abusive, forcing him to
practice piano and punishing him mercilessly for making mistakes. When he was a bit older, Beethoven
stopped studying with his father and took lessons from Christian Gottlob Neefe, a music director and
court organist. By the time he was 12, Beethoven was earning money as Neefe’s assistant, and when he
was 18 became the sole breadwinner for his family.
In 1792, young Beethoven moved to Vienna, where he studied with notable teachers of the day,
including Haydn. Beethoven’s time in Vienna makes up the first period of his musical development. His
works composed in Vienna—including his first two symphonies, six string quartets, and 20 piano
sonatas—are very much in the same style and form as classical composers, most notably Mozart and, of
course, his teacher Haydn. However, while Beethoven learned much from Haydn and respected his
music, their personalities did not mix well.
Beethoven's writing—as seen in his Third Symphony—soon developed beyond that of his teachers. His
Third Symphony (premiered in 1804, named “Eroica”) was so different from the ones that had come
before that it invariably changed music forever. The “Eroica” marks the start of Beethoven’s middle
period. During this time Beethoven struggled with hearing loss, a struggle that made him increasingly
depressed. Only his passion for music kept him from ending his life.
Although Beethoven gradually lost all of his hearing, he continued composing. By 1816 he entered the
final stage of his composing career. He composed many of the most famous and experimental musical
works in this time, such as his Ninth Symphony and the late string quartets. By his death in 1827,
Beethoven was venerated across Europe for his innovations in music. His funeral procession was
attended by mourners numbering in the tens of thousands, demonstrating the incredible following his
music had with the people. Today, we remember Beethoven as the most important composer in the
transition between the Classical and Romantic Eras. Beethoven continues to be one of the most famous
and influential composers of all time.
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