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Neil Thomas (Student # 509009)
Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
PROJECT TWO: ROMANTIC MUSIC
The nineteenth century bought the word ‘romanticism’ to music. The word itself is though to have
come from the French word ‘roman’, meaning novel. Romanticism in music was a more expressive
extension of earlier music . The improved resources of wind and brass gave composers more
material to be expressive with and literature, and especially poetry, gave them more material to
write about. Songs became more popular and Wagner wrote his own librettos.
The Artist as a Hero
The composer most responsible for the progression of Romantic music was Ludwig van Beethoven
(1770-1827). Beethoven lived in Vienna from 1792 and was the first truly independent composer, i.e.
he was not tied to an employer and only able to compose for specific events. This gave him the
freedom to be expressive in his own right. He kept sketch books throughout his career which gave
the workings of all his works, supported by sketches and drawings.
The modern musicologist divides Beethoven’s works into three distinct periods:
1. Early works in the classical style to 1802
2. The middle period in which he developed his style and wrote the bulk of his symphonies (38) from 1802-1815.
3. The final period, when beset by deafness, he composed some of history’s most outstanding
artistic achievements including his ninth symphony and the wonderful late string quartets.
The true start of Romanticism in Beethoven was his third ‘Eroica’ symphony. With this work,
Beethoven expanded the classical tradition of the likes of Haydn and Mozart. The symphony was
originally dedicated to Napoleon but Beethoven violently scratched out this dedication on learning
that Beethoven had declared himself Emperor. He stuck to the main thematic scheme of the classical
tradition but introduced a scherzo, a fugue and a funeral march. The fifth further expands this with
its famous opening on a minor key which after a struggle eventually resolves itself in the finale on an
emphatic note and major key.
During his final period Beethoven, going through what must have been hell for a musician with his
deafness, developed the romantic idiom further. Struggling to live a normal life of social interaction,
and becoming more withdrawn, he pushed music to its boundaries. This is a remarkable feat, given
his condition, only hearing the music in his mind, and not being able to physically hear the music he
wrote.
Beethoven Piano Sonata No. 1 in F minor, Op. 2
Performed by Abdel Rahman El Bacha. Written in four movements, Allegro, Adagio, Menuetto:
Allegretto & Prestissimo, this work is in the classical style. It is a lyrical work, first movement in
sonata form, followed by a slower second movement, before the final two movements increase in
speed. Dynamics vary throughout, but a rhythmically consistent work.
Beethoven Piano Sonata No. 32 in C minor, op. 111
Performed by Antol Ugorski. This is very different from Beethoven’s first sonata. The change in
immediate. Thios work is slow and more measured. Variable dynamics as with no. 1. Clearly a more
advanced work. This work is written in two long movements (38 mins in total) as opposed to the four
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
much shorter movements of no. 1 (totalling half the length of no. 32). The tempo changes soon after
the slow opening. It is titles allegro con brio ed appassionato. There is a long rest in the middle of the
opening movement. This is far more expressive that no one and the minor key aspect is more
recognisable. Rhythmically more varied. The longer second movement is marked adagio molto
semplice e cantible, and as that title would suggest is a much slower movement. This movement
develops very slowly and only momentarily picks up tempo and dynamics in the middle of the
movement.
Beethoven Piano Sonata No. 1 Research
Kerman, J., Tyson A., & Burnham, S.G. (2013). Beethoven, Ludwig van 1792-95. [online]. Grove Music
online. Oxford Music online. Oxford University Press. Available from:
http://www.oxfordmusiconline.com/subscriber/article/grove/music/40026 [Accessed on January
13th 2013]
Beethoven had moved to Vienna in 1792, whilst still being paid by the elector of Bonn. He was under
the tuition of Franz Joseph Haydn (1732-1809), but does not appear to have written any new works
but upgraded works already composed whilst in Bonn. In 1794 Haydn left for his second trip to
London and Beethoven was placed under the tutelage of Johann Georg Albrechtsberger, who was
known as the best teacher of counterpoint in Vienna. Salieri also taught Beethoven at this time,
which would have significance later on in life when setting words to music, especially opera.
Beethoven was trying to establish himself as both a pianist and composer in Vienna, and had come
there with a bit of a reputation. Several of the gentry of Vienna had seen him perform on their visits
to the elector in Bonn, and being a pupil of Haydn would also enhance his reputation as one with a
future. The aristocracy of Vienna was well placed to give Beethoven a helping hand as more than any
court in Europe at the time they patronised music. His salary from Bonn expired in March 1794, so
he needed the help of these patrons. One of his most important patrons was Prince Lichnowsky.
At this time in Vienna, there were no public concerts, as there were by now in London and Paris,
apart from the occasional charity concert or subscription concert for a noted virtuoso or
Kapellmeister, so Beethoven had to rely on private performances in the salons of the Viennese
aristocracy. He was, however making a good impression in these places.
In March 1795 however, Beethoven did make three public performances in three days. On March
29th he played a piano concerto (probably later published as his second) at the Burgtheatre, in a
charity concert, on March 30th he played in improvisation at another charity concert and on March
31st he played a Mozart concerto at a performance of Mozart’s, La Clemenza di Tito, organized by
Mozart’s widow, Constance.
In August 1795 Beethoven published his first work since arriving in Vienna. It was a set of three trios,
op. 1, which was published by Artaria, on a subscription basis. There were 123 subscribers and 241
copies were sold. Beethoven turned a healthy profit on this publication. Haydn who returned from
London about this time had misgivings about the publication of the third of these trios.
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
The second publication, were the opus 2 sonatas. There were three sonatas in all in this set. These
were published in March 1796. These were dedicated to Haydn, but Beethoven declined to put pupil
of Haydn on the publication, as was a custom at the time, Beethoven claiming not to have learnt
anything from his time as Haydn’s pupil. This is probably a reflection of the strained relations
between the two composers that existed.
Beethoven however did perform his C major concerto at a concert organized by Haydn.
Pizarro, A. (2005). Piano Sonata No. 1 in F minor, Op. 2, No. 1. [online]. BBC Radio 3. Available from:
http://www.bbc.co.uk/radio3/classical/pizarro/sonata1.shtml [accessed on January 13th 2013].
No 1 has a virtuosic and brilliant manner, especially in the finale. It is work attempted by most young
promising pianists. In the first movement there are only two main voices, making the work textually
transparent. The work is structurally straight forward. The adagio is typical of Beethovens slow
movements moving to the tonic, whilst being elaborated with fast runs. The minuet (third
movement) is followed by a rousing finale dominated by triplets.
n.k. (2005). Beethoven Sonata No. 1 in F minor, op. 1, no. 1, First Movement. [online] DePauw
Universit School of Music. Available from: http://depauwform.blogspot.co.uk/2005/04/beethovensonata-no-1-in-f-minor-op2.html [Accessed on January 13th 2013]
The exposition of the first movement is set up almost immediately, with a sixteenth note triplet and
then a new key forms for the exposition, and with the left hand (bass). Following the second theme
(bar 20) there is a long exposition., with a long series of quavers.
The development opens in the key of A flat major (the tonics relative key). Beethoven eventually
returns to the tonic at the end of the movement.
Beethoven, L. (n.d.). Piano Sonata No. 1 in F minor, op. 2, no. 1. [score][online]. Stuttgart. Eduard
Hallberger. Available from:
http://imslp.org/wiki/Piano_Sonata_No.1,_Op.2_No.1_(Beethoven,_Ludwig_van) [Accessed on
January 13th & 30th 2013 ].
n.k. (2008). Beethoven: Piano Sonata Op 2 No 1. [online]. The Omniscient Mussel. Available from:
http://theomniscientmussel.com/2008/06/beethoven-piano-sonata-notes-op-2-no-1/ [Accessed on
January 13th 2013].
The Beethoven piano sonata cycle is a fine compliment to the Bach Well Tempered Clavier collection,
and is here described as the old and new testament of piano compositions. They are both important
to any aspiring pianists education.
Although the opus 2 sonatas were written before the onset of deafness, there are moments in the
adagio, where the expressive nature of Beethoven’s works is apparent.
The first movement is written in sonata form and there are no surprises in a piece from this time,
written in the traditional form of classical era sonata.
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
The second movement is a good example of Beethoven ability with slow movements. He does not
have the melodic gift that Mozart had, but brings it together with the harmonic qualities in the
second half of the movement.
The final movement moves along with no sign of the Alberti bass heard in the second movement.
The work returns to the home key and ends all of a sudden.
Sadie, S., Latham, A. (Ed.)(1985). The Cambridge Music Guide. Cambridge. Cambridge University
Press.
The first movement straight away established the freshness of Beethoven’s voice. He wanted to
assert himself strait away as the new kid on the block away from Mozart and Haydn.
Thayer, A. (1964). Life of Beethoven. Princeton (USA). Princeton University Press. Folio Society
Edition (2001).
In a letter to Eleonore von Breuning in May or June 1794 he mentions work on a sonata: “I have a
great deal to do or I would have transcribed the sonata I promised you long ago, it is a mere sketch
in manuscript, and to copy it would be difficult even for one as skilled as Paraquin.”
Before the opus two sonatas, the opus one trios were the first work published by Beethoven. Before
these were published they were performed at the home of Prince Lichnowsky, and it was here that
Haydn is reported to have criticised and advised Beethoven not to publish the third of these in C
minor. This is the account as told by Beethoven’s pupil Ries, though other accounts vary just when
and how Haydn criticized this work, which lead to a further cooling of relations between the two
composers.
Following the publication of the Trios, Thayer suggests that Beethoven was far from poor. At this
time he stopped noting down his outgoing expenses and owned a horse and had a servant. He was
also staying with Prince Lichnowsky as a guest.
When Haydn returned from his second trip to England on August 20th 1795, Beethoven played his
opus 2 piano sonatas in front of Haydn at one of Prince Lichnowsky’s Friday morning concerts. The
sonatas had been dedicated to Haydn.
Despite their differences, Beethoven showed the great respect he had for Haydn, by appearing at a
concert in December 1795 given by Haydn, where he played a concerto. It is not known which of his
concertos was played at this event. This was the Vienna première of the second set of three ‘London
Symphonies’ Haydn had composed whilst in the British capital.
Beethoven Piano Sonata No 32 in C minor, Op. 111 Research
Beethoven, L. (1916). Piano Sonata No. 32 in C minor, op. 111. [Score][online]. Vienna. Universal
Edition. Available from: http://javanese.imslp.info/files/imglnks/usimg/0/07/IMSLP00032Beethoven__L.v._-_Piano_Sonata_32.pdf [Accessed on January 30th 2013]
It is evident from the start when comparing scores this is a far more advanced work than the op. 2.
Written in January 1822.
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
Kerman, J., Tyson A., & Burnham, S.G. (2013). Beethoven, Ludwig van 1822-24. [online]. Grove
Music online. Oxford Music online. Oxford University Press. Available
from: http://www.oxfordmusiconline.com/subscriber/article/grove/music/40026 [Accessed on
January 30th 2013]
Beethoven was very productive at this time, and completed his final two piano sonatas, the mass
and started work on the ninth symphony. He was also working on the set of piano variations based
on Diabelli.
The sonata was published in 1823 according to Kerman et al.
http://web.archive.org/web/20041014030811/http://www.voxcd.com/taub_beethoven.html Accessed on February 2nd 2013.
Article by Robert Taub: Robert Taub on the Beethoven Sonatas. (2004)
Beethoven saw throughout his career the sonatas as a way to truly express his individual style, when
he could concentrate on the solo piano, and not be reliant on other instruments. He had established
himself as a pianist by the time he wrote the first concerto. This is due to his love of improvisation,
which is best suited to solo works.
Taub categorized the sonatas into eras in Beethoven’s life and describes the opus two as
“Epitomizing the classical tradition”, and the opus 111 as “Summation, transcendence”.
The lyrical style of Italian opera that was all the range in the Vienna of the 1790’s influenced some of
Beethoven’s early sonata writing. Salieri was one of his tutors at this time.
The opus 2 sonata, extends the sonata format of previous composers. The sonata is in four
movements and not the usual three, so again this is another way in which Beethoven wished to set
himself apart from Haydn and Mozart.
The tree Sonatas that Beethoven wrote in C minor are all works of intense drama, the other being,
op. 10 no 1 and opus 13. Opus 13 was given the sobriquet “Pathétique” by Beethoven himself.
Towards the end of his career, Beethoven was convinced of the importance of metronome markings,
however these are not in many manuscript copies, as publishers have not put them in, despite
Beethoven’s insistence. He in fact delayed publication of his Missa Solemnis, until the publisher had
received his metronome markings.
The opus 111 is a sonata of “unmatched drama and transcendence”. Two contrasting movements, in
written in C minor and the other in C major. 4-meter as against triple meter. Taub continues, that
there was no need for Beethoven to write any further sonatas, as op. 111 was the ultimate in the
form.
http://www.jstor.org/discover/10.2307/746802?uid=3738032&uid=2&uid=4&sid=21101745534147
– accessed February 2nd 2013.
Wayne C. Petty (1999) – Chopin and the Ghost of Beethoven
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
Although Chopin is largely thought to have scant disregard for the work of Beethoven, he was
undoubtedly influenced by his piano sonatas. However, as with Beethoven seeking separation from
Mozart and Haydn, Chopin wanted and achieved his own voice when composing his own sonatas.
http://audio.theguardian.tv/sys-audio/Arts/Culture/2006/12/20/03-32cminop111.mp3 - Accessed
on February 2nd 2013.
Fascinating lecture by András Schiff on Opus 111. The Guardian (2006)
See notebook, pp. 61-63.
Pizzaro, A (2005). The Beethoven Sonata Cycle: Piano Sonata No 32 in C minor, op. 111 http://www.bbc.co.uk/radio3/classical/pizarro/sonata32.shtml - accessed on February 2nd 2013.
Pizzaro, like Taub and Schiff emphasizes the difference between the two movements. The resolution
to the conflicts of one movement in the other movement.
When Beethoven’s publisher received the two-movement work, he though a third movement had
been lost in the post. There is some evidence that a third movement was intended and Beethoven
had possibly made sketches for such an allegro final movement. His biographer was told he did not
have time to write a final movement, due to the work on his Missa Solemnis.
Beethoven used double dotted chords at the beginning of the work, to set up the conflict of the
allegro.
Pizzaro also mentions the boogie-woogie element in the second movement.
Thayer, A. (1964). Life of Beethoven. Princeton (USA). Princeton University Press. Folio Society
Edition (2001).
Adolph Martin Schlesinger started Berlin’s first publishing house and a few years later his son,
Moritz, opened a publishing house in Paris. They both befriended Beethoven and this was rewarded
with the publishing of his last three piano sonatas and the opp 132 & 135 string quartets.
In the build up to the writing of op. 111, Beethoven was also contending with the legal battle over
the guardianship of his nephew Karl. So although a very prolific time in his career, it was also a
stressful time in his life as well.
Beethoven was also under a level of financial pressure at this time, as a letter from the publisher
Steiner emphasises (p. 420). The mass promised to Simrock did not ever get to the Bonn publisher.
Information about Beethoven in 1821 is scant compared to other years. No conversation books and
very few letters survive.
It was Schlesinger’s son, Moritz, who wrote from Paris asking about a third movement to op. 111.
(July 3 1822). This appears to have angered Beethoven who then promised the mass Peters of
Leipzig, and stated that the Schlesinger’s would never get any more music from him. They did
however get the two late quartets and remain friends with the composer.
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
The final correspondence with Simrock promises a mass, one of two Beethoven claims to have
written (Beethoven had already been part paid for the mass and Simrock had been chasing it). The
other mass did not exist, Beethoven was just buying time.
The (or a) mass was promised to four different publishers in various correspondence: Simrock,
Schlesinger, Peters & Artaria.
This playing off one publisher against another was a demonstration of the kinds of financial
pressures Beethoven was experiencing at the time. Another publisher was Steiner, to whom he
owed 3000 florins. Various publishers were promised works that were not completed and some that
had not even been started yet, in order to get advances and to keep creditors at bay, with the
promise of works in lieu of cash. He also borrowed from his surviving brother, Johann. His brother
also assisted in the business of the sale of his works.
The publication of the mass was further delayed in 1822 when Beethoven wrote to various European
courts to sell the mass to them via subscription. This appeal had limited success, with some courts
subscribing whilst others declined or did not reply at all.
In late 1822, The Philharmonic society were approached to commission a work, through Beethoven’s
former pupil, Ries. They offered £50 for a symphony, which would eventually be the ninth.
During this period, Beethoven also contemplated writing another opera. Fidelio had been revived
and was a success. There was a libretto by Grillparzer called Melusine, and Beethoven had intimated
that he had produced the opera, but no music was ever written down, although it is possible
sketches had been made. Instead Beethoven turned himself, having completed the D minor Mass
and the Ninth Symphony to the great string quartets that epitomize his late era.
Beethoven – Piano Concerto No 1 in C Major, Op. 15
Altmann, W., Ed. (ca. 1930). Beethoven: Piano Concerto No 1 in C Major. [Score][online]. Leipzig.
Ernst Eulenburg. Available from:
http://imslp.org/wiki/Piano_Concerto_No.1,_Op.15_(Beethoven,_Ludwig_van) [Accessed on
February 3rd 2013].
Sounds in the classical tradition, except for some of the piano parts. Beethoven was experimental
and advanced in these from the start, as was established in the work on the sonatas. This would
have been to partly establish his own virtuosity on the instrument.
Slower second movement – Largo
The final movement in rondo form. Mozart would have used rondo in his works.
Beethoven – Symphony No. 1 in C major, Op. 21
Beethoven, L. (1862). Symphony No. 1. [Score][online]. Leipzig. Breitkopf and Härtel. Available from:
http://javanese.imslp.info/files/imglnks/usimg/7/73/IMSLP52848-PMLP01582Beethoven_Werke_Breitkopf_Serie_1_No_1_Op_21.pdf [Accessed on February 3rd 2013]
Four movements. Comparable to the later Haydn symphonies. Theme (exposition) followed by
development, repeat (reprise). First movements sonata form, traditional beginning.
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
Andante second music with Cantabile con moto.
Scored for the smaller orchestras that would have existed at that time, not the large force they
would become.
Very short third movement.
Finale – exposition quickly leads into the development. Fortemente parts which quickly
deconstruct into pianissimo.
Beethoven – Fidelio
Overture – strong opening on horns, gradually building dynamics. Repeating motif. Horns, woodwind
important to the opening. Much more expressive and colourful music than was normal in the
classical period. Clear adnace on symphony no 1 & piano concerto. Not the type of opera music that
Mozart would have written (WRONG!). Recitative text without continuo, a development from the
classical era.
Sadie, S, (Ed.)(1996). The New Grove Book of Operas. Basingstoke, UK. MacMillan Press Ltd.
Based on a libretto by Joseph von Sonnleithner, 1805. Revised by Stephan von Breuning, 1806 &
George Friedrich Treitschke, 1814. Based on a French Libretto called Léonore, ou L’amour conjugal.
The original version was premièred at Theatre an der Wien, Vienna on November 20th 1805 (1st
version). Revised (1806) at the same venue, March 29. Final version also in Vienna but at
Kärnertortheater on May 23rd 1814.
The opera is set in a Spanish state prison near Seville.
Beethoven originally began work in 1804 on a completely different librtetto, but abandoned that
project and started to work on this one under the original title Léonore, ou L’amour conjugal.
The themes of this story, undeserved suffering and heroic resolve were feelings that were close to
Beethoven heart at this time. The original three act opera only had three performances, with Vienna,
under Napoleonic occupation at the time, many of Beethovens supporters had left town and some
felt the opera too long. The revised two act opera was the result.
Beethoven preferred the title Leonore, but the theatre insisted on it being called Fidelio. Beethoven,
however, kept the name Leonore on both the libretto (1806) and the vocal score (1810). The 1814
version is very different from the first two and is now the accepted version of this work.
Symphony No 5 in C minor, op. 67 (1804-08)
Beethoven, L. (1862). Symphony No 5 in C minor. [Score][online]. Leipzig. Beitkopf & Härtel.
Available from: http://javanese.imslp.info/files/imglnks/usimg/0/0c/IMSLP52624-PMLP01586Beethoven_Werke_Breitkopf_Serie_1_No_5_Op_67.pdf [Accessed on February 5th 2013]
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
From the start the amazing first few bars, perhaps the most recognizable few bars of music ever
written. A remarkable first movement, very different from anything gone before, but retaining a
traditional form.
The slow movement further demonstrates the harmonic touches Beethoven had with slow
movements. Dynamics play a big role in the slow movement, with sudden bursts of forte busting
out of pianissimo sections. The unison notes that exist from the beginning of the first movement
continue to be a major factor in the slow (second) movement.
By this time Beethoven was using metronome markings, which were to become more important to
him as his career progressed.
Beethoven’s orchestral music had clearly moved away from the classical into the romantic by this
point, demonstrated emphatically in this work.
The dynamic range of this work is an important element.
In the finale, the music returns to the main theme established in the opening stanza. Beethoven
brings the work to resounding climax as it returns to the c minor key that the first movements
opened on. Again unisons play a key role at the end but this time with expanded chords.
String Quartet no. 14 in C sharp minor, Op. 131 (1825-26)
Beethoven, L. , Oram, W (Ed.)(2005). String Quartet No. 14 in C Minor, Op. 131. [score][online].
Mutopia Project. Available from: http://javanese.imslp.info/files/imglnks/usimg/0/01/IMSLP00901Quartet_o131-a4.pdf [Accessed on February 16th 2013].
Slow opening movement, leads into second movement without break, a devise used throughout thi
work (from memory). Both the opening movements marked adagio. When I first heard this work live
I thought it the finest string quartet I had ever heard (include link).
Change of mood as the work enter the third movement (Allegro molto vivace). Change of key. First
violin at start dotted crochet an octave apart.
Slight pause between third and fourth movements. Key changes again at start of this movement.
Longer sixth movement. Andante ma no troppo e molto espressivo.
C sharp minor – an unusual key.
Programme Music
In part influenced by the expressiveness of Beethoven’s music, romantic music became a way that
emotion and feeling could be expressed with music alone. i.e. without the recourse to a text. This
contrasts with the absolute music of the classical era.
Hector Berlioz’s (1803-69) Symphonie Fantastique is a good example of programme music. The work
was written about 1830, but after revision was not published until 1845. Berlioz had been influenced
by Beethoven’s Pastoral Symphony, which told of the moods and scenes of a day in the country. This
symphony was different from the classical symphonies in that it had five instead of four movements.
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
Berlioz too used this form for Symphonie Fantastique. The five movements representing different
events in a person’s life:
1.
2.
3.
4.
5.
Rêveries, Passions (Daydreams, Passions)
Un Bal (A Ball)
Scène aux Champs (Scene in the Fields)
Marche au Supplice (March to the Scaffold)
Songe d’une Nuit du Sabbat (Dream of a Witches’ Sabbath)
Berlioz uses a melodic motif to represent the heroine of the story in each movement.
Hector Berlioz – Symphonie Fantastique
1) Rêveries, Passions (Daydreams, Passions)
Quiet opening. Slow start, unusual for a symphonic work’s first movement. Quite mournful really.
But after the opening bars, goes into a much faster tempo and dynamically louder passage.
Passionate music could be a description of this first movement. Percussion and string have
important roles to play. Tempo and dynamics important elements in setting and changing the
atmosphere of the work. Sonata form.
2) Un Bal (A Ball)
Strings opening with glissandos on the harps. Setting up a waltz tune, hence the title. Waltz, rondo
structure to this movement. Ending on a flute solo before the full orchestra and strings come back in
for the climax.
3) Scène aux Champs (Scene in the Fields)
Oboe (?) solo to open this movement. This movement would be reminiscent of passages in
Beethoven’s Pastoral Symphony (No. 6). Does I think convey the feeling of fields very well. Slow
tempo and pizzicato string playing also help to convey that outdoor feeling. The woodwind parts are
also important devices in portraying the subject of this movement. Drum rolls at the end are
probably to depict thunder, as these are interspersed with oboe solos. Oboe has a very important
role to play in this movement.
4) Marche au Supplice (March to the Scaffold)
Largo start to this movement, side drum signalling the march style format of this movement. Faster
tempo prevails through most the middle section though. Trumpet comes into its own in this
movement and has a large role to play in the movement, being a military style atmosphere to the
work, side drums, cymbals and timpani also play important roles in this movement.
5) Song d’une Nuit du Sabbat (Dream of a Witches Sabbath)
Looked at this in the last project (E-flat clarinet). This instrument plays a key role in this movement.
Low strings convey some of the dark atmosphere of this work. Brass and tubular bells also key roles,
the Tuba adds to the low strings (double bass) to further give the music the low feel. In fact this
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
movement contains a lot of work for instruments at both end of the register. The e-flat clarinet
being from that end (sometimes known as the piccolo clarinet). At the other end tuba and double
bass also have important roles.
The programme:
http://www.hberlioz.com/Scores/fantas.htm [accessed February 17th 2013]
1st movement after reading the programme:
The slow tempo’d start is the awakening, whilst the start of the allegro signals the passion, when the
tempo falls off again, it is the changes of mood between the low momenst and the passionate
moment and depicts jealousy, religion and other passions that enter. The music at the start of the
allegro is repeated in each
Third movement:
"ranz des vaches" – cor anglais and the oboe.
Leonard Bernstein ( from the recording on Spotify):
Bernstein calls the Symphonie Fantastique the first music about a psychedelic ‘trip’, some 130 years
before the Beatles. This is qualified by Berlioz’s own reference to the artist (a musician) taking opium
in the programme notes he wrote.
Bernstein also gives example with the New York Philharmonic members of how the music works,
expressing the view of the psychedelic trip that Berlioz was embarking on.
Bernstein also talks about the tempo changes and something I didn’t mention earlier about the
violin playing between passages in short bursts not underneath the melody as you would expect.
The ide fix ?
Another form of programme music is the symphonic poem. Richard Strauss (1864-1949) was a main
contributor to this genre.
Gustav Mahler (1860-1911) is another composer of programmatic music.
Listen carefully and describe the elements used in a Mahler Symphony (no. 8).
Elements to look out for:
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Imaginative orchestration
Quotes of his own music
Melody lines that demonstrate passion for song
Link of instrumental music with texts
Themes linked between movements
Familiar themes in different contexts
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
1st mvt – organ opening quickly joined by choral group and other instruments
2nd mvt – choral music with minimal orchestration or instruments other than voice. Counterpoint of
voices giving atmosphere to the texture.
3rd mvt – voices tail off, to be replaced by brass before the choral music again returns, with a flute
accompaniment.
4th mvt – voices give way to light orchestral sound, woodwinds, strings played pizzicato, with
occasional flourishes of brass interspersed.
5th movt – voices return, again counterpoint being a key feature. Flutes and piccolo a key feature of
this music, along with the voice and counterpoint of the voice, brass in short passages and to the
overall texture. & 6th mvt
7th mvt – The work is building upto a great celebratory style of music. The brass section especially
important in getting the overall glorification of the music right.
Each mvt or short section moves into the next without break, this gives the music a feeling of being
one continual piece, like a continuous scene in an opera. The intervals between the choral sections
are filled with mainly woodwind and brass part. Tempo has remained steady from the start.
It is in fact split into two parts, will have to do some contextual research for this symphony.
1st part – Hymus “Veni creator spirit”
2nd part – Final scene from Goethe’s “Faust”
Each part is made up of songs or sections.
Part two opens with flute and horn, in an adagio or largo tempo. This opening gives the music a
serene atmosphere, but the character of this changes as the orchestration brings in lower strings,
trombones, and a little timpani.
The second section of part two changes to an allegro with brass and strings giving the music a far
richer timbre.
Unison notes in third part (flute), with short bursts of male voice give a slightly eerie feel to this
section. This leads into the next section where solo voice takes over, with accompaniment. Choral
parts all linked together by thoughtful instrumental parts, some solo, and some ensemble. In many
ways the eighth is like an oratorio.
Mahler takes us through many emotions and feeling with this work, using orchestration, the voice
and other fare, all linked together. The choral parts often seen only distantly accompanied by
instrumental music, giving the feel of the scene being outdoors.
Some wonderful melodic singing (baritone) followed by another link where harp is joined by strings
and oboe as the next part is reached, rising dynamics another factor to change the expressive nature
of the work.
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
In the final section after the choral part end, Mahler bring the symphony to an end in a more
traditional way, as brass, cymbals and timpani along with the other orchestral voices take the work
out.
Enjoyed listening to this piece.
http://www.seattlesymphony.org/symphony/buy/single/programnotes.aspx?id=6112 – accessed on
February 18th 2013.
This symphony was composed in 1906, and comprises of two parts based on two texts. The first part
is based on the tenth century hymn, Veni, Creator spiritus, whilst the second part is based on the
final part of Goethe’s verse drama, Faust. The popular name of the symphony is Symphony of a
Thousand.
Gustav Mahler (1860-1911).
Although the work was composed in 1906, Mahler conducted its première in Munich in 1910
(September 12).
All of Mahler’s symphonies contained references to either religious or existential themes.
Mahler, born a Jew, converted to Catholicism, so religion played a fundamental part in his life. His
wife Alma is quoted as saying he could not pass a church without going inside.
The première of this work was the greatest public success that Mahler had in his career.
The inspiration for using the 10th century hymn, “Veni, Creator Spiritus” came to him whilst walking
in the woods to the hut where he worked on his compositions in the summer months and he wrote
music to the only partly remembered text immediately. He then telegraphed for the full text to be
sent to him.
Goethe’s Faust always had a deep spiritual meaning to Mahler, which gave his the inspiration to use
this for the second half of the symphony.
Mahler composed the first half very quickly as he went through a period of inspired creativity.
Unusual orchestral forces were used in this work, including piano (unusual in an symphonic usage),
organ, celeste, mandolin and harmonium.
Nationalism in Music
As the war riddled the romantic period, European boundaries and National identities changed, which
resulted in an interest amongst musicians to preserve the heritage of the music native to their
countries. This was especially prevalent in countries that had experienced political unrest, such as
Russia or Czechoslovakia. Countries that wished to set themselves apart from the dominant music of
Germany and Russia also seeked national identity. These included Britain and France.
Some composers identified with these movements are:
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Tchaikovsky (Russia)
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Notes for Music from The Present to the Past, Part 3, Project 2 – Romantic Music (Neil Thomas 509009)
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Smetana and Dvorak (Czechoslovakia)
Grieg (Norway)
Vaughan Williams (Britain)
Albéniz (Spain)
Bartók (Hungary)
Composers incorporated folk melodies into their works, whilst others based music on the folk stories
and histories of their respective countries.
Tchaikovsky – Violin Concerto
Tradition Russian features of this work.
Right from the opening bars there is a melody behind the main theme which sets the atmosphere as
being very much of Russian background. This is before the solo, this melody is also apparent in the
exposition. Besides the melody the rhythm of the opening also is characteristic of Russian folk
dances.
Tchaikovsky named the slow movement canzonetta, which is described as a short polyphonic dancelike vocal piece. The use of this word could be that Tchaikovsky intended this as an equivalent to a
traditional folk song, with the violin solo replacing the vocal.
The key to the traditional aspects of this work is the rhythm. The rhythm gives the whole work a very
Russian feel and atmosphere.
The Lark Ascending by Vaughan Williams
The very start of the work has very English texture, the flute solo sets the work as being in the
English countryside, imitation birdsong is what RVW is trying to achieve here. The rhythm also seems
to have an Englishness about it. The melodic quality of the violin solo is also reminiscent of English
folk songs. The pizzicato strings behind the violin melody could also be the equal of the lute in earlier
English folk songs (medieval times).
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