the late romantics - murray high school choirs · 2018. 11. 27. · the rise of realism •...
TRANSCRIPT
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Chapter 19
The Late Romantics
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Late Romantic Timeline 1800 1850 1900
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Key Terms
• Realism • Symphonic poem • Nationalism • Exoticism • Kuchka • Classicism • Romantic nostalgia
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1848
• A year of failed revolutions –France, Italy, various German states –Hopes for freedom seemed to die
• A convenient point of demarcation –Early Romantics were dying –Exile transformed Wagner’s career –Romanticism lived on as nostalgia
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The Rise of Realism
• Dominated literature and art from 1850s on –Novelists Dickens, Eliot, Balzac, etc. –Painters Courbet, Eakins –French and Italian opera
• Orchestral music assumed inspirational yet escapist function
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Liszt’s Symphonic Poems
• A new genre: a one-movement orchestral work with a program
• Free musical form • Literary connection • The impetus for late Romantic
program music –Genre used by many composers
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Pyotr Ilyich Tchaikovsky(1840–1893)
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Pyotr Ilyich Tchaikovsky(1840–1893)
• Music not a “respectable” career – Fortunate to study at St. Petersburg
Conservatory – Professor at Moscow Conservatory at 26 – Long subsidized by wealthy recluse
• Prolific composer and beloved melodist – Six symphonies, 11 operas, symphonic poems,
ballets, chamber music, songs, concertos
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Tchaikovsky, Romeo and Juliet
• A symphonic poem –“Symphonic fantasia,” “overture-
fantasy” • Easy to link themes to original play
–Romantic melody for two lovers –Agitated theme for families’ enmity –Hymnlike theme for friar
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Form of Romeo and Juliet
• Slow intro • Main section • Development • Free recapitulation • Coda
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Slow Introduction
• Somber hymn theme statements
• Anguished strings answer – Forecast unhappy outcome
• High woodwind announcement • Repeats and builds to climax
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Allegro
• Vendetta (Fate) theme
• Shifts to Love theme • Interrupted by sighing figure
• Returns to Love theme
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Development
• Reminiscent of sonata form development
• Battle between Vendetta and Hymn themes
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Free Recapitulation
• Vendetta theme returns • Sighing motive and Love theme return
• Vendetta and Hymn themes combine once more
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Coda
• Begins with broken version of Love theme
• Woodwinds sound an optimistic note • Harp strumming introduces Love
theme –New cadential version
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Nationalism
• Struggles for independence throughout Europe
• Growing consciousness of national character
• Gave rise to nationalism in music – Stirred strong emotions at home – Made an effective ambassador – Independent from mainstream
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Nationalism in Music
• How do you evoke national character? – Quote folk songs or dances, patriotic songs,
national hymns or anthems – Use folk tales, legends, or history – Draw on national literary traditions – Draw on national landmarks or geographic
features • Opera, songs, and program music favored
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Nationalist Composers
• Bohemia (Czech Republic)—Smetana, Dvorák
• Norway—Grieg • Finland—Sibelius • Denmark—Nielsen • Spain—Granados, Turina, Falla • Great Britain—Elgar, Vaughan Williams • United States—Gottschalk, MacDowell
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Exoticism
• Composers often evoked sounds of cultures other than their own – Verdi (Italian)—Egyptian music for Aida – Bizet (French)—Spanish music for Carmen – Dvorák (Czech)—American music for New
World Symphony • Sounds used for exotic atmosphere
– Not for nationalistic self-definition
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The Russian Kuchka
• Close group of 5 Russian nationalists – Balakirev, Borodin, Cui, Musorgsky, Rimsky-
Korsakov – Kuchka = Group or clique – “Mighty Five” or “Mighty Handful”
• Determined to make Russian music truly “Russian” – Deep interest in collecting folk songs – Committed to self-improvement
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Modest Musorgsky (1839–1881)
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Modest Musorgsky (1839–1881)
• Held military and clerical positions • Joined the kuchka in his twenties
– The most radical of the five – Intense vision of a truly Russian music
• Wrote operas, songs, program works – Boris Gudonov
• Unstable personality, filled with doubts – Died at 42 of alcoholism and epilepsy
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Musorgsky, Pictures at an Exhibition
• Set of character pieces for solo piano – Title refers to memorial art exhibit – Each piece depicts a painting
• Scored for orchestra by Ravel in 1922 • “Promenade” provides overall unity
– Music for walking from one painting to the next
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“Promenade”
• Theme recalls a Russian folk song • Breaks with European norms
– Changing, irregular meters (5/4 and 6/4) – Angular melodic contours – Mostly based on pentatonic scale
• Orchestrated for brass, later woodwinds and strings
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“Gnomus”
• Drawing of a Russian folk-art nutcracker • Macabre music for a grotesque figure
– Lurching rhythms depict gnome’s clumsy gait – Striking dissonant harmonies; odd leaps – Eerie tone colors
• Form alternates three ideas – A B A C A C A C A C B A′
• Many features break with European norms
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“The Great Gate at Kiev”
• Overall form A B A B C A – A and B are real Russian melodies
• A: Majestic processional theme
• B: Quiet Russian hymn
• C: Promenade theme
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Responses to Romanticism
• After 1850, Romantic music began to seem out of place
• Composers responded in different ways
• Brahms: return to Classical models • Mahler: nostalgia for Romanticism
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Johannes Brahms (1833–1897)
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Johannes Brahms (1833–1897)
• Son of a bassist in Hamburg • Started musical studies at age 7 • Later played piano in taverns • Befriended the Schumanns at age 20 • Part of Brahms-Wagner controversy • Uneventful bachelor existence in Vienna • Conducted a chorus for a time
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Brahms’s Music
• Tried to temper Romantic emotion with Classicism’s strength and poise
• Rejected many Romantic innovations –Went back to traditional genres –Found new life in Classical forms –Still Romantic in expressive effect
• Beethoven was a lifelong model
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Brahms, Violin Concerto in D
• Concertos show off virtuosos – This one for Joseph Joachim – Joachim wrote first-movement cadenza
• Uses Classical movement plan – I: Fast, double-exposition sonata form – II: Slow movement – III: Fast, rondo form
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Brahms, Violin Concerto in D, III
• Rondo theme – Exoticism: Gypsy fiddling – Double stops add to effect
– Cross-rhythms disrupt meter
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Brahms, Violin Concerto in D, III
• Episodes provide various contrasts – Romantic sweep in B – Lyrical tune in C
– Short cadenzas feature soloist • Thematic transformation in coda
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Brahms, Violin Concerto in D, III
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Brahms, Violin Concerto in D, III
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Gustav Mahler (1860–1911)
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Gustav Mahler (1860–1911)
• Born into dysfunctional family • Musical training at Vienna Conservatory • Pursued career as a conductor
– Led many of the finest orchestras of his day – 10 years at Vienna Opera (faced anti-Semitism) – Later, Metropolitan Opera and New York Phil
• Wrote 10 long symphonies and 6 song cycles
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Mahler’s Romantic Nostalgia
• Embraced Romanticism’s excesses – Wrote huge program symphonies – Attempted to express spiritual or
metaphysical messages • Could not fully enter Romantic fantasy
world – Pits lost innocence against cynical realism – Deliberate, self-conscious exaggeration,
distortion
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Mahler, Symphony No. 1
• Complicated composition process –First a symphonic poem –Grew into five-movement symphony –Revised into four movements –Program later withdrawn
• Shows his distinctive style of orchestration
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The Huntsman’s Funeral Procession
• A nursery picture – Animals shed tears as they follow the
hearse of a hunter – Full of pomp and ceremony
• Innocuous qualities mask incongruities – Why would animals mourn their tormentor?
• Inspired Mahler’s parody funeral march
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Mahler’s Use of “Frère Jacques”
• Feeling of tragedy is deflated when you recognize the tune
• Distortions disguise it – Minor mode, slow tempo, altered notes – Bass playing in high register
• Vulgar dance-band phrases also deflate the mood
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Symphony No. 1, III, Funeral March
• Very free march-trio-march form • March theme treated as a round
• Section 2 dance-band fragments
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Symphony No. 1, III, Funeral March
• Trio offers a complete contrast – Begins with warm, major-mode sounds – Trio’s theme is delicate, lyrical – Innocent tune soon turns bittersweet
• March returns in final section
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Symphony No. 1, III, Funeral March
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Symphony No. 1, III, Funeral March