Big Ideas Simply Explained - The Classical Music Book

["ROMANTIC 1810\u20131920 199 See also: Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-midi d\u2019un faune 228\u2013231 \u25a0 Le Sacre du printemps 246\u2013251 \u25a0 November Steps 314\u2013315 \u25a0 L\u2019Amour de loin 325 of unknown regions. The decisive Mahler wrote Das Lied von der Erde Gustav Mahler impetus for the cult of exoticism while staying at the Hotel Bellevue in came in the 19th century, as the Italian town of Cortina. The peaks The second of 14 children of European powers busily pursued of the Dolomites provided a dramatic Jewish parents, Mahler was global empire-building rivalries. backdrop for his compositions. born in 1860 and spent his At home, industrialization created childhood in the Czech- rapid growth in towns and cities, east. Operas were set in alluringly speaking town of Iglau (now with populations living and foreign settings, such as Giuseppe Jihlava). He gave his first working in oppressive conditions Verdi\u2019s Aida (1871), a fictional story piano recital at age 10 and five that generated an inner need for of ancient Egypt. In orchestral years later entered the Vienna psychological escape. music, Russia\u2019s Nikolai Rimsky- Conservatory. His cantata Das Korsakov based his symphonic klagende Lied (1880) showed Selling the exotic suite Scheherazade (1888) on amazing early self-awareness, The world of literature latched stories from a collection of Middle exploring a spectral, folk-tale onto the sales possibilities of exotic Eastern folk tales that became world in a vivid orchestral subject matter, as in the South Seas known as The Arabian Nights. The style. A stellar conducting tales of Robert Louis Stevenson French composer Claude Debussy career led to the composer\u2019s (1850\u20131894) or the romanticized found the piano especially suitable appointment in 1897 as artistic Native American world depicted for suggesting images of remote director of the Vienna Court in The Song of Hiawatha by Henry worlds, using Javanese melodies Opera. Mahler wrote most Wadsworth Longfellow (1807\u20131882). in Pagodes (Pagodas), from his of his music\u2014largely song Exoticism also flourished among Estampes (Engravings) of 1903. settings and symphonies\u2014 painters. French artist Paul Gauguin during summers among the (1848\u20131903) moved to the French Life through new eyes Austrian lakes. Polynesian island of Tahiti in 1891, Before he composed Das Lied von to explore new avenues of artistic der Erde, Mahler did not seem to be Departure from the Vienna expression, aware that the European influenced by the growing European Court Opera in 1907 was vogue for the exotic would ensure love of exoticism. His choice of texts followed by conducting work sales of his work in Paris. for his songs and symphonies had in New York. Mahler died soon come mostly from one particular after returning to Europe from European classical music, too, area of Austro-German culture: the America, in 1911. was drawn to the imagined sounds folk poetry, usually anonymous, \u276f\u276f of enticing worlds to the south and Other key works 1888\u20131894 Symphony No. 2 (\u201cResurrection\u201d) 1892\u20131901 Des Knaben Wunderhorn (The Boy\u2019s Magic Horn) 1908\u20131909 Symphony No. 9","200 EXOTIC WORLDS IN MUSIC Romantic themes and images in Das Lied von der Erde The Wanderer Wine A solitary protagonist A goblet of wine beckons searches for comfort for the Wanderer, representing his lonely heart and solace both joy in life and a desire in the face of life\u2019s brevity. for oblivion. Galloping horses A howling ape Some maidens are An ape cries out on drawn to handsome a tombstone in the young men who moonlight, symbolizing appear on horseback, death and the transitory but their passion is nature of life. fleeting and unfulfilled as the horses carry the riders away. Setting sun and rising moon An extinguished lamp Darkness approaches as the The light of love burns bright inevitable end to the day, just as but cannot burn forever and death will follow life\u2014but with will, in time, fade, to be taken the promise that a new day will over by the darkness of death. dawn and nature will persist. assembled by Achim von Arnem of serene acceptance of life and serenity and clarity which I had and Clemens Brentano in their death, rather than the keenness for acquired. I have to start a new collection Des Knaben Wunderhorn turbulent self-dramatization of both life as a complete beginner.\u201d (The Boy\u2019s Magic Horn), published displayed in western Romanticism. in 1805 and 1808. For Lieder eines Bethge\u2019s adaptation of the fahrenden Gesellen (Songs of a When Mahler read a copy of Die original Chinese texts was not Wayfarer, 1885\u20131886), Mahler had chinesische Fl\u00f6te (The Chinese particularly faithful. He knew no written his own texts in a similar Flute)\u2014a collection of Chinese Chinese and used a German folk style, with a wide range of poems adapted by German poet translation of a French translation emotional moods projected against Hans Bethge\u2014in autumn 1907, the of the original. In effect, Bethge\u2019s the surrounding, vividly perceived composer was already familiar with poems were beautifully written world of nature. the artistic world within its pages. paraphrases, evoking an emotional Mahler\u2019s life was also in a turbulent world that was by turns anguished, East meets West state, coloring his view of life and poignant, idyllic, resigned, Mahler did not, however, ignore death. The devastating death of drunken, or quietly radiant, all eastern culture. The song cycle his four-year-old daughter in the reflected in exquisitely drawn Kindertotenlieder (Songs on the summer of 1907 was followed by scenes from nature. This approach Death of Children) composed in the onset of a heart condition that connected more to the world of 1901\u20131904 was based on poems required Mahler to slow down. In German lyric poetry that was by Friedrich R\u00fcckert (1788\u20131866), a letter to the conductor Bruno familiar to Mahler than to the a German professor of eastern Walter, his former assistant at the 9th-century Chinese originals, with languages. R\u00fcckert\u2019s writings were Vienna Court Opera, Mahler wrote: their ultra-concentrated diction. influenced by the eastern concept \u201cI have always known that I must Still, Mahler alluded to exotic die \u2026 but all at once I have lost the influences by using the oriental","ROMANTIC 1810\u20131920 201 Is it at all bearable? Will it Einsame im Herbst\u201d (\u201cThe Lonely Mahler\u2019s struggles are drive people to do away One in Autumn\u201d). Then comes a those of a psychic weakling, group of three shorter settings, with themselves? prominently colored by the a complaining adolescent Gustav Mahler pentatonic scale, recalling the who enjoyed his misery, innocent happiness of youth and wanting the whole world to five-note \u201cpentatonic\u201d scale the joys of springtime. The final see how he was suffering. (distinct from the Western seven- setting, \u201cDer Abschied\u201d (\u201cThe note scale), providing an element Farewell\u201d), is longer than the other Harold Schonberg of local color that his European five songs combined. Two different audiences would easily recognize. poems are here separated by an American critic orchestral interlude and lead Large ambitions eventually to a conclusion with to Mahler\u2019s deepest creative and In Das Lied von der Erde, Mahler words added by Mahler himself: personal concerns than to a fashion managed to combine his two \u201cEverywhere the dear earth for \u201cexoticism for exoticism\u2019s sake,\u201d principal musical concerns\u2014song blossoms forth in spring and grows but, without that fashion and the and the symphony\u2014in a single green again! Everywhere and inspiration Mahler found in Eastern large-scale work for the first time. forever, distant horizons gleam culture, Das Lied von der Erde In his Second, Third, and Fourth blue: forever \u2026 forever \u2026\u201d could not have existed. \u25a0 Symphonies, there had been a substantial overlapping of the two The music seems not so much genres; in Das Lied von der Erde to end as to dissolve into this vision, their fusion is so complete that in which awareness of human neither can be separated out. A mortality is transcended by the tenor and mezzosoprano alternate perception that life and the natural in the six song settings, and Mahler world will timelessly be renewed. deploys a large orchestra with The work as a whole relates more exceptional sensibility to mood and color, often with the finesse of a chamber group of solo instruments. The opening \u201cDas Trinklied vom Jammer der Erde\u201d (\u201cDrinking-Song of the Earth\u2019s Sorrow\u201d), music of wild and despairing fatalism, is followed by the desolate depiction of a mist-covered lake in \u201cDer Mahler\u2019s diverse influences are satirized in this caricature of him conducting his Symphony No. 1 in D major, from a November 1900 edition of Illustriertes Wiener Extrablatt.","NATION 1830\u20131920","ALISM","204 INTRODUCTION Russian composer Gabriel Faur\u00e9\u2019s Anton\u00edn Dvor\u02c7\u00e1k\u2019s Modest Mussorgsky Requiem introduces Symphony No. 9, Bedr\u02c7ich Smetana writes Pictures at an a new, more subtle inspired by Native establishes Czech opera Exhibition, inspired by the with The Bartered Bride, death of the Russian artist style to the form, American music and inspiring other African American incorporating Czech Viktor Hartmann. French composers. songs, premieres. themes and written in the Czech language. 1863 1874 1887\u20131890 1893 1869 1875 1890 Mily Balakirev In Norway, Edvard One of Russia\u2019s \u201cFive,\u201d establishes the \u201cFive,\u201d Grieg completes the Aleksandr Borodin music for Henrik Ibsen\u2019s adapts the 12th-century a group of Russian Peer Gynt. Based on a epic prose poem The Lay composers who sought of Igor\u2019s Host to develop to create music with a folk tale, the work his opera Prince Igor. becomes a national epic. Russian identity. A s the 19th century Nationalism in music did not Russian composers who became progressed, a growing confine itself to subject matter. known as the \u201cFive\u201d or \u201cMighty mood of nationalism Composers incorporated folk songs Handful\u201d (Aleksandr Borodin, developed, and people sought and dances into their music or C\u00e9sar Cui, Modest Mussorgsky, individual identities as nations composed their own melodies and Nikolai Rimsky-Korsakov), distinct from the old empires. The using elements of a particular whose work later influenced Pyotr dominant culture in Europe was tradition of folk music, such as Ilyich Tchaikovsky, Alexander Germanic, and this was especially its scales and rhythms. Glazunov, and, in the 20th century, true of the music being written for Sergei Rachmaninoff. the concert halls and opera houses. Russia leads The first signs of nationalism The wave of nationalism gained A tradition of folk music thrived in music came from Russia, momentum in the mid-19th century, almost everywhere, as regional and which had started to assert its especially as the Austro-Hungarian local cultures of the many different independence from European Empire crumbled. Countries were people asserted themselves. It was culture at the beginning of the proud of their own folk culture, and this that provided the inspiration Romantic period. Mikhail Glinka\u2019s especially their music. Chopin for composers wishing to establish operas were based on Russian tinged much of his piano music a musical identity that matched the stories, with Russian folk tunes with inflections of folk melodies nationalistic ideals of their people. presented in the Romantic style, from his native Poland, and wrote Opera was an obvious starting inspiring more than a century of several polonaises, while Liszt point, as it could be based on distinctively Russian music. Quick incorporated Hungarian dance national history and legends, but to take up the baton, Mily Balakirev styles into his work. More overtly the same ideas were also expressed gathered together a group of nationalistic was Bedr\u02c7ich Smetana, in programmatic orchestral works. who became a champion of Czech","NATIONALISM 1830\u20131920 205 The seven-scene opera Jean Sibelius\u2019s Isaac Alb\u00e9niz\u2019s Sadko by Nikolai Finlandia is Iberia suite conjures Rimsky-Korsakov up the landscapes of composed as a form Southern Spain and evokes a Russian epic of protest against the the Jewish quarter poem about a merchant actions of the Russian of Madrid. from Novgorod. Empire in Finland. 1898 1900 1908 1896 1900 1919 American composer In England, Edward Spanish composer Edward MacDowell, Elgar\u2019s The Dream of Manuel de Falla\u2019s Gerontius applies the ballet El sombrero de a member of the dramatic devices of late tres picos premieres Second New England Romantic opera to a choral in London, with sets School, publishes Ten work with great success. Woodland Sketches. by Pablo Picasso. nationalism with operas in his Americans had a long-established in the process of unification, but native language on Czech themes. folk culture, the more recent settlers their cultures\u2014especially their Later Czech composers included had yet to develop one. As a result, musical cultures\u2014needed little Anton\u00edn Dvor\u02c7\u00e1k and Leo\u0161 Jan\u00e1c\u02c7ek. composers such as Louis Moreau reinforcement. The same was true Gottschalk borrowed from the to a lesser extent of France, but Nationalism in music spread songs and dances of slaves in the composers such as Gabriel Faur\u00e9 north into Scandinavia, too, with Southern States and the melting and Camille Saint-Sa\u00ebns sought folk-inspired music from Edvard pot of sounds in places like New to distance themselves from the Grieg, Carl Nielsen, and Jean Orleans. These forms eventually Germanic Romantic-style and Sibelius, and south to Spain, where evolved into ragtime and jazz. wrote music that was lighter composers such as Isaac Albeniz and more transparent. and Manuel de Falla tapped into a The spirituals of the African particularly rich source of folk music. slaves influenced popular song In Britain, where composers writers, such as Stephen Foster. generally accepted German American sounds Along with the hymn tunes sung domination of music, Edward As Anton\u00edn Dvor\u02c7\u00e1k discovered by the early settlers, they formed Elgar embraced the richness of the when he visited the US at the end the basis for an American classical orchestral sound and harmonies of the century, America had also tradition pioneered by Edward of German music but pursued a developed its own musical voice, MacDowell and Charles Ives. nationalistic intent, with evocations a mix of styles and traditions that of the English landscape and reflected the diversity of its people. In Europe themes. Later English composers, It was also a young culture, finding Some countries did not feel the such as Ralph Vaughan Williams, its way after centuries of following same need to flex their nationalist came to use this style as a vehicle Europe\u2019s lead. Although Native muscles. Italy and Germany were to carry folk tunes. \u25a0","206 MMTHEYAAFNNASTAHNMEYORTRLHEAINNTGDOEMLESE TBHEEDRB\u02c7 IACRHTSERMEEDTABNRAIDE (1866), IN CONTEXT T he second and best-loved Marenka are united in the end, and of Czech composer Bedr\u02c7ich Jenik is revealed as the long-lost FOCUS Smetana\u2019s operas, The son of Vasek\u2019s rich father. The opera 19th-century Czech opera Bartered Bride (Prodan\u00e1 nevesta), is is a melding of French and Italian about two young lovers\u2014Marenka influences with inspiration from BEFORE and Jeniken\u2014in a Bohemian Czech folk settings and traditions, 1826 Franti\u0161ek \u0160kroup\u2019s village. They want to marry, but particularly dances such as the Dr\u00e1tenik (The Tinker), widely Marenka\u2019s parents, swayed by the polka and the furiant. regarded as the first Czech village marriage broker, intend her opera, has its premiere. to wed Vasek, the simple-minded A new Czech identity son of a wealthy landlord. Jenik and During the 1860s and 1870s, 1842\u20131845 Czech poet Smetana almost single-handedly and historian Karel Erben The Bartered Bride is only created Czech opera by writing publishes a pioneering a toy and composing it was operas in the Czech language. collection of Bohemian merely child\u2019s play! \u2026 At the Czech culture had long been folk songs. influenced by the Habsburg time of writing, it was Empire. By the mid-19th century, 1865 Karel Sebor\u2019s opera my opinion that not however, nationalist aspirations Templari na Morave even Offenbach could were strong, and these grew in (The Templars in Moravia) is compete with it! 1860 when the imperial authorities performed to local acclaim at Bedr\u02c7ich Smetana handed greater powers to the Prague\u2019s Provisional Theatre. Czech parliament in Prague. Funds were raised to build a theatre for AFTER Czech drama and opera, and it was 1901 Rusalka, Anton\u00edn here that Smetana\u2019s first two operas Dvor\u02c7\u00e1k\u2019s most successful were premiered. He completed six opera, is premiered at Prague\u2019s more operas, along with a cycle of National Theatre. symphonic poems called M\u00e1 vlast (My Fatherland), celebrating Czech 1904 Leo\u0161 Jan\u00e1c\u02c7ek\u2019s opera landscapes and culture. \u25a0 Jenu\u00b0fa is performed for the first time in the Czech city of Brno. See also: The Magic Flute 134\u2013137 \u25a0 The Barber of Seville 148 \u25a0 Der Freisch\u00fctz 149 \u25a0 La traviata 174\u2013175 \u25a0 The Ring Cycle 180\u2013187","NATIONALISM 1830\u20131920 207 MOTYFUPSRISFUIOSERSSGIATSHKEYGENIUS PICTURES AT AN EXHIBITION (1874), MODEST PETROVICH MUSSORGSKY IN CONTEXT T he Russian composer Boris Godunov in January 1874, Modest Mussorgsky\u2019s which marked the public high point FOCUS Pictures at an Exhibition of his career. The piano suite was Nationalism in 19th- is a piano suite in 10 movements. not performed in the composer's century Russian music Each movement was inspired by lifetime, but its intensity and the work of fellow Russian Viktor complexity, and distinctly Russian BEFORE Hartmann, an architect and artist. subject matter, helped to achieve 1815 In St. Petersburg, the ultimate ambition of the \u201cFive\u201d Venetian-born Catterino Cavos Mussorgsky belonged to a to give Russian music its own composes Ivan Susanin, the generation of composers who, in unmistakable voice. \u25a0 first opera about Russian the 1860s, gave Russian music characters, based on Russian its first distinctive voice. He was The early, alcohol-induced death history, and incorporating part of a group nicknamed the of Mussorgsky, painted here by Ilya Russian folk music. \u201cFive,\u201d also known as the \u201cMighty Repi in 1881, the year that he died, left Handful,\u201d who sought to create Rimsky-Korsakov and other composers 1836 Mikhail Glinka\u2019s A Life music without being confined by to finish or revise his work. for the Tsar has its premiere western European conventions. in St. Petersburg. It is the first Besides Mussorgsky, the \u201cFive\u201d all-sung opera by a native were Mily Balakirev (1837\u20131910), Russian composer. the group\u2019s initial guiding spirit; Aleksandr Borodin (1833\u20131887), a AFTER scientist as well as a musician; 1896 Nikolay Rimsky-Korsakov C\u00e9sar Cui, best known as a critic; undertakes the first of his and NikolayRimsky-Korsakov, revisions of Mussorgsky\u2019s who played a key role in mentoring opera Boris Godunov. For a new generation of composers, decades, these remain the including Aleksandr Scriabin most-performed versions. and Sergei Rachmaninoff. 1922 French composer Pictures at an Exhibition Maurice Ravel produces an was composed shortly after the orchestrated version of premiere of Mussorgsky\u2019s opera Pictures at an Exhibition. See also: Dvor\u02c7\u00e1k\u2019s Symphony No. 9 212\u2013215 \u25a0 Le Sacre du printemps 246\u2013251 \u25a0 Romeo and Juliet 272 \u25a0 Shostakovich\u2019s Fifth Symphony 274\u2013279","208 IFHIAASMSHASINUTRAITSETMEYOMFUCSOIDC PEER GYNT (1875), EDVARD GRIEG IN CONTEXT I ncidental music has probably \u201cThe Dance of the Trolls\u201d was existed as long as theatre illustrated in macabre style by the FOCUS itself. It was intrinsic to British artist Arthur Rackham for Music for the theatre Shakespeare\u2019s plays, which include an edition of Ibsen\u2019s Peer Gynt. cues for instrumental music as well BEFORE as songs\u2014some 100 in total\u2014 productions of Oedipus at Colonus 1810 Beethoven writes the although no scores have survived. and Racine\u2019s Athalie in 1845. In incidental music to Goethe\u2019s 1849, Robert Schumann wrote tragic play Egmont. By the late 1700s, Europe\u2019s music to accompany Byron\u2019s major theatres would employ dramatic poem Manfred. 1843 Shakespeare\u2019s A a substantial orchestra, and Midsummer Night\u2019s Dream sometimes vocal soloists and Norwegian collaboration opens in Potsdam with a chorus, to accompany plays. When Henrik Ibsen, Norway\u2019s most Mendelssohn\u2019s music. Examples of incidental music celebrated writer, completed Peer of the 18th and early 19th century Gynt, based on a Norwegian folk 1872 Grieg composes music include Mozart\u2019s Thamos, King of hero, in 1867, he thought of it as a for Bj\u00f8rnstjerne Bj\u00f8rnson\u2019s Egypt (c.1773\u20131779), Beethoven\u2019s Sigurd Jorsalfar, celebrating Egmont (1810), and Schubert\u2019s King Sigurd I of Norway. Rosamunde (1823), which were of sufficient quality to make it AFTER into the concert hall. 1908 La Mort du duc de Guise, a film with a score by Camille The music that Felix Saint-Sa\u00ebns, opens in Paris. Mendelssohn composed for a German-language production of 1915 Edward Elgar writes Shakespeare\u2019s A Midsummer the incidental music for The Night\u2019s Dream was one of the most Starlight Express, a children\u2019s successful pieces to make such a play by Violet Pearn. transition. It was first staged in Potsdam, Germany, in 1843, including a masterful overture written when the composer was just 17. While under the patronage of Frederick IV, king of Prussia, Mendelssohn would go on to compose incidental music for","NATIONALISM 1830\u20131920 209 See also: The Bartered Bride 206 \u25a0 Pictures at an Exhibition 207 \u25a0 Dvor\u02c7\u00e1k\u2019s Symphony No. 9 212\u2013215 \u25a0 Finlandia 220\u2013221 \u25a0 Appalachian Spring 286\u2013287 I have also written that reference the major characters Edvard Grieg something for the scene and scenes in the drama: \u00c5se; in the hall of the mountain Anitra, a Bedouin chief\u2019s daughter Grieg was taught to play the King \u2026 it absolutely reeks whom Peer tries to seduce; Ingrid, piano by his mother, a music of cow pies, exaggerated the farmer\u2019s daughter he abducts teacher in the Norwegian Norwegian provincialism, on the eve of her wedding; the troll town of Bergen, where he was and trollish self-sufficiency. kingdom into which he stumbles; born in 1843. As a teenager, and Solveig, the faithful woman Grieg met the internationally Edvard Grieg who waits patiently for his return. acclaimed violinist Ole Bull, who urged his parents to send poetic drama, to be read rather Genre in decline him to study at the Leipzig than staged. Seven years later Later examples of incidental Conservatoire. There, he was when Ibsen adapted his work for music that survive outside their influenced by Schumann and a full-scale stage production, he original theatrical contexts include Mendelssohn; it was only invited another internationally Faur\u00e9\u2019s and Sibelius\u2019s music for later, in Copenhagen, that renowned Norwegian artist\u2014 Pell\u00e9as et M\u00e9lisande, Debussy\u2019s Grieg became interested in Edvard Grieg\u2014to compose music Le martyre de Saint S\u00e9bastien, the Norwegian folk tunes that for the first production. Grieg had Elgar\u2019s The Starlight Express, and inspired his music. already produced successful Sibelius\u2019s The Tempest. Incidental incidental music for Bj\u00f8rnstjerne music is still commissioned for In 1867, Grieg married his Bj\u00f8rnson\u2019s play Sigurd Jorsalfar. some theatrical productions but cousin Nina Hagerup, for The collaboration between Ibsen is generally performed with fewer whom he composed many and Grieg would elevate Peer Gynt musicians or even prerecorded. songs. The following year, he to the status of national epic. Modern examples include Michael wrote his one piano concerto, Tippett\u2019s music for The Tempest which, like Peer Gynt, brought Emotive music and Harrison Birtwistle\u2019s Oresteia. lasting fame. In later life, he Grieg eventually produced more Some characteristics of the genre devoted himself to smaller than 20 individual pieces for the have migrated to film, television, piano works, especially the 10 numerous cues in Ibsen\u2019s five-act and even video games. \u25a0 volumes of Lyric Pieces, some drama, reflecting the emotional of which draw on folk idioms. mood of each moment\u2014from the The more he saturated Grieg died in Bergen in 1907. uproar of the Hall of the Mountain his mind with [Peer Gynt], King to the grief-filled death of the more clearly he saw that Other key works \u00c5se, Peer Gynt\u2019s mother. Grieg he was the right man for a later assembled eight of the most work \u2026 so permeated with 1868 Piano Concerto in A substantial of these into two minor, Op. 16 orchestral suites, which have the Norwegian spirit. 1872 Sigurd Jorsalfar become standard concert-hall Nina Hagerup 1884 Holberg Suite works. They include movements 1902\u20131903 Sl\u00e5tter (Norwegian Grieg\u2019s wife Peasant Dances)","210 IDDWIOFFASENORTMEEENDTTHTOING REQUIEM (1887\u20131890), GABRIEL FAUR\u00c9 IN CONTEXT I t is unlikely that Faur\u00e9 wrote Faur\u00e9 plays the piano at the home his Requiem in direct response of the Catalan composer Isaac Alb\u00e9niz FOCUS to the death of any individual, (right). With them is the Belgian Requiem Mass although the recent deaths of his composer and conductor L\u00e9on Jehin parents may have focused his mind and Alb\u00e9niz\u2019s pupil Clara Sansoni. BEFORE on the project. The composer stated 1837 Hector Berlioz composes that his main motivation was to the Sequence section, with its his Grande Messe des morts produce an original requiem. He passage on the Dies Irae (Wrath (Requiem), for a large choir, was familiar with the form having of God), which so many previous enormous orchestra, and four spent years as a choirmaster and composers had used as an offstage brass ensembles. organist, during which he had opportunity to produce loud and accompanied numerous funerals. dramatic music. This was replaced 1874 Verdi\u2019s operatic Requiem, in Faur\u00e9\u2019s first version of the score for four vocal soloists, double The differences began with the by a setting of Pie Jesu, a prayer to choir, and orchestra, has its text. Faur\u00e9 set a shortened version Jesus for everlasting rest, at the first performance. of the Latin Mass for the Dead, end of which he also added an omitting, among other passages, AFTER 1913 Faur\u00e9\u2019s opera P\u00e9n\u00e9lope is premiered. While the influence of Wagner is more apparent than in earlier works, it still has an understated quality. 1948 Maurice Durufl\u00e9 completes his Requiem, which, like Faur\u00e9\u2019s, includes the Pie Jesu, Libera me, and In paradisum sections.","NATIONALISM 1830\u20131920 211 See also: Canticum Canticorum 46\u201351 \u25a0 Ein feste Burg ist unser Gott 78\u201379 \u25a0 St. Matthew Passion 98\u2013105 \u25a0 Elijah 170\u2013173 \u25a0 The Dream of Gerontius 218\u2013219 Faur\u00e9\u2019s setting for the extra movement, In Paradisum, that Gabriel Faur\u00e9 Requiem Mass comes not from the Mass but from the burial service. Born in 1845 in Pamiers in The opening prayer, the Introit southwest France, Gabriel et Kyrie, is restful with The unusual selection of texts is Faur\u00e9 showed an early musical matched with a distinctive choice talent and was sent to the sudden changes of dynamics. of instruments to accompany the \u00c9cole Niedermeyer de Paris. The offering of the Eucharist, mixed choir and soloists\u2014no violin The school\u2019s focus was on section, but only violas, cellos, and church music, and when the Offertory, is reverent, double basses, a harp, trumpets, he left, Faur\u00e9 worked in a calm, and peaceful. horns, trombones, organ, and succession of jobs as church timpani. In addition, a solo violin organist in Brittany and then Angelic strings and harp soars above the harp and lower in Paris, in both places giving are broken by rich brasses strings in the Sanctus. Faur\u00e9 clearly private music lessons to intended the work to be played by supplement his income. in the Sanctus. this unusual ensemble, but upon A prayer to Jesus, the Pie receiving the score in 1890, his In later life, Faur\u00e9 became Jesu, is sung by a pure solo publishers requested a version Professor of Composition at for full orchestra. An arrangement the Paris Conservatoire and soprano voice. with added violins and woodwind finally its Director. Although A quiet melody sung by instruments was published in 1900; his busy professional life left tenors switches to the many musicians, however, favor him little time for composing, the earlier version. Faur\u00e9 produced many short intense Agnus Dei. piano pieces, notable chamber Libera Me is a pensive Serenity and calm music, including two piano then fierce section dealing The music of Faur\u00e9\u2019s Requiem is quartets and two piano skilfully restrained, matching the quintets, two orchestral with judgment. themes of consolation and eternal suites, many fine songs, and rest in the text. It has relatively a string quartet completed in In the In paradisum, few loud passages, in contrast to 1924, the year he died. By this soprano voices bring a requiems by composers such as time highly acclaimed, Faur\u00e9 Berlioz or Verdi. Faur\u00e9 was seeking was given a state funeral. tranquil conclusion. a style that differed both from the more dramatic, Romantic approach Other key works of composers such as Wagner in Germany, and the lyrical bel canto 1879\u20131883 Piano Quartet style of choral writing, then popular No. 1 in C minor, Op. 15 in France, with its emphasis on a 1894 \u201cLa bonne chanson\u201d, Op. 61 singer\u2019s virtuosity. His is more 1919 Masques et carefully balanced, with subtle bergamasques, Op. 112 changes in harmony and dynamics. Although the work was not immediately well received, Faur\u00e9 opened new avenues for French music, paving the way for later French composers, such as Ravel and Debussy. Faur\u00e9\u2019s is now one of the most popular settings of the Requiem in the choral repertoire. \u25a0","212 IN CONTEXT LPTAOEHROVEAPEMRLLEYUESAFISINLCODLOWIKFEETRHE FOCUS Nationalism and folk music SWYOMRPLHDO\u201dN(Y18N9O3.),9A, N\u201cFTROONM\u00cdNTDHVEONR\u02c7 E\u00c1WK BEFORE 1723 Czech composer Dismas Zelenka writes his Ouverture \u00e0 7 concertanti. 1776 Czech-born Johann Baptist Vanhal publishes Six Symphonies, Op. 23, works that influenced Classical style. 1862 Bedr\u02c7ich Smetana composes the opera The Brandenburgers in Bohemia, which is a great success. AFTER 1904 Leo\u0161 Jan\u00e1c\u02c7ek premieres his opera Jenu\u00b0 fa, which uses \u201cspeech tunes\u201d based on a Moravian dialect of Czech. 1905\u201308 B\u00e9la Bart\u00f3k and Zolt\u00e1n Kod\u00e1ly visit Hungarian villages to research and record traditional songs and dances. B ohemia, the largest and westernmost region of the Czech Republic today, was formerly part of the Austro- Hungarian Empire. For centuries, its capital Prague enjoyed a rich musical life, strongly influenced by German and Austrian composers. In the late 18th century, Mozart visited five times, wrote a \u201cPrague\u201d symphony (No. 38), and premiered his opera Don Giovanni in the city. By the mid-1800s, however, fueled by a failed revolution in 1848, a nationalist movement was underway that would have a powerful impact on all the arts. In music, both Bedr\u02c7ich Smetana and Anton\u00edn Dvor\u02c7\u00e1k began to use","NATIONALISM 1830\u20131920 213 See also: The Bartered Bride 206 \u25a0 Finlandia 220\u2013221 \u25a0 The Lark Ascending 252\u2013253 \u25a0 Jan\u00e1c\u02c7ek\u2019s Sinfonietta 263 \u25a0 Bart\u00f3k\u2019s String Quartet No. 5 270\u2013271 The Bohemian polka, illustrated here by Herrman Koenig, is attributed to Anna Slez\u00e1kov\u00e1, who danced the steps to a folk song in 1834. Dvor\u02c7\u00e1k\u2019s earliest surviving composition was a polka. classical European symphonic and older Smetana was already Anton\u00edn Dvor\u02c7\u00e1k chamber forms to produce works cultivating a reputation as a of a strongly patriotic nature that champion of a Czech style of music The son of an innkeeper, incorporated the spirit of regional after spending most of his early Dvor\u02c7\u00e1k was born in a village folk songs and dances. creative years in Sweden. north of Prague in 1841. He shared his father\u2019s passion Two composers Smetana\u2019s first language was for the violin, and from 1857 Dvor\u02c7\u00e1k was an accomplished German, and he had only recently he also studied the organ in keyboard player and violinist, begun to study Czech when he Prague, playing the instrument who had played in several Prague responded to a contest to compose in several orchestras. orchestras when he joined the one a Czech opera. He submitted The at the city\u2019s Provincial Theatre in Brandenburgers in Bohemia, which By the early 1870s, Dvor\u02c7\u00e1k 1866, conducted by Smetana. The premiered in 1866, and went on to had taken up composition produce many celebrated works in full time and was married to Czech, such as The Bartered Bride, Anna, with whom he would a set of symphonic poems called have nine children. Dvor\u02c7\u00e1k's M\u00e1 vlast (My homeland), and career was aided by Johannes Vlatava, which paints the course Brahms, who sat on a panel of the river running through Prague. that awarded Dvor\u02c7\u00e1k a grant to pursue his music. He also Inspired by Smetana\u2019s Czech recommended Dvor\u02c7\u00e1k to his operas, Dvor\u02c7\u00e1k composed Alfred publisher, who encouraged in 1870, but it was not performed in him to write a set of Slavonic his lifetime. His next, The King and dances. Their publication the Charcoal Burner, was at first changed his fortunes; new rejected as unplayable, though commissions at home and eventually accepted after extensive from England soon followed. rewrites. Dvor\u02c7\u00e1k gave up his \u276f\u276f Dvor\u02c7\u00e1k directed the National Conservatory of Music in New Time signature 1st Beat 2nd Beat 1st Beat 2nd Beat York from 1892\u20131895, before of 2 quarter note returning to Prague to teach beats per bar. and write new works based on Bohemian folk tales. He Emphasis Emphasis died from a stroke in 1904. Originally a Bohemian peasant dance, the polka has two strong beats in each bar, inviting dancers to Other key works step in lively, bouncing fashion. It became a popular ballroom dance in the 1830s. 1878 Slavonic Dances, Book 1, Op. 46 1885 Symphony No. 7, Op. 70 1900 Rusalka, Op. 144","214 NATIONALISM AND FOLK MUSIC place in the theatre orchestra to character. His Czech Suite (1879), to pressure to accept, after his concentrate on composition, and for example, has two movements family heard that the salary he the critical success of his stirring completely modeled on Bohemian would earn per annum was hymn of Czech national pride The folk dances: the polka, in the equivalent to working 25 years Heirs of the White Mountain (1873) second movement, and the slow at the Prague Conservatory. marked the beginning of his \u201csousedsk\u00e1\u201d in the fourth. Dvor\u02c7\u00e1k\u2019s recognition as a composer. seventh and eighth symphonies Among the talented students were also particularly Bohemian\u2014 that Thurber encouraged to apply By 1880, Dvor\u02c7\u00e1k had cemented the seventh has clear Slavonic to her conservatory, regardless of his reputation as the greatest of influences, while the eighth sounds gender, ethnicity, or disability, was the Czech nationalist composers, like a joyful folk celebration. an African American singer, Henry particularly through his Slavonic (Harry) Thacker Burleigh, who Dances (1878; 1886), inspired by The New World enrolled in 1892, contributing to Brahms\u2019s Hungarian Dances (1869). By the end of the century, Dvor\u02c7\u00e1k\u2019s his fees by working as a handyman However, Dvor\u02c7\u00e1k\u2019s approach to fame was spreading beyond his and cleaner in the building. His his orchestral dances was quite homeland to England and the singing attracted the attention of different from that used by Brahms. United States. In 1891, New York Dvor\u02c7\u00e1k, and Burleigh later recalled Whereas the Viennese composer musical philanthropist Jeannette singing old African American made verbatim use of traditional Thurber asked Dvor\u02c7\u00e1k to direct her hymns to the composer: \u201cI gave tunes for his collection, Dvor\u02c7\u00e1k\u2019s National Conservatory of Music. him what I knew of Negro songs.\u201d lively dances did not borrow but Knowing that he had done much to were newly composed orchestral establish Czech music, she wanted Listening and responding works imbued with national him to inspire her students to find a These \u201cNegro spirituals,\u201d as they path toward an American national came to be known, were among Harry Burleigh was the first black musical style. Dvor\u02c7\u00e1k, however, the musical ideas that Dvor\u02c7\u00e1k composer to write down spirituals, was reluctant to leave Prague for drew on in his Symphony No. 9 influencing future American music. a long contract and initially turned (\u201cFrom the New World\u201d), in which Dvor\u02c7\u00e1k greatly admired his fine down the offer, although he gave in he turned his attention from his baritone voice and the songs he sang. native folk music to that of his adopted home. \u201cFrom the New World\u201d was inspired by both plantation songs and Native American chants; Dvor\u02c7\u00e1k felt strongly that this music of the poor of America could serve as the rootstock for a national musical In the negro melodies of America I discover all that is needed for a great and noble school of music. Antonin Dvor\u02c7\u00e1k","NATIONALISM 1830\u20131920 215 Structure of the Ninth Symphony The first movement, Adagio (leisurely), is written in sonata form. This section builds to a rousing climax. For his voyage to a new world, the evoking Longfellow\u2019s description The second movement, Apollo 11 mission to the moon in 1969, of the death of Minnehaha, Dvor\u02c7\u00e1k Largo (slow, dignified), Neil Armstrong took a recording of uses the stentorian chords of the contains a solo that has Dvor\u02c7\u00e1k\u2019s Sympony No. 9 and is said low wind instruments to introduce become one of the most to have listened to it as he stepped out. the beautiful melody of the cor anglais. Here, he also drew on the recognizable pieces of\u00a0music style. While some people hear old Eastern European tradition of ever composed. \u201cSwing Low, Sweet Chariot\u201d in funerary brass music, maintained the symphony\u2019s first movement, in America by the trombone choirs The third movement is at its premiere, Dvor\u02c7\u00e1k denied of Moravian (Czech expatriate) Scherzo (very lively). Its using existing Native and African communities, who would announce bright tunes and snappy American songs. Dvor\u02c7\u00e1k believed a death with the playing of rhythms\u00a0are reminiscent of there was a distinction between trombones from the church belfry. inspiration and imitation\u2014whether Czech folk dancing. singing under his breath in the Lasting influence The fourth movement, orchestra pit or going straight from In spring 1893, Dvor\u02c7\u00e1k\u2019s family Allegro con fuoco (fast and work to jot down ideas, his method joined him in the Moravian fiery),\u00a0combines earlier was not to copy but rather to listen community of Spillville, Iowa, themes of the piece with then respond in his own voice. enjoying the company of their Czech compatriots as he completed marchlike music. As well as these musical styles, his Symphony No. 9\u2014the echoes of Dvor\u02c7\u00e1k was inspired by Henry which would be heard in the music Wadsworth Longfellow\u2019s Ojibwe of American composers, such as romance The Song of Hiawatha Aaron Copland, George Gershwin, (1855) in writing his symphony. and Duke Ellington. Dvor\u02c7\u00e1k himself The third movement (Scherzo), for returned to Prague in 1895 and example, was suggested by the again took to composing works scene in Hiawatha at the feast inspired by the dances, legends, where the Native Americans dance. and folklore of his homeland. \u25a0 For the second movement (Largo),","216 LMTAHUNESGIICNUTAIASGNEAGOIBFLE WOODLAND SKETCHES (1896), EDWARD MACDOWELL IN CONTEXT T he first music published choral melody is sung in unison in North America were and then in counterpoint but with FOCUS tunes in the Bay Psalm scant regard for traditional Western American nationalism Book, a compilation selected standards of harmony. from European psalters by the BEFORE 17th-century emigrants who settled America\u2019s first 1640 The Bay Psalm Book is in the Massachusetts Bay Colony. The Bohemian-born Anthony published in Massachusetts. By the late 18th century, however, Heinrich, who lived in the United American-born composers such as States from 1810, is generally 1834 Anthony Heinrich William Billings and Daniel Read, considered the first \u201cprofessional\u201d composes The Treaty of who formed part of the First New American composer. Inspired by William Penn with the Indians, England School, began to publish different parts of the United States, a concerto grosso. music that marked a distinct he developed a more dissonant departure from European models. harmonic language than had been 1848 Stephen Foster publishes These composers, who were heard elsewhere and was the first the song \u201cOh! Susanna,\u201d which usually self-taught, were writing American to write for a symphony becomes an instant hit. new types of sacred music, such orchestra. More famous, however, as the \u201cfuguing tune,\u201d in which a was the virtuoso pianist, Louis 1863 Louis Moreau Gottschalk Moreau Gottschalk, who studied publishes Battle Cry of A house of dreams untold, in Paris and was feted by Chopin Freedom, based on an it looks out over the and Liszt. Returning to America in American Civil War song. 1853, he toured widely, performing whispering treetops, and his own works that would often AFTER faces the setting sun. reference the indigenous music 1897 John Philip Sousa\u2019s Edward MacDowell and instruments of the New World. march The Stars and Stripes Forever premieres. As American tastes evolved, a new group of composers emerged\u2014 now known as the Second New England School. The strongest influence for these composers was the German Romantic tradition, and a number of them studied in Europe. The best remembered of this group is Edward MacDowell.","NATIONALISM 1830\u20131920 217 See also: Dvor\u02c7\u00e1k\u2019s Symphony No. 9 212\u2013215 \u25a0 Ives\u2019s Symphony No. 4 254\u2013255 \u25a0 Rhapsody in Blue 258\u2013261 \u25a0 Ionisation 268\u2013269 \u25a0 Appalachian Spring 286\u2013287 He was mentored by Liszt, who contemporaneous Lyric Pieces, due Edward MacDowell introduced the young composer to to their inherent nationalism and publishers in Leipzig during his celebration of the countryside. Born in New York in 1860, time in Germany. MacDowell studied the piano Woodland Sketches is an opus from early childhood and, at Country life of ten pieces. Possibly inspired by the age of 17, was offered a MacDowell published orchestral MacDowell\u2019s move to the farm that scholarship to the Paris works, concertos, sonatas, and later became the artist\u2019s colony Conservatoire. After his time songs but is universally identified bearing his name, they celebrate in Paris, he went to Frankfurt with miniature piano pieces, and not only the landscape but also the to study composition with most particularly the Woodland everyday American experience. In Joachim Raff. Raff introduced Sketches of 1896. Following on from parts such as \u201cA Deserted Farm\u201d him to Franz Liszt, who a tradition started by Mendelssohn and \u201cAt an Old Trysting Place,\u201d arranged a performance of and Schumann\u2014writing suites of they also borrowed some melodic MacDowell\u2019s First Modern short works aimed at the amateur material from Native American Suite, Op. 10 in Zurich. domestic market\u2014these could also songs. Tending toward starker be seen as a counterpart to Grieg\u2019s textures than European Romantic In 1888, MacDowell piano music, and occasionally returned to New York and The MacDowell Colony in New verging on impressionistic harmony, premiered his Piano Concerto Hampshire, pictured here in 1948, has as in the more complex \u201cBy a No. 2. He was then invited to supported thousands of artists since Meadow Brook,\u201d these sketches create a department of music 1907. MacDowell\u2019s pianist wife, Marian, contain elements that became a at Columbia University. Eight led the colony for almost 25 years. part of the American musical years later, he resigned in a language of the 1920s and 1930s. \u25a0 dispute over courses. Amid the bad publicity, MacDowell suffered a nervous breakdown and further health problems. He never recovered. Just before his death in 1908, he and his wife established the MacDowell Colony, where artists of all kinds are supported in residence. Other key works 1883 First Modern Suite, Op. 10 1890 Piano Concerto No. 2, Op. 23 1892 Indian Suite, Op. 48","218 OAATRBHFOTETSVHAEREISATSLEOOLXUFPTLMRHEUESSOSITCIOHNER THE DREAM OF GERONTIUS (1900), EDWARD ELGAR IN CONTEXT I n 1898, Edward Elgar was composers wrote oratorios\u2014large- commissioned to write a new scale choral works on sacred themes. FOCUS large-scale choral piece for the Few of these pieces stood the test English choral tradition 1900 Birmingham Festival. Elgar, of time, and Elgar decided to a Catholic, chose to set the poem produce something different. BEFORE The Dream of Gerontius by Cardinal 1846 Mendelssohn\u2019s oratorio John Henry Newman. In the poem, Oratorios, like the operas of Elijah has its first performance Gerontius, a devout old man, Mozart, were usually made up of in Birmingham, England. dreams of his death and the journey separate musical \u201cnumbers,\u201d such of his soul immediately after he as arias and choruses. But with the 1857 At the Handel Festival in dies. Elgar poured his own heart work of late Romantic composers London, England, choirs of up and soul into the work, inscribing it such as Richard Wagner, opera had to 2,000 sing Handel\u2019s Messiah with a quote from the social thinker evolved; Wagner\u2019s operas consist and other oratorios. John Ruskin that began, \u201cThis is of music that flows continuously, the best of me.\u201d without a break, enabling the 1882 Wagner\u2019s Parsifal, based composer to build huge climaxes on a 13th-century German epic England had a strong tradition and express deep emotions. Elgar poem, is his last and, for some, of amateur choral singing in the used this technique for The Dream his greatest opera. late 19th century, and many English of Gerontius, rejecting the term \u201coratorio\u201d due to this lack of breaks AFTER There is music in the air, between pieces. Like Wagner, he 1903 Elgar continues to music all around us, the world employed a large orchestra with develop large-scale choral is full of it and you simply take a substantial brass section and works with The Apostles. percussionists to reinforce the as much as you require. climaxes and underpin the most 1939\u20131941 Michael Tippett Edward Elgar dramatic moments. composes his secular oratorio A Child of Our Time, which The soul\u2019s journey extends the oratorio still The Dream of Gerontius is in two further with the inclusion parts. Part One portrays the death of American spirituals in of Gerontius. It includes the gentle the score. prayers of his friends by his bedside, his passionate credo, \u201cSanctus fortis\u201d\u2014which expresses both his steadfast faith and his","NATIONALISM 1830\u20131920 219 See also: Great Service 52\u201353 \u25a0 St. Matthew Passion 98\u2013105 \u25a0 Elijah 170\u2013173 \u25a0 The Ring Cycle 180\u2013187 \u25a0 A Child of Our Time 284\u2013285 The Dream of Gerontius Gerontius Gerontius awakens in a encounters God place without and is judged. time or space. As life drains Gerontius from his body, The guardian angel is lowered into the Gerontius joins of Gerontius takes lake of Purgatory and with his assistants him to the promised that he will judgment throne. one day reawaken to in prayer. God\u2019s glory. anxieties\u2014and the final swell of of his friend and publisher August time that develops late Romantic singers and orchestra in the chorus Jaeger, who asked for something operatic style into a choral work, that exhorts Gerontius to \u201cGo forth more dramatic than the composer\u2019s combines it with resourceful upon thy journey, Christian soul.\u201d first attempt. The piece ends with orchestral writing, and produces the soul being taken in the arms a setting of unusual power. In Part Two, Gerontius\u2019s soul is of the angel and dipped into the guided by an angel past demons, soothing waters of Purgatory. The Dream of Gerontius quickly who sing a sardonic fugal chorus, transcended the question of and a choir of angels, whose hymn From disaster to success doctrine that almost denied it \u201cPraise to the Holiest in the Height\u201d Due to poorly prepared performers, an early performance in Worcester begins with a dramatic triple forte The Dream of Gerontius had a Cathedral, Cardinal Newman\u2019s and ends in intricate eight-part disastrous premiere in Birmingham words seeming too Catholic for harmony. This leads toward the in 1900. However, after acclaimed the Anglican Church. Its emotional climax, a deafening orchestral performances in Germany, the work force and abiding themes of loss crescendo as the soul is finally led established itself as one of Elgar\u2019s and hope in the face of death to judgment. Elgar rewrote this masterpieces\u2014a daring work for its continue to exercise a universal climactic passage at the insistence appeal to audiences of every faith. \u25a0 Edward Elgar Born in 1857 near Worcester, Although depressed by World England, where his father owned War I, in 1919 he wrote his a music shop, Elgar was largely a String Quartet, Piano Quintet, self-taught musician. As a young and Cello Concerto. After Alice\u2019s man, he played in orchestras and death in 1920, Elgar composed gave music lessons, marrying little. He received many honors, Alice Roberts, one of his pupils, in but his music was out of fashion 1889. She encouraged him to move when he died in 1934. to London and spend more time on composition. His breakthrough Other key works work was Enigma Variations (1899), after which he wrote a 1899 Enigma Variations series of large-scale compositions, 1901\u20131930 Pomp and including The Apostles (a choral Circumstance Marches piece), a violin concerto, and two 1905 Introduction and Allegro symphonies, which brought him for Strings recognition in Britain and Europe. 1919 Cello Concerto in E minor","220 ITTAHOMETMHAEESSIRL, AADVNEEDMTSAOUNBMDMSYIT FINLANDIA (1900), JEAN SIBELIUS IN CONTEXT O ut of all the musical For nearly 700 years, up to the early nationalism that took 19th century, Finland had been part FOCUS shape during the 19th of the Swedish empire, and the Finnish musical resistance century in the four Nordic nations language of the educated and to Russian political (Denmark, Finland, Norway, and governing classes was Swedish. domination Sweden), Finland\u2019s was perhaps When Sibelius was born into a the most powerful. In Jean Sibelius, Swedish-speaking family, Finland BEFORE Finland produced a composer as a nation still did not exist. Since 1848 German-born Fredrik who, even more than Norway\u2019s 1809, it had been a Grand Duchy of Pacius (1809\u20131891) composes Edvard Grieg, Sweden\u2019s Franz Imperial Russia, which imposed a the song V\u00e5rt land (\u201cOur Berwald, and Denmark\u2019s Carl Country\u201d), to Swedish words Nielsen, captured the essence of Sibelius captured the epic beauty by Finnish poet Johan Ludvig his people and nation as they of Finland\u2019s landscape, seen here in Runeberg. After Finland\u2019s strove to throw off the shackles a view over the taiga forest, in the independence in 1917, a of foreign domination. majestic string settings of Finlandia. Finnish translation, Maamme, is adopted as the country\u2019s national anthem. 1892 Sibelius becomes a national celebrity when he first conducts his part-choral \u201csymphonic poem\u201d Kullervo, with texts from the Finnish national epic poem Kalevala. AFTER 1917 Sibelius composes a J\u00e4ger March in support of the Finnish J\u00e4ger Batallion, trained in Germany to fight the Russian Empire in World War I.","NATIONALISM 1830\u20131920 221 See also: The Bartered Bride 206 \u25a0 Pictures at an Exhibition 207 \u25a0 Peer Gynt 208\u2013209 \u25a0 Dvor\u02c7\u00e1k\u2019s Symphony No. 9 212\u2013215 \u25a0 Appalachian Spring 286\u2013287 The development resented autocratic rule. Against Jean Sibelius of Finnish motifs this uneasy backdrop, the Finnish language, spoken by urban and Johan Sibelius (he adopted in Finlandia rural workers, became associated the French version of his first with a growing national resistance. name later) was born in the Opening brass town of H\u00e4meenlinna in 1865. fanfare signifies the Sibelius had been to a Finnish- At first, he wanted to be a speaking school, so when his talent virtuoso violinist, but his Russian menace. as a composer propelled him to the student years in Helsinki, Calm woodwind and forefront of Finnish cultural life, he Berlin, and Vienna led him to fervent strings tell of was ideally positioned to respond concentrate on composing. Finnish endurance and to the cultural interests of both In 1892, after the success of hope for the future. linguistic communities. Besides his choral symphony Kullervo, Loud and sudden mastery of powerful, large-scale he married Aino J\u00e4rnefelt, emphasis (fortissimo) symphonic forms, he had a flair for with whom he went on to represents the turbulent popular \u201clight music\u201d and sought have six daughters. anguish of the people. out examples of Finnish folk music. Energetic and confident Further success, including new melody asserts pride A Finnish fightback the symphonic poem (single- In 1899, Russia proclaimed its movement symphonic work) and resistance. \u201cFebruary Manifesto,\u201d which called The Swan of Tuonela cracked down on Finnish autonomy of 1895, and then the first of The building of the calming and nationalism, including a ban on seven symphonies, spread his Finlandia tune, redolent of political rallies and the closure of a name abroad. The onset of Finnish folk music, symbolizes Finnish-language newspaper. An throat cancer in 1908, though evening of \u201cPress Celebrations\u201d was successfully treated, brought emerging clarity. organized in the capital, Helsinki, a darker mood that influenced officially in support of the Press the austere Symphony No. 4 Triumphant allegro Pension Fund but was in reality a (1911). In the 30 years before climaxes in a rallying gathering of patriotic resistance. his death, in 1957, troubled by The evening included the display self-criticism, alcoholism, and cry for the Finns. of specially painted tableaux, for the pressures of fame, Sibelius which Sibelius was asked to released few works. compose the music. The last of these, \u201cFinland Awakes,\u201d portrayed Other key works the region\u2019s proud achievements in culture and industry. 1892 Kullervo 1902 Symphony No. 2 Sibelius then arranged some of 1924 Symphony No. 7 the music for concert performance, 1926 Tapiola revising\u201cFinland Awakes\u201d as Finlandia, its very title aimed at international recognition for a country known to every Finn as Suomi. Released in 1900, the work swept the musical world, and its popularity remains undiminished, with the central hymnlike tune widely seen as Finland\u2019s unofficial national anthem. \u25a0","222 SWACPIACTNHEINSATHUMNIUVSEIRCSAL IBERIA (1906\u20131908) ISAAC ALB\u00c9NIZ IN CONTEXT T he piano suite Iberia Barbieri\u2014a composer and critic by Isaac Alb\u00e9niz is a who helped to revive the native FOCUS collection of 12 solo pieces, opera tradition, the zarzuela. Nationalism in Spanish published in four cuadernos (books). Catalan composer Felipe Pedrell music Influenced by his friend Claude also renewed interest in Spain\u2019s Debussy and the Impressionist art musical heritage, both in classical BEFORE movement, Alb\u00e9niz called these and folk and dance music. 1874 Francisco Asenjo solo pieces \u201cimpressions\u201d\u2014each Barbieri\u2019s El barberillo de seeks to evoke a different place or Inspired by Pedrell, Alb\u00e9niz and Lavapi\u00e9s (\u201cThe little barber aspect of life in Spain. The pieces his contemporaries drew on the of Lavapi\u00e9s\u201d) is his most in the last two cuadernos are rhythms of Spanish dances, such as successful zarzuela (traditional challenging to play, inspired by the the northern jota and the fandango Spanish opera), a form he virtuoso skills of Catalan pianist and zapateado from the south, as played a key role in reviving. Joaquim Malats, for whom Alb\u00e9niz well as Arabic-inspired melodies wrote them. Nearly all of the pieces that evoked Spain\u2019s history as 1890 Felipe Pedrell publishes in Iberia are inspired by Andalusia, Al-Andalus, a Muslim land. \u25a0 Por nuestra m\u00fasica (\u201cFor our southern Spain, reflecting Alb\u00e9niz\u2019s music\u201d), in which he explores great love of the region. The single [Alb\u00e9niz represents] the Spain\u2019s musical heritage. exception is \u201cLavapi\u00e9s,\u201d which reincorporation of Spain into echoes the joyful buzz of the Jewish the European musical world. AFTER quarter of Madrid. 1915 Manuel de Falla\u2019s Noches Joaqu\u00edn Rodrigo en los jardines de Espa\u00f1a Historical influences (Nights in the Gardens of In the mid-19th century, Spanish Virtuoso pianist (1901\u20131999) Spain) mingles French music came alive after centuries modernism with inspiration of domination by foreign sounds. from Spanish folk music. Romantic nationalism swept across Europe after the Napoleonic 1939 Joaqu\u00edn Rodrigo\u2019s Wars; in Spain, this gave rise to Concierto de Aranjuez evokes figures such as Francisco Asenjo the history of the former royal summer palace of Aranjuez. See also: The Bartered Bride 206 \u25a0 Pictures at an Exhibition 207 \u25a0 Finlandia 220\u2013221 \u25a0 El sombrero de tres picos 223 \u25a0 Appalachian Spring 286\u2013287","NATIONALISM 1830\u20131920 223 DOAEFWXRTOHENYRDTIETHRIMEFSIUCLALMAZE EL SOMBRERO DE TRES PICOS (1919) MANUEL DE FALLA IN CONTEXT T he ballet El sombrero Manuel de Falla composes at the de tres picos (The Three- piano in this 1925 portrait by Daniel FOCUS Cornered Hat), with music V\u00e1zquez D\u00edaz, who painted the most 20th-century Spanish by the composer Manuel de Falla, famous and influential Spanish music was first performed by Sergei figures of his time. Diaghilev\u2019s Ballets Russes in BEFORE London\u2019s Alhambra Theatre. Based de tres picos. Its success in Madrid 1897 Ruperto Chap\u00ed\u2019s La on a novella by Pedro Antonio de brought it to the attention of Sergei revoltosa (The Troublemaker) Alarc\u00f3n, it is a comedy about the Diaghilev, who then commissioned is one of the most popular magistrate of a small Andalusian de Falla to compose the music zarzuelas of the decades town, who falls in love with the for an expanded version with full before World War I. wife of the local miller. The ballet orchestra. Like La vida breve, it was choreographed by the Russian uses Andalusian melodies and 1911 In Barcelona, Enrique L\u00e9onide Massine, who also danced also contains cante jondo songs. \u25a0 Granados premieres the first the part of the miller, with sets and part of his piano suite costumes by Pablo Picasso. Goyescas, inspired by the paintings of Francisco Goya. Falla grew up in the port city of C\u00e1diz in Spain\u2019s far south but AFTER studied at the Madrid Conservatory 1920 Igor Stravinsky\u2019s ballet where, like many composers of his Pulcinella is premiered in Paris generation, he was influenced by by Diaghilev\u2019s Ballets Russes, Felipe Pedrell\u2019s explorations of the choreographed by Massine, country\u2019s traditional music. Falla with sets by Picasso. made his name with an opera, La vida breve (\u201cLife is short\u201d), inspired 1961 Catalan musician by the cante jondo (\u201cdeep song\u201d) of Eduard Toldr\u00e0 conducts a his native Andalusia. In 1917, Falla concert version of de Falla\u2019s and the impresarios Mar\u00eda and unfinished work Atl\u00e1ntida at Gregorio Mart\u00ednez Sierra created an the Liceu in Barcelona. early, shorter version of El sombrero See also: The Bartered Bride 206 \u25a0 Pictures at an Exhibition 207 \u25a0 Finlandia 220\u2013221 \u25a0 Iberia 222 \u25a0 Appalachian Spring 286\u2013287","MODE 1900\u20131950","RN","226 INTRODUCTION French composer Arnold Schoenberg\u2019s English composer Ralph George Gershwin writes Claude Debussy\u2019s Pierrot lunaire Vaughan Williams Rhapsody in Blue for solo 10-minute symphonic composes The Lark demonstrates his piano and jazz band, poem Pr\u00e9lude \u00e0 concept of serialism\u2014 Ascending, inspired by featuring large contrasts l\u2019apr\u00e8s-midi d\u2019un faune using all 12 notes of the the English landscape in musical texture premieres in Paris. chromatic scale. and folk music. and structure. 1894 1912 1914 1924 1927 1906 1913 1917 The Wreckers, an opera The premiere of French pianist Erik Charles Ives\u2019s by British composer Igor Stravinsky\u2019s Satie\u2019s ballet Parade Symphony No. 4, which and suffragette avant-garde ballet debuts, incorporating Ethel Smyth, Le Sacre du printemps incorporates hymns, is greeted by a riot \u201cnoise-making\u201d gospel tunes, and band premieres in Germany instruments such music, is performed for to great success. in Paris. as a typewriter. the first time. A s the 19th century drew to pieces that harked back to After World War I, a group of a close, composers began medieval and ancient music and young French composers known to realize that they were at the same time made reference as Les Six (Francis Poulenc, Darius facing a crisis point. Wagner had to popular Parisian caf\u00e9 music. Milhaud, Arthur Honegger, Georges undermined tonality, the system of Auric, Louis Durey, and Germaine major and minor keys that had been French developments Tailleferre) picked up on the the cornerstone of Western music, Satie\u2019s lightness of touch was simplicity and wit of Satie\u2019s music. and introduced a style that some also noticeable in the music of his Poulenc, in particular, cultivated found overemotional and lacking in contemporary, Claude Debussy. an urbane style, unashamedly clarity. The new generation reacted Yet Debussy chose a different classical in its tonality, setting against Wagner\u2019s music in various way of creating a new musical the style for neoclassicism, which ways, attempting to find a new language. Rather than reacting was especially strong in France. musical language that better against the lack of clarity that expressed modern times. came with a weakened tonality, Twelve-tone serialism he embraced it, using exotic Meanwhile, in turn-of-the-century As a result, the first half of the harmonies as an impressionist Vienna, Arnold Schoenberg new century was characterized artist uses different shades of struggled to come to terms with by various \u201c-isms\u201d: impressionism, color. Although he disliked the the implications of the breakdown expressionism, atonalism, serialism, term, he was a pioneer of musical of tonality. After some early works neoclassicism, and more. There impressionism, which was further in the Late Romantic style, he was one composer, however, who refined by Maurice Ravel, and stretched tonality to its limits defied such classification, Erik influenced the strikingly colorful and beyond, creating a violently Satie. He adopted a dry and witty compositions of Olivier Messiaen. expressionistic style that was style, with peculiarly static piano","MODERN 1900\u20131950 227 Austrian composer Edgard Var\u00e8se\u2019s Olivier Messiaen stages Aaron Copland Anton Webern\u2019s Ionisation premieres the first production of demonstrates American instrumental work Symphonie further as one of the first Quartet for the End of Time nationalism with develops Schoenberg\u2019s concert hall pieces in the German prisoner Appalachian Spring, ideas on serialism. written solely for a of war camp where he Martha Graham\u2019s ballet percussion ensemble. is being held. about young pioneers. 1928 1933 1941 1944 1930 1937 1941 1945 Commissioned by one-handed Having been denounced British composer Michael Benajamin pianist Paul Wittgenstein, by Stalin, Dmitri Tippett completes his Britten revives British opera with Maurice Ravel writes Piano Shostakovich writes pacifistic oratorio A Child of Peter Grimes, a Concerto in D for the Left Hand, his Fifth Symphony, Our Time, influenced by events stirring drama about which is acclaimed a bullied outcast. infused with jazz-infuenced by the Soviet regime. from his life and Jungian rhythms and harmonies. psychoanalysis. completely atonal, without reference in 1913, he shocked audiences with Benjamin Britten and Michael to any key. The difficulty of creating his discordant portrayal of Russian Tippett in the next generation. a cohesive structure led him to folklore in Le Sacre du printemps. Another collector of folk music was develop a system of composing in The music was both primitive and B\u00e9la Bart\u00f3k, who, like Stravinsky, which, instead of a having a \u201chome ultra-modern, and a world away did not integrate the songs and key,\u201d all 12 notes of the chromatic from the Romantic conception of dances of his native Hungary into scale are given equal importance folk-inspired orchestral music. an existing style but used them and arranged in a series. This to create a new, modernist style. 12-tone serialism became the Russian modernism was short- compositional method of choice lived: after the revolutions of 1917, Schoenberg, Stravinsky, and not only for Schoenberg but also the Soviet authorities decried Bart\u00f3k all spent their final years for his students Alban Berg and anything that smacked of elitism. in the US, which had become a Anton Webern (known as the Stravinsky, like several other center for new music. In the first \u201cSecond Viennese School\u201d). Russian composers, spent the half of the 20th century, it had rest of his life abroad. given birth to ragtime and jazz and Shock of the new popular tunes by masters of the In addition to these influential Nationalism was far from dead, genre such as George Gershwin. French and Viennese composers, however, as the late works of Jean It had also seen a very American there was a highly significant Sibelius and Leo\u0161 Jan\u00e1c\u02c7ek show. tradition of experimentalism Russian composer, Igor Stravinsky. It had also taken root in England, emerge, starting with Charles Ives, Stravinsky made his name writing thanks to composers such as Ralph and attracting \u00e9migr\u00e9s such as ballet music in the style of the Vaughan Williams, who toured the Edgard Var\u00e8se, which would come Russian nationalist composers, but country collecting folk tunes. The to shape the course of musical distinctive nuances of English folk development into the 21st century. \u25a0 music shaped the styles of","228 IN CONTEXT IHSGHAVOAEDTOBOWESCEYOEOMUTEHE FOCUS Impressionism PR\u00c9LUDE \u00c0 L\u2019APR\u00c8S-MIDI D\u2019UN FAUNE (1894), CLAUDE DEBUSSY BEFORE 1891 Gabriel Faur\u00e9\u2019s \u201cCinq m\u00e9lodies \u2018de Venise\u2019\u201d uses subtle, elusive harmonic progressions, similar to the \u201cimpressionist\u201d style. 1882\u20131892 Ernest Chausson\u2019s Po\u00e8me de l\u2019amour et de la mer contains passages and chord progressions, which more vividly prefigure the harmonic language of Debussy\u2019s Pr\u00e9lude. AFTER 1912 In the ballet Daphnis et Chlo\u00e9, Maurice Ravel uses fast-moving \u201cdots\u201d of sound, the musical equivalent of a pointillist painting. 1928\u20131929 The young Olivier Messiaen composes his Pr\u00e9ludes, a collection of pieces heavily influenced by Debussy. C omposed between 1891\u20131894, and based on the poem by St\u00e9phane Mallarm\u00e9, Claude Debussy\u2019s first published orchestral work Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-midi d\u2019un faune (Prelude to the Afternoon of a Faun) has since been hailed as the first significant \u201cimpressionist\u201d musical work. Later the composer Pierre Boulez even claimed that the work marked the very beginning of modern music. Debussy\u2019s musical language was an ideal counterpart to Mallarm\u00e9\u2019s symbolist poetry. The composer described the work as \u201cthe general impression of the poem \u2026 it follows the ascending","MODERN 1900\u20131950 229 See also: The Ring Cycle 180\u2013187 \u25a0 Das Lied von der Erde 198\u2013201 \u25a0 Parade 256 \u25a0 Quartet for the End of Time 282\u2013283 Its use of timbres seemed deep sensuality of the moment. Claude Debussy essentially new, of Debussy\u2019s interpretation of the poem sought to replicate this Born in a Parisian suburb to exceptional delicacy and sensuality, in an almost subversive a shop owner and his wife, in assurance in touch. upheaval of musical language. 1862, Debussy began music Pierre Boulez lessons at the age of seven, Debussy and Wagner and at 10 he embarked on a shape of the poem, as well as the This subversion is evident in decade of study at the Paris scenery so marvellously described Debussy\u2019s unmistakable references Conservatoire. By 1890, he in the text.\u201d In the poem, a faun to the prelude from Wagner\u2019s had composed more than awakens from an afternoon nap, Tristan und Isolde. That prelude 50 songs, but fewer larger- recalling a moment of arousal at opens with a yearning cello line scale pieces, of which many the sight of a pair of water nymphs. (the \u201clonging\u201d motif) followed by a were not published and The faun tries to embrace the half-diminished chord (the famous some never completed. nymphs, but they disappear into \u201cTristan chord\u201d). Debussy\u2019s Pr\u00e9lude nothingness. Mallarm\u00e9\u2019s poem also begins with a single line\u2014a In the 1890s, he established is evocative, yet fundamentally characterful flute flourish\u2014before the impressionist style for ambiguous, focusing on the landing on a half-diminished chord. which he is best remembered. Wagner\u2019s Tristan chord then begins His String Quartet (1893) a chromatic progression ending in demonstrated many of the an unresolved imperfect cadence \u276f\u276f traits that were established in the Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-midi The Greek god Pan pursues the d\u2019un faune, the culmination nymph Syrinx in Fran\u00e7ois Boucher\u2019s of which were his symphonic work. The amorous faun Pan featured masterwork La Mer (1905) in many of Debussy\u2019s works, including and his only published opera, \u201cLa Fl\u00fbte de Pan\u201d and \u201cSyrinx.\u201d Pell\u00e9as et Melisande (1902). In his later career, he focused on smaller-scale forms, composing many of his best-known piano works, including L\u2019isle joyeuse (1904), and his two books of Pr\u00e9ludes. Debussy died in Paris in 1918. Other key works 1902 Pell\u00e9as et M\u00e9lisande 1903 Estampes 1903\u20131905 La Mer","230 IMPRESSIONISM The Afternoon of a Faun was Debussy follows a fairly traditional one or two common pitches or by adapted into a ballet by Vaslav Nijinsky tonal structure that stops the piece subtle semitonal shifts. Debussy in his first choreography for the Ballets from sounding incoherent. manipulates his audience\u2019s Russes. It premiered at the Th\u00e9\u00e2tre du listening experience by subverting Ch\u00e2telet in Paris, in May 1912. Nine bars after the arrival of the their expectations of what will tonic key, Debussy even quotes come next; unusual harmonies (above which an oboe plays the four Wagner\u2019s \u201cdesire\u201d motif in the catch our attention, and we listen chromatically rising notes of the clarinet, getting as far as the closely to their \u201ccolor\u201d and effect, \u201cdesire\u201d motif). Debussy\u2019s chord, third note, which he distinctively hence, the reason why this sort of however\u2014shimmering amidst a accompanies with Wagner\u2019s own harmony is often called \u201ccoloristic.\u201d harp glissando\u2014dissolves into dominant-seventh harmony so it is a seemingly unrelated dominant unmistakable. Debussy strips the The pulse of the Pr\u00e9lude is slow seventh, colored by the horns chord of Wagner\u2019s context, making beneath the surface filigree. While with a major ninth and sharpened it sound not tersely dissonant but mostly in triple meter, some of the 11th. Unlike Wagner, Debussy\u2019s lushly exotic. Turning the unfinished passages are in duple time, which work contains little tension\u2014 motif back and forth in descending contain bars of two or four beats; each chord is to be appreciated and ascending chromatic scales, likewise the subdivision of the for the sensuality of its sound. Debussy makes Wagner\u2019s profound beats varies between compound utterance into his own plaything. time (each beat of the pulse The similarities to Wagner\u2019s subdivided into three) and simple work make Debussy\u2019s subversions Technical experiments (divided into two). Triple and duple all the more obvious. Like Wagner, The Pr\u00e9lude is notable for its use rhythms sometimes coexist; in the Debussy also states his opening of \u201cDebussian\u201d added-note chords. middle section, the accompaniment melody twice more\u2014each time While dominant sevenths, ninths, plays triplet cross-rhythms against over increasingly lush harmony. 11ths, or 13ths are easy to find in the duple melody, moving attention This establishes E major as the the works of Wagner and Liszt, away from any regularity of pulse tonic (\u201chome\u201d) key of the piece, but Debussy strips them of any toward the music\u2019s rich textural the ambiguity of the chords used expectation that, for example, fabric. While impressionist music is up to this point\u2014which do not a dominant chord must always point clearly to a single key\u2014 resolve to its tonic. Rather Sasha Waltz & Guests, a German means that the arrival at E major than working toward resolution, dance troupe, reinterprets L\u2019Apr\u00e8s-midi goes all but unnoticed in the Debussy progresses chromatically d\u2019un faune as a brightly colored and moment. Despite this seeming in unexpected directions: often, provocative beach scene at Sadler\u2019s ambiguity, under the surface, chords are joined to each other by Wells Theatre, London, in 2015.","MODERN 1900\u20131950 231 Orchestra for Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-midi d\u2019un faune The original orchestra for Debussy\u2019s Woodwind Harps Strings symphonic poem consisted of woodwinds, strings,\u00a0harp, and horns, together creating Solo flute a delicate, sensuous sound world. Percussion Two other flute parts Antique Cymbals 2 violin parts Viola Two harps Brass Two oboes Two bassoons English horn Four horns Clarinet Cello Double bass sometimes considered less technical percussion \u201cantique cymbals\u201d Debussy's work premiered in Paris than other genres, Debussy\u2019s color the latter part of the piece in December 1894, and St\u00e9phane experimentation with rhythmic with their delicate, bell-like tone. Mallarm\u00e9 was invited to hear it. techniques shows that atmosphere The orchestra does, however, have While he had initially opposed the and technicality can coexist. two harps, which help to create composition of music based on a more luxuriant sound. Long his poem, Mallarm\u00e9 came out full Staging the piece sections use divisi in the strings, of praise, writing to Debussy that it Debussy\u2019s orchestra is moderately sometimes playing sur la touche\u2014 went further \u201cin nostalgia and light, sized: its only brass instruments over the fingerboard, where the with finesse, uneasiness, and are four horns, and only two tone is more mellow. richness\u201d than his own work. \u25a0 Debussy and impressionism I wasn\u2019t expecting The word \u201cimpressionism\u201d is lead to numerous possible anything like that! The controversial when applied to progressions, putting the focus music prolongs the emotion music. Debussy himself\u2014its on the sensual effect of each of my poem and conjures most iconic exponent\u2014railed chord, while obscuring its role in against it. \u201cI\u2019m attempting the structure that underpins the up the scenery more \u2018something different,\u2019\u201d he wrote piece\u2014just as Monet\u2019s focus on vividly than any color. in 1908, \u201c[that] imbeciles call colors and eschewal of lines St\u00e9phane Mallarm\u00e9 impressionism, just about the communicates more about the least appropriate term possible.\u201d sense than about the details Despite this, Debussy\u2019s work is of his subject. Both Debussy as much a musical equivalent and Monet have been called to Monet as to Mallarm\u00e9. His \u201cantirealist,\u201d but for Debussy, tonally ambiguous harmonies appealing to the very senses (which do not clearly suggest by which music is heard, was one particular resolution) could \u201cmore real\u201d than realism.","BIG ANDITWHAENITRWOMMIENNDTOSTUTRON DIFFICULT JOBS THE WRECKERS (1904), ETHEL SMYTH","","234 FEMALE COMPOSERS W omen were writing I feel awfully full of opera from the form\u2019s power\u2014deadly sure of IN CONTEXT first days. The earliest what I am doing\u2014I love known opera by a woman, La FOCUS Liberazione di Ruggiero dall\u2019isola to see how I am Female composers d\u2019Alcina (The Liberation of Ruggiero getting to orchestrate from the Island of Alcina), by BEFORE Francesca Caccini, was first better and better. 1644 The Venetian composer performed in Caccini\u2019s native city Ethel Smyth and singer Barbara Strozzi of Florence in 1625. For Ethel publishes her first book of Smyth, however, writing a three- Letter to librettist Henry Brewster madrigals (Il primo libro act \u201cgrand opera\u201d\u2014serious in di madrigali). theme, with no spoken dialogue\u2014 to spread their wings. C\u00e9cile at the turn of the 20th century Chaminade (1857\u20131944) and 1850 In France, the premiere was an ambitious undertaking, Augusta Holm\u00e8s (1847\u20131903), both success of Louise Farrenc's both because she was female and French and near contemporaries Nonet for wind and strings also because she was English, of Smyth, wrote major orchestral allows her to negotiate equal British opera having been almost works, as did Amy Beach (1867\u2013 pay as professor of piano at the extinct since Henry Purcell. 1944), who was the first American Paris Conservatoire. woman to write a symphony\u2014the Life beyond the piano Gaelic Symphony (1896). AFTER For much of the 19th century, 1913 French composer Lili female composers were associated Some women also wrote opera. Boulanger is the first woman with piano and chamber music Thirty years older than Smyth, to receive the Prix de Rome for suited to the domestic sphere. the French aristocrat Marie de her cantata Faust et H\u00e9l\u00e8ne. Composers such as Louise Grandval (1828\u20131907) was a prolific Reichardt (1779\u20131826), Clara composer whose works included 2000 Finnish composer Kaija Schumann (1819\u20131896), and Fanny a symphony (now lost), an oratorio Saariaho premieres her five-act Mendelssohn (1805\u20131847) were (Stabat Mater), and seven operas, opera L\u2019Amour de loin (Love known for \u201cart songs,\u201d or Lieder the last of which, Mazeppa, based From Afar), based on the (poems set to music for voice and on a poem by Byron, was staged 12th-century troubadour Jaufr\u00e9 piano). Toward the end of the with some success in Bordeaux in Rudel, at the Salzburg Festival. century, female composers began 1892. Three years later, Augusta Holm\u00e8s\u2019s third and final opera, La Montagne noire, was produced at the Paris Op\u00e9ra. Smyth was in the French capital at the time and saw the work. In common with many others, she was disappointed The audience prepare to leave after watching an opera at the Royal Opera House, Covent Garden, London, in 1910\u2014the year The Wreckers had its first performance at the venue.","MODERN 1900\u20131950 235 See also: La traviata 174\u2013175 \u25a0 The Ring Cycle 180\u2013187 \u25a0 Tosca 194\u2013197 \u25a0 Peer Gynt 208\u2013209 \u25a0 Peter Grimes 288\u2013293 \u25a0 L\u2019Amour de loin 325 \u25a0 blue cathedral 326 by the opera but sympathized winning wide recognition, though make their living by luring ships with the composer, writing later: it was still difficult to get the work onto the rocky shore and plundering \u201cknowing what I do about the staged in her own country. For the them. The drama of the opera difficulties of opera composers, British, opera was chiefly an upper- centers on two lovers, Thirza and especially plus the handicap of class entertainment put on by Mark, who are opposed to this sex, the astonishing fact about foreigners in London during the thievery. Thirza is the young wife it was that it existed at all.\u201d social season. When Smyth first of Pascoe, leader of the wreckers submitted The Wreckers to the but also the village preacher\u2014a By then Smyth had embarked Royal Opera House in Covent dual role not at all incongruous to on her own career as an opera Garden, the managing committee most of the villagers, who see no composer. Crucial encouragement told her: \u201cTo announce a new work contradiction betweentheir \u276f\u276f had come from the German by a new composer is to secure an conductor and Wagner champion absolutely empty house, and in Hermann Levi, a friend for whom future no opera will be produced Smyth had played on the piano here that has not established its one of her earlier choral works, success abroad.\u201d Mass in D (1891). Impressed by the drama of the music, Levi told her: A Cornish tale \u201cYou must at once sit down and Completed in 1904 and first write an opera.\u201d performed two years later in Leipzig, The Wreckers is set in Taking up the challenge, in 1894 a remote village on the coast of Smyth completed her first opera, a Cornwall in the late 18th century. comedy called Fantasio, staged in The villagers are \u201cwreckers,\u201d who Weimar in 1898. Her second, Der Wald (The Forest), was produced Two composer sisters, Nadia (left) in Berlin and London in 1902 and and Lili Boulanger, pose together in a year later at the Metropolitan 1913. Nadia was also an influential Opera in New York\u2014the first opera teacher, whose students included by a woman to be performed there. Aaron Copland and Philip Glass. By the time Smyth wrote The Wreckers, her third opera, she was Ethel Smyth The daughter of a French mother campaigner Emmeline and a British major-general, Ethel Pankhurst (possibly a lover of Smyth was born in the English the openly lesbian composer) county of Kent in 1858. At the and devoted the next two years age of 19, she went to Germany to the Suffragette cause. In later to study music at Leipzig years, she was hampered by Conservatory, where her fellow deafness and so turned to students included Grieg, Dvor\u02c7\u00e1k, writing instead of music. She and Tchaikovsky. Back in England, was made a Dame of the British she started to win recognition for Empire in 1922 and died in 1944. musical composition in the 1890s, championed by such diverse Other key works figures as the exiled French Empress Eug\u00e9nie (widow of 1891 Mass in D Napoleon III) and the playwright 1894 Fantasio George Bernard Shaw. In 1910, 1914 The Boatswain\u2019s Mate Smyth met the women\u2019s suffrage 1924 Entente cordiale","236 WOMEN COMPOSERS looting and their faith. Mark has As the waves rise, the lovers sing Wreckers seize cargo from a ship been secretly lighting beacons their final duet, a bridal song: \u201cOur that has foundered on the Cornish to warn ships off the rocks. last ecstasy thy embrace, O sea!\u201d coast, in an etching from the 1822 book Scenes in England by the When the villagers discover Bringing the opera to life Reverend Isaac Taylor. that a night of plundering has Smyth\u2019s inspiration for the opera been sabotaged by Mark and had been a walking holiday in The music, meanwhile, was firmly Thirza, they condemn them to Cornwall and the Isles of Scilly. rooted in the German tradition. death as \u201cadulterers and traitors,\u201d Here, she had heard tales of the Trained in Leipzig, as a composer imprisoning them in a sea cave wreckers of old and of the religious Smyth belonged to a lineage that that fills with water at high tide. revival in 18th-century Cornwall led passed from Beethoven through by the founder of the Methodists, Brahms\u2014whom Smyth, throughout Between whiles I would lie John Wesley. A sea cave called her life an avid social networker, on the [Cornish] cliffs, buried Piper\u2019s Hole in the Isles of Scilly had known in Leipzig\u2014to Mahler, in soft pink thrift, listening to had given her the idea for the cave just two years her junior. With such the boom of the great Atlantic in which the lovers Thirza and Mark a clear Germanic background, the meet their death. Her librettist, as influence of Wagner (himself born waves against those cruel with her two previous operas, was an in Leipzig) was inescapable, rocks, and the wild treble old friend, Henry Brewster. The son despite Smyth once protesting, of a Bostonian father and English \u201cI never was, nor am I now, a cries of the seagulls. mother, Brewster had been raised Wagnerite in the extreme sense Ethel Smyth in France and was more at ease of the word.\u201d The Wreckers shows writing in French than in English, clear Wagnerian traces, such as so they decided that the libretto the rich orchestration, evoking the would be in French, which Smyth coast and seascapes of Cornwall, also spoke and wrote fluently. The and the use of \u201cleitmotifs\u201d\u2014musical libretto was composed through themes associated with particular correspondence between Brewster individuals and emotions. At the in Rome and Smyth in Surrey. same time, the drama has a marked","MODERN 1900\u20131950 237 The sea in opera Wagner, The Flying Dutchman, 1841 Bizet, The Pearl Fishers, 1863 The whole English The atmosphere of the North Sea breathes The changing moods of the sea reflect the attitude toward women throughout. The sea is there to be conquered ups and downs of the relationship between in fields of art is ludicrous \u2026 but ultimately emerges victorious. two friends and their ultimate reconciliation. There is no sex in art. How you play the violin, paint, or compose is what matters. Ethel Smyth lovers Thirza and Mark, torn between passion and moral responsibility, strike a new, raw note in British operatic music. Ethel Smyth, The Wreckers, 1904 Vaughan Williams, Riders to the Sea, 1932 The premiere The orchestration evokes Cornish seascapes. The impressionistic music captures the Her work completed, it then took Powerful but impassive, the sea brings both power of wind and ocean in this lament for Smyth two years to get The prosperity and discord to the village. sons lost at sea set in an Irish fishing village. Wreckers staged. The premiere, when it eventually came, was in Benjamin Britten, Peter Grimes, 1945 Benjamin Britten, Billy Budd, 1951 Leipzig\u2019s Neues Theater, Brewster\u2019s Four Interludes each represent a different The sea represents an implacable backdrop libretto having been translated mood of the sea. The sea is a metaphor for to the turbulence of human affairs and a into German. To Smyth\u2019s fury the struggle of the individual. final, peaceful resting place. the director had made cuts to the third act, although the first-night British character in its setting late 19th and early 20th centuries. audience greeted the \u201cmutilated\u201d and themes. The hymns and other Although imperfectly worked out, version with thunderous applause. choruses sung by the villagers, for the basic drama of the opera is After the director refused to instance, bear the clear imprint of compelling with strong characters reinstate his cuts for subsequent the English oratorio tradition. and situations. It takes on serious performances, an enraged themes of greed, love, moral Smyth stormed into the theatre Derivative though the music conflict, and religious fanaticism. early the next morning and is in many ways, Smyth had At its best, as in the prelude to removed all the scores she could nonetheless achieved her objective the second act, \u201cOn the cliffs of find in the orchestra pit. There with The Wreckers. She had written Cornwall,\u201d the music is colorful would be no more performances a viable British opera that could, and atmospheric. Although of The Wreckers in Leipzig. for the first time, bear comparison indebted to Wagner\u2019s Siegfried, with the works of the major the second-act duets between the Smyth then caught a train to continental opera composers of the Prague, where another performance was scheduled. This proved an even greater disaster, since the orchestra had not rehearsed properly, leading to damning reviews in the local press. The \u276f\u276f","238 FEMALE COMPOSERS In 1911, Smyth wrote \u201cThe March of the Women\u201d as a Suffragette rallying Female conductors cry. An active protester, she was sentenced to two months in Holloway Only in the 20th century did Prison, in 1912, for smashing a window. women begin to conduct orchestras. When the role composer had better luck at the Many contemporaries were emerged in the 19th century, next location, Vienna, where generous in their praise of The it was monopolized by male Mahler was director of the opera Wreckers. Writing in 1910 in the composers, with women house. He expressed an interest in second edition of The New Grove confined to conducting seeing Smyth, but the person she Dictionary of Music and Musicians, choirs. In the 1930s, the actually met was his second-in- the British music critic John Fuller Dutch-American Antonia command, the conductor Bruno Maitland observed: \u201cIt is difficult Brico conducted the Berlin Walter. He was impressed but to point to a work of any nationality Philharmonic, and the French could not promise a production. since Wagner that has a more composer Nadia Boulanger direct appeal to the emotions, or became the first woman Back in London, Smyth\u2019s that is more skilfully planned and to conduct London\u2019s Royal experiences were similarly carried out.\u201d The novelist Virginia Philharmonic. In the 1950s, checkered. In 1908, a concert Woolf was more ambivalent. In Margaret Hollis achieved version of the first two acts was 1931, she, her husband, Leonard, renown as a choral director, well received by many critics but and her lover, Vita Sackville-West, founding the Chicago overshadowed by personal sadness. accompanied Smyth to see The Symphony Chorus in 1957, Brewster, who was in the final Wreckers at the Sadler\u2019s Wells and, in 1976, Sarah Caldwell stages of liver cancer, had traveled Theatre, London. She noted in her was the first female from Rome for the performance. diary that the opera was \u201cvigorous conductor at the Metropolitan He died less than a month later. & even beautiful; & active & Opera, New York. The next year, The Wreckers\u2014 absurd & extreme; & youthful: as if now translated by Smyth into some song in her had tried to issue It took another 30 years English\u2014was successfully staged & been choked.\u201d Beecham in his for a woman, Marin Alsop, at His Majesty\u2019s Theatre, London, memoirs, published in 1944, was a to become chief conductor of conducted by the young Thomas whole-hearted enthusiast, judging a major American orchestra, Beecham. The conductor also The Wreckers \u201cone of the three or the Baltimore Symphony included it in his first season at the four English operas of real musical Orchestra. In 2013, Alsop Royal Opera House the year after, merit and vitality written during scored another first for a although it suffered by comparison the past forty years.\u201d woman when she conducted with a new work being performed the Last Night of the Proms at Covent Garden that season: Blazing a trail in London\u2019s Albert Hall. Richard Strauss\u2019s Elektra. While Woolf\u2019s judgment is perhaps the one most modern critics would Marin Alsop conducts the come closest to, Smyth\u2019s role in Swedish Radio Symphony opening up a path for later female Orchestra in 2009. She has led composers is beyond doubt. In orchestras in the UK, Brazil, The Wreckers, she took on one and the US. of the most ambitious forms of composition. Through her talent, perseverance, and sheer drive, Smyth established herself as a serious composer. She went on to write three further smaller-scale operas\u2014two one-act comedies and F\u00eate galante (1922), a \u201cdance-","MODERN 1900\u20131950 239 drama\u201d based on a short story of Miss Smyth is one of the Wreckers, at least at first hand. the same name by Smyth\u2019s friend few women composers one Yet his first opera, Peter Grimes, Maurice Baring. can seriously consider to premiered in 1945, has almost uncanny parallels with Smyth\u2019s Where Smyth led the way, many be achieving something work. Both operas are set in remote others have followed. In Britain valuable in the field of coastal areas, where a pair of alone, a generation of female musical composition. protagonists find themselves composers born in the decade that Pyotr Ilyich Tchaikovsky at odds with the rest of the The Wreckers was composed and community, which is in the grip first performed included Elisabeth Musgrave include Mary, Queen of evangelical religion and set on Lutyens, Elizabeth Maconchy, and of Scots (1976), and Sim\u00f3n Bol\u00edvar violence against them. Both employ Imogen Holst. The work of Lutyens (1995), while the successes of the device of the protagonists included nearly 200 scores for film Judith Weir include A Night at singing onstage while a chorus of and radio, as well as the operas the Chinese Opera (1987), The villagers perform a hymn offstage. The Numbered (1965) and Isis and Vanishing Bridegroom (1990), And both include powerful Osiris (1969). Best known for her and Blond Eckbert (1994). orchestral evocations of the sea, 13 string quartets (1933\u20131984), endowing it with a personal Maconchy also wrote five operas, presence and force so great that including The Sofa (1957) and The the watery element becomes a Departure (1961). Holst, only child key presence in the work. of Gustav Holst, while a less prolific composer, proved a tireless Whether Britten was aware assistant to Benjamin Britten. In of The Wreckers or not, Smyth\u2019s the late 20th century, the work of work clearly played some role in two Scottish composers won world revitalizing a distinctively British acclaim. The 10 operas of Thea tradition of opera, both in terms of music and subject matter. In this Dressed in red, the title character of Male heirs sense, major male composers of the Judith Weir's opera Miss Fortune takes It is not only female composers 20th century, such as Britten and center state at the United Kingdom who were influenced by Smyth. Michael Tippett, can be counted premiere of the work at the Royal Opera Surprisingly, Benjamin Britten among the inheritors of Smyth's House, Covent Garden, in 2012. seems not to have known The musical mantle. \u25a0","AN AUDIENCE CSHOOUMLDPN\u2019LT ALISCTEENNWCITYH PIERROT LUNAIRE, OP. 21 (1912), ARNOLD SCHOENBERG","","242 PIERROT LUNAIRE, OP. 21 IN CONTEXT U ntil the end of the 19th and other composers, including century, music had been Alexander Scriabin and B\u00e9la FOCUS largely dictated by a tonal Bart\u00f3k, started to experiment Atonality system, in which keys, chords, and further, escaping from traditional scales complemented each other to harmony, and chords and melodies BEFORE create melody and harmony that based on diatonic (major and minor) 1865 Richard Wagner\u2019s opera were pleasing to the ear. Even scales, instead exploring more Tristan und Isolde is first where dissonant, or unsettling, dissonant 12-note chromatic scales. performed\u2014a turning point in passages were used in a piece of The Austrian composer and critic the move away from tonality. music, it was still resolved onto a Joseph Marx coined the term consonant, or harmonious, chord. \u201catonality\u201d for this music, which 1894 French composer Claude had no recognizable tonality, or key. Debussy uses ambiguous The seeds for the unraveling Schoenberg gave it full rein in the harmonies and fluid harmonic of this tonal tradition were sown works of his middle period (roughly progressions in his Pr\u00e9lude \u00e0 by Richard Wagner. In his operas, 1908\u20131921), of which Pierrot lunaire l\u2019apr\u00e8s-midi d\u2019un faune. especially Tristan und Isolde (1859), is arguably the most influential. Wagner undermined the concept of 1899 Schoenberg stretches music written in one key by moving Tonality taken to the limit the bounds of tonality to its through a range of different, often The use of chromatic scales to limits in his string sextet unrelated, keys, without settling on create new harmonies had become Verkl\u00e4rte Nacht, Op. 4. any one, and introducing dissonant the norm among composers at the chords for dramatic effect. A few end of the 19th century, especially AFTER decades later, Arnold Schoenberg in Austria and Germany. But in 1917\u20131922 In his Five Sacred the early years of the new century, Songs, Op. 15, Austrian Arnold Schoenberg poses with Schoenberg came to realize that composer Anton Webern uses his second wife, Gertrud, and their tonality, the system of major and a similar small ensemble to children, in 1950. Gertrud wrote the minor scales that had formed the that of Pierrot lunaire and libretto for Schoenberg\u2019s one-act opera basis of Western music since develops many of the same Von heute auf morgen (1928\u20131930). compositional techniques. 1921\u20131923 The Suite for Piano, Op. 25, is the first of Schoenberg\u2019s works to use his 12-tone serial method of composition throughout. 1922 French composer Edgard Var\u00e8se\u2019s Offrandes for soprano and chamber orchestra has its premiere in New York. 1965 An ensemble, the Pierrot Players, later known as the Fires of London, is founded to perform Pierrot lunaire and other new works.","See also: The Ring Cycle 180\u2013187 \u25a0 Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-midi d\u2019un faune 228\u2013231 \u25a0 MODERN 1900\u20131950 243 Le Sacre du printemps 246\u2013251 \u25a0 Webern\u2019s Symphonie, Op. 21 264\u2013265 \u25a0 Ionisation 268\u2013269 \u25a0 Gruppen 306\u2013307 Arnold Schoenberg The expression, \u201catonal legacies of Haydn and Mozart, and Born in 1874 in Vienna to a music\u201d is most unfortunate\u2014 Wagner. He was not alone in trying Jewish family, Schoenberg to find a new way of approaching was primarily self-taught it is on a par with calling these legacies. In France, for in music but took theory swimming \u201cthe art of example, Erik Satie was producing lessons with the composer not drowning.\u201d coolly detached and often static Alexander Zemlinsky, whose Arnold Schoenberg music, and Claude Debussy was sister, Mathilde, Schoenberg developing his free-flowing style married. In 1898, he converted the 17th century, was being using the less dissonant of the to Christianity, hoping for stretched to its limits. In 1908, he chromatic harmonies. greater acceptance in also faced a personal crisis when Viennese cultural life. His his wife, Mathilde, had an affair with Embracing dissonance first compositions, in a late the artist Richard Gerstl, who then In his early forays into atonality, Romantic style, were well committed suicide. Schoenberg\u2019s Schoenberg used chromatic chords received. In the 1920s, after resulting sense of despair was to create an ethereal atmosphere his \u201cmiddle period\u201d rejection reflected in a more chaotic, free through an unexpected but still of traditional tonality, he chromatic style, with little tonal harmonious combination of notes. invented a new method of structure, first in a setting of \u201cDu However, his interest in the new composition, systematically lehnest wider eine Silberweide\u201d by expressionist movement of writers using all 12 notes of the the German symbolist poet Stefan and artists in Vienna led him to chromatic scale. George, and more dramatically in develop a starker musical language. his String Quartet No. 2, which Above all, he saw his task as the With the rise of Nazism, moves in and out of keys, seemingly \u201cemancipation of dissonance,\u201d Schoenberg felt increasingly at random, and adds the surprise allowing a dissonant chord to vulnerable in Europe, and in of a soprano voice to its third and stand by itself as a harmony, not 1933 he moved to the US, fourth movements. as a \u201csubsidiary\u201d chord requiring having reverted to Judaism resolution onto a consonance. This during a short stay in Paris. Soon, Schoenberg recognized a was similar to Debussy\u2019s use of He became a US citizen in drawback to his new compositional chromatic chords, but Schoenberg 1941 and spent the rest of technique: while free chromaticism did not confine himself to mild his life in California, where allowed a more varied harmonic dissonance; he also boldly used he died in 1951. range for emotional expression, harsh and jarring dissonances. \u276f\u276f it lacked the structural discipline Other key works of classical forms, such as the It is the organization of a sonata, which are based mainly piece which helps the listener 1899 Verkl\u00e4rte Nacht, Op. 4 on relationships between keys. to keep the idea in mind, to 1909 Erwartung, Op. 17 Schoenberg therefore set about 1926\u20131928 Variations for finding a way to reconcile atonality follow its development. Orchestra, Op. 31 with classical structure and Arnold Schoenberg 1930\u20131932 Moses und Aron romantic expression\u2014the opposing","244 PIERROT LUNAIRE, OP. 21 With a grotesque giant The unsettling nature of the with a distinctive structure of tone bow, Pierrot scratches on free chromaticism employed by intervals, which could then be his viola. Like the stork Schoenberg is due largely to its subjected to freer atonal treatment. lack of formal structure; without on one leg, He bleakly some kind of organization or sense A new music takes shape plucks a pizzicato. of progression, it is unpredictable In 1912, the Viennese actress Albert Giraud and offers little relief or resolution. Albertine Zehme commissioned Schoenberg, nevertheless, felt the Schoenberg to write a song cycle, The resulting music chimed well need to harness this freedom to setting verses from Pierrot lunaire: with expressionism and had a avoid a musical anarchy that could rondels bergamasques by Belgian disturbing, often nightmarish effect. limit his expressive range. He symbolist poet Albert Giraud. Where Wagner\u2019s unresolved turned to some pre-classical formal Schoenberg chose 21 of Giraud\u2019s harmonies evoked anticipation, structures in which the emphasis 50 poems for his Pierrot lunaire, yearning, or unrequited love, was more on counterpoint than using the German translation by Schoenberg\u2019s created anxiety and harmony. These included imitative Otto Erich Hartleben. He saw the apprehension. Rather than express devices, such as canons and work, though, not as a collection emotions, his atonality dealt with fugues, as well as simple forms, of songs sung in sequence but as a psychological states. Schoenberg such as the rondo and passacaglia melodrama. It was to be a dramatic would have been aware of the (a style using the repetition of recitation accompanied by a small research being carried out in a theme or sequence of chords ensemble of instruments, in a Vienna at the time by the founder over which there are certain \u201clight, ironical, satirical tone,\u201d of psychoanalysis, SigmundFreud. variations). Within these structures, with echoes of both the Italian Schoenberg used as his building comedy form commedia dell\u2019arte, blocks small fragments or motifs from which the Pierrot character that consisted of a handful of notes originated, and contemporary cabaret performances. Pierrot and Columbine, played by Alexander Zaitsev and Mara Galeazzi, The poems present surreal look to the moon in a production of and often grotesque glimpses of Pierrot lunaire at the Royal Opera the world of the commedia dell\u2019arte. House, London, in 2007. Their mystical quality is matched by Schoenberg\u2019s settings. Without tonality, the music creates an To call any relation of tones atonal is as little justified as to designate a relation of colors aspectral or acomplementary. Such an antithesis does not exist. Arnold Schoenberg","Audience and orchestra fight in a is highly structured. Hartleben\u2019s MODERN 1900\u20131950 245 1913 cartoon from the newspaper Die translation is in a German rondel Zeit titled \u201cThe upcoming Schoenberg form: each poem has 13 lines split Sprechstimme concert,\u201d satirizing the anger that the into three stanzas. Line one is composer\u2019s new music could provoke. repeated at lines seven and 13, and Although the vocal line in line two is repeated at line eight. Pierrot lunaire is usually unsettling atmosphere, and the Schoenberg\u2019s settings employ a performed by a soprano, dissonance of the harmonies suits variety of similarly strict formal Schoenberg did not intend it the strange and sometimes violent techniques. Schoenberg uses small to be sung but rather recited, imagery. Like the poems, the music motif \u201ccells\u201d of notes as the basis like the cabaret songs and for forms such as passacaglias and melodramas that were popular canons, presenting them in various at the time, in a style he called guises: transposed up or down, sprechstimme (\u201cspeaking in retrograde (played backward), voice\u201d). He first used the and inversion (upside down). technique in his cantata Gurre-Lieder but realized The piece is written for a its full potential in Pierrot quintet playing seven instruments: lunaire. Here, the vocal line piano, violin (also playing viola), is notated conventionally, cello, clarinet, and flute (also with precise indications of playing piccolo). The combination both rhythm and pitch, but of this pared-down ensemble and sprechstimme is indicated by Schoenberg\u2019s stark scoring and small crosses on the stems of atonality provided a sharp contrast the notes. Later, Schoenberg to the Romanticism of the 19th abandoned specific pitch century and proved that there was indications for sprechstimme, a viable alternative to tonality. \u25a0 replacing the five-line staff with a single line and no clef. Tonality Origin Atonality Gravitates around Freely composed a home key Based on Melody Can use major or minor scales Harmony all notes of the Dissonance chromatic scale of the home key Based on Not restricted to major or major or minor chords of the home key minor chords Resolves Does not into consonant major resolve into consonant or minor chords chords","IAHABVAENR\u2019TOUNFDMERUSTSOIOCD FELT ITIN MY LIFE, BUT I HAVE LE SACRE DU PRINTEMPS (1913), IGOR STRAVINSKY","","248 PRIMITIVISM AND MODERNISM IN CONTEXT A lthough the turn of the her peers in another frenzied ritual. 20th century saw an Slower pieces follow\u2014\u201cEvocation\u201d FOCUS increasing fascination and \u201cRitual Action of the Ancestors,\u201d Primitivism with the exotic, no music really after which the victim dances and modernism prefigured the explosion of violent wildly for the onlookers until she primitivism that was Le Sacre du dies of exhaustion. BEFORE printemps (The Rite of Spring). Igor 1889 Debussy is inspired to Stravinsky\u2019s ballet portrayed a Folk origins experiment with the \u201cexotic\u201d brutal scenario\u2014a pagan ritual in Stravinsky may have been inspired sound worlds of non-Western which a sacrificial virgin danced by Sergei Gorodetsky\u2019s poem musical traditions after herself to death to \u201cpropitiate the \u201cYarila,\u201d in which two priestesses hearing Javanese Gamelan god of spring.\u201d sacrifice a young linden tree to a at the Exposition Universelle. sage. The concept was developed The work was first staged by in collaboration with Nikolai AFTER Sergei Diaghilev\u2019s Ballets Russes Roerich, a leading artist-scholar 1923 Darius Milhaud\u2019s ballet in Paris in 1913, choreographed by with expertise in Russian folklore. La Cr\u00e9ation du monde, Vaslav Nijinsky\u2014a performance While many of the details of this inspired by African folk that famously led to a riot. From its scenario have some basis in folk mythology, premieres in Paris. plot alone, it is not difficult to see history, its main event is fictitious: why. Part one introduces a strange human sacrifice was certainly not 1949 Olivier Messiaen\u2019s and primitive world in which a a feature of Slavic folk religion. The Turangal\u00eela-Symphonie\u2014his succession of rituals takes place. savagery of Le Sacre was intended most famous large-scale These are characterized by wild to shock and served to debunk orchestral work\u2014draws energy (as in \u201cThe Augurs of the romanticized notion of ancient inspiration from Le Sacre Spring\/Dances of the Young Girls,\u201d folklore so prevalent in the arts by du printemps. \u201cRitual of Abduction,\u201d \u201cSpring the end of the 19th century. Rounds,\u201d and \u201cRitual of the Rival Tribes\u201d)\u2014until the arrival of the If the brutality of the subject Sage, who stoops to kiss the earth, matter was exaggerated for its prompting an orgylike \u201cDance of shock value, the music was no less the Earth.\u201d In part two, as night so. Stravinsky drew a significant falls, a sacrificial victim is chosen amount of thematic material in the from among the \u201cMystic Circles of work from existing Lithuanian folk Young Girls\u201d and then \u201cglorified\u201d by tunes, but these melodies were so Igor Stravinsky Born near St. Petersburg in 1882, France in 1920, but after the Stravinsky\u2019s formative influence deaths of his wife, mother, and was Nikolai Rimsky-Korsakov, daughter (shortly before World his teacher from 1902\u20131908\u2014 War II), Stravinsky emigrated however, Stravinsky continually to the United States, where his assimilated new styles. His first later works would incorporate ballet for Diaghilev, L\u2019Oiseau de serial technique. In spite of his feu, catapulted him to fame at its failing health, his creative spirit Paris premiere in 1910. His early remained strong until two years aesthetic was in line with late before his death, in 1971. Romanticism, as was popular in Russia, but his musical language Other key works developed from Experimentalism in the 1910s into distinctive 1910\u20131911 Petrushka Neoclassicism after his wartime 1922\u20131923 Octet exile in Switzerland. Stravinsky 1930 Symphony of Psalms and his family settled down in 1953\u20131957 Agon"]