Music: An Appreciation by Roger Kamien

Time Line Shakespeare: Hamlet

1600

Cervantes: Don Quixote

1605

Jamestown founded

1607

Galileo: Earth orbits Sun

1610

King James Bible

1611

Newton: Principia Mathematica

1687

Witchcraft trials in Salem, Mass.

1692

Defoe: Robinson Crusoe

1719

Swift: Gulliver’s Travels

1726 PART III—THE BAROQUE PERIOD

The Baroque Style Time of flamboyant lifestyle Baroque style “fills the space” Visual Art – Implies motion - Note pictures p. 93

– Busy - Note pictures p. 94

PART III—THE BAROQUE PERIOD

The Baroque Style Architecture – Elaborate - Note picture p. 95

Change in approach to science – Experiment-based, not just observation – Inventions and improvements result

PART III—THE BAROQUE PERIOD

Chapter 1: Baroque Music Period begins with rise of opera – Opera: a play with speaking parts sung

Period ends with death of J. S. Bach The two giants: Bach and Handel Other important composers: – Claudio Monteverdi

– Arcangelo Corelli

– Henry Purcell

– Antonio Vivaldi

Chapter 1

Period divided into 3 phases: – Early: 1600-1640 - Rise of opera - Text with extreme emotion

- Homophonic to project words

Chapter 1

Period divided into 3 phases: – Early: 1600-1640

– Middle: 1640-1680 - New musical style spreads from Italy throughout Europe - Use of the church modes gives way to major and minor scales - Rise of importance of instrumental music

Chapter 1

Period divided into 3 phases: – Early: 1600-1640

– Middle: 1640-1680 – Late: 1680-1750 - Instrumental music becomes as important as vocal music - Elaborate polyphony dominates - Most baroque music we hear comes from the Late Baroque

Chapter 1

Characteristics of Baroque Music Unity of Mood – Expresses one mood per piece

Rhythm – Rhythmic patterns are repeated throughout

Melody – Opening melody heard again and again

Dynamics – Volumes constant with abrupt changes

Texture – Late baroque mostly polyphonic – Extensive use of imitation Chapter 1

Chords and the Basso Continuo – Emphasis on way chords follow each other - Bass part considered foundation of the harmony

– Basso Continuo: bass part with numbers to represent chord tones - Similar to modern jazz and pop “fake book” notation

Words and Music – Text painting/word painting continues – Words frequently emphasized by extension through many rapid notes

Chapter 1

The Baroque Orchestra Based on violin family of instruments

Small by modern standards Varying instrumentation – Combinations of strings, woodwinds, brass, & percussion (tympani)

Nucleus was basso continuo unit

Composers specified instrumentation – Timbre was subordinate to melody, rhythm, and harmony Chapter 1

Baroque Forms Instrumental music frequently made up of contrasting movements – Movement: a piece complete in itself, also part of a larger whole – Performed with pause between movements – Unity of mood within individual movements – Movements often contrast with each other

Chapter 1

Chapter 10: Antonio Vivaldi Late baroque Italian composer

Il prete rosso (the red priest) Taught music at girls’ orphanage in Venice – Girls performed at mass hidden behind screen

Wrote sacred and secular vocal and instrumental music – Best known for concerti grossi & solo concertos for violin - Solo concerto: piece for single soloist & orchestra

Famous as a virtuoso violinist & composer Chapter 10

Listening La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi First Movement: Allegro Listening Outline: p. 126 Brief Set, CD 2:1

Concerto for violin and string orchestra

Performance Profile: Jeanne Lamon-violinist/ conductor

Listen for interpretation of tempo, rhythm, and dynamics, use of decorative tones, and attempt to keep a familiar piece “fresh.”

Note: Polyphonic texture & ritornello form Baroque program music Descriptive effects (e.g., bird songs) Chapter 10

Listening La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi Second Movement: Largo e pianissimo sempre (very slow and very soft throughout)

Listening Guide: pp. 127-129 Brief Set, CD 2:6

Concerto for violin and string orchestra

Performance Profile: Jeanne Lamon-violinist/ conductor Listen for interpretation of tempo, rhythm, and dynamics, use of decorative tones, and attempt to keep a familiar piece “fresh.”

Note: Orchestra reduced to only violins and violas Descriptive effects (violas: “dog barking”) Chapter 10

Listening La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi Third Movement: Danza pastorale (Pastoral Dance) Listening Guide: p. 129 Brief Set, CD 2:7

Concerto for violin and string orchestra

Performance Profile: Jeanne Lamon-violinist/ conductor

Listen for interpretation of tempo, rhythm, and dynamics, use of decorative tones, and attempt to keep a familiar piece “fresh.”

Note: Ritornello form alternates solo and tutti sections Descriptive effects (sustained notes in low strings to imitate bagpipes) Chapter 10

Time Line Monroe Doctrine

1823

Hugo: Hunchback of Notre Dame

1831

Dickens: Oliver Twist

1837

Dumas: The Three Musketeers

1844

Poe: The Raven

1845

Darwin: Origin of Species

1859

American Civil War

1861-1865

Twain: Huckleberry Finn

1884

Bell invents telephone

1876 PART V—THE ROMANTIC PERIOD

Romanticism (1820-1900) Stressed emotion, imagination, and individualism

Emotional subjectivity basis of arts Favorite artistic topics: – Fantasy and the supernatural – Middle Ages/concept of chivalry and romance - Architecture revived Gothic elements

– Nature as mirror of the human heart

Period of the Industrial Revolution – Resulted in social and economic changes PART V—THE ROMANTIC PERIOD

Chapter 1: Romanticism in Music Many important Romantic composers Franz Schubert

Bedrich Smetana

Robert Schumann

Antonin Dvořák

Clara Schumann

Peter Tchaikovsky

Frederic Chopin

Johannes Brahms

Franz Liszt

Giuseppe Verdi

Felix Mendelssohn

Giacomo Puccini

Hector Berlioz

Richard Wagner Chapter 1

Continued use of classical period forms – Much individual alteration and adjustment

Greater range of tone color, dynamics, and pitch than in classical period Expanded harmony—complex chords

Chapter 1

Characteristics of Romantic Music

Individuality of Style Composers wanted uniquely identifiable music – Worked to find their own voice

In romantic music, it is far easier to identify individual composers through listening

Chapter 1

Expressive Aims and Subjects All approaches were explored: – Flamboyance, intimacy, unpredictability, melancholy, rapture, longing, …

Romantic love still the focus of songs and operas – Lovers frequently depicted as unhappy and facing overwhelming obstacles

Dark topics draw composers Chapter 1

Nationalism and Exoticism Nationalism: music with a national identity – Uses folk songs, dances, legends, and history of a land

Exoticism: intentionally implies a foreign culture – Makes use of melodies, rhythms, and instruments associated with distant lands – Frequently employed in operas with foreign settings Chapter 1

Program Music Association with a story, poem, idea, or scene – Understanding the music is enhanced through reading the program or viewing the associated work – Though common in the romantic, concept had been employed for centuries previously - E.g., La Primavera (from the Four Seasons) by Vivaldi

– Many Romantic composers were also authors – Made possible a “union of the arts” - Poets wanted their poetry to be musical - Musicians wanted their music to be poetic Chapter 1

Expressive Tone Color Composers tried to create unique sounds – Blending of existing instruments – Addition of new instruments – Never before had timbre been so important

Enlarged orchestra allowed more instrument colors – Classical 20-60 members vs. Romantic ~100 – Orchestration came to be regarded as an art form - Berlioz: Treatise on Modern Instrumentation and Orchestration (1844)

Advances in instrument design allowed more color – Valved brass instruments could now play melodies – Piano design improved and range was extended Chapter 1

Colorful Harmony Chords built with notes not in traditional keys – Chromatic harmony

Harmonic instability a consciously used device – Wide use of keys

– Frequent and rapid modulation

Chapter 1

Expanded Range of Dynamics, Pitch, and Tempo Dynamics ff, pp expanded to ffff and pppp Extremely high and low pitches were added Changes in mood frequently underlined by (sometimes subtle) shifts in tempo – Rubato: slight holding back or pressing forward of tempo

Chapter 1

Forms: Miniature and Monumental Some composers went on for hours – Required hundreds of performers

Others’ music lasted only a few minutes – Written for a single instrument

Composers wrote symphonies, sonatas, string quartets, concertos, operas, and many other classically traditional works Chapter 1

Chapter 10: Program Music Instrumental music associated with a story, poem, idea, or scene – Non-program music is called absolute music

Usually performed with written explanation of the piece—a program

Chapter 10

In the romantic period, program music was usually for piano or orchestra Common types: – Program symphony: multi-movement/orchestral – Concert overture\: modeled on opera overture – Symphonic poem (or tone poem): one movement, orchestral, flexible form – Incidental music: for use before or during a play Chapter 10

Chapter 12: Nationalism in Nineteenth-Century Music National identity grew during the romantic period – Citizens, not mercenaries, now fought wars – Bonds of language, history, and culture formed - Led to unifications creating Germany and Italy

Composers deliberately gave their works distinctive national identity – Use of folksongs and folkdances – Created original melodies with folk flavor – Wrote operas and program music inspired by native history, legends, and landscapes

Strongest impact in countries dominated by music of Germany, Austria, Italy and France Chapter 12

Listening The Moldau (1874) Part of the cycle Ma Vlast (My Country) Bedrich Smetana Symphonic poem depicting the main river that flows thorough the Bohemian (Czech) countryside Program notes: p. 254 Listening Outline: p. 255 Brief Set, CD 3:34

Listen for: Program material and how composer related it to the music Chapter 12

Chapter 11: Hector Berlioz French composer (1803-1869)

Mid-romantic period Wrote unconventional music – Passionate and unpredictable

Major award for Fantastic Symphony – Autobiographical—program note, p. 248

Worked as music critic for support One of the first of the great conductors Chapter 11

Berlioz’s Music Imaginative, innovative orchestrations – Required huge resources

Pioneered concept of idee fixe As a pioneer, his work was not always understood by his listening public

Chapter 11

Listening Symphonie Fantastique (Fantastic Symphony) Hector Berlioz (1830)

Fourth Movement: March to the Scaffold Program notes: p. 248 Listening Outline: p. 249

Listen for:

Brief Set, CD 3:30

Program material and how related to the music Returning melody for idee fixe

Chapter 11

Listening Symphonie Fantastique (Fantastic Symphony) Hector Berlioz (1830)

Fifth Movement: Dream of a Witches’ Sabbath Program notes: p. 251 Listening Guide: p. 251

Listen for:

Basic Set, CD 5:34

Program material and how related to the music Returning melody for idee fixe

Chapter 11