Chapter 10 The Nineteenth Century II: Mid- to Late-Romantic Music 11/14/2014 1
Mid-Romantic Era 1850s to 1870s Most important works were: solo piano works, symphonic program music, and opera. Most important composers were: Franz Liszt, Giuseppe Verdi, Richard Wagner, and Pyotr Ilyich Tchaikovsky. 10-2
Works for Solo Piano Solo piano music was appealing to Romantics because of the focus on the individual. The focus was on musical expression and technical prowess. First performer-hero at the piano was Franz Liszt. 10-3
Symphonic Program Music Two paths during the Mid-Romantic Era Programmatic symphony-a fulllength symphony with each of its 3 to 5 movements depicting an episode in the narrative Symphonic poem--single-movement self-contained work for orchestra; also programmatic Liszt was the greatest mid-romantic composer of symphonic poems. 10-4
Opera: Schools and Types Three national schools of opera: the French, the Italian, and the German Each had a distinct national identity by the time of the mid- Romantic period. 10-5
Opera: Schools and Types French opera--three types Grand opera--lofty subject matter, spectacular staging, ballet, choruses, and crowd scenes; recitatives, arias, and choruses--no spoken dialogue Opéra comique--(comic opera)-- much smaller cast and orchestra with a simpler musical style and more down-to-earth plots with humorous or romantic interest--some spoken dialogue 10-6
Opera: Schools and Types French opera--three types Lyric opera--between grand opera and lyric opera; melodious; subject matter was tragic love; proportions lay somewhere between the spectacular and the skimpy. Greatest lyric opera is Carmen (1857) by George Bizet. Set the stage for verismo (realism) in opera toward the end of the 19th century. 10-7
Opera: Schools and Types Italian opera--dominated by the achievements of Giuseppe Verdi. Three important composers of Italian opera preceded him: Rossini, Donizetti, and Bellini Rossini--Barber of Seville (1816) Bellini--Norma (1831) 10-8
Opera: Schools and Types German opera--central figure was Richard Wagner. Influenced by the works of Carl Maria von Weber--Der Freischütz (1821) with its supernatural and heroic subject matter and heavy emphasis on the role of the orchestra. 10-9
Nationalism After the Napoleonic Wars ended in 1814, European countries began to assert their independence and to stress national identity. Italy unified under a constitutional monarchy in 1870. A single German empire was created from a collection of separate states in 1871. 10-10
Nationalism Polish people rebelled against the ruling Russians. Czechs rebelled against their Austrian rulers. Norway gained independence from Sweden. Finland struggled for independence from Russia. Russia had a Civil War to preserve a single national identity. 10-11
Nationalism This movement was reflected in the arts. Local language was fostered. Books of national poetry were published. Intellectuals turned with increasing interest to the folk tales, dances, and songs of their native heritage. Operas were based on national legend or history and were written in the native language. 10-12
Nationalism This movement was reflected in the arts. Folk tunes appeared in symphonic music. Rhythms of folk dances were used in chamber works. Verdi wrote barely disguised political protests into his operas and was regarded as a national hero. 10-13
Franz Liszt (1811-1886) Born in 1811 in Hungary. Father was an administrator and court musician at the Esterházy Palace, where Haydn spent much time. Liszt learned to play piano from his father. After moving to Vienna, he studied composition with Antonio Salieri, who had taught Schubert and Beethoven. 10-14
Franz Liszt (1811-1886) At 13, the family moved to Paris; he began to tour Europe as a piano virtuoso. He showed incredible technique. He was known as a fabulous showman. At age 20, he heard Paganini and decided to achieve the same level of virtuosity on the piano. His fingers were unusually long and thin, and he could play tenths with ease. 10-15
Franz Liszt (1811-1886) Developed great friendships with Berlioz and Chopin. Lived with Countess Marie d Agoult, a novelist who published under the name, Daniel Stern. She left her husband to live with him, and they had 3 children. They traveled frequently around Europe while he performed to enthusiastic crowds and composed. 10-16
Franz Liszt (1811-1886) 1842--settled in Weimar, Germany, where he had been appointed music director. Devoted himself to composing and conducting. Relationship with Countess ended in 1844; he began an affair with a Russian princess. 10-17
Franz Liszt (1811-1886) While with the Countess, he completed most of the compositions that made him famous--12 symphonic poems, 2 programmatic symphonies, and much music for solo piano. 1861--resigned at Weimar and went to Rome to begin religious studies. 10-18
Franz Liszt (1811-1886) Became an abbé and wrote several religious compositions: Psalm settings Masses An oratorio Near the end of his life, he again composed music for the piano and completed some pieces that foreshadowed the harmonies and Impressionistic colors of early 20th century music. 10-19
Liszt s Music Liszt and Wagner are considered the most avant-garde composers of the mid-19th century. Liszt s piano music is quite varied. Transcendental Études--contain some of the most difficult piano music ever written. Dance forms: mazurkas, waltzes, polonaises, and Hungarian dances 10-20
Liszt s Music Liszt s piano music is quite varied. Piano Sonata in B Minor One long movement with 3 themes that are stated at the beginning The themes reappear in different forms throughout the piece. Called thematic transformation. 10-21
Liszt s Music Liszt s piano music is quite varied. Hungarian Rhapsodies--examples of more of his nationalist music Transcriptions-- translations of music from one medium to another 100s of transcriptions of orchestral and operatic music for piano 10-22
Liszt s Music Orchestral music Best known of 12 symphonic poems are Les Préludes and Hamlet. Two programmatic symphonies: Faust Symphony--based on main characters of Goethe s play Dante Symphony--based on the 3 main parts of Dante s Divine Comedy 10-23
Liszt s Music Liszt expanded the boundaries of what was considered possible to perform on the piano. His Hungarian music contributed to the nationalist movement of his home country. He influenced several generations of composers after him and foreshadowed some of the harmonic changes of the 20th century. 10-24
Liszt s Transcendental Étude No. 10 in F Minor Composed in 1826 when Liszt was only 15 years old. Revised and reissued later--in 1839. Ten times more difficult than before Berlioz said Liszt was the only person who could play it. 10-25
Liszt s Transcendental Étude No. 10 in F Minor Explored every possible demanding piano technique: Doubled octave passages Rapid skips Intricate bass tracery Fast runs Massive chords Widely separated hands 10-26
Liszt s Transcendental Étude No. 10 in F Minor Contains some unusual harmonies and a great sense of moving forward. Although seemingly random and uncontrollable, the piece is actually carefully organized. 10-27
Verdi and Wagner Each became the symbol of opera for his own country: Verdi in Italy Wagner in Germany They both had long careers, writing their last operas in their 70s. They made opera the central genre of mid-romanticism. 10-28
Giuseppe Verdi (1813-1901) Verdi was admired in Italy while still a young man. Born in a small northern village where his father ran an inn. As a boy he played the organ for services at the local church and conducted the town band in Busseto. One of the wealthy merchants In Busseto sent him to Milan to study music. 10-29
Giuseppe Verdi (1813-1901) The famous opera house, La Scala, was located in Milan. When he returned to Busseto, he married his patron s daughter when he was 23 and she was 16. Although he started composing there, his two children died along with his wife; he became seriously depressed and decided not to compose anymore. 10-30
Giuseppe Verdi (1813-1901) The concert manager at La Scala gave him the libretto for Nabucco (Nebuchadnezzar), and he liked it so well he composed an opera by that name which was produced in 1842. During the next eleven years, he wrote 15 operas. The most famous were: Rigoletto (1851) Il trovatore (1853) La traviata 10-31 (1853)
Giuseppe Verdi (1813-1901) Verdi became a very wealthy man; he married again and bought a country estate. 1860s and 1870s he wrote 3 more operas including Aida, which was commissioned for the opening of the Suez Canal. 10-32
Giuseppe Verdi (1813-1901) His final surge of creativity yielded 2 more operas: Otello in 1887 (based on Shakespeare s Othello) Falstaff in 1893 (based on Shakespeare s play, The Merry Wives of Windsor The Jewish chorus in Nabucco was heard by the Italians as a rallying cry against their Austrian rulers. 10-33
Giuseppe Verdi (1813-1901) During his life he became a national symbol. After Italian independence in 1870, he was name an honorary member of parliament. When he died (at age 88), Italy declared a national day of mourning. 10-34
Verdi s Music Music in other genres besides opera: A magnificent Requiem Several songs A fine string quartet 10-35
Verdi s Music Secret to his operatic success was his beautiful melodies. He also specialized in writing stirring rhythms that can set the heart pounding. True essence of a Verdi opera is in the drama: Strong emotional resonance Violent contrasts Quick action 10-36
Verdi s Music Between 1840 and 1880, Verdi s compositional style became more fluid. Instead of the recitatives-arias style of earlier compositions, he created a continuing musical flow in which the drama unfolded. 10-37
Verdi s Music The music was held together by the orchestral accompaniment. Binds voices together in duet, trios, and ensembles. Keeps action moving. Supplies rich, colorful harmonies. Verdi also uses the orchestra to present motives that represent people in the story, thus approaching Wagner s concept of the lietmotif. 10-38
Verdi s Otello (excerpt) The last of Verdi s tragic operas. Dramatic interest lies in the portrayal of human emotions. Story: Iago, a junior officer in the Venetian army, is intensely jealous of the promotion of his friend, Cassio. He tries to destroy Cassio s career by deceiving Otello into thinking that Cassio is having an affair with his new wife, Desdemona. 10-39
Verdi s Otello (excerpt) Form is somewhere halfway between recitative and aria-- called accompanied recitative. Scene ends with a huge orchestral climax. 10-40
Richard Wagner (1813-1883) Born in Leipzig, Germany. Father died when he was an infant, and his mother remarried. Educated under the influence of his stepfather, who was a writer and an artist. He studied Shakespeare and Homer and heard Beethoven s music. 10-41
Richard Wagner (1813-1883) Studied music at Leipzig University, but left before finishing his degree to take a job at a small opera house. For six years there, he learned about opera from the inside, both as a chorus director and as a conductor. He married an actress, Minna Planer, and composed his first operas. 10-42
Richard Wagner (1813-1883) Left Germany in debt, fleeing in the night to Paris with his wife. They were very poor; the Paris Opera wouldn t produce his opera, Rienzi. He made money selling his music. He composed another opera, The Flying Dutchman. 10-43
Richard Wagner (1813-1883) Then he heard that both Rienzi and The Flying Dutchman were going to be produced in Germany. These were a great success. At age 30, he was appointed court conductor in Dresden. Two more operas were composed: Tannhäuser (1845) and Lohengrin (1848). Librettos based on folk legend. 10-44
Richard Wagner (1813-1883) 1848--joined a failed coup against the monarchy; he had to leave Germany again. Settled with his wife in Zurich for 12 years. Some of his most important compositions were written there: Essay: The Art Work of the Future (1849) Book: Opera and Drama (1851). 10-45
Richard Wagner (1813-1883) He called for a return to the artistic ideals of Greek antiquity in which poetry, drama, philosophy, and music could be combined into a single work of art. He believed music and words should be completely interwoven into a genre he called music drama. 10-46
Richard Wagner (1813-1883) Wagner was an anti-semite who wrote an anti-jewish essay and attacked the music of Jewish composers. He wrote the largest musical project of the entire Romantic period--his cycle of music dramas known as The Ring of the Nibelungs. 10-47
The Ring of the Nibelungs Four long operas based on medieval German legend, involving gods and goddesses, dwarfs and giants, and human heroes. Four operas are: The Rhinegold, The Valkyries, Siegfried, and The Twilight of the Gods. 10-48
The Ring of the Nibelungs Music and poetry were both written by Wagner. The work took > 25 yrs. to complete. Music describes and illuminates the poetry. Leitmotivs--musical phrases associated with objects, characters, events, thoughts, and feelings--added meaning to the text and offered psychological insights into the characters. 10-49
Richard Wagner (1813-1833) Wagner was not a faithful husband. He finally left Minna and married Cosima von Bülow. For 8 years he believed his operas wouldn t be produced, but then King Ludwig II of Bavaria stepped in. The King funded his every wish, including a new opera house in Bayreuth, where he could stage his operas. 10-50
Wagner s Music His only important music was opera. The early operas, Rienzi and The Flying Dutchman, are typical of German Romantic opera--with grand scenes and separate recitatives and arias. His human characters, however, were symbolic of grand ideas. 10-51
Wagner s Music By the later operas, Tannhäuser and Lohengrin, he had developed his poetic skills; he based his stories on ancient legends. In these operas, the individual arias, recitatives, and choruses were not as distinct in musical style, flowing with much more musical continuity. 10-52
Wagner s Music In The Ring the music is absolutely continuous, and the orchestra carries the main musical content. The voices sing in arioso style-- halfway between speech-like recitative and lyrical aria, blending into the instrumental fabric. 10-53
Wagner s Music The orchestra is central to all of Wagner s music. He enjoyed using the brass instruments. He even invented the Wagner tuba, a new musical instrument the sound of which covered the gap between the French horns and the trombones. The Ring uses four of these. 10-54
Wagner s Music Wagner achieves musical continuity through the orchestra but also through the harmonies that he employs. Melts the end of one phrase into the beginning of the next, instead of having clear cadences. Since the music is so chromatic, it s hard to say what key it is in at any one point. 10-55
Wagner s Music His music depends on the leitmotif--this was similar to Berlioz idée fixe (which represented the beloved) in the Symphonie fantastique. The leitmotif is different however because it can refer to things as well as people. He combines, interweaves, contrasts, and blends these in his music. 10-56
Wagner s Music The orchestra is the central character of his music dramas. In his harmonic construction, he lays the groundwork for some of the ideas which came to fruition in the 20th century. 10-57
The Nationalist Composers Wrote operas in their own native languages. Based operas and symphonic poems on stories from national folklore and on descriptions of native scenes of natural beauty. Often wove their own countries folk tunes into their compositions to give their music a distinct national identity. 10-58
The Nationalist Composers: Russia Nationalism was first felt in Russia. Modest Mussorgsky (1839-1881) Boris Godunov--based on a story by the Russian writer, Alexander Pushkin Pictures at an Exhibition--a series of pieces depicting paintings hanging in a gallery Night on Bald Mountain--a symphonic poem 10-59
The Nationalist Composers: Bohemia Now a region of the Czech Republic. Two principal composers of the 19th century were Bedrich Smetana (1824-1884) and Antonin Dvorák. 10-60
The Nationalist Composers: Bohemia Smetana Opera: The Bartered Bride-- based on Bohemian folklore. Symphonic poem: The Moldau-- describes a river across the Bohemian countryside. 10-61
The Nationalist Composers: Bohemia Dvorák 9 Symphonies: 9th is called New World Symphony--most famous Combines American themes with Bohemian folk melodies. Hoped to inspire American composers to become nationalists. Cello Concerto Slavonic Dances for Orchestra 10-62
The Nationalist Composers: Moravia Now a region of the Czech Republic Foremost composer was Leos Janácek (1854-1928). Collected authentic Moravian folk songs. Wrote 2 superb Czech operas and 2 fine string quartets, both in the 1920s. 10-63
The Nationalist Composers: Scandinavia Norway: Edvard Grieg (1843-1907) Peer Gynt Suite--written for the play by Henrik Ibsen. Denmark: Carl Nielsen (1865-1931) Operas, symphonies, and string quartets 10-64
The Nationalist Composers: Scandinavia Finland--Jan Sibelius (1865-1957) 7 superb symphonies A string quartet Symphonic poem, Finlandia--his most famous work Banned by the foreign rulers in Finland, but a big hit throughout the rest of Europe! 10-65
The Nationalist Composers: Spain Three main nationalist composers were: Enrique Granados (1867-1916) Isaac Albéniz (1860-1909) Manuel de Falla (1876-1946) Granados and Albéniz wrote piano suites in lively Spanish rhythms with colorful melodies. De Falla is best known for Nights in the Gardens of Spain--a series of 3 pieces for piano and orchestra. 10-66
The Nationalist Composers: France After the end of the Franco- Prussian War in 1871, a National Society for French Music was founded to encourage French composers. Two important composers were: Camille Saëns (1835-1921) Gabriel Fauré (1845-1924). 10-67
The Nationalist Composers: France Camille Saëns Carnival of the Animals for chamber orchestra Symphony No. 3--a more serious work Gabriel Fauré Several exquisite French songs A series of 13 Nocturnes for piano A Requiem Mass 10-68
Pyotr Ilyich Tchaikovsky (1840-1893) Although he wrote Russian operas and used Russian folk songs in his music, he was not as committed a nationalist as other composers of the day. Father was a Russian mining engineer. Mother was French. 10-69
Pyotr Ilyich Tchaikovsky (1840-1893) Had piano lessons as a child and did some composing. At age 14, after his mother died, he turned to music as a strong emotional outlet. Earned his living as a government clerk until age 19, but when the new St. Petersburg Music Conservatory was founded, he quit and enrolled full time. 10-70
Pyotr Ilyich Tchaikovsky (1840-1893) A year after graduating, he was appointed professor at the music conservatory in Moscow; after this he devoted his life to music. Although he was gay, he decided to get married in 1877, which led to a nervous breakdown and a suicide attempt. He gradually recovered and turned to music once more. 10-71
Pyotr Ilyich Tchaikovsky (1840-1893) Both the 4th Symphony and the opera, Eugene Onyegin, date from this time and reflect his intense emotional state. A wealthy widow named Madame von Meck decided to become his patron--as long as they never met. He resigned his teaching post and composed a great deal of music during the 13 years they corresponded. 10-72
Pyotr Ilyich Tchaikovsky (1840-1893) The relationship ended abruptly, but by then Tchaikovsky had a substantial income along with a life pension from the Russian czar. Some of the best known of his music was written in his later years. The Nutcracker Suite--a ballet 6th Symphony--called Pathétique 10-73
Pyotr Ilyich Tchaikovsky (1840-1893) Died of cholera in 1893, or that s the story. Some suggest he committed suicide because he feared being exposed as a gay man. 10-74
Tchaikovsky s Music Highly emotional with a great range of expression. Ballets: The Nutcracker Suite Swan Lake Sleeping Beauty Operas Eugene Onyegn The Queen of Spades 10-75
Tchaikovsky s Music Instrumental Works Three piano concertos A violin concerto Very interested in instrumental colors, but his orchestras were never the huge size of some of the other composers. Examples: used a brass fanfare, paired clarinets, celesta, and the bass clarinet in some of his works. 10-76
Tchaikovsky s Music A master of melody Wrote some tunes that became the basis for popular songs or soundtracks for movies. 10-77
Late Romanticism Late 19th century changes: More democratic governments throughout Europe Free compulsory schooling with a more educated public Better working conditions for the people Movement known as Realism affected all of culture. 10-78
Late Romanticism Major composers: Johannes Brahms (1833-1897) Used the rigor of Classical and Baroque musical genres and forms but in Romantic style. Giacomo Puccini (1858-1924) Wrote dramatic realist operas with acute psychological insight. Gustav Mahler (1860-1911) Created a synthesis of song and symphony with a mood of resignation. 10-79
Johannes Brahms (1833-1897) Born in Hamburg, Germany. Father was an orchestral and band musician, and mother came from a wealthy family. Was a child prodigy at the piano. As a child he wrote pieces for his father s band. As a youth, he was exposed to Hungarian gypsy music. 10-80
Johannes Brahms (1833-1897) At age 20, he met Robert and Clara Schumann. Compared himself unfavorably with other great composers of the day. Took 20 years to publish his first symphony. Settled in Vienna where he played the piano and made a name for himself. He also worked in Vienna as a conductor. 10-81
Johannes Brahms (1833-1897) He was a quiet, reserved person who never married. Was seen as a symbol of conservatism and the leader of an anti-modern movement. Deliberately attempted to avoid modern genres such as the symphonic poem and the music drama. Preferred solo piano pieces, songs, choral works, chamber music, concertos, and symphonies. 10-82
Johannes Brahms (1833-1897) Last movement of his First Symphony makes a deliberate reference to Beethoven s Ninth. Last movement of his Fourth Symphony uses a Baroque form and is based on a theme by Bach. Had a life-long friendship with Clara Schumann and died from cancer just one year after she died of a stroke. 10-83
Brahms Music Wrote highly original music in Classical and Baroque forms. Romantic songs follow those of Schubert and Schumann. Main themes are love, nature, and death. Most famous of these is Lullaby Op. 49, No 4 (sometimes called Brahms Lullaby ) 10-84
Brahms Music Wrote 4 symphonies--all of which are masterpieces. Also wrote a masterpiece Violin Concerto which compares favorably with those of Beethoven, Mendelssohn, and Tchaikovsky. His two piano concertos were written for himself to play. 10-85
Brahms Music Orchestral works: Used an orchestra not much bigger than Beethoven s, avoiding the huge, showy sounds of Wagner and Liszt. Used thick orchestral textures, filling in the sound between treble and bass with many musical lines and doubling melodies in 3rds and 6ths. 10-86
Brahms Music Orchestral works: Especially liked middle-range instruments like the clarinet, the viola, and the French horn. Chamber music: Wrote several works for piano and strings. Wrote some excellent string quartets. Also wrote two string quintets and two string sextets. 10-87
Brahms Music Choral Works German Requiem--for soprano and baritone soloists, chorus, and orchestra Used texts from German Bible. Written for concert performance, not for a religious service. 10-88
Brahms Music Innovative Composer in many ways: Rhythms are always complex and interesting with syncopation and offbeat accents. Often used mixed duple and triple meters. Phrases are often irregular, expanded or contracted from the 4 or 8-bar format. A master of variation; very little exact repetition in his music. 10-89
Brahms: Fourth Movement from Symphony No. 4 in E Minor Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 French horns, 2 trumpets, 3 trombones, timpani, full string section Tempo: Allegro energico e passionato ( Fast, energetic, and passionate ) Meter: 3/4 Key: E Minor 10-90
Brahms: Fourth Movement from Symphony No. 4 in E Minor Based on a regularly repeating 8- measure harmonic progression. Form is called passacaglia--a Baroque variation form. Gives movement a clear, accessible form. Can be followed simply by counting measures. Progression is not repeated exactly each time, but is a point of departure for variation. 10-91
Brahms: Fourth Movement from Symphony No. 4 in E Minor Variations range from pure harmonic chord progressions to various melodic ideas. Initial presentation of the theme is bold, strong, and direct. It is primarily harmonic in nature but also has a powerful melodic element. Consistently uses an 8-measure pattern, which holds the movement together. 10-92
Brahms: Fourth Movement from Symphony No. 4 in E Minor Overall Form of the movement is ABA Coda: A = Theme, and Variations 1-11 B = Variations 12-15 A = Variations 16-30 Coda 10-93
Giacomo Puccini (1858-1924) Greatest opera composer of the late 19th century Grew up in Lucca, near the coast of Italy. Came from a family of musicians. 4 generations of men were composers. At age 14, became the organist at Lucca, and worked melodies of opera arias into his playing. 10-94
Giacomo Puccini (1858-1924) At 18, he heard Verdi s Aida, and decided to become an opera composer. Went to Milan to study composition there. Played and sang portions of one of his own works at a party and was heard by the head of the largest publishing firm in Italy. The firm decided to publish and stage his opera. 10-95
Giacomo Puccini (1858-1924) After his first two early works, he decided to choose his own librettos. At 35, he produced the first of his great Romantic operas: Manon Lescaut, based on a French love story. It was an overnight success. Followed this with the great operas: La Bohème (1896), Tosca (1900), and Madama Butterfly (1904). 10-96
Giacomo Puccini (1858-1924) All three of these operas are realist. La Bohème tells the story of poor students and artists living in Paris. Tosca contains scenes of attempted rape, murder, execution, and suicide. Madama Butterfly describes the death of a devoted Japanese geisha girl. 10-97
Giacomo Puccini (1858-1924) Last 2 operas: La fanciulla del West (The Girl of the Golden West, 1910) Staged at the Metropolitan Opera House in NYC. This is his American opera. Set in the Wild West with saloons, guns, and a manhunt. 10-98
Giacomo Puccini (1858-1924) Last 2 operas: Turandot--not quite finished when he died in 1924. A colleague completed the last 2 scenes. First performance given in 1926 at La Scala in Milan. Based on a Chinese folk tale. Puccini s death was honored with a national holiday in Italy. 10-99
Puccini s Music Stirs the strongest emotions. Senses of timing, drama, and poignancy were perfect. Sets a scene or mood with just a few phrases of music. Melodies soar, and vocal lines are enhanced by the orchestra, especially the strings. 10-100
Puccini s Music Wrote in fresh, modern harmonies. Used strong dissonances and unexpected chord progressions, which heightened the drama. Used unusual scales, such as pentatonic, to suggest an exotic locale. 10-101
Puccini s Music Action is continuous with short orchestra phrases woven together under the sung dialogue. Little distinction between recitative and aria most of the time. In some operas, however, there are arias that are unforgettable. 10-102
Puccini: Un bel di ( One Fine Day from Madama Butterfly Oriental customs and exotic scenery set the stage for the tragic plot of this opera. Benjamin Franklin Pinkerton (an American lieutenant) has rented a Japanese house and with it comes betrothal to Cio-Cio-San ( Butterfly, a young Japanese girl). 10-103
Puccini: Un bel di ( One Fine Day from Madama Butterfly Pinkerton treats the marriage as a casual affair, returns to America, and marries an American woman. When he brings his American wife to Japan 3 years later, the grief-stricken Cio-Cio-San commits suicide. 10-104
Puccini: Un bel di ( One Fine Day from Madama Butterfly Un bel di comes at a time when Cio-Cio-San is trying to convince herself that her husband will return to her. It contains soaring melodies and Oriental sounds. Its form is Da Capo Aria: ABA. It contains doubling and tripling of the vocal line in the orchestra. 10-105
Gustav Mahler (1860-1911) The last of the great Romantic composers Combines Romantic song and Romantic symphony in a style of late Romanticism. Born in Bohemia of Jewish parents. Made his career in Germany. Gave his first public piano concert at age 10. 10-106
Gustav Mahler (1860-1911) Lived near a military base, and loved to hear the marching bands. Band music and marches are included in much of his music. Attracted to folk poetry and songs. As a student in Vienna he studied composition, history, and philosophy. For 20 years he made his living as a conductor, specializing in the works of Mozart, Beethoven, and Wagner. 10-107
Gustav Mahler (1860-1911) Composed during the summers when the concert season was over. Wrote his first 3 symphonies in this way. Wanted the prestigious position of music director of the Vienna Opera House, but he was Jewish and couldn t get it for that reason. So he had himself baptized a Catholic and was hired in 1897. Completed several large-scale compositions while he was there. 10-108
Gustav Mahler (1860-1911) 1902--fell in love with Alma Schindler and married her, but it was a troubled marriage because he was very autocratic. Had troubles at the Vienna Opera House because of his domineering ways, and in 1907 he resigned from his job. 1907--daughter also died of scarlet fever. 10-109
Gustav Mahler (1860-1911) 1907--Mahler s heart condition was discovered. 1908--he accepted two positions in New York: Music director of the Metropolitan Opera, and Conductor of the New York Philharmonic. 10-110
Gustav Mahler (1860-1911) He was superstitious and afraid to finish his 9th symphony because both Beethoven and Schubert died after completing 9 symphonies. Sure enough, he finished it and started working on the 10th when he died at the age of 50. 10-111
Mahler s Music Tried to capture the whole world of nature, God, love and death, exaltation and despair. Had to invent new musical genres and forms. Most of his work is closely connected to song. 4 of his symphonies use voices and instruments. Song melodies find their way into instrumental compositions. 10-112
Mahler s Music Wrote some important orchestral song cycles--in the place of piano accompaniment, Mahler uses the orchestra, hugely expanding the range of expressive possibilities. Used quite unorthodox harmony, with compositions that end in a different key from the one in which they began. 10-113
Mahler s Music Some of his symphonies are longer than any previous ones, lasting 90 minutes or more. A brilliant and subtle orchestrator, he knew exactly the sound he wanted. Used enormous orchestras to achieve the widest possible range of tone colors. In the 3rd symphony he wrote a solo for the posthorn, an instrument used on mail coaches. 10-114
Mahler s Music Most of his music is programmatic in some way. A sense of yearning fills his work- -feelings of impossible aims, losses, and the tragic undercurrent of human existence. His music is full of quotations from Wagner, Brahms, Mendelssohn, and Beethoven. 10-115
Mahler: Fourth Movement Primeval Light in C Minor This symphony is called Resurrection. It is through-composed. Orchestration: alto voice, 2 piccolos, 3 flutes, 2 oboes, English horn, 3 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, glockenspiel, 2 harps, and strings 10-116
Mahler: Fourth Movement Primeval Light in C Minor Tempo: Sehr feierlich, aber schlicht ( Very ceremonial, but straightforward ) Meter: 4/4 Key: D# Major 10-117
Mahler: Fourth Movement Primeval Light in C Minor This symphony is huge, lasting nearly 90 minutes. It is in 5 movements. It traces a spiritual journey from death to resurrection, reminiscent of Beethoven s 5th Symphony. Idea is highlighted by his use of the same key (c minor) and ending in C Major. 10-118
Mahler: Fourth Movement Primeval Light in C Minor Movement is an example of the blending of symphony and song. The setting of a song text, sung by a solo alto voice with the orchestra. Text s central message is, I am made by God and will return to God. Melodic phrase ascends and then descends. 10-119
Mahler: Fourth Movement Primeval Light in C Minor Movement is an example of the blending of symphony and song. Instrumental music is quiet, stately, and richly orchestrated with striking key changes. Music gives words new and profound meaning beyond their own power of expression. 10-120
Mid- to Late- Romantic Music: Summary New genres, such as the programmatic symphonic poem, became popular. Older genres, such as the symphony, were used for programmatic purposes. Operas used more continuous music with less distinction between recitative and aria-- called arioso style. 10-121