RCM Music History 3 - Works

Concerto for Orchestra

Bartok's Concerto for Orchestra is an orchestral work yet treat the single instrument groups in a soloist manner. It was composed in 1943 commissioned by the Hungarian conductor, Reiner, of Boston Symphony Orchestra. It has five movements. This concerto has a rondo-like form. It begins in E lydian and ends in B major with modal inflections. It's tempo allegro. In Introduction, violins, violas, and cellos play a four-note motive in unison outlining the tritone. At Section A, a folk-like melody in the oboe outlines a tritone. meter changes frequently, asymmetrical feel to the rhythm. Section B marked calmo and cantabile with elegant note and lyrical melody in the violas. Harps punctuate the contrapuntal writing with canonic imitation. Section A return with increased dissonance. Section C introduces a light-hearted melody. Bartok creates a rich harmonic fabric by employing modal, atonal and polytonal sonorities through woodwind instruments in Section C. Section B retruns with thicker string texture, muted strings, created a warmer feeling. In final section, extended flute cadenza unfolds over softly sustained chord in the strings. Music dissolves to a gentle close.

Wozzeck

Berg's Wozzeck is an Expressionist opera, written in German. Berg wrote the libretto himself, based on fifteen of Buchner's scenes from Woyzeck. The overall structure of the opera demonstrates Berg's respect for classical forms. The opera is carefully planned and integrated dramatic development with musical design. In Act 3, Scene 4, Wozzeck returns to the edge of the pond where he killed his wife Marie with a knife but he drowned. The open scene has a six-note repeated chords played by woodwinds and horns. This chord recurs throughout the scene. Sprechstimme (speech-voice) is used effectively to underscore Wozzecks delirium and drowning. Frenetic, angular vocal line covers a wide range of the scene. Harp glissandi punctuate Wozzeck's outcries of "Murder, Murder". Use of atonal harmonies, chord clusters depict the sinking of the drowning body. Orchestral Interlude employed full orchestra with broad dynamics from ppp to fff. Lyrical melodies and lush orchestration created an expressive effect of the Romantic style. In Act 3, Scene 5, a melody in the style of a nursery thye is sung in unison by a children's chorus. The compound meter depict both the hobby horse and the children's song. pizzicato strings, staccato woodwinds, celesta and triangle evoke the bright morning sun. Marie's son rides his hobby horse on a descending perfect fourth. Winds, harp and strings bring the opera to an abrupt end.

Ein deutsches Requiem

Brahms's Ein deutsches Requiem reveals his unconventional and innovative approaches to this genre. Rather than setting the traditional Latin text of the requiem mass, Brahms used German translations of selections from the Old and New Testments of the Bible. Brahms's choral music reflects love of polyphony and interest in Handel and Haydn's style. He applied countrapuntal elements, chromatic harmony, symmetrical structure and arch-like design in this work. Ein deutsches Requiem is a sacred choral work, performing forces: soprano and baritone soloists, SATB chorus and orchestra. The translation title of the 4th movement is "How lovely is the Dwelling Place, O Lord of Hosts". It has 7 movements, in rondo form with 3/4 meter.

Sonatas and Interludes

Cage's Sonatas and Interludes was composed in 1946. It's genre keyboard music with structures of sonatas. It's performing force prepared piano. It's with polyphonic texture and in binary (AABB) form. In Sonata V, Forty-five notes are prepared by inserting various types of screws, nuts and bolts, pieces of rubber, plastic, and one eraser between the strings. At section A, two voice counterpoint in the piano's middle range creates a strong rhythmic drive. The material in the right hand is an inversion of the left hand material played in augmentation. Short, ostinato-like patterns and the prepared piano produces a rich timbral fabric. Una Corda pedal used throughout. At section B, textural variety achieved through parallel octave motion, wide leaps and increased use of accents. Dissonant fortissimo bring to a hushed close. Section B repeated.

Fanfare for the Common Man

Copland's Fanfare for the Common Man was composed in 1942 at the request of Goossens, the conductor of the Cincinnati Symphony Orchestra. It was intended as a musical tribute to the soldiers engaged in World War II. This work has been used frequently at ceremonial occasions, sports events and on television and radio. It's perform by brass instruments: horns, trumpets, trombones, tuba, with percussion instruments: timpani, bass drum, tam-tam. Form: Introduction with four statements of the fanfare theme. Introduction was marked Very deliberately. It opens boldly, fortissimo, with percussion playing three statements of the long-short-short rhythmic motive. At first statement, trumpets announce the main fanfare theme in unison. Use perfect interval leaps, a characteristic feature of fanfares. Percussion play long-short-short rhythmic motive. French horns join the trumpets in second statement. Trombones and tuba answering to the fanfare theme in the third statement. The final statement of the fanfare theme is played by the full ensemble, final measures marked by crescendo and broadening tempo.

Canada Mosaic

Coulthard' Canada Mosaic was composed in 1974. It's genre orchestral music. It was commissioned by the Vancouver Symphony Orchestra. It's performing forces, large orchestra with expanded percussion section. It has seven movements. The Contented House is in free-form with changing meters. It used the French-Canadian folk song A la claire fontaine as a melodic source for The Contented House. The simplicity of the folk tune is retained yet enhanced through the masterful use of orchestral color and lush harmonic support. Introduction marked Poco lento, semplice, con teneremente. It opens with a serene, homorhythmic passage in the strings played molto legato. The folk tune severs as a frame and interlude liking the statements. As the music build to a climax, orchestral density increases, ascending strings and woodwinds are punctuated with woodwind trills, timpani roll, and a majestic crash of cymbals.

Carnaval, Op. 9

Eusebius and Florestan are two character pieces for piano from Schumann's collection for piano entitled "Carnaval, op. 9". Eusebius is a character piece in E flat major. It's in a form of two musical ideas that alternate and undergo variation. Eusebius is with tempo adagio. It portrays the meditative dreamy side of Schumann's personality. Open phrase marked sotto voce and senza pedale. Eusebius theme A has a delicate, improvisatory and nostalgic character. In theme B the nostalgic and dreamy atmosphere is heightened by increased chromaticism. The sophisticated cross rhythms enhance the sense of rhythmic freedom and flexibility. Schumann alternates theme A and theme B to subtle variation using expanded range, octave reinforcement, and denser left-hand accompaniment. Florestan is in G minor, free form, tempo passionato. Schumann often use his pen name Florestan when the tone of his writing was bold, opinionated and extroverted. Florestan portrays the fiery and passionate side of Schumann. Florestan opens with an aggressive angular right hand melody. Dissonant harmonies draw heavily on diminished seventh chord. Chromatic ascending line in inner voice create tension. The final passage is marked "accelerando" and "rinforzando".

La Campanella

La Campanella is one of the piano etude from Liszt's piano collection "Etudes d'execution transcendante d'apres Paganini". It was composed in 1838. It's source of thematic material from Paganini's Violin Concerto No. 2 in B minor. La Campanella is in G sharp minor with ABA BABA Coda form, in 6/8 meter, tempo Allegretto. Liszt's La Campanella is filled with technical and virtuosic challenges such as: wide leaps in right hand and left hand; rapid repeated notes, broken right hand octaves; theme on the left hand with widely spaced right hand accompaniment figures; Cadenza-like chromatic passages and alternating hands; melodies on highest register, thirty-second note trills that mimic violin string crossings; many leaps and abrupt, sudden contrasts in volume; chromatic octaves in contrary motion.

La traviata

La traviata is an opera written by Verdi, premiered in 1853, at the Teatro La Fenice in Venice. The language is Italian. It has three acts. The librettist is Piave. La traviata was inspired by a novel and play by Dumas. The story reach it's enduring popularity through Verdi's musical setting. The heroine, Violetta is one of the most beloved characters in Italian opera. Verdi wrote some of his most beautiful bel canto melodies for this character. The music of the soloist, rich orchestra, chorus in unison and multi-voiced projects the deep and intense emotions surrounding the confrontation. In Violetta and Alfredo's Exchange: Singing in duet, a diminished seventh chord played by full orchestra ff introduces Violetta's agitated solo line, beginning with the opening line of her recitative. Double by woodwinds, Alfredo sings a broadly arched phrase suggesting both his jealousy and reckless bravado. Alfredo's Denuncation of Violetta: Alfredo's self-righteousness was underscored by the simplicity of the C major key. The Guest's Reaction and Response: a sudden shift to minor mode, the unison chorus and orchestra convey furious disapproval of Alfredo's actions. Germont condemns his son's cruel behavior toward Violetta, music marked "con dignitoso fuoco" with dotted rhythms. Alfredo sings in short , breathless phrases, reflecting his remorse and agitation. 12/8 meter and 16th are used to demonstrate his feeling of agitation. Violetta sings in bel canto melody that soars above the soft murmurings of the crowd. Music writing in style of Bel Canto with many decorated notes and soprano sings high up.

Liebst du um Schonheit

Liebst du um Schonheit, If you Love for Beauty, was published in 1841 as part of the song cycle Love's Springtime. It was composed jointly by Robert and Clara Schumann. The source of text is from a collection of poems by Ruckert. It's a Lied perform by solo voice and piano. It's in Modified strophic form with four verses. The song opens with a brief piano introduction. Verse 1 stepwise melodic motion projects the simple sentiment of the text. Verse 2 rises to a higher pitch building in intensity. In Verse 3, verse 1 return, but text was altered. Verse 4 marker "quicker", reflecting the passion by the repetition of the text. A fuller texture in the piano accompaniment added chromaticism creates a climax. After reaching up to the highest note in the song, a descending line with thinner texture brings the song to a gentle close.

Atmospheres

Ligeti's Atmospheres was composed in 1961. It's genre orchestral work. Performing force, a large orchestra without percussion. This innovative work is a great example of Ligeti's Micropolyphony. It replaces melodic lines, harmonic progressions and metric organization with dense sonorous texture that absorb individual instruments into the general texture and completely lose their individuality. A continuum sound is generated , slowly building in dynamics and density from pppp to ffff. Special effects include string harmonics, col legno, sul ponticello. All instruments at some point are muted and tone clusters are used throughout the work.

Symphony No. 4

Mahler's Symphony No. 4 was completed in 1901. It contains some of his most joyful and luminous passages. The source of the text is from a folk-like poem, The Youth's Magic Horn. It has four movements. It performs with a large orchestra. The song in the fourth movement is sung in German by a soprano soloist. This symphony is in G major but ending in E major. It has a rondo-like form with modified strophic text setting. Mahler achieved unity in the work through cyclical structure using same thematic material appears in more than on movements. In introduction, the principal theme, it marked "very comfortably". It begins with clarinet very softly ppp, the lyrical melody is characterized by dotted figures and grace notes. The harp, often associated with angels and heaven, is heard gently in the background thought out 4th movement. In Verse 1, Mezzo-soprano is instructed to sing with a childlike and serene expression to present a child's optimistic and naive view of heaven. Smooth melisma emphasizes the word "heaven". Word painting with the soloist reaches for the high G, depicting Saint Peter in heaven. The simple descending line is accompanied homorhythmically in a chorale-like style by flutes, horns, and harp; parallel chord streams evoke a solemn sound, resemble medieval church music. In Verse 2, word painting for "little lamb" played by oboes. Sublime high G returns on the reference to "the angels". In Verse 3, mezzo-soprano sings a variant of the principle theme. The soloist's melody becomes very spirited and angular, bring a more robust musical character when describing "heaven", reflecting the text. In Verse 4, marked "very tenderly and mysteriously to the end". It shifts to the key of E major. Closing measures feature English horn and harp; the music fades away gently in the final measures. The ending in a key other than the opening key demonstrates Mahler's progressive approach to harmony.

Violin Concerto in E Minor

Mendelssohn demonstrated his innovative ideas by opening this piece with an impressive solo violin melody. It immediately captures the listener's attention. It demonstrates Mendelssohn's poetic lyricism, virtuosity and passionate style. The unconventional placement of the cadenza at the end of the development create a dramatic effect. It's balanced symmetrical phrases, clarity of texture, traditional form, clear harmonic function resemble classical style. This piece demonstrates Mendelssohn's vivid and colorful orchestration, rapid string passages, memorable melodies, virtuosic writing for solo violin; technical challenges include rapid string crossings, high pitched harmonics and spirited spiccato.

Quatuor pour la fin du temps

Messiaen's Quatuor pour la fin du temps was composed in 1941. It's a chamber music, with eight movements. It's performing forces, clarinet, violin, cello and piano. This quartet presented a mystical view of the Apocalypse inspired by the prophecy outlined in the biblical Book of Revelation through a powerful and haunting musical depiction. The second movement is called: Vocalise, for the Angel Who Announces the End of Time. A vocalise is a melody that is sung without words. It's ABA form: Introduction, main section and postlude. Section A is marked Robuste, moderate tempo with dissonant, crashing chords played on the piano in alternation with clarinet and aggressive string passages. Clarinet trills suggest bird calls. Section B marked, slow and distant. violin and cello are marked pp and sourdine, creates mysterious character. Cello and violin play a lyrical melody two octaves apart. Piano accompanies with descending parallel-motion chords and sixteenth rest. Messiaen refers to the continuous sixteenth notes marked ppp as water droplets in the rainbow. Section A1 return with fast tempo, dissonant crashing chords. Abrupt clarinet motive concludes the movement.

Romeo and Juliet, Suite No. 2

Prokofiev's Romeo and Juliet Suite No.2 source of program was from a tragic play by Shakespeare. Composed in 1936, it was originally composed for the ballet Romeo and Juliet, later reworked into an orchestral suite. It's performing force large orchestra with expanded percussion. This piece is in ternary form with Introduction. The introduction opens with densely dissonant chords, spanning the entire orchestral range. Extreme dynamics covering the spectrum from ppp to ff. Section A is with dramatic elements include violins and clarinets play brusque melody rising and falling sequentially through arpeggios, aggressive dotted note figures, syncopation, sharply angular melody mark played marcato, French horns play f in octaves and use of abrupt chromatic modulations. Section B has a moderato tranquillo tempo with gentle melody. Harp, pizzicato strings and celesta enhance the ethereal atmosphere. Juliet's first dance at the ball was marked dolce. Final section dotted-note theme returns. It reintroduces the opening motive of the main theme. The final end with authentic cadence.

Jeux d'eau

Ravel's Jeux d'eau- Water Games, is a solo piano work composed by Ravel in 1902. It was dedicated to "Faure", and premiered by Vines. Jeux d'eau was inspired by Liszt's similar titled piano work "Les jeux d'eau a la Villa d'Este". It's in E major, tempo allegretto, resembles sonata form. In Exposition, theme one open with rippling arpeggiated figure in the upper register, evokes the image of water. It included seventh and ninth chords, chromaticism and unresolved dissonances. On theme 2, a new pentatonic melody introduced by left-hand in octaves, accompanied by rapide sixteenth-note triplets. Rippling thirty-second notes in left- hand with tremolo figures. In transitional section, harmonic language includes whole-tone scale fragments and unresolved 9th chords. Development maintains the relenless drive while building the dynamic level from pp to fff. A black-key glissando sweeps down the keyboard. In recapitulation, harp-like effect heightened by septuplet and quintuplet figures rolled between the hands. Juxtaposition of C major and F sharp major chords suggests polytonality. Textures becomes thinner in coda with a smooth, move-like motion in closing.

Electric Counterpoint

Reich's Electric Counterpoint was composed in 1987. It's genre guitar music with three movements. It's perform by a solo electric guitar accompanied by seven to twelve guitars and two bass guitars. It can also be performed by a solo guitar and a pre-recorded accompaniment. Electric Counterpoint has the characteristics that define minimalism - limited harmonic movement, hypnotic repeated motives, gradually changing dynamics. It started with relentlessly steady tempo and pulsation of repeated notes uninterrupted. Wave-like patterns of crescendo and diminuendo shape the material. At measure 110, delicate, dance like syncopated motives appear, create a more spares texture. Repeated notes return and are joined and layered while syncopated motive continues, create harmonic sonority. Additional voices are added canonically, building in density. Shifting meters and constant syncopation are the rhythmic hallmarks.

Snowforms

Schafer's Snow forms was composed in 1981. A choral work in Inuktitut language. It's structure free-form, performing forces SSAA choir- a cappella, with a very peaceful and smooth tempo. Snowforms was composed using graphic notation. Musical gesture, interval direction, articulation, duration, texts and volume are all indicated with precision. Singers evoke sense of peace of northern snowscape by improvising, sliding between pitches and humming chord clusters. Graphic notation is used with pitches written close to the wavy lines. Time durations are marked in the score as guidelines for the conductor. The thickening or thinning of a graphic curve implies a slight crescendo or diminuendo. The whole work is filled with smooth, musical vowels contrast with softly percussive consonants.

Pierrot lunaire

Schoenberg wrote Pierrot lunaire in 1912. Schoenberg used Sprechstimme for the first time in the ground breaking Pierrot lunaire song cycle. It's sung in German. It's text from the poems of Giraud. This work is performed by a solo female voice and eight instruments played by five instrumentalists. "The Moonfleck" is in rondeau form, atonal key, performed by voice, piccolo, clarinet, violin, cello and piano. It is sung in Sprechstimme style. The melody is brisk and angular. Schoenberg used contrapuntal technique include a three-voice fugue in the piano with canonic imitation, diminution, and retrograde technique in the other parts. Wide range of vocal line demonstrates the movement associates with Expressionist works. "O Scent of Fabled Yesteryear" is in rondeau form, atonal key. It's performed by voice and all eight instruments - violin/viola, flute/ piccolo, clarinet/ bass clarinet, cello and piano. The melodic lines are more flowing and lyrical, creating a traditional sound that hints at tonality. The wistful and dream-like quality of the text is depicted through the parallel-third writing and the use of triads. The opening line recurred in both the second and fourth stanzas, reflects the rondeau form.

Piano Quintet in A Major (Trout), 4th movement

Schubert. The trout quintet is adpted by Schubert's own song "Die Forelle" (The trout). It's a chamber music (piano quintet). In D major, theme and variation form. In the summer of 1819, Paumgartner, a wealthy mining executive and an accomplished cellist, who then commissioned Schubert to write a quintet based on "The Trout". The "Trout" quintet -- scored for the unusual combination of piano, violin, viola, violoncello, and double bass -- has become one of Schubert's more enduring chamber works, and it is typical of his early style. The Trout has 5 movements. A notable feature is the integration of the piano part into the musical texture (depicts the splashing water), on equal terms with those of the string players. In the 4th movement, each variation is both individually engaging and integral to the whole. As in the first movement, the piano is thoroughly intermingled with the strings and the resulting sound is nearly symphonic.

Romeo and Juliet Overture

Tchaikovsky's Romeo and Juliet Overture is a program music, portrays main characters and themes of Shakespeare's tragedy Romeo and Juliet. sad in 1870. It's a concert overture in sonata form. A hallmarks of Tchaikovsky's musical style: elegant lyricism, vivid orchestration, and pathos. Introduction: It begins in F sharp minor, open with Laurence theme with a hymm-like melody, presented by clarinets, bassoons play softly, then woodwinds and pizzicato strings boldly. Exposition: 1st theme, Feud theme: An agitated syncopated melody is played f by the cellos and answered by piccolo. Cymbals crash against driving strings. It gave a sense of fighting. In Bridge Theme, the music suddenly pp, woodwinds, double basses, and horns present gentle smooth motion setting the mood for the love theme. The 2nd theme, Love theme: stated broadly by English horn and muted violas. In Juliet theme, a gentle exciting melody is played pp by muted violins. The lyrical melody shapes the sentiment. In Development: Feud theme and Laurence theme return. Agitation heightened by abrupt changes in volume and passing of melodic material between different instruments. Laurence theme is interrupted by the Feud theme, marked by violent crashing cymbals and syncopation. Recapitulation: Feud theme, played by full orchestra with cymbal crashes and rapidly descending string figures. Juliet theme, played gently by the oboes. Love theme played broadly by the strings, accompanied by horns. Music expanded, then interrupted by the Feud theme and Laurence theme. In Coda, Love theme play by woodwinds and harp with a solemn passage. The Love theme then play played by the strings, solemn chords are sounded ff by full orchestra accompanied by an ominous timpani figure.

Die Walkure

Wagner's Die Walkure was premiered in 1870 in Munich, Germany. It's an opera/music drama sung in German. The translation of this opera is The Valkyrie. It has three acts. The librettist is Wagner himself. The story is a fusion of Norse mythology and an epic medieval poem. Die Walkure is the second opera in the Ring cycle. It presents many striking examples of Wagner's signature style: use of Leitmotifs, expanded orchestration, long dialogues between central characters, endless melodies, and chromatic harmony. The opera is infused with intense human emotion. It's a farewell between a father Wotan and his favorite daughter Brunnhilde. In Wotan's Farewell to Brunnhilde, Wagner's music captures the melancholy mood and emotional intensity of this sadness farewell. Several Leitmotifs are used and rich orchestral texture supports the singing. Low strings play the "slumber" Leitmotif in an ostinato-like manner throughout the scene. As Wonton kisses Brunnhilde, the "magic sleep" Leitmotif is played by harp and woodwinds in chromatic harmonies move in contrary motion. The "Spear" Leitmotif is a bold descending figure, played forcefully by the trombones. As the flames begin to encircle the sleeping Brunnhilde, they are accompanied by the "magic fire" Leitmotif. Staccato sixteenth notes in the woodwinds suggest the flickering flames. Wotan is accompanied by the "Siegfried" Leitmotif, a theme played by the brass. As Wotan leaves the sleeping form of his mortal daughter, the "slumber" and "magic fire" Leitmotifs gently combine, the curtain falls.

Symphony, Op. 21

Webern's Symphony, Op. 21 marked departure from the First Viennese School. This work demonstrates Webern's skill at creating movement for orchestra that reduced to small chamber-like proportions. the genre orchestral work (chamber symphony). It has two movements, based on the same tone row. The performing forces are chamber orchestra (violins, violas, cellos, two harps, clarinet, bass clarinet, two horns.) It's composition al approach is twelve-tone method. Form: theme and seven variations. The theme of Second Movement is based on a transposed version of the tone row used in the first movement. The theme is played quietly based on transposed inversion and retrograde inversion of the tone row. Klangfarbenmelodie (tone-color melody) employed throughout. Variation 1 play lively with double canon in four-part texture played by muted strings. Strings alternating pizzicato and arco. Variation 2 plays by clarinet, bass clarinet, horn, some harp and strings. Variation 3 uses full orchestra. It offers broader color spectrum. Variation 4 is the central variation, it serves as the turnaround point in the arch-like structure. Variation 5 features strings and harp. It contains rhythmic ostinato. Variation 6 marked "march-like" canonic writing for clarinet and bass clarinet, with sustained pitches for horns. Variation 7 uses full orchestra with contrary motion double canon. At closing section, original row and retrograde form employed in Coda with "raindrop" effect played by harp.