Part 2: Listening Log

Listening Log

Debussy – Prelude of the Afternoon Faun (1894) found on Spotify

Based on a painting by Jean- Antione Watteau titled The Embarkation for Cythera, it is clear to see how Debussy has used the inspiration of the painting's ‘story’ to set the scene of travellers landing on this mystical island.  Throughout the composition there are a large number of changes in colour, perhaps to portray the uncertainty of the sea voyage, interspersed with loud, joyous harmonic moments.

Debussy – Le Mer I. De l’aube a midi sur la mer (1903-05) found on Spotify

In my opinion this is a great example of a piece of Impressionist music during that era.  The overlapping melodies and harmonies create the sense of waves, and bursts of bright motifs from the strings paint the picture of fish swimming around the ocean.  Throughout the piece it was clear that we were moving into the depth of the ocean and the timbre of the piece changes to reveal darker tones.  However, at this stage, bright and slight untraditional harmonies begin to appear.

In comparison to more traditional ‘classical’ music, it is clear to see that Debussy has made a huge impact of the movement of music history.  Today, Impressionist styles are commonplace in film scores; creating overlays to the director’s images. 

Stravinsky – Petruska (1911) found on Spotify

At times I found the score for this ballet to be quite difficult to listen to.  Loud bursts of cymbals, teamed with the untraditional time signature and use of unusual scales proved to be quite different to the music that I am used to listening to.  However, as a ballet score it provides a wide range of emotion and texture, which clearly tells the story along with the dancers.  The unusual harmonies throughout seemed to give each instrument its ‘chance to shine’, but I found some of the instrument blends to provide a stark contrast to more traditional methods. 

Stravinsky – The Rite of Spring (1913) found on Spotify

Unlike Petruska I very much enjoyed listening to this piece.  The various ‘parts’ provide great drama and intrigue and the usual of more unusual beat systems only help to sustain the tension and drama.   I found that the use of the instruments, notably the string section, was used in such a way as to introduce the use of more ‘untraditional’ scales. 

Debussy – Jeux (1912) found on Spotify

In Debussy’s Impressionist style, this composition takes the listener on a journey of mood, emotion and colour.  The choice of instrument, tempo changes and regularly repeating motifs gives a dramatic and complex feel to the piece, yet the strings contrast in many places by overlaying joyous melodies. 

The beginning of this piece begins with very gentle start, suddenly interrupted by a powerful motif that I have named the ‘home’ motif.  I have done this because this particular pattern seems to appear throughout the piece, giving the impression ‘stepping out’ of the sometimes hectic world, back into the safety of the home motif. 

The regular and rapid changes in tempo help to create a great feeling of tension, and much of this piece left me feeling that an ominous presence was approaching.  However, this tension was broken quite often by burst of elation and ‘dreamy’ states provided by a combination of the woodwind and strings.   

It is clear to see from the instruments that Debussy chose, that this piece was written as a ballet accompaniment.  The strings' long and elegant strokes contrasted by the light and jumpy strokes of the flute provide an excellent portrayal of the movement of the dancers. 

Stravinsky – The Rite of Spring (1913) found on Spotify

Due to the unusual rhythm system in this piece, I found this composition to invoke a feeling of uncertainty and excitement.  The human ear seems trained to listen for a regular beat, similar to our own heartbeats, but each ‘part’ of this piece left me wondering what would come next.  I would imagine, due to this, that the style of choreography would have been quite unconventional for its time. 

Despite Stravinsky’s theories on rhythm, it is clear to see from the rich melodies and harmonies that his musical knowledge was deeply rooted in the more traditional techniques.  However, it is the contrast within his rhythmic patterns that create a striking and unusual sound. 

As this composition develops there are some very unusual textures underpinned by a distinct and dramatic drone and large section in which the Timpani seems to ‘halt’ the entire performance.  Throughout the piece I heard a number of Stravinsky’s trademark folk styles bleed through, especially in the spring section. 

In the first three parts, the choice of instruments produces quite a dull and dark sound, with a feeling of sadness.  However, this feeling is contrasted by short trills motifs, which signify a feeling of hope, with loud and harsh crescendos portraying tension and drama as the piece continues.  By the end, in ‘Ritual of Abduction’ there is a clear tense and frenzied feel with many instrument overlapping short repeating motifs.

Schoenberg – Pierrot Lunaire (1913) found on Spotify

The Sprechstimme style of this piece, teamed with the atonality in parts, gives an almost comical element to some sections of this composition.  The wildly ranging vocal score provided a very disjunct movement, whilst some instruments provided a more traditional flowing motion.

What I found most interesting during this piece was that despite significant similarities, each ‘section’ of this composition provided a stark contrast to the last.  In most cases the instruments used remained the same, but the style of composition and timbre of the piece changed with each movement.

Mahler – Symphony No.9 – I – IV (1908-1909) found on Spotify 

The four sections of this piece each carry a very different feel but are clearly tonally linked.  Whilst looking at the score for this piece, I noticed that this tonality has been achieved by making use of a variety of key signatures throughout.  However, it is the way that the instruments have been layered through the later half of this composition that creates a exciting and light feeling, contrasted with dramatic changes in timbre provided by the strings.

Despite the four distinct section of this piece, it is clear to see themes which run throughout, allowing each instrument to both accompany and solo within the ensemble.

Beethoven – Symphony No.9 – I- IV (1824) found on Spotify

This is another good example of the structure of symphonies.  Once again split into four ‘sections’, each movement provides a different expression, whilst still being linked into the themes of the last.  Each movement, entitled Allegro, Molto Vivace, Adagio and Presto respectively, give a good idea of the tempo and feeling behind each piece.  I found it interesting that Beethoven chose a pattern of fast, faster, slow, fastest on which to base his symphony, but the steady incline in tempo, interrupted by the sharp fall to adagio, helps to further engage the audience within the music. 

The final movement containing the infamous ‘Ode to Joy’ provides a contrast in itself with its use of a vocal score.  As well as being the movement based on the fast tempo marking, this is also the movement containing the most drama and power. 

Although this piece was devised years before Schoenberg developed his twelve-note technique, it is clear to see his experimentation with atonality had already begun.  The piano, most notably, provided a very unusual sound which may have not only incorporated atonality, but also microtones to achieve an ‘out of tune’ feel. 

The flute, violin, piano, clarinet, cello and vocals all play very different roles within this composition, each ‘taking turns’ to play more complex melodies and harmonies.  Dynamics also play a huge role in ensuring that the levels of instruments versus vocals remains balanced. 

Sibelius – Symphony No. 5 in E flat major (1915) found on Spotify

I: Tempo molto moderato

The opening section of Sibelius’ symphony holds a great deal of feeling and emotion and truly paints the picture of its subject.  It begins with a gentle opening from the brass sections, giving the impression of ‘waking’.  The woodwind's lighter tones at this stage help to continue this feeling until the low humming patterns of the bassoon marks a change of colour.  At this stage the strings enter with a rapid and tense motif, which is backed by dramatic rolls of the timpani.  In the middle section of this composition all of the instruments seem to crescendo and the loud tones of the brass section gives a feeling of grandeur and ceremony.  This turns into more of a waltz-like feel before being contrasted with a large falling motion signifying danger and tension.  The rich and textured crescendo at the end gives this section a feeling of symmetry and paves the way for the next movement.

II: Andante mosso

This section holds more of a feeling of ‘flowing’, perhaps mimicking the movement of the tides.  The composition begins with very rich and dark tones underpinned by short light skipping motifs from the strings and woodwind.  I found it interesting that the two sections seem to share, echo and mimic each other's melodies in a playful way.  This airy feel slowly builds to a very joyous middle section, where I detected dissonant tones between the strings and woodwind, somehow blending perfectly with the central theme.  The pattern of moving between a gentle, soft section, to a louder and more dramatic pattern continues throughout this piece, ushering in a feeling of peace and serenity, quickly contrasted with danger and tension.  The ending of this piece was obviously carefully constructed to flow gently into the final section.

III: Allegro molto

There is definitely a greater sense of drama in this final section, which builds nicely to a feeling of resolutions at the end of the piece.  Initially I noticed a faster tempo and much more hectic feel, with all sections overlapping with rapid motifs and dark tones.  However, there is certainly a feeling of ‘breaking through the clouds’ as the piece moves to an almost awe-inspiring sound, with a rich blend of motifs from all sections of the orchestra.  This gave me a very vivid impression of the swans in flight, floating elegantly through the air.  This feeling continues through larger parts of the finale, mingled with gentler motions and drops in both volume and tempo.  Towards the end, despite the very large crescendo, there is a definite feeling of a cadence approaching and perhaps the swans ‘slowing down’.   However, it was the ending bars that I found very interesting.  Sibelius chose to end his Fifth symphony with short and loud bursts, mixed with periods of silence.  I couldn’t help but think that the silence may have been the greater feature here as opposed to the ‘bursts’.

I found Sibelius Symphony to be a fantastic representation of the theme of ‘swans in flight’.  Initially I found the brass section's large part quite unusual, given the elegance and fluidity of a swan's nature. However, as the piece progressed I found that it was actually the blend of instruments and the simplistic motifs that created the greatest effect. 

Nielsen – Symphony No. 5 in D (1922) found on Spotify

I: Allegro Giusto

The piece begins with a background of gentle oscillations from the violins, whilst the bassoons play intertwined high range melodies.  At this stage the strings give an impression of fading in and out before great sections of drama interrupt the gentle feeling.  There is a clear feel of the military influence in this piece as the rhythm changes to a march like pattern.  The percussion, notably the drums, plays a huge role in creating a war-like feel.  This marching pattern continues throughout the piece, falling and rising in tension, and this is where the woodwinds give the piece a slightly ‘dreamy’ and surreal feeling before building back to the ominous tension of war.  

II: Adagio non troppo

The final section holds a much brighter and lighter feeling in places, but the military influence remains very much a prominent feature.  This section undoubtedly contains more drama and intrigue and I found the strings to play a much larger role this time.    There seems to be quite a blend of both serenity and tension throughout the composition and I found it interesting to hear how Nielsen has managed to blend the drudgery of military with tension and a sense of serenity.

Whilst there are many differences between the symphonies of both Nielsen and Sibelius, I found that both composers made a good use of the instruments to create a story or picture.  In the case of Sibelius, the ‘swans’, and in particular their flight, was clear throughout the composition, yet with different instruments representing them at different times.  Nielsen’s use of percussion proved very interesting and only served to create a more tense and dangerous military feel.  

Edwin Roxburgh – At the Still Point of the Turn World (1976) found on Spotify

This piece definitely contains a surrealist feeling using a wide and sometimes dissonant range of pitches, teamed with subtle oscillations from the oboe.  The electronic elements of the piece begin very suddenly and at times the solo oboe pales into insignificance.  However, it is the blend of electronic sounds that gives a feeling of ‘movement’ and ‘development’ through different feelings and styles.  The screeching tones and dissonance in some sections prove to provide a feeling of tension, while the horn plays an almost comical role.  I found the introduction of the clicking and tapping motifs to be particularly interesting as they turned the colour of piece, giving a dance feel, perhaps inspired by Spanish music. 

I found that the range of instruments in this piece provides a rollercoaster effect.  At times I felt overwhelmed by the dissonance and highly pitched tones of the electronic sections. However, the oboe seems to provide grounding to the piece, offering rhythm and harmonic stability.

John Cage – 4’33”” (1952) found on Spotify

I must admit I spent a large amount of time checking my computer volume during the course of this piece, as it is essentially silence!  Slight murmurs of the audience create no form of harmonic and rhythmic value and I would struggle to see how Cage could describe this as ‘music’. 

Cage – Number Pieces – Five (1988) found on Spotify

This composition seems to be another attempt at Cage trying to ‘simplify’ musical systems by writing a piece for unspecified instruments, using a rudimentary 5-line system, divided by time brackets instead of bars.  Once again, whilst I can appreciate Cage’s ideas surrounding simplicity, to me this piece provides yet another insight into his lack of musical integrity.  Five provides a seemingly random and dissonant collection of pitches, entirely lacking any theme or tonal centre. 

Cage – Music of Changes (1951) found on Spotify

Reportedly composed on the toss of a coin, this solo piano piece provides a ‘jumbled’ mess of tones, giving the piece a very ‘plonky’ and amateur feel.  However, at times, the trilled sections contrasted with the dissonant chords in the bass provide an interesting texture.  However, I question whether it is the piano’s ability to create a harmonic sound that gives this piece a sense of depth. 

Holst – Suite in E Flat (1909) found on Spotify

This composition is a great example of the ensemble's ability to create the diverse range of moods traditionally heard by a full orchestra.  Throughout these works, the blend of wind, brass and percussion takes the listener through joy, tension, ceremony and grandeur, using the full potential of each instrument.  In a more traditional orchestra the string sections would normally take the lead on ‘tension’ with the violins and violas playing high long notes, backed by the lower range of the cello and bass.  However, this composition creates the same feeling of danger and tension with the lower range wood instruments and drums, contrasted with higher tones of the percussion and brass.   The triangle is clearly a feature within this piece too, playing during both deep moments of tension, and joyous ‘runs’.

Stravinsky – Concerto for Piano and Winds (1923) found on Spotify

Written in three parts with each section containing a very different ‘feel’, this composition was clearly a feat of musical knowledge with its complex blends of wind, brass, percussion and piano.  I found the first part of this composition to contain quite an ominous feeling with the mood changing between tension and joy quite rapidly.  There was definitely a sense that the ‘wind ensemble’ plays the ‘solo’ in this part.  However, the second part shows a different side, focusing more on the piano.  This section seems to indicate a more melancholic and melodic side to the piano, whilst still adopting quite complex rhythms.  The closing section of this piece seems to amalgamate the wind and piano with the two instruments clearly intertwining melodies in order to create a sense of growth and development.  The end of the piece has a ‘fading’ effect as opposed to the more traditional crescendo, which seems to lack a feeling of ‘resolution’ to the whole piece.

Nigel Hess – The Winds of Power (1992) found on Spotify

This relatively modern composition demonstrates Hess’ talent and experience of writing scores for film and TV.  Throughout this ten-minute composition Hess’ uses the winds to move through a variety of moods and emotions, seamlessly changing between tempo and dynamics.  Although I would consider the blend of the instruments to be more ‘traditional’ than other contemporary composers, the classical blend of tones creates a powerful effect throughout, easily painting a picture of the story behind the music.