Listening Log Part 3
Music from The Romantic Era
Wagner: Ride of
the Valkyries (1854) – recording found on spotify
This famous piece of music seems to embody of the spirit and
ideals of the romantic era. The entire
composition is laced with artistic expression and guides the listener through a
range of emotions moving through joy; fear; tension; adoration and sadness.
The complex mix of instrumentation serves a reminder to the
experimentation that came with ideals of the romantic era. The piece, designed for a very large
orchestra, makes use of the new instrumental techniques ushered by the
industrial revolution and challenged the more rigid ideals of the ‘classical’
period.
Tchaikovsky – The Nutcracker Suite: Waltz of the
Flowers (1892) – recording found on spotify
Much like Ride of
the Valkyries (1854), it is clear to see the influences of the 18th
century had been shed, leading to a feeling of hope and freedom within the
composition. There seems to be a more
flexible sense of musical form throughout this piece, focusing on the narrative
abilities rather than the harmonic.
Much like Wagner’s composition, this piece uses a wide arrangement of
instruments to create the feeling of joy and hope.
This piece begins
very slowly using a gentle selection of high pitched instrument. However as the piece develops, more
instruments are introduce, producing complex intertwining melodies. To me, this depicts the idea of the flowers
waking and opening with the sunrise.
Around the middle
of the piece, the mood changes and the feeling lightens, fitting well with the
given name of the composition. Of course
the Waltz feeling is very present through this large ‘eruptions’, however, this
rhythm seems to fade in and out through the composition at later stages.
Overall it is
clear to see that this piece, whilst providing a harmonious backdrop, was
intended to fit the ‘pictures’ of the ballet – guiding the story along with the
dancers.
Beethoven – Piano Sonata No.1 in Fminor, Op2 (1795) –
recording found on Spotify
The first movement
of this piece contains very bright and steady rhythm throughout, influenced by repeating
themes. Scales and arpeggios are also
very widely used throughout the piece and whilst the rhythm, stays constant,
the key changes provide a certain change in timbre. The second movement carries a much more
ornamental feel in terms of its melody, but seems to continue the steady ‘flow’
of the composition. To me, this movement
seemed to focus very heavily on the technical abilities of the pianist,
incorporating many flourish and interesting motifs.
The third movement
provides a vast contrast to the previous movements, raising the tempo and
engaging in a more ‘frantic’ style.
Throughout this section there are a number of tempo and mood changes
making use of syncopations and dramatic pauses to create a sense of
contrast. The final movement returns to
the more flowing nature of the 1st and 2nd movements,
once again making use of repeating themes and steady, regular tempo.
Beethoven – Piano Sonata No. 32 in Cminor, Op111
(1821-22) – recording found on spotify
This piece,
written with just two movements, provides a vast contrast to the sonata
above. It is clear from the very opening
of this piece, that Beethoven’s style has vastly changes, now with a large
emphasis on the drama and emotion of music.
The first movement
on this piece is fraught with dramatic pauses, contrasted with loud dominant 7th
chords, creating a sharp and tense feel though out. There is a definite sense of of repeating
motifs as we move through the piece, broken by very gentle and light melodies,
which gently phase back into the over arching feeling of tension. The second. The second movement, although
still portraying the passion of music, seems to have lost the feeling of
tension, instead opting for a slightly more muted and melancholic feel. The very gentle melody which runs throughout
is broken by moments of drama, and in the middle, there is even a very bright,
light and dance-like feel.
Unlike his 1st
Sonata, it is clear that Beethoven has strayed from the conventions of the
classical era, instead deciding to incorporate numerous musical ideas into one
piece. Whilst in the last piece it was
possible to see a more tradition sonata structure, this piece has definitely
moved away from Beethoven’s early stylistic elements.
Beethoven – Symphonies No. 1 & No. 2 (1795 - 1802)
– recording found on Spotify
Although that is
clear to see the more classical influences of Haydn and Mozart within
Beethoven’s first and second symphonies, there is none the less a sense of
innovation when comparing it to his predecessors compositions. Although both symphonies contain a very
different feel and mood; the first bright and upbeat and the second a more
flowing and calm, Beethoven has made use of classical sonata structure and
traditional harmonic progression.
However, Beethoven’s experimental side can be heard even in such early
work. For example his use of ‘off key’
patterns at the beginning of Symphony No1 makes it impossible for the listener
to ascertain the key signature before Beethoven ‘unveils’ it later.
Beethoven – Violin Concerto Op. 61 (1805) &
Kreutzer Sonata (1803) – recording found on Spotify
Both Beethoven’s
Violin Concerto and Kreutzer Sonata provide a contrast to some of his earlier
work and demonstrate his lust to modernize music and attempt new experimental
techniques.
In his Violin
Concerto we begin to hear a sense of personality to the music, and the sense of
each instruments fulfilling its potential.
There is a distinct sense of the heroism and deep struggle that
Beethoven was famous for portraying, which comes in the form of high moments of
grandeur, followed by passages of melancholy.
Beethoven seems to have also interspersed moments of joyous anticipation
that tie the two moods together well.
The inclusion of the Timpani adds a deeper and richer dimension, aiding
in the enhancement of tension at crucial moment. However, although this Concerto does contain
a number of more Romantic elements, there is a still a distinct sense of
Beethoven’s classical training through out.
Beethoven’s
Kreutzer Sonata, better known as Violin Sonata No.9, like his Violin Concerto
is designed in three parts and which contain three distinctly different moods. The first movement begins very gently with a
solo violin, which is later joined by a piano, demonstrating a great deal of
expertise by both! The gentle movement
at the beginning builds through the piece, erupting in a violent angry feeling
towards which dominates the latter half of the composition. Beethoven neatly brings the piece back to its
original tempo at the very end – perhaps suggesting another of Beethoven’s more
classical elements.
The second
movement adds a large contrast to last, beginning this time with the piano,
echo the gentle nature of the beginning of first movement. However, the addition of the violin brings
about a very joyous and excited feeling which builds in tempo and adopts a
waltz feel at times. The great erupts of
joy are interspersed with small moments of sadness demonstrated in large by the
solo violin.
The third movement
adds yet another dimension, this time offering a very celebratory and heroic
sound. In this movement the violin and
piano seem to ‘bleed together’ at points, with complex melodic patterns
overlapping. In the latter half of the
piece there is a distinct folk feeling, with complex arpeggios and staccato
sections featuring dominant chords.
Like all pieces in this sonata, there is always an underlying feeling of
melancholy which gently filters in through all of the movements.
To me these piece
seems to be an excellent example of Beethoven’s changing style and ability to
fuse together very different moods and styles.
Throughout the compositions the listener is guided through a story and a
set of emotions and feelings with such great contrast, you can’t help but feel
engulfed by the overall mood. Despite
Beethoven’s classical training, it is clear to see that during this period,
influences of the romantic artists had begun to take hold.
Beethoven – Symphony No.9 (1824) & Missa Solemnis
(1819-23) recording found on Spotify
I believe that
these two pieces demonstrate the combination of the knowledge and experience
that Beethoven gained through his career, matching both the experimental and
classical elements together. It seems
that it his later years, Beethoven may have revert to more classical elements
in terms of structure, but introduce many more innovative techniques too.
Beethoven’s 9th
Symphony is a great example of this theory as it adopts many classical
structural points, such as the sonata structure and more traditional harmonic
progression. To me, the piece contain
much less of the vast contrast offered by Beethoven’s earlier works, but seems
to instead, adopt the sense of contrast through structural elements. However the beginning of the first movement
displays a more modern side to Beethoven’s compositions by including a strange
and dissonant mix of tones that mimic the sound of an orchestra tuning.
Missa Solemnis,
written as a mass, is composed in five parts and is heralded as one of
Beethoven’s greatest works. Of course,
being of religious nature, the composition contains great sense of joy and
adoration and this seems to be another example of Beethoven returning to
perhaps more classical roots in his later composition.
Dukas: The Sorcerers Apprentice (1897) – recording
found on spotify
This piece is an
excellent example of the use of Symphonic Poems during the Romantic period. This extremely famous piece of music uses a
variety of instruments and instrumental techniques to create the scene of the
Sorcerers apprentice. The low tones of
the bassoon convey the sinister nature of the piece, whilst the strings and
higher pitched winds keep and light and flowing overtone.
The rapid changing
of mood throughout the piece is an excellent example of the Romantic era. The sharp changes of tempo and key provide
great moment of power and even anger, which is then interrupted by very gentle
sections of the lower tones instruments.
The repeating motif which at time is played by all instruments provides
a sense of ‘home’, successfully drawing together all of the clashing emotions
and moods.
I found the use of
auxiliary instrumentation quite interesting in the piece, namely the piccolo
and the adapted percussion ensemble in which the glockenspiel was special tuned
to fit the composition.
Beethoven: The Coriolanus Overture (1807) – recording
found on spotify
This composition
holds all of the emotional power that you might expect to find with a Roman
tradegy. Based on the play of the life
of Coriolanus by Heinrich Joseph von Collins this piece contains a lot of
Beethoven trademark theme of heroism and inner struggle, but is nicely interspersed
with light flowing sections from the strings.
Unlike some of
Beethoven’s other Romantic pieces, which to me felt a little disjointed a
times, I found the changes in mood to more fluid with the movement of the
music. Although there are still rapid changes within the composition, moving
from heroism, desperation, fear and eventually to a more gentle side, it seems
that Beethoven may have been more meticulous in the ebb and flow of power and
tension.
Berlioz: Symphonie Fantastique (1830) – recording found on Spotify
Initial Thoughts
This piece is
another excellent example of the emotions and moods portrayed in music through
the romantic period. Much like
Beethoven’s middle period, I found this piece to contain quickly varying moods,
moving through joy, anguish, pain, sorrow, fear and anger to name but a few.
Although I haven’t
yet had a change to research this theme in this composition yet, my initial
feelings is that it may follow the story
of a particular character (man or animal) as he passes through life. To me, the opening movement contains a feel
of optimism and hope, whilst later section may perhaps depict the pain and
anguish of life.
Second Thoughts after reading Programme Notes
After reading
Michel Austin’s programme notes of Symphonie Fasntastique (1830), I was pleased
to see that this piece was actually based around the life of a man, which I had
predicted when I had first heard the piece.
The way in which Berlioz has used various instrumental elements to
create moods and specific situations really enabled me to envisage the story of
the composition and demonstrated his desire to create music with meaning and
narrative possibilities.
Below is a further study of the first and fifth
movements of Symphonie Fantastique:
Part One
- Daydreams, passions
According to Berlioz’s programme notes, this movement tells of a young,
idealistic musician who meets, and falls in love with, his perfect woman. However, every time the young musician thinks
about the woman, he is reminded of a specific musical idea or idée fixe.
When listening to this movement again, with the story fully cemented in
my mind, I found Berlioz technique of building an optimistic and hopeful feel
to be the overwhelming factor. At the
beginning of the movement the mood is gentle and calm, with burst of joyous
motifs, perhaps to signifying the innocence and excitement of youth. However, toward the middle a slight feel of
tension begins to appear and we begin to hear the introduction of a repeating
motif – probably signify the idée fixe.
Whilst it is clear to sense to joy and hope of love and youth within
this section, Belioz has managed to create a great deal of texture in the flow
of the music, matching fast tempo ‘bursts’ of joy, to low toned and slower
feeling of trepidation and shyness.
Part
five
Dream of a witches’ sabbath
In stark contrast to the joy and optimism of the first movement, this
final piece of this symphony perfectly outlines Belioz’s ideas of the descent
into death. Throughout this composition
there is a very dark an ominous undertone, underpinned by the lower toned
woodwinds, which frequently fades away to use periods of silence as a musical
feature. It is clear that Berlioz has also included a larger percussion
section, using large drums beats and rolls to support the harmonic
structure. The violent burst of brass
and the rapidly changing tempo also aids in the feeling of a certain and
rapidly hastening descent.
Despite these dark and somber tones we repeatedly hear Berlioz’s idee fixe, but this time played in an
almost jovial and mocking manner. There
is also a feeling grandeur and heroism which appears at certain moments, which
perhaps represent the musician looking back at his life and appreciating some
of his greatest moments.
Overall I feel that Berlioz’s composition is an exceptional triumph of
the Romantic era. His ability to use
narrative direction to create rich orchestral scores sums up many composers
ideals during that period. His grasp and
knowledge of the classics of music, teamed with his apparent desire for
innovation blend together to create a piece with explores many different human
emotions and vivid displays them to the audience.
Richard Strauss – Till
Eulenspiegels Iustige Streiche (1894 - 1895) – recording found on Spotify
This tone poem, detailing the adventures of German folk legend Till Eulenspiegel, highlights the jolly, mischevious and merry side of
the character and carries a distinct sense of humour throughout.
Whilst the
main character of the ‘poem’ was represented by two melodies through out, it
was clear to see a distinction between the ‘sections’ of the poem. At times the music was designed in such a way
that you can picture the scene of the misadventures of the trickster.
Although there
is quite a light and airy feel to this pieces, there are very clear moments of
tension which appear, perhaps to represent the trouble that Till may have found
himself in. These are also interspersed
with great moments of wonder, joy and perhaps love.
Richard Strauss - Ein Heldenleben (1898) – recording found on
Spotify
Composed with Beethoven’s love of heroism in mind, Strauss wrote this
piece in 6 parts based of the elements of a hero’s life: The Hero, The Hero’s
Adversaries, The Hero’s Companion, The Hero at Battle, The Hero’s Work of
Peace, The Hero’s Retirement from this World and Consummation.
As we move through this tone poem, it is clear to see Beethoven’s
influence. Strauss uses the same
dramatic pauses and violent bursts of brass, underpinned by the low tones of
the winds. Of course, these are
interspersed by very distinct melody, aimed to pain a very vivid picture.
I found the use of the chromatic scale at the beginning of the section
movement interesting as it provided a stark contrast to the last movement, and
perfect set the scene for a slight mysterious and dark section that
follows.
Overall, I found this piece to pay homage to the works of
Beethoven. Whilst Strauss has clearly
encapsulated a great number of musical ideas within this piece, I found the parallels with Beethoven’s
earlier works to be all too apparent.
Once again, however, I am reminded that most music composed with this
era could be describes and a symphonic poem – perhaps just a difference in
terminology?
Gustav Mahler – Symphony No.
8 (1906) – recording found on Spotify
Dubbed the ‘Symphony of a thousand’, it is clear to see that Mahler has
a great devotion to both vocal and instrumental works. As an innovator of bringing the two
components together, he has managed to create an extremely powerful and awe
inspiring piece of music. Written in two
parts, this composition is an adventure for the listener, guiding them thorough
a range of textures, scenes and emotions.
The most impressive element for me was the how Mahler has blended
together the movements so seamlessly. At
times, we move from gentle and calm section, to roaring joyous choruses,
however Mahler has managed to use both the instruments and the vocals to link
the thematic ideas together.
However, whilst I believe the use of voices with an orchestra fits very
well, at time I was slightly overwhelmed with the shear power of the vocal
section, perhaps overshadowing the instrumentals.
Vaughn-Williams – Fantasia on
Greensleeves (1934) – recording found on Spotify
It is clear to see Vaughn-Williams intentions to express a great sense
of national pride within this composition.
The use of a famous melody composed by a British monarch sets the scenes
for an array of artistic instrumental embellishments.
Most interestingly, although the piece remain calm and positive (to
maintain a national identity), I found it interesting how Vaughn-Williams had
manipulated the simple melody to fit with the slight ‘shifts’ in mood. For example, near the beginning we hear the
tradition, upbeat Greensleeves melody, however later in the composition, this
has been augmented to create a more flowing and gentle feel.
As a piece to intended to show pride and solidarity for Britain, I
believe Vaughn-Williams succeeded greatly within this piece. His choice to include a melody deep-rooted in
British history created a fantastic ‘home’ melody, allowing the composer to
manipulate the melody into different emotional directions.
Edvard Grieg – Peer Gynt
(1867) – Recording found on Spotify
Based on the traditional Norweigan fairy tales it is very clear to see
how Grieg has managed to portray a sense of pride in his national identity
through the music. As with
Vaughn-Williams Fontastia on
Greensleevers, whilst Grieg moves through a great many moods and emotions
during the pieces, managed to constantly maintain an air of optimism and
pride.
Split across eight parts, in two ‘suites’, Grieg manages to seamlessly
blend together a vast array of musical ideas, clearly adopting a large orchestra. Like many Romantic pieces I have listen to,
thematic motifs seemed to reoccur throughout the Suites – perhaps to tie
together to ever changing moods.
Bedrich Smetana – Ma Vlast
(1874 – 1879) – recording found on Spotify
Unlike Grieg’s nationalist piece, which was based about a story,
Smetana’s symphonic poem was composed in six parts, each representing a
specific people or places in Czechoslovakia.
The first poem, which describes the Vysehrad Castle in Prague, makes
use of a heavy brass section in order to communicate the grandeur and
importance of the kings who sat in the castle.
These are contrasted with very quiet section, perhaps to suggestion of
the isolation of the castle sitting so high on the hillside.
The second poem, describes a Bohemian river, using both the woodwind
and strings to create both a gentle flow and faster ‘babbling’ motion whilst the
third poem describes the great warrior Sarka and uses a great deal to tension
and suspense to create the impression of war and fighting. I also found a distinct military tone to the
third poem, demonstrated in the march like rhythms and brass fanfare.
The fourth poem describes Czechoslovakia’s beautiful woodland and
countryside. I found this piece to be
the most varied of all, seemingly moving through the ever-changing sights and
sounds of the woodland. At some points
Smetana uses the strings to represent the gentle breeze, contrasted by sharp
cymbal burst to symbolise life within the forests. The
fifth poem, Tabor, describes a city in Bohemia and although begin very quietly
and softly, building into a build fraught with tension and a distinct sense of
conflict and battle.
The final poem, Blanik, was named for the Mountain Blanik, which a
legend claims holds the sleeping army of St. Wenceslas hold a very heroic and
resolute feeling. There also seemed to
be echoes of motifs from earlier movement, perhaps to ‘round off’ the entire
work.
Overall I found this be to be a real insight into Nationalistic
music. The translation of the title ‘My
Country’, describes the overarching sense of pride that Smetana carried from
Bohemia. I found his ability, to not
just tell a story, but also paint a picture of a specific place very
interesting and would be interested to see more examples of this style of work
(perhaps of places I have visited myself).
Christian Sinding - Frühlingsrauschen,
Op. 32, No. 3 (1896) – recording found on Spotify
Translating to ‘Rustle of
Spring’, Sinding’s Fruhlingsrauschen provides an excellent example of the salon-style
of composition. Making heavy use of a
virtuoso piano style this piece also demonstrates Sinding’s ability to paint
the vivid pictures of the changing season through his work, adopting different
emotions and colours to represent the falling of the leaves and emergence of
the flowers and wildlife.
Beginning very gently, this
piece builds to moments of great drama and passion, before gentle arching back
towards the calm heard at the beginning.
Comprising largely of arpeggiated runs, accented by distinct bass
motifs, Sinding has managed to created the illusion of a higher level of tonal
complexity which you expect to find amongst a larger ensemble.
Franz Liszt
- Grand Galop Chromatique S.219 (1938) – recording found on Spotify
Much
in the same vain as Sinding, Liszt has used a composition for solo Piano (and
later duet) to communicate a wide variety of moods and timbres. This piece, which is much bolder and brighter
that Sinding’s Rustle of Spring, but carries just as much of the
virtuoso stylings.
There
are great moments of drama and tension throughout this piece, teamed by bright
and almost dance like rhythms. This mix
of merriment and darkness provides an interesting combination of styles,
possibly portray inner struggle or turmoil.
Liszt Piano
Transcription after Schubert Songs S.565: I Das Wandern (1837-38) – recording
found on Spotify
This
transcription of Schubert’s operatic work of the same name, provides an almost
direct replica in terms of tempo and mood.
With the bass clef playing Schubert’s piano accompaniment and the treble
mimicking the melody of the vocals, Liszt has not only ‘covered’ all elements
of Schubert’s work, but also created a number of virtuosic embellishments to
provide further colour and texture.
Mendelssohn
– Songs without Words: Book 6 Op.67 No.1 (1843-45) – recording found on Spotify
In
the tradition of writing small lyrical pieces during the Romantic period, it is
clear to see how Mendelssohn have created his interpretation of ‘Songs without
Words’. Much like Liszt piece above,
this solo piano piece (sometimes accompanied by a Cello), relies on the bass
clef to play to play what I would consider to be the ‘accompaniment’, using
arpeggiated runs to create a steady flow and texture, and the treble to represent
the ‘vocals without words’.
Playing
Piano myself, I can see the comparison with today’s solo composition of popular
songs in books such as Really Easy Piano Collection: 50 Fabulous Songs
(2009) which adopt a similar method ‘clef division’.
Brahms –
Trio in A minor for Piano, Clarinet and Cello Op. 114: I – IV (1891) –
recording found on Spotify
This
ensemble piece by Brahms exhibits the Romantic side of Chamber music during
this period. Brahms uses techniques
which almost merge the instruments together, interweaving melodic lines to
create one music ‘being’ as opposed to an ensemble of sounds.
Throughout
the four parts of this composition, the audience is guided through numerous
feelings and emotions and at times, I could hear folk tones and feelings of
dissonance and chromanticism.
Overall,
this piece demonstrates that even the more traditional ensembles were using the
Romantic period as a stepping stone to modernization and musical change.
Beethoven – Symphony No 5 (1804
- 1808) vs. Liszt – Transcriptions for Piano solo (1840) – Recordings found on
Spotify
As possibly one of the most famous pieces of classical music ever
written, Beethoven’s fifth can’t help but stir up a multitude of emotions. Throughout the four movements, Beethoven seems
to explore a number of the more classical and traditional techniques to create
a piece of intense depth and colour.
It must be said that the limitations of a solo instruments meant that
Liszt’s transcription did lack the intensity of Beethoven’s orchestral score, but
nonetheless, Liszt does seem to have captured the essence of Beethoven’s work
feel, communicating the same mood and movement of the music. Liszt’s virtuosic piano playing could be
seen as somewhat flamboyant at times, but this demonstration of musical skill
is definitely necessary in order to closely convey Beethoven’s ideas.
Whilst I found the piano in Liszt’s composition to be more than capable
of conveying the lighter and flowing sections throughout, it seemed to be the moments
of tension and power where I felt that Liszt’s piece severely lacked. At these moments, particularly in the third
movement, Beethoven had used a variety of instruments to provide the desired
effect, whilst the piano’s attempt felt somewhat ‘clunky’ and unable to keep
up!
Overall I found Liszt’s transcription to be an excellent representation
of Beethoven’s Symphony, but understandably the piano seemed to lack the depth
and tonal abilities of a full orchestra.
Rossini – The Barber of
Seville: Act 1: Largo al Factotum (1786) – recording found on Spotify
This famously used piece of music demonstrates what I would refer to as
an early form of today’s musical.
Rossini has used not only the powerful vocals of the characters, but
also the large instrumental ensemble to unfold a story in typical operatic
fashion.
There is a definite feeling of jubilation and joy throughout this aria,
which the brass section enhances by providing the feeling fanfare and
grandeur. Rossini seems to use the
musical style of introduce the various characters in Act 1, interweaving
familiar motifs and musical patterns.
Verdi – La Forza del Destino:
Act 1 – 4 (1862) – recording found on Spotify
Whilst listening to this piece, I used the description of the storyline
for Wikipedia to follow along and see
if I could make sense of the musical changes and storyline. Although it took some ‘musical
interpretation’ at times, it was entirely possible for me understand the major
movements of the story, for example the introduction of characters such as
Leonore early in Act I.
This musical ‘storyline’ has been meticulously designed by Verdi to be
in constant movements with the narrative vocals to express moments of joy,
adoration, fear, drama, tension and melancholy.
It is clear that Verdi opted to use a very large orchestra for this
piece, incorporating many instruments within each family, to create a greater
depth of sound and tonal complexity.
Wagner - Tannhauser Overture (1845) – Recording
found on Spotify
This overture, written after the Opera itself, portrays of the
characteristics you would expect to find in an Opera heavily based of love and
sexually. Wagner story focuses on the
lead character, Tannhauser, in his pursuit to find love, fight the seductive
powers of the Goddess Venus and deal with the despair of being parted from his
love Elisabeth.
The overture itself almost provides a ‘preview’ of all of the scenes
and emotions that the audience will be exposed to during the opera. Beginning in a smooth and gentle manner, the
piece develops into jubilation to a sense of hopeful optimism, which later
dwindles in a sharp tension section.
Later in the piece, the sense of tension remains in large, interwoven
with elements of heroism and perhaps depression. The Overture closes with the brass section,
emphasizing more grand and almost royal elements.
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