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Similar to Chapter 35 - Between the Wars - France & the U.S.
Chapter 35 - Between the Wars - France & the U.S.
- 1. CHAPTER 35 Lecture Slides AHistory of Western Music TENTH EDITION by J. PETER BURKHOLDER DONALD JAY GROUT CLAUDE V. PALISCA
- 2. France had astrong anti-German sentiment, with an increased focus on French music, BUT there was a disagreement about what qualities French music should have. Les Six - six younger composers, strong influence of neoclassicism • (Neoclassicism - the movement that drew inspiration from classicism, which included order, balance, clarity, economy, and emotional restraint) • Arthur Honegger (1892–1955) • Darius Milhaud (1892–1974) • Francis Poulenc (1899–1963) • Germaine Tailleferre (1892–1983) • Georges Auric (1899–1983) • Louis Durey (1888–1979) • sought to escape old political dichotomies • inspiration from Erik Satie, hailed by Jean Cocteau • highly individual works, wide range of influences BETWEEN THE WARS: FRANCE
- 3. Darius Milhaud (1892-1974) •prolific, diverse style and approach • Le bouef sur le toit (The Ox on the Roof, 1919), ballet, comic frivolity • Christophe Colomb (1928), opera-oratorio, earnestness • Millhaud’s La création du monde (The Creation of the World, 1923), ballet • inspired by jazz he heard in Harlem • saxophone, piano, soloistic treatment evoke sound of jazz bands BETWEEN THE WARS: FRANCE
- 4. Francis Poulenc (1899-1963) •drew on Parisian popular song traditions from cabarets, revues • musical style: graceful, witty, satirical • Wrote many French art songs (mélodies) • “Violon” from the set Fiançailles pour rire (1939) • Ariettes Oubliées • Dialogues of the Carmelites (1956), opera • Opera in three acts. • Libretto by Poulenc based on a true story of Carmelite nuns in Northern who were guillotined in 1794 just before Napolean’s Reign of Terror during the French Revolution • raises issues of religion, politics, allegiance • “Salve Regina“ (“Hail, Holy Queen”) the final scene of the opera • The nuns refuse to give up their way of life for the revolutionary cause therefore are imprisoned for most of the opera. They are given one last chance to give up their ways, but decide to martyr themselves. • As the nuns sing “Salve Regin,” they walk up to the guillotine one at a to die. • Poulenc wrote each guillotine fall/sound into the score. • Openly Gay in 1928, long relationship with Baritone Pierre Bernac (some say just friends) BETWEEN THE WARS: FRANCE
- 5. BETWEEN THE WARS:FRANCE Germaine Tailleferre (1892-1983) • Only woman composer who was a member for the group of French composers known as Les Six. • prolific composer of symphonic, chamber, film, and radio music who had a 60-year career • Studied at the Paris Conservatoire, then with Ravel • Adagio for violin and piano (1924)
- 6. CHAPTER 35 Lecture Slides AHistory of Western Music TENTH EDITION by J. PETER BURKHOLDER DONALD JAY GROUT CLAUDE V. PALISCA
- 7. BETWEEN THE WORLDWARS: THE U.S. United States emerged as world’s most powerful economy, most influential • new peak of interest in classical music • new technologies, classical music widely available • conductors nationally known figures • Leopold Stowkowski, Arturo Toscanini; recordings, live radio concerts • Metropolitan Opera radio broadcasts, 1931 • patrons commissioned new music • music education expanded in schools
- 8. Edgard Varèse (1883–1965) •French-born, influenced by Debussy, Schoenberg, Stravinsky • brief career in Paris and Berlin as composer and conductor • moved to New York, 1915 • spatial music and sound masses • aimed to liberate composition from conventional elements • sounds as essential structural components • all sounds as raw material • spatial, sound masses moved through musical space • sound mass characterized by timbre, register, rhythm, melodic gesture • sound masses interact, may gradually transform • great variety of percussion instruments, equals to winds and strings BETWEEN THE WORLD WARS: THE U.S.
- 9. Edgar Varese‘s Music •Hyperprism (1922–23) • pitch, instrumental color, gesture, rhythm interact; suggest sound masses colliding and changing • every combination of sounds is unusual • heard as sound mass rather than melody, harmony, or accompaniment • Varese’s ideas and music had enormous influence on younger composers • after World War II turned to electronic sound generation and tape recorder • Poème èlectronique (1957–58) • Electronic tape piece BETWEEN THE WORLD WARS: THE U.S.
- 10. BETWEEN THE WORLDWARS: THE U.S. Henry Cowell (1897–1965) • native of California; little training in European music • experimentation in early piano music • tone clusters, chords made with the fist or forearm • new playing techniques inside the piano • The Banshee (1925) • ideas summarized in New Musical Resources (1930)
- 11. Ruth Crawford Seeger(1901–1953) • first woman to win Guggenheim Fellowship in music • 1924 to 1933, active as a composer in Chicago and New York • experimented with serial techniques, applying parameters other than pitch • convinced preserving folk songs would be greater contribution • edited American folk songs from field recordings • published transcriptions, arrangements • String Quartet 1931, best-known work • 4th movement, finale BETWEEN THE WORLD WARS: THE U.S.
- 12. George Gershwin (1897–1938) •late 1920s and 1930s: most famous, frequently performed American composer in classical genres • saw no firm line between popular and classical music • used jazz and blues to add dimensions to art music • Rhapsody in Blue (1924) - billed as “jazz concerto” • scored for solo piano and jazz ensemble • incorporates popular song forms, blue notes, other elements of jazz and blues • continued to fuse seemingly disparate traditions • Porgy and Bess (1935), folk opera • draws on opera and musical genres • features recurring motives • characters are all African American • musical style heavily influenced by African American idioms: spirituals, blues, jazz BETWEEN THE WORLD WARS: THE U.S.
- 13. • Aaron Copland(1900–1990) • most important and central American composer of his generation • combined modernism with national American idioms • organized concerts series, composer groups • promoted works of his predecessors and contemporaries • An American Nationalist during WW II • early years • grew up in Jewish immigrant family in Brooklyn; exposed to ragtime, popular music • studied piano, theory, composition in European tradition • first American composer to study with Nadia Boulanger • jazz elements, strong dissonances in early works • sought to appeal to larger audience • recognized radio, record listeners • reduced modernist techniques combined with simple textures, diatonic melodies and harmonies BETWEEN THE WORLD WARS: THE U.S.
- 14. Appalachian Spring (1943–44) •exemplifies Americanist idiom • ballet written for ensemble of thirteen instruments • better known as arrangement for orchestral suite • incorporates variations on Shaker hymn ‘Tis the Gift to Be Simple • transparent, widely spaced sonorities, empty and fifths, diatonic dissonances • frequently imitated, quintessential musical emblem of America • used especially for film and television BETWEEN THE WORLD WARS: THE U.S.
- 15. William Grant Still(1895–1978) • drew on diverse musical background • composition studies with George Whitefield Chadwick, Edgard Varèse • arranger for W.C. Handy’s dance band • nicknamed “Dean of Afro-American Composers” • broke numerous racial barriers, numerous “firsts” • first African American to conduct a major symphony orchestra in the United States • Los Angeles Philharmonic, 1936 • first to have opera produced by major company in the United States • first to have an opera televised over a national network • composed over 150 compositions in classical BETWEEN THE WORLD WARS: THE U.S.
- 16. Still’s Afro-American Symphony,opening movement (1930) • first symphonic work by African American composer performed by major American orchestra • encompasses African American musical elements • traditional four-movement framework • Premiered with Rochester Philharmonic Orchestra (Eastman School of Music) BETWEEN THE WORLD WARS: THE U.S.