Power Point 25. The Romantic Era: Diverging Traditions in the Late 19th Century
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This document summarizes diverging traditions in late 19th century music between nationalism and internationalism. It provides an overview of prominent composers from different regions who either incorporated national folk elements or adopted more cosmopolitan styles. Key composers discussed include Dvorak, Smetana, and Janacek from Bohemia; Grieg and Sibelius from Scandinavia; the Russian nationalist group known as the Mighty Five including Mussorgsky and Rimsky-Korsakov; and internationalists like Tchaikovsky. French composers covered are Bizet, Franck, Saint-Saens, and Fauré. In England, Edward Elgar is discussed.
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Power Point 25. The Romantic Era: Diverging Traditions in the Late 19th Century
- 1. Diverging Traditions in the Late 19th Century
- 2. Nationalism • use of folk song in art music • use of national elements in art music • use of national elements as subjects for composition • musical features—modal scales, harmonies, motives, melodies, rhythms, forms
- 3. Internationalism • influenced by German Romantic music
- 4. Bohemia
- 5. Bedrich Smetana (1824-1884) • nationalist • orchestral music, choral, songs, chamber • opera—The Bartered Bride – influenced by Bohemian folk song • symphonic poem—Má vlast (My fatherland) – cycle of 6 symphonic poems depicting Czech legend, history, scenery – # 2—The Moldau River • String Quartet # 1—“From my Life”
- 6. Antonin Dvorák (1841-1904) • internationalist • conductor, violist • influenced/encouraged by Brahms • made Bohemian music known internationally – Slavonic Dances • came to America – Symphony no. 9—“From the New World” – “American” string quartet – “American” string quintet
- 7. Leos Janácek (1854-1928) • Moravian—collected, arranged Moravian folk songs • opera—Jenufa – monologues – few ensembles – folk melodies – “speech–melody” • choral works • instrumental works
- 8. Scandinavia
- 9. Edvard Grieg (1843-1907) • Norwegian—Inspired/encouraged by Ole Bull (famous folk violinist) to go to Leipzig Conservatory • nationalist works: – Humoresques (piano) – Lyric Pieces (piano) – Peer Gynt—incidental music for Ibsen play • Morning • In the Hall of the Mountain King • national characteristics in Grieg: – Hardanger fiddle – drone basses – modality – dance rhythms—slatter—3/4 and 6/8 combined • internationalist works: – Piano Sonata – Violin Sonata #1 – Piano Concerto in a minor – String Quartet
- 10. Jean Sibelius (1865-1957) • Finland • did not collect folk music or use it in his works • wrote nothing after 1929 • symphonic tone poems—Finlandia • 7 symphonies • violin concerto • chamber, songs, choral
- 12. Mikhail Glinka (1804-1857) • 1st important Russian composer • before Glinka, music in Russia was imported from the West • operas in Russian – A Life for the Tsar • elements of Italian opera and French opera-ballet – Ruslan I Ludmilla • based on Pushkin fairy tale
- 13. The Mighty Five • Vladimir Stasov – critic who named Balakirev, Cui, Mussorgsky, Rimsky- Korsakov, and Borodin the “Mighty Handful” or “Powerful Fist” • Principles of the Mighty 5 – nationalism—the “common man” – ignore Western techniques – realism – Romanticism, not Classicism
- 14. Mily Balakirev (1837-1910) • leader of the Mighty Five • 2 short periods of composing separated by 25 years • Russia (orchestral piece) • Islamey – was once considered the most difficult piano piece ever written
- 15. Cesar Cui (1835-1918) • officer in Engineering Corps—fortifications expert • music critic • operas, including children’s operas • songs • chamber music • piano pieces
- 16. Modest Mussorgsky (1839-1881) • innovative, avant-garde • Boris Godunov – historical Grand opera – based on Pushkin play • St. John’s Night on Bald Mountain (orchestra) • Songs and Dances of Death – songs fit the declamation of the text • Pictures at an Exhibition (piano, later orchestrated by Ravel)
- 17. Nicolai Rimsky-Korsakov (1844-1908) • revised, completed works by colleagues, altered harmonies, rhythms making the works more “acceptable” • Professor of Composition at St. Petersburg conservatory—just ahead of his students • operas – The Golden Cockerel • story by Pushkin • orchestra works – brilliant orchestrations • Scheherezade • The Flight of the Bumblebee
- 18. Alexander Borodin (1833-1887) • Prince Igor – unfinished opera completed by Glazunov – Polovtsian Dances • orchestral piece extracted from Act II
- 19. Pyotr Ilyich Tchaikovsky (1840-1893) • internationalist • studied composition with Anton Rubinstein; studied at St. Petersburg Conservatory • Professor of Theory at Moscow Conservatory • supported by Nadezhda von Meck, but they never met
- 20. Tchaikovsky’s works • operas: – Eugene Onegin—nationalistic • ballets – Swan Lake – The Sleeping Beauty – The Nutcracker • orchestra – Symphonies no. 4, 5, and 6 • broad, lyrical, beautiful melodies • no real thematic development – Piano Concerto # 1 – Violin Concerto – 1812 Overture • chamber music • songs • piano pieces
- 21. Alexander Scriabin (1872-1915) • concert pianist, early works influenced by Chopin • many works in C major • impressionistic • later: no key signatures – Vers la flamme • miniaturist • longer works—single movement in quasi-sonata form or connected multi- movement works – Symphony no. 3 The Divine Poem) – La Poème de l’extase (1905-1908) – Prometheus, The Poem of Fire (1908-1910) • piano, orchestra, textless voices, clavier á luce—light- keyboard which hadn’t been invented! • mystic chord C F# B-flat E A D
- 22. France in the Late Romantic Era
- 23. Georges Bizet (1838-1875) • opera Carmen – exoticism – Habanera – Seguidilla and Duet (start at 1:45)
- 24. César Franck (1822-90) • studied/taught organ (and composition in his organ classes against the wishes of the composition department) @ Paris Conservatoire • keyboard: – Prélude, chorale et fugue (piano) – Prélude, aria et final (piano) – Trois chorals (organ) • chamber: – piano quintet – violin sonata – string quartet • orchestra: – Symphonie (d minor) – Variations Symphoniques (piano, orchestra)
- 25. Camille Saint-Saëns (1835-1921) • child prodigy • went to Paris conservatoire • organist @ La Madeleine • French tradition in classic forms • Organ Symphony (Symphony #3) • Carnival of the Animals (chamber orchestra) – The Swan • Danse Macabre (orchestra)
- 26. Gabriel Fauré (1845-1924) • church organist • professor at Paris Conservatoire • Requiem • songs (mélodie—French art song)
- 27. England in the Late Romantic Era
- 28. Edward Elgar (1857-1934) • Enigma Variations (1898-99) – Theme and 14 variations, but another larger theme was never revealed – portrays people in his life • 5 Pomp and Circumstance marches – March #1—graduation