Le Sacre du Printemps - 2

This week I have chosen to analyze the fith scene of the first part, "The Game of the Rival Tribes."

 The scene begins with the drums playing in the background creating, or perhaps rather emphasizing, the primitive atmosphere of the section.  The first theme is then introduced very quickly (less than 10 seconds into the piece), with the woodwinds playing the main melody and the brass, percussion, and string instruments accompanying. In fact, this theme was first heard earlier in part 1 in the "Ritual of Abduction," and in keeping with so much of this entire ballet it is most definitely dissonant and thus not really all that pleasant to listen to if I am entirely honest. Furthermore, the meter is irregular, which adds to the confusion of the theme, and the texture of the music is polyphonic - almost as though the different melody lines are competing to be heard (like the two rival tribes)- creating an air of tension.  This first theme is built up from a number of segments of descending chromatic scales played by various different instruments, and the instruments change very frequently and quickly which gives the music a very broken feeling, in that it cannot build up momentum. I am not entirely sure what this frequent change in music is supposed to achieve, but there is no doubt that the music has a very broken feeling as a result. The short instrumental interjections almost come as short jabs, perhaps a reference to the two rivaling tribes battling each other. Nonetheless, the music still has this primitive feeling due to the percussion interjections, for example at 0:31, as it begins to build in tension.

At 0:36, there is a change in the tone of the music, before the introduction of the second theme. Here we hear that the music changes in tone, perhaps this is due to a key change - I was unsure. However, the music is definitely played in a more light hearted way, in part due to the higher pitch of the notes. This part is played by the woodwind and high strings. Then, we have the introduction of the second "Hollywood like" theme, which you can for example hear at 0:54. This 'happier' theme, contrasts with the first theme greatly due to its lighter tone. The music has also lost its dissonance. However, this second theme is short lived as we hear the trombones at 1:02, which introduces another change in mood in the music. It becomes much more regular in rhythm and louder with a number of instruments crescendoing. At this point what was most noticeable was that the brass and woodwinds would hold long notes, while the strings continue to play as normal making them stand out, as at 1:40.

Le Sacre du Printemps - 1

Last week, when Louis asked us who didn't like "Le Sacre Du Printemps," I have to admit that I most definitely raised my hand! At the same time, I have to admit that at first I have not liked  most of the pieces that we have listened to in this course, however, as my comprehension and knowledge of them has grown, so too has my enjoyment. Nonetheless, my take on this piece has not really changed as of yet, even though I really am trying to keep an open mind about it. When I think about what specifically I haven't liked about this piece, I would have to say that it is the fact that there are so many inharmonic notes and that the music often seems to lack any structure or form (it sounds messy), which results in the music lacking beauty. 

So I figured that the best place to start would be by analyzing the first section, "The fertility of the Earth's" introduction. This piece starts with a bassoon solo, however, it is the accompaniment that I really didn't like; there is absolutely no harmony amongst these notes - this can really be heard at 0:28 and 0:55. While, I will say that the bassoon part is not ugly, and it is apparently derived from a Lithuanian folk tune, it may actually have been unattractive to its original audience because they wouldn't have been accustomed to hearing the bassoon play in such a high register. Then at 1:00,we have the entry of the deceptively named English Horn, which becomes chromatic. The texture thickens and becomes polyphonic, almost as though the different tunes are competing against each other: you can hear the oboe, bass clarinet and E-flat clarinet all repeating their own distinctive material independently of each other. This is particularly apparent at around 1:28 where the music is best described as messy. At approximately 1:57, when then hear, or at least get the sense of,  a momentary pulse introduced by the pizzicato strings, which proceeds to alternate with a couple of other woodwind sections. The music begins to build in intensity, reaching a chaotic climax at 3:02. The key word here really is, in my opinion, chaotic - the music doesn't really seem to be following any discernible pattern or form that I could hear. Then, once again we hear the bassoon playing from the opening section, but this time a semitone lower. Finally, the ostinato that will figure so greatly in the next section arrives before the section ends.    

 

Berlioz 5th movement.

Today I am going to be writing on the "Songe d'une nuit de sabbat," the 5th movement of Berlioz's Symphonie Fantastique. My initial impressions of this movement were that it was slightly strange; while this may not be the most musically savvy description I begun to realize that this was in a large part due to
Berlioz's choice of instruments. The piece starts with an E-flat clarinet which strives to evoke the "strange noises, crackling, distant cries" to set the scene for the witches sabbath. The E-flat clarinet, accompanied by the other woodwinds, most definitely does have an unusual sound; it is almost squeaky and does seem to invoke the image of a cartoon witch. We hear the "idee fixe" here played by the clarinet, yet this is not necessarily apparent initially as it seems to be a far cry from the way it was first played at the beginning of the symphony. In a way, it seems much bolder and we learn from the program that this is because the protagonist, due to his failure to win the heart of this woman, has transformed her in his mind into a witch.

At around 3 minutes into the piece, we then hear the chimes, which are supposed to represent a funeral knell. At first, these chimes seem completely out of place in a symphony, yet they give an ominous feel to the music, which is then accompanied by a low brass instrument, which is interrupted by the woodwinds and high strings playing the wordless parody of the gregorian chant "Dies Ir." To be perfectly honest, I wasn't sure what to make of the music at this point, apart from the feelings of darkness which were then alleviated by the more energetic interjections of the high strings and woodwinds. In fact, the music eventually moves away completely from this ominous chiming to the fugal exposition of the "Witches Round Dance." We can hear the bass playing chromatically in the background, until the round dance is combined with "Des ir." At this point the music has become very energetic, polyphonic and confusing! Although, the effect of this is a building of energy, as if building towards a climax. Then comes the strange effect of the bows of the string instruments tapping (col legno), almost as though there are a bunch of skeletons dancing around, until we come to the end with a dramatic building of tension with the building in volume of the brass instruments and some of the woodwinds (I think flutes) playing at a very high pitch.

Berlioz and his unusual orchestration.

Below is a link to my recording discussing Berlioz and his unusual use of orchestration:

http://www.zshare.net/audio/8257498598063687/

Berlioz and his "idee fixe"

I found the whole notion of Berlioz's love for Harriet Smithson being represented as a melody, most intriguing. The fact that this crush, or "idee fixe" (fixed idea), is played back at numerous different points in the symphony in order to represent his obsession with this woman is a very interesting method of expression. Furthermore, the fact that it can be repeated and manipulated into various different forms and styles, in order to portray the fact that this woman keeps intruding into and interrupting his thoughts throughout the symphony. In order to understand this symphony it is necessary to understand and be able to recognize the "idee fixe," no matter how disguised it is.

The first time it is played is in the first movement at 4:40, you can hear the lovesick theme oozing from the melody in its first phrase. The melody has lovesick yearning, with a rising shape at the beginning. Then it rises further, and further until it hopelessly collapses which creates something near a perfect image of this lovesick yearning for Smithson. It is this gradual rising in pitch of the high strings, that seems to indicate the building excitement of love or a crush, reaching and stretching further and further, until it collapses into despair each time. It is this repetition of this melody that is ever so indicative of Berlioz's obsession, crush or love (at least in the initial stages of the symphony) for Smithson. In fact, the middle of the idee fixe repeats the rhythm, while the melodic line builds higher and higher, creating this build of tension and anxiety. At the same time, the texture becomes thicker until at 5:35 the music reaches a crescendo and quietens down. It is this variation of texture and volume that creates an highly accurate representation of Berlioz's extreme passions.

I think that this first hearing of the idee fixe is made all the more notable by the fact that the melody is played much more quietly than the preceding section. It is the strings that have the melody, and as a result the texture of the music is much sparser which creates a stark contrast with the preceding mania of the orchestra, which have a greater variety of different instruments (for example percussion and woodwind, as well as the strings ).

Ryan and Rich's Podcast: Beethoven's 9th Symphony

Ryan and Rich Podcast by user7702933

Beethoven 9th Symphony closing movement.

This week I wanted to write on the climactic final movement of Beethoven's Symphony no. 9, movement IV. For me, this piece has been somewhat difficult to follow without clear vocal parts throughout. In this movement Beethoven decided to set Schiller's Ode to Joy to music, as a finale to the preceding three movements. However, it is the first part of this finale movement that I am going to focus on.

Initially there is what seems to be a struggle between the different themes, which are separated by the lower strings playing in a "recitative" like manner, with Beethoven hesitating before settling on his final choice of theme for the movement. The movement opens with a dissonant chord, followed by all of the winds suddenly playing together, which is described as a "wake-up call" in the walkthrough. Then, it is the lower strings that interject and play in this aforementioned "recitative" like manner. Once again, we hear the wake up call, followed by a short lower string"recitative" interjection and then interestingly we have a quote from the very beginning of the movement - with the repetition of the nebulous beginning (the part where it sounds as though the orchestra is tuning). In fact, at this point it almost seems as though Beethoven is going to start the whole symphony again.

However, at this point the memory of the first movement is interrupted by the lower strings, as it seems that Beethoven does not want to develop or continue this initial theme. Then, we have another reminiscence, this time the galloping theme from Movement II. Beethoven allows this theme to start, however, it is quickly cut off by the lower strings. Then comes the memory of the theme from the beginning of theme III, which is unsurprisingly interrupted by the lower strings. Only then is it that we have the woodwind instruments introduce a new idea for the theme, and for the first time we hear this "Joy" theme. When the lower strings interrupt this time it is only to reinforce and reaffirm this "Joy" theme.

Therefore, what makes this opening of the final movement so interesting is the searching for a theme. Beethoven throws us back to the opening themes of the first three movements, only to cut them off short with the interjection of the lower string parts until we are finally introduced to the final theme, which is found acceptable and developed into the priciple theme of this final movement.

Beethoven Symphony no. 9 opening movement ...

I was intrigued by the opening of "Allegro Ma Non Troppo, Un Poco Maestoso." The opening theme is played "pianissimo (as quietly as possible) over strings tremolos," which creates the feeling of an orchestra tuning. In fact, apparently many critics have even suggested that this was Beethoven's inspiration.

Nevertheless, the overall mood of this first movement is stormy, which creates a particularly striking effect when contrasted with these pianissimo string parts. It is from this gentle beginning that the first theme commences and then there is a steady increase in tension, creating the aforementioned stormy feeling, and quickly leading to the eruption and powerful clash of  instruments. Throughout the piece, as in the beginning, there is a strong contrast between the soft and loud parts, almost as though they are jostling for attention. There is always a soft beautiful melody or a loud, bold controlling part. I believe that it is this contrast between the two incredibly different parts that makes this piece so interesting.

"Oh Thou that Tellest Good Tidings to Zion"

I think that "Oh Thou that Tellest Good Tidings to Zion" is one of the most interesting pieces in that it has some of the most obvious examples of word painting of all of the movements. The obviousness of the word painting first becomes apparent with the words "up", "high", "mountains" and "arise" because the pitch increases for each of these words. In other words, when these words are sung, the pitch ascends mirroring the meaning of the words, creating this word painting. In one of the analyses that I read it pointed out that the word "mountain" is especially interesting because of the pattern of the instrumentation that follows it, which is made up of an arrangement of 16th notes that are repeated in the instrumental interruptions. In these instances the first three of these notes in the pattern are high, whereas the last three are low, thus creating some form of semblance to the ascending and then descending of a mountain. This may be something of a stretch, but nonetheless it does seem interesting that Handel chooses to use this pattern following the word "mountain."

Week 3 - Messiah

Listening through to Act 1 of Handel's "Messiah," I was particularly struck by the beauty of the chorus, "And  he shall purify," in scene 2. Initially, I was just moved by the sound of the Canto's part. I found the incredibly high vocal range of this part to be very moving and most beautiful (although I am not sure exactly how to explain this).
Then starting to listen to  the piece more carefully, it becomes apparent that there is more than one vocal part, and the vocal parts vary quite significantly. Reading through the listening guide it became apparent that this is what is called a "duet chorus," which is a type of choral music where the music appears in pairs of voices.  The initial pairing is soprano (canto) and bass, which makes for a fairly striking contrast in pitch. Furthermore, I think that the complexity of the long, drawn out "purify" which changes note fairly quickly (these are made up of long lines of sixteenth notes), really makes the texture of this piece very interesting.
Also, as the piece continues it moves away from this ensemble chorus and multiple voices join in at the same time, creating a far more complicated homophonic texture. I ultimately think that this is what makes this piece so interesting; as soon as you think you know what is going to happen next, Handel changes how he has put the different vocal parts together.

Orfeo's reaction to Euridice's death ... "Tu sei morta."

   This week, I again wanted to focus on Act II, as I feel like I definitely have a slightly better comprehension of the opera as well as the musical methods Monteverdi employes to express the feelings of the plot. Furthermore, Act II is such a crucial part of the opera; it is arguably the most emotionally charged act, as it is here that Orfeo discovers that his sweet Euridice has been taken from him. 

   In fact, it is remarkably impressive how Monteverdi writes and expresses Orfeo's reaction to this crushing news. Orfeo's first reaction is to gently mutter; "Tu, se morta, se morta mia vita, ed io respiro?" The tone of the music here is understandably sombre, with the long chords of the pipe organ serving only to increase and emphasize the despair in Orfeo's voice.  It is almost as though Orfeo is in complete disbelief, the news is just too much for him to accept. He holds the "Tu" for a relatively long time, almost as though embracing Euridice in his mind for one very last time, but by the end of "morta," his voice has almost completely faded out, with the organ and harp also dying out completely, to create a short, pained silence.  He then repeats "se morta" but this time with the harp hitting a particularly painful, anguished chord and continuing on to state "mia vita." Once again, there is another short, sharp silence, which reminds us that Euridice is indeed dead. The silence emphasizes death and nothingness. Perhaps, this short silences also serves to imitate the sharp, emotional intake of breath that somebody makes when they are completely overcome by emotion. This leads fittingly into Orfeo's question, "ed io respiro?" ("and I still living?") - a rhetorical question, a statement of fact. How can it be that he can live on by himself, without his sweet love. 

   All in all, this single line reveals so much about not only about Orfeo's character, a man so dominated by his passions,  but also about the musical genius of Monteverdi, in expressing the raw human emotion of anguish and sorrow.   

First time for everything ...

   I think that I should preface this initial post by stating that, having taken a couple of music theory classes (and forgotten everything) at my parents insistence many years ago, I have never really enjoyed opera. In fact, I would probably say that my displeasure has bordered on something near hatred for this particular genre of music.  Nonetheless, while I will resist the opportunity to sound overly cliche, my new found understanding for Monteverdi's "L'Orfeo" has definitely significantly increased my enjoyment for this particular work, if not the whole genre of music.

   While, I am no expert at telling the difference between arias and recitatives, my new comprehension has without a doubt enhanced my listening of "L'Orfeo." I think that the contrast in styles is evident when comparing the fist two pieces of Act II. The first piece is "Sinfonia," which appears to be an aria, and the second piece is "Mira, deh mira", which definitely has some verses which appear to be recitatives. The first act is much more light hearted and free flowing, mirroring the happy mood of the moment, while this eventually changes into a recitative in the second piece with the news that Euridice has passed away. At this point, the mood of the music changes and unsurprisingly becomes very sombre, which is enhanced by the speech-like singing that creates the feeling of a messenger delivering the terrible news.