chapter 18home.lagrange.edu/mturner/musichistory/chapter_18.pdf• the challenge of the past:...
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Chapter 18Orchestral Music
1850-1900
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Music for Dancing and Marching
• concert hall, dance hall, music hall, and parade ground were important venues for orchestral music
• dance halls and music halls served food, drink and music in varying proportions to clients from all classes of society
• most popular dances were:
- quadrille - a type of square dance
- the polka - a lively dance in duple meter
- the waltz - very popular dance in triple meter
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Music for Dancing and Marching
• Johann Strauss, Jr. An der schönen blauen Donau (1867)
- title: On the Beautiful Blue Danube
- waltz very popular, you touch (like an embrace) your partner in public
- introduction and series of waltzes
- 4 or 8 bar phrases group into 16 or 32 bar sections
• could be easily repeated to extend the dance
- sections usually use an ABA type form
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Music for Dancing and Marching
• music halls offered a mixture of instrumental and vocal works together with comedy, vaudeville routines and animal acts
• the march was written to coordinate physical movement of soldiers
• John Philip Sousa (1854-1932) made the march into a genre for bandstand and parade ground
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Music for Dancing and Marching
• John Philip Sousa King Cotton
- might be played on parade field or band stand
- features modular structures
- balanced units of 4, 8, 16, and 32 bars
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The Ballet
• began to provide the main attraction for entire evenings of public entertainment in Paris in 1870s
• technical innovations including more athletic kind of movement and dancing en point (on the toe tips)
• costumes became shorter and eventually skintight showcasing human form
• choreography avoided realism combining massive formations of dancers with focus on principal female soloist: prima ballerina
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TchaikovskyWhen the composer toured the United States in 1891, he helped
inaugurate the newly built Carnegie Hall in New York City.
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The Ballet• France continued to lead the way as ballet became an
increasingly public genre, moving outside patronage of courts
• in the last third of the 19th century, Russian composer Peter Ilyich Tchaikovsky (1840-1893) emerded as preeminent ballet composer
• Tchaikovsky The Nutcracker
- based on a story by E.T.A. Hoffmann
- “Le café” evokes the sound of Arabia (drone plus Eng. Horn, Cl.)
- “Le thé” evokes the sound of China (quasi-pentatonic scales)
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Symphonic Poem
• symphonic poem - new name for what had been called a concert overture
• usually programmatic and in one movement
• written for concert hall not as the opening of a play or opera
• composers: Liszt, Richard Strauss
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The Symphony
• enjoyed renewed vigor in the second half of the 19th century
• to take genre of symphony in new directions, several prominent composers created works that drew on elements from other genres: concerto, cantata, opera, symphonic poem
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The Symphony
• The challenge of the past: Brahms
- embraced his musical heritage by openly aligning himself with traditions of composers like Bach, Haydn, Mozart, Beethoven, Schubert and Schumann
- four symphonies but no common formula
• each takes a different conceptual approach to the genre
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The Symphony
• The challenge of the past: Brahms
- relatively diminutive inner movements of First Symphony serve almost as interludes to outer movements
- last movement of 2nd Symphony breaks with tradition of finale as grandiose symphonic culmination
- imposing set of variations in finale of Fourth Symphony stands within tradition set down in last movement of Beethoven’s Eroica - but here Brahms reaches past Beethoven to earlier tradition of J. S. Bach
- See Bonds p. 475 for the ostinato
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The Symphony
• Dvorák Symphony No. 9 “From the New World”
- written while in the US
- themes are supposed to be based on Native American and African-American themes
- Dvorák encouraged American composers to use folk songs in their work
- Nationalism in music
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The Symphony
• The collision of High and Low: Mahler
- symphonies of Gustav Mahler (1860-1911) straddle the 19th and 20th centuries
- First Symphony (1888) uses 19th-century conventions while later symphonies the Ninth (1910) and Tenth anticipated the 20th-century idioms and approaches
- belief that a symphony can and should encompass the banal and mundane as well as the beautiful - symphonies are large-scale works
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The Symphony
• Mahler First Symphony
- third movement is a Funereal March
- like Beethoven’s Eroica (second movement)
- opening played by Double Basses very high; using the Frère Jacques tune but in minor
- the world upside down
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The world turned upside down.Gustav Mahler once revealed that this well-known woodcut had inspired
the slow movement of his First Symphony. The image is on of a world turned upside down: animals bury the hunter.
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