Part 18: The Late Sentimental people.


78 views
Uploaded on:
Description
Appeared to be progressively strange in a world dedicated to industrialization and business. Music turned into a passionate dreamland for a general public that ...
Transcripts
Slide 1

Section 18: The Late Romantics Responses to Romanticism

Slide 2

Classicism Double stops Cross-rhythms Romantic wistfulness Parody Round Key Terms

Slide 3

Responses to Romanticism After 1850, music kept on creating along Romantic lines Seemed progressively strange in a world dedicated to industrialization & trade Music turned into an enthusiastic dreamland for a general public that smothered sentiments, in actuality, Composers reacted in various ways Brahms utilized Classical models to temper Romanticism\'s unbridled emotionalism Mahler\'s music regrets Romanticism\'s loss of guiltlessness & validity

Slide 4

The Renewal of Classicism: Brahms Rejected numerous early Romantic advancements Went back to Classical types & frames Wrote string quartets & other load works, orchestras, and concertos Found new life in Classical structures – sonata structure, subject & varieties, rondo Beethoven\'s music was a deep rooted model Brahms was motivated by his honorability & influence Brahms attempted to temper the wealth & assortment of Romantic feeling with Classicism\'s quality & balance

Slide 5

Johannes Brahms (1833-1897) Son of a bassist in Hamburg Started musical learns at age 7 Later played piano in bars & composed tunes Met Robert & Clara Schumann at age 20 They become friends with & empowered Brahms Part of Brahms-Wagner contention Signed declaration against Wagner\'s music Uneventful lone wolf presence in Vienna Steadily composed ensembles, concertos, piano works, load music, German Requiem , and so on

Slide 6

Brahms, Violin Concerto in D Concertos kept in touch with hotshot virtuosos Often the writer – e.g. Mozart or Chopin Brahms thought of this one for Joseph Joachim assisted, even composed first development cadenza Brahms utilizes Classical development arrangement Three developments, quick moderate quick first development twofold piece sonata shape Last development rondo frame, the most well-known Classical concerto finishing

Slide 7

Brahms, Violin Concerto, III (1) Rondo subject has a vivacious tramp like lilt Exoticism – vagabond fiddling mainstream in Vienna Double-stops add to virtuoso fiddling impact Cross-rhythms toward the end disturb meter

Slide 8

Brahms, Violin Concerto, III (2) Episodes give different differentiations Romantic scope in B Lyrical tune in C Short cadenzas highlight soloist

Slide 9

Brahms, Violin Concerto, III (3) Thematic change in coda Swinging walk form of rondo topic (over a drum beat) in quick compound meter

Slide 10

Romantic Nostalgia: Mahler Embraced Romanticism\'s abundances Wrote enormous system ensembles, some with solo vocalists and melodies Often endeavored to express significant otherworldly or mystical messages He once said an ensemble is "a whole world" But he couldn\'t completely enter this Romantic dreamland He sets lost guiltlessness against critical authenticity Music feels uneasy, misrepresented, contorted

Slide 11

Gustav Mahler (1860-1911) Born & brought up in a useless family Musical preparing at Vienna Conservatory Pursued rising profession as a director Led large portions of the finest symphonies of his day Ten years at Vienna Opera – however hostile to Semitism made for a stormy residency there Ended vocation with Metropolitan Opera & New York Philharmonic Could just create amid the late spring Wrote 10 long orchestras & 6 tune cycles

Slide 12

Mahler, Symphony No. 1 At first a one-development symphonic sonnet Grew into a five-development ensemble Finally reexamined into four developments Includes sections from his tunes Songs about lost love Originally a system ensemble Hero conquers pain of lost affection Individual style of organization Contrapuntal tunes go from instrument to instrument in colorful design

Slide 13

Third Movement: Background March propelled by a nursery picture The Huntsman\'s Funeral Procession Forest creatures shed tears as they take after the funeral car of a seeker Full of pageantry & function – lights, grave outfits, a standard, pallbearers, a chime, a choir, & a supplement of grievers Why might creatures grieve the demise of their tormentor in such a sumptuous way? The canvas\' harmless qualities veil its incoherencies

Slide 14

Third Movement: Use of "Frère Jacques" Similar confusions overrun the March On first listening to the music appears to be really serious, sad, maybe even deplorable This inclination is totally collapsed when you at long last perceive the tune – "Frère Jacques"! Bends make the tune harder to perceive Mahler throws the tune in minor mode, backs off the beat, & adjusts a couple notes Tune presented by the last instrument you would expect – a bass playing in high enlist Vulgar move band states likewise empty temperament

Slide 15

Third Movement: Funeral March (1) Very free walk trio-walk structure Ironic memorial service walk & individual regret March subject a misshaped minor-key satire of kids\' round "Frère Jacques" Trio taken from a Mahler tune about lost adoration March topic regarded as a round Over melancholy, repetitive drumbeat

Slide 16

Third Movement: Funeral March (2) Section 2 present move band pieces Exaggerated, parodistic, even foul expressions Return to burial service walk thought processes toward the end

Slide 17

Third Movement: Funeral March (3) Trio offers a complete balance Begins with warm real mode sounds Trio\'s topic is a fragile, melodious Tune from a nostalgic tune about lost love Its blameless quality soon turns ambivalent

Slide 18

Third Movement: Funeral March (4) March returns in definite area Faster rhythm with new counterpoints Dance-band phrases hinder at significantly speedier beat for a wild snapshot of close disarray Return of memorial service walk intentions that finished Section 2 – the music decreases

Recommended
View more...