Svy
A/0o t 77N
CARL NIELSEN'S SYMPHONIC E.MENTS AS EVIDENCED I THE OMOTIO
THESIS
Presented to the Graduate Council of the
orth Texas State University in partial Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Charles H. Mathews, B. 4. Denton, Texas
August, 1968 TABLE OP *ONTENTS Pag e iv * . 9 . 9 9 9 0 * 9 LTRT i'DIAGIA!S . 0 . . . * . .
LIST OF ILLUSTRATIONS . . 9 *9.*.. 9. 9 - 9-* v
CHAPTER
. CARL NIELSEN AND THE IMPORTANT INFLUENCES ON HIS LIFE AND V9U.SIC.... 9 . . 1
IT. TL GMOTIO ASYMPHONIC WORK ...... 13
TTI THE BAIG STUDY OF SYP3ONIC FLEMNTS AND THEIR APPLICATION TO CARL NIELSEN's MUSIC ...... 9 9 9 19
IV. DETERMINING FACTORS IN PERFORMING THGE 0OMI01T ...... +. 9 9 . 9 38
BIBLIOGRAPHY . . . . 9 ...... -111 LIST OF DIAGRAMS
Figure Page
1. Structure of the Commotio ...... 22
2. Placement of the organ divisions at St. Paul's Cathedral in . . . . . 99 Pittsburgh, Pennsylvania . . . #
3. Noehren's Organ ...... 102 LIST OF ILLUSTRATIONS
figu re Page
1. Llelsen, Commotio, measures 1-5 . . . ft 25
Nielsen, Commotic, measures 39-52 . ft f f 26 27 q ielsen, ofotio, measures 161-164 0 f ft f
4. iaelsen, Commotic, measures 206-209 . . * ft 28
. 4 29 .ft o. Nielsen, Commotio, measures 235-246
7. Jvielsen, Commotion, measures 319-324 * * ft .t 29
. ft . ft 30 7, Nielsen, measures 258-269
Id els en, Qommotio, measures 271-275 . .t ft .t 31 Qommoticl 9. Nielsen, commotio, measures 295-299 - - - -0 32
. ft f 34 10. Aielsen Commotion, measures 25-38,, .
11. Nielsen, Commoti o, measures 102-117 35
1 20 ft f 37 12. nielsen, Commotion, measures -4 . t .
13. Nielsen, Sixth,m.hon 46 . . f t . ft f 38
14. Jielsen, Sixth ymrhony, p.40 . . f t ft f f 38 39 1I. Nielsen, SixthS vmho*, p.45 . a. .a.a 4 40 16. Nielsen, third, SYmphony, p. 3 . f ft ft 40 17 . Nielsen, Sixth. Smrhony, p.46 . t . ft f 41 18. Nielsen, Third SMphon, p. 8 . t ft f . 42 19. Nielsen, QomMotio, measures 39-45 . t . ft f Sixth Symohony, p. 5 . . 43 20. Aielsen, . f ft ft 43 21. Nielsen, Second SymphoyL, p. 95 ft a f ft ft 44 22. Nielsen, Fourth Symlhony, p. 63. . t f ft f
V Fig--ur e Page
23. Nielsen, Sixth Swymohony, p. 17 ...... 46
24. Nielsen, Qommotto, measures 258-263. 47
25. Nielsen, Secondymhon op*. 94 . . . .48 26. Nielsen, Commotio, measures 271-274
27. I-ielsen, Second 2ymhon , p. 81 0 v . 50
28. Nielsen, Sixth Symphony, p. 34 0. . 51
29. Nielsen, Second Syrhony, p. 29 & 52 . . . 52 30. Nielsen, Commotio, measures 319-324 0 53
31. Nielsen, Second Symvhony, P. 96 . S .. 53 Fourth Symohony, p. 19 - .54 33. Nielsen, Fir Symphony, p. 157 . a a 55
3-'4.Nielsen, First qZMphony, p. 53 56
3'5.- IUel1s en , Commotio, measures 27-28 - a a 57
3 6.Nielsen, Fourth symphony, p. 27 * . . 58 3e. Nielsen, Fourth Symphony, p. 13 a, . 59
38.Nielsen, Sixth S> *hon, P. 13 ... .60. .
39. Nielsen, Sixth mSyMna0y, p. 73 . . . . .61
40. Nielsen, Co motio, measures 505-512 . 62 41. Nielsen, Six t h_,ymhonyp. 45 . . . . . 62
412. Nielsen, Fourth S mphon , p. 9 f .63 343. Nielsen, Fourth Symphoy, p. . . S . 63 144. Nielsen, Commotio, measures 308-314 . 64
45. Nielsen, Third $ymphon, p. 88 . . . S. 65
vi Page
46.0 Nielsen, Third S2ymphony, *p89 . . . . 66 47. Nielsen, Conmotio, measures 206-214 S. . 68
40. Nielsen, FourthFSmphon 9 . . . 68
r9. Nielsen, Fourth Smphon, p. 101 * 69
50. Nielsen, Commotion, measures 353-355 . . . 69 51 . lelsen, Fourth Sym hony, p. 16 .. 70 52. Nielsen, Commiotio, measures 292-295 . . . 71 53. 'Nielsen, First Symphony, p. 98 72
54. Nielsen, Sixth Symphjony, .o 1 . .*.* * . . 72 Third 55. Nielsen, yphonp. 134 * 0 0 73 56. Nielsen, Second m~phonp. 139 .. 74 57. Nielsen, Commotio, measures 485-488 * - 0 75
00. Jielsen, .ommotio,measures 475-476 . . . 75 59. Nielsen, Third S, *mi--hqnU, p. 83 * . . . 76 21h~a p.0 $0. Nielsen, First ornmons, p. 102 . . . 77
<1 . Niels en, Commotion, mea sure s 271 -273 . 0 0 77 02 Nielsen, Fourth S Mrhony, p. 10 . . . 78 a). sielcen, Second Syrhon p. 57 . . 79 64. Nielsen, Commotio, measures 450-460 S. . 80 65. 'ielsen, Fourth Symphonv ,p. 82 . . 0 80 66. Nielsen, Third ZphonZ, p. 96 . * . 81 6(. Nielsen, omrotio, measures 393-395 . . . 82
D0. Nielsen, Sixth Symrhony, p. 100 83 . Nielsen, Sixth &ymohon 17 0 0 * . 0 85
vii CHAPTER I
CARL NIELSEN AND THE IMPORTANT
INFLUENCES ON HIS LIFE AND MUSIC
In his reminiscence, MZ Childhood, Carl Nielsen has given a vivid recollection of the frugal but happy adolescent years spent on the island of Funen, which became the background to his artistic development. This
Danish island is located at Srtelung in the parish of
Ngrre-Lyndelse.
When Carl Nielsen was born on June 9, 1865, to his simple and poor parents, Niels and Maren Nielsen, he began life on this beautiful island, also the birthplace of Hans Christian Andersen. From M Childhood, Nielsen describes the uncouth life, the long lonely days spent minding geese, where "everything in Funen is different from the rest of the world . . . the bees hum in a way of
their own, with a special Funen accent; and when the harse whinnies and the red cows low, why, anybody can hear that
it is different from anywhere else." A good approach in discovering Nielsents genius is through studying the rustic simplicity of his childhood that was translated into his music, most notably in the opening passage of his
Sixth Symphony (2, p. 527).
1 Carl Nielsen's first steps in music were taken
qen ae was a small boy. His father gave him violin lessons, and soon, father and son began to play for the local dances, weddings, and other feasts. This routine playing of three- and four-part dance rhythms failed to challenge Carl Nielsen. He began improvising counter melodies and rhyt ms to the simple harmonies which governed this dance music. By attending a few of the local music societies,
Nielsen made some contact with the music of the masters.
At fifteen years of age, he applied for a post as bugLer in the regimental band at Odense. At that time he continued to study the violin, mastered the rudiments of piano-playing, and soon began to compose; a violin sonata, a string quartet, a trio, and some quartets for
ind instruments, none of which have been published
C3 p. 4) Olfert Jespheren, a Danish composer, encouraged
Nielsen to journey to Copenhagen for an audition wit~h
Lie>s V. Gade, the director of the Royal Conservatoire. aide'ss verdict, "You have a good sense of form" (3, P. 5), apparently decided the fate of Carl Nielsen's vocation.
After this comment of Gade's, Carl Nielsen commenced his studies at the Conservatoire in January, 1884, with 3
the violin as his main subject. Playing the violin as a profession was his general intention. He was not
taught by a great master, yet he was grounded in ordinary classical harmony and symphonic form. He was able to apply those basic principles to his music
without specialized study.
His violin playing never reached soloist status,
but he was able to make a living by playing in the
Royal Orchestra at the Opera, where he was appointed
in 1889. In 1905, he left to devote his whole time
to composing. The next year he was awarded a Danish
scholarship grant, which enabled him to make a study
tour of Germany, France, and Italy.
As the twentieth century emerged, Nielsen was
making a name for himself as a creative artist.
Haring also conducted his own operas and symphonic works, he was offered in 1908 the post of opera
conductor at the Royal Theatre. In 1914, he resigned and wTas appointed to the teaching staff of the Royal
Danish Conservatoire, becoming its director in 1930, a year before is death. When one attempts to name and describe the men
wo in.Lluenced Nielsen, the list can become quite long;
yet, there were some composers whose influences were stronger. The starting point of Carl Nielsen's art
was Danish late-nineteenth century Romanticism, dominated
by the works of J. P. E. lartman and Niels W. Gade,
who were influenced by the endelssohn School at
Leipzig (3, p. 6). Mendelssohnts works were noted
for their grace, delicacy and flowing melodies. While
under his influence, Nielsen wrote two string quartets
and a Su~ite for Strings, Opus 1 (1887-88), and another
string quartet in G riajor (1889). At that time the Influence of the Norwegian, Johann Svendsen, was also
a source of inspiration to Nielsen. His influence was seen in Nielsents diatonic and chromatic movement
in certain intervals (particularly thirds) as they
formed the harmonic oundation of a lyrical melody
(3, p. 7).
Nielsen also came in contact with C.' F. E.
Horneman, who was the Danish composer of that period most closely akin to Johannes Brahms. Brahms's romantic classicism used the basic idea and form of Beethoven's syphonies, but modified his dynamic style Into a flexible and romantic lyricism (1, p. 208). The
Brahmmsian element in Nielsents music was the result of his feeling that Brahms was the most firmly disciplined master of his time. Nielsen derived from
Brahmis an important sense of construct tion; thus, embracing classical forms before his contemporaries who were still romantically incl. ined, he became
one of the first neo-classicists.
Nielsen also found inspirat ion in the xmousic of
Richard Wagner. After attending a performance of
The Rng in Dresden in 1890, Nielsen wrote a letter to
a friend in wUhich he exclaimed that he "was not at all
enthusiastic about him (Wagner) when I came here
but now I know no words strong enough for his praise.
He is an i mnse g enius" (3, P. 7). As years passed,
Nielsen's enthusiasm for Wagner cooled and Nielsen's
music showed no visible signs of Wagnerls influence.
In opposition to Wagner's "endless mi-elody," Nielsen
respects the simple interval above all aesthetic
considerations. Nielsen wrote that the melodic "third
is a gift of God, a fourth, an experience, and a fifth,
supreme bliss" (3, p. 8). His attitude to s-iple
intervals as seen In the quotation governs his art
in the first decades so strongly that its effect
was to purify late-Romantic music. Whereas many
late-Romantic composers seem to regard musical material
and its potentialities in the light of what purpose it
can serve, Nielsen's attitude is: What does it contain? 6
The comparison with Sibelius is inevitable. There have been many reasons for the difficulty of Carl Nielsen's music in winning admirers outside of Denmark. The rinnish composer had a very inspiring background for his dramatic tone poems in the landscaPes of Finland.
Sibelius wrote with a close-knit harmonic style based on severely limited sets of devices. In the Finn's music there is a grimness which is foreign to Carl Nielsen.
Nielsen uses a free contrapuntal idiom, fresh in rhythmic and melodic flexibility,
Carl Nielsen was also familiar with the works of Anton Bruckner and Gustav Mahler. Bruckner (1824-1896) created his "architectural" stylemade up of huge dimensions matched with a deeply religious understanding.
Mahler's (1860-1911) nine symphonies were of large proportions. In place of the Romantic massing of big chords, vahler used the thin linear style and polyphonic writing. This return to earlier styles foreshadowed the neo-classical movement of which Nielsen was a leader.
Although Nielsen studied and absorbed the thoughts and ideas of his peers, it took years of maturing before his individuality and genius was evidenced. Nielsen's maturation was a process of giving up his ultra-romantic practices, which were 7
dissatisfying,,and rediscovering the linear style of
the sixteenth and eighteenth centuries. The unique
feature of his compositions is the free use of modern
harm-onic and melodic techniques written in the musical stmuctures of the Baroque period.
As to definite characteristics of Nielsen's style, his harmony is individualistic and enriching
at a time when the major and minor triads are often dull
and trite. The beauty of Nielsen's style lies in such
techniques as oscillating thirds, deliberate alterations of melodic scale; and bold chord-clashes of tonic and dominant.
Carl Nielsen's melodies range from simple strophic
folk songs to well-balanced symphonic melodies. His melodic chromaticism is unlike the Tristan chromaticism
f Wagner, nor has it a purely chromatic effect; but, it must be seen as a compression and intensification
of the thematic line. Nielsen's fondness for using the
church modes is seen in the main theme in the inale
of the Fourth Symphony, in which he uses the Mixolydian mode, and,in the Dorian melodies found in the Ihacon efor piano (3, p. O6).
In form, Nielsen identifies with the traditions of the sixteenth and eighteenth centuries. The choral 8
yorksmHnusamoris, the Three Motets, and the opera
Sal an david, are based on the works of the great Renaissance and Baroque masters. As a result of his increasingly freer development of the material, there was change in his mature years in the conception of
-orm. This breaking through the classical barriers is seen in the Fourth Symphony, and the freely invented first movement of the Fifth Symphony where the principle of dualistic thematic material of the Classical sonata movement is no longer present (3, p. 10). Nielsen's music does not flatter the ear by outer brilliance. When first listening to the symphonies, one notices the structural form, and often compares them negatively as an apparent likeness to and dependence upon the symphonic ideals of BrahmsSaint-Saens,
Bruckner, Mahler, or Dvorak. An analogous situation occurs when a person is taught classic, romantic, or
modern music and is suddenly introduced to such styles
as plainsong, early medieval polyphony or non-Western
music. These foreign systems will first seem monotonous, colorLess and tedious; but after further exposure to
these styles, the person's appreciation broadens to encompass these new musical experiences. 9
Nielsen was also involved in restoring old
Danish folk tunes, and in the process he became a close
friend to Thomas Laub. Laub was a pupil at the Royal
Conservatoire from 1873 to 1876. He was organist at
the Church of the Holy Ghost and later became the
choirmaster at Holmens Church. After studying in Italy,
he returned to Denmark to begin research in church
music. Laub did thorough work in the study and
publication of old Danish chorales, folk songs and
folk dance music. He became the recognized leader of the national movement for the restoration, both
rhythmically and tonally, of these old songs in their
original fonrs. The climax of Nielsen's work with
Laub ;ae tchlkenhskolens elodib a song book
for the Danish public schools. Laub contributed 158
songs and lielsen, fifty songs. The song book brought
folk music into the school, and eventually became the foundation of 'today's Danish popular song.
Nielsen and Laub also shared similar concepts in the area of church music. These ideas are partially
noticed in Nielsen's Twenty-ine Little Preludes (1929).
Before writing the preludes, he prepared himself by studying the Baroque composers Scheidt, beckmann, and 10
Pachelbel. Nielsen's music incorporated the linear s les of these three earlier composers. He believed that the church composer's obligation was to create melody which would not stop at the traditional eight-measure musical period, but would be continuous melody.
tilsen's concept of modulation is also an interesting factor in his church music. When looking at one of Nielsen's scores, one is usually aware of the inevitability of his modulations. It is a
planned-modulation concept, not for the sake of o.Lor-chromaticism or spectacular effect, but an
actual outgrowth of the melodic line leading purposefully
toward a certain goal. The Twenty-Nine Little Preludes were experiments
in texture, registration and melody as applied to the
organ. Peter Thomsen, a noted organist and a close friend
of the composer, was able to play the preludes on two
occasions for Nielsen, who could then make certain
decisions concerning the organistic adaptability of
particular passages. Thomsen has indicated in his
edition of Nielsen's organ works what the composer desired in the way of interpretation, dynamics and tempo. 11
Thomsen finds the influence of Pachelbel in
Nielsens Preludes One, Two, and Nineteen. The
sImilarities are found in the rhythmic figures and melodic turns. However, the Pachelbel pieces are much
longer and more involved than the Nielsen Preludes,
mhich are more concise and less pretentious. Shortly after composing the Twenty-Nine Little
PreL e, Nielsen began work on what was to be a
complete series of large organ works. His purpose
in riing this series was to restore the interest in
organ composition not present in the writings of his
imediate predecessors. However, death interrupted
this endeavor; and he finished only the first of the
serAes, the Commotio. CHAPTER BIBLIOGRAPHY
1. Gibbs, Alan, "Carl Nielsen t s Conmotio," Musical T imes, CIV (March, 1963), 208.
2. Porter, Andrew, "A Carl Nielsnn Festival," Musical Times, XCIV (November, 1953), 527.
3. Press Depar tment of the Danish Mini s try for Fore ign Affairs, Carl Nielsen, edited by Frede Schandorf Petersen, Copenhagen, Det Berlingske Bogtrykkeni, 1965.
12 Cl A PTER II
THE OMMOTIO, A SYMYIHONIC 'WORK
Not often does a composer find fresh inspiration and a new medium for that inspiration in his last year.
Nielsen found that medium in the organ.
When Nielsen wrote for organ in the late 1920's,
few outstanding pieces were being written for organ
on the continent except in France. France had Widor, Vier~ne and Dupr4 ; no other country reached so high an
excellence in organ music. They were using symphonic
forms and tended to imitate orchestral sounds. After
Max Reger's death in 1916, the only important German
organ composer still living was Sigfrid Karg-Elert (1877-1933). Karg-.Elert wrote improvisations in the
post-romantic style which were similar to Wagner and
Tis zt. Heinrich Kaminski (1836-1946), a German
composer and organist, was one of the few influential
composers in the 1920's. He composed a Toccata (1923), Ohorale-Sonata (1926), and Chorale Prelude (1928).
Kainski returned to the polyphony and rigid forms of
Bach, while displaying the mystic and religious
character found in Bruckner's compositions.
It was a novelty that Nielsen would turn to the orQ'an for an outlet of expressionswhile his Danish and
13 1J4
German peers were interested primarily in composing for orchestral instruments, piano, and the voice. Because of the apparent lack in organ composing, the Commotio stands as one of the great pieces of organ literature In
the early century.
Co. rmotio was first performed by Peter Thomsen for a private group of friends on April 24, 1931, at
Christiansborg Slgtskirke (castle church of the royal palac.). The first public performance was for the
Aarhus Tourist Association by Emilius Bangert, organist of the Royal Conservatory. Nielsen ts death came on
October 2, 1931, a few days before the workIT s third performance in Lubeck, Germany, on October 6 (2, p. 161).
Carl Nielsen explained the idea of the piece to
Ei-,lius Bangert in a letter that has been reproduced by
Robert Simpson in Carl Nielsen, SyLhonist:
Dear Bangertl
Thanks for the card I don't rightly know how we should do the programme, but we ought probably to provide the title 'Commotio with a footnote, thus:
Carl Nielsen Commotio* fuir Orgel, op. 58
I should like to have nothing about 'improvising t in it (Cornmotio). The work is so strict in form and counterpoint that I'm not able to make it f irmer--I could imagine the following if more is needed than the 15
title, which I would really prefer to be left by itself: The Latin word 'Commotio' really applies to all music, but is here especially used as an expression for self-objectivization ('Selbst-Objektiviering'). In an extended work for that mighty instrument called the organ, whose sounds are derived from the natural element called air, the composer must try to repress all personal and lyrical feelings. The task becomes great and strenuous and demands a kind of severity instead of sentiment, and must rather be judged by the ear than seized by the heart. The work is supported by two fugues, on to which intro duction, linking movements and coda cling like creepers to the trunks of a forest; but the composer thinks that further analysis is superfluous. *Bewegung, auch geistig, (C. N.), i. e. Movement, also spiritually" (2, p. 161).
"Commotio" means "movement or current." This work, preceded by the continuous drive of the Fourth
Symphony, is filled with rhythmic and melodic tension. The emotional content is constant except for a few brief assages of relaxation. Nielsen's
_ommotio is not emotional in a common way, for the composer's attitude was avowedly objective, involving the repression of all personal and lyrical feelings. Alan Gibbs (1, p. 208) states that Nielsen,in his
Fourth Symphony, identifies music with life. This 16
Identification is symbolized in a moto-perretuo-type
coninuwty of a rhythmic beat that is rarely broken.
The title, Commotio, says something basic about
the generating force behind all music. Finn Vider$
suggests that the ill to live makes itself known
in the 0ommotio (3, p. 71). The generating force in
the Cormiotio is the constant flowing of musical line which in turn causes tension to increase and decrease.
The character of the Qommotio is symphonic. One
finds that many of the melodic contours are conducive to instrumental performance. The rhythmic and dynamic
markings seem to be composed with symphonic proportions
in mind, which induces a certain bigness of sound, color,
melody, and motion. The various symphonic elements are unified into a work with colorful modulations and
surprising climaxes followed by subtle and brief
relations of the harmonic and melodic tension. These
short passages serve as transitional accesses to other climactic points in which the tension is renewed.
Finn Vider$ explains that Nielsen "succeeded not only in making himself entirely familiar with a genuine
organ style, but also in transferring essential features
of Baroque -music into a modern idiom" (3, p. 71). Nielsen called upon the styles of Bach, Merulo,
Frescobaldi, Bruckner, and Brahms to be fitted into 17
his own individual progressive tonality. He attempted to restrain his Brahmsian romanticism and pursued, instead, a symphonic structure homophonically which e developed as well as contrapuntally (1, p. 209). One may assume that history will record Carl
ieser as an individualist who had great influence on
Sca.ndinavian Music in the first half of the twentieth cenu.
One day Arthur Honegger was listening with Carl 14ls > to Nielsen's works. After hearing them,
Honegger exclaimed, "My dear Carl Nielsen, you corulated the aims for which we are all striving now, a generation before the rest of us" (1, p. 208)j This influence was manifested most profoundly .n h.s symphonies. Therefore, the Commotioc with its symphOnic elements, proved to be a most significant organ work of the early twentieth century. CHAPTER BIBLIOGRAPHY
1. Gibbs, Alan, "Carl Nielsen's Commotio," Musical Times, CIV (March, 1963), 208. 2. Simpson, Robert, Carl Nielsen, Syphonist, London, J. M. Dent, 1952.
3. Vider', Finn, "The Organ Works," Centenar Essays, eedited by Balzer, London, Novello, 1966.
18 SHAPT1ERIII
THE BASIC STUDY OF SYMPHONIC ELEMENTS
AND THEIR APPLICATION TO CARL NIELSE'iS MUsIC
Carl Nielsen was primarily a symphonist. When studying his symphonies, it is apparent that he passed through different periods of development. Although it is true he applied the concepts of his predecessors, one can see individuality and innovations of Carl Nielsen in his Six Symphonies.
Nielsen's Romantic predecessors developed along two roads, both of which stemmed from Beethoven. The
Romantic composer was either conservative or radical in his approach to composing. The conservatives were stiula-ted by the formal structures, themes, harmonies and orchestrations from the Classic Period, whereas the radicals were inspired by literary or nonmusical impulses. Tto composers influenced by classical ideas at the beginning of the nineteenth century were Schubert and
Mendelssoan. The radicals were headed by Berlioz and
iszt, while Schumann was torn between conservative and radical tendencies. After 1860 opposing schools appeared: r omantic Classicism,whose leader was Brahms, and a special kind of Pomantic radicalism represented by Wagner.
19 20
Apparently Nielsen was influenced by Schubert's symphoniesahichused the regular Classical sonata form.
Although ichubert's 2M, hony_ TNo. Four in C Minor is called the "Tragic", one cannot consider it to be progranmmatically conceived. It is Romantic only by virtue o- its lyricism, bold harmonies, and the use of various orchestral colors. It has already been noted that Mendelssohn influenced Nielsen's earlier years of composing. There were lasting influences, however, as seen in Nielsen's mature compositions. Mendelssohn's symphony, subtitled the Scotch (1842), is an example of his melodious
Romantic themes set into the regular classical forms, principally the sonata form. Nielsen's Commotio is in four divisions connected by smooth transitions. A
precedent ,ay be seen in the Scotch Symph23n, for Mendelssohn suggested that all four movements be
played without pause. Another precedent is Liszt's Piano Sonata in B Minor (1854) and his two Piano Concertos (Eb and A, 1849). There are several Classical aspects in Brahms's
music. The design of his symphonies was generally in
four movements, each of which had a form close to the
Classical pattern. He makes use of the Classical techniques of counterpoint and motivic development. 21
In each of Nielsen's symphonies he employs extensive notivic development as well as passages in canonic and
fugal techniques. The fugues and canonic sections of lielsen's Commotio will be discussed later in relation
to his symphonies.
like Schumann, Nielsen was successful in reconciling the two Romantic approaches to symphonic writing. Although his symphonies are Classically oriented, most of them bear programmatic titles:
Symphony Number Two "The Four Timperaments", Symphony Number Three "Sinfonia spansiva", Symphony Number
Four "The Inextinguishable", Symphony Number Six "Sinfonia serplice." However, this method of recondiliation was not without precedent, for in the music of Bruckner the
conflicting forces of Romanticism and Classicism were
of equal importance. All of his symphonies are in
conventional four-movement forms and none are explicitly
programmatic, although the composer did at one time
furnish the subtitle "Romantic" for his Fourth Symphony. Nielsen's Commotio can be divided into four
sections, which are (1) the Fantasia (bars 1-38), with an intervening canonic section (bars 39-112), (2) the first
tugwe (bars 113-235), with a bridge passage that leads
to ihe (3) slow movement (bars 258-317), and (4) fugue II (bars 419 to the end), with a codetta (bar 441) before
the resumption of the climactic fugue (bars 489-512). The P2 c)
:il1otIng diagram presents a clearer picture (1, . 161 )
can o ni 0 section bridge-like coda ieas. 39-112 section Meas. 441-488 Ieas. 236-257 aia Pgue I low Movt. ue II e's . l-3o Veas. 113-235 Meas. 258-317 Meas . 4u9-512 Diagram 1-- Structure of the Commotio
From this diagram one can determine that Nielsen followed closely the concept of the classicaltsymphonies.
Neoclassicism was a movement of the early twentieth century wIose composers returned to the music of Bach and earlier
periods for inspiration. It was a reaction against the
wunrestrained emotionalism" seen in much of the music of thle late romantics. The neoclassicists have derived the ar of contrapuntal writing from the Baroque Period, along cith the eighteenth-century forms, especially the fantasia, toccata, passacaglia, ricereare, concerto grosso, and ground.
Ferruccio Busoni (1866-1924) is considered the
'irst neoclassicist. His aversion against Romantic musIc can be clearly seen when one examines a list of his works, e. . First Sonatina, Second Sonatina, Fantasia, qonT:aountistica, and Toccata. 23
Paul Hindemith was also inspired by Bach. In his Four Concertos, op. 36, and Piano Studies, op. 37, he systematically developed a contrapuntal style which became known as the linear style of composition that is
similar to a contrapuntal style of writing. His greatest
contrapuntal achievement was Ludus Tonalis (1943).
Nielsen's writings were very similar to Hindemith's
linear style of composition.
The current meaning of "symphony" is found in
1$ Dictionary_. It considers a "symphony" to be:
* . . a large-scale orchestral work of serious aim, normally in four portions (with or without, some interrelationship of theme or mood) termed (from the direction for tempo) 'movements' (2, p. 208).
This definition is broad (general) in its outlook, but
there are certain points that we can relate to the Qormotic. It has been mentioned that the Commotio
is in four portions, each portion having interrelationship
of themes and moods. Carl Nielsen uses themes that one recognizes as the piece progresses. At the Adagio one
Pinds a broad chromatic theme. (See Figure 1.) After
the thinning of texture from measures twenty-seven to thirty-eight, the F# minor theme at the beginning of the
Andantino Quasi Allegretto contains elements that are
used throughout the remainder of the piece. (See Figure 2.) 24
Adagio.
A j fF -:40Z
ej x--I I--- _" - I
W.72f Now"- A'7 ri 5 I-1 rI -
%I
I I" I I y:1
-ft d
-U4- 1 -O mti ,ma re 1- 26
Andantino quasi allegretto.
wo f
PWA
1 ______r IlFLII"I JOL b Irv IFE jL K Ll
b
Hun I I 'UM
JIMITff u - I- dg&.a A .Wm, -T-VMLI
Idamw, rT rt I
ON _u it's IIUTT 11-T
50 -jI
Fig. 2--Commotio, measures 39-52 27
nost noticeable is the attention Nielsen gives to the short Motif o- thirds found in measures forty and forty-two.
The main theme appears a second time in measure seventy-eight.
In measure 161 the return of the Andante Quasi Allegretto theme is apparent. (See Figure 3.)
FA m I I a I I I W. or I 'ad I -I I I AU a illid
lift
big. 3--c~ommotio, measures 161-164
'!4is use of the theme favoring the interval of a third is also seen in measures 207 and 209. (See Figure 4.)
He develops the motif extensively throughout the whole of the piece.
The Andante Tranquillo is one of the most important transition sections in the Commotio, especially in measure 240. (See Figure 5.) In this measure it is evident that the melody is the contour of the main theme (Pig1re I) and the 12/8 fugue which is to come. (See Pigure 6.)
- ,7 - - L. *. * A
-0cresc.
-,lb *J
A&L ol .Aft . 'i011 olp I W -- 11 7, nwclr ,, I.,., - ... I - I 'FROI Ia - zop a I w~-~ I~ I
rg. 4- Commotio, measures 206-209
andaniino tranquiio Vital. A 11
dim. dipm-rail0
I ____ 240 29.
wfwrwwwmolto wqtrand. www w 1.0 At
La tj AMA ...... low 00"Mo
MW IPKW
OPNO
.- Ps.
Fig 5--lommotio, measures 235-246
F7Elow,"
OWN
r"L-T T - - a . - . - -4 7- L 16W4-- t---' I ~-~-----~- I%FZ
ALL -_A W .1i
I T : TI L bi LLL~ L a L L ... I~ -- -mw " - --- -1 ~ ~ ~ 1 4 -4M (J t -I .a
Fig, 6--Commotio, measures 319-324 Iz can also be considered the subject of the following
dhorale-like section. (See Figure 7.) Nielsen's second
mpelody of this chorale-like section is where he begins -1itatively on measure 271. (See Figure 8.)
Andante sostejiuto.
07*--WT W
[1 r ' I
unnaanun nemwooa ______~i.1 Moo= low 7 mw
_ 2I "M * 1WO""
Fi.7--Commotiameasures 258-*269
mem-mem 31
'a ma,
-a tempo -- w
4
I 11 -111 E I' E31. Al1I *-.- Y W ~Au
7 Nd
wo F-- 275
Pig. 8--Commotio, measures 271-275
is apoarent that this is the basis for the descending scale from measures 292 through 299. (See Figure 9.) This contrasting melody is developed throughout the next section with the development of
N-RIM-0-9 INN!-04 .,.1' 32
the chorale-ike theme. The recapitulation of the Andante
Sostenuto appears in measures 296, (See Figure 9.)
__ffAff A AOL
Aazf *=_K7*ttPV_,IIIT
ufji
Pj Ar
AS
F Awe*
WOMM"
9 slow
Fig* 9--CommotloVV"M" measures 295-299 -7
This c major key-feeling is the climax of this quasi-sonata section. Both themes are present.
Usually in a symphonic work there is a greater richness in texture than in pieces for a single instrument such as piano. When composing for the organ, it is possible to create many textures and variety of colors that are impossible on other instruments. Because Carl Nielsen experimented in the various textures and colors when he composed the Twenty-Nine Little
Prludes,, he was aware of the color schemes that were possible for the Commotio. Most of the Commotio has a very thick texture which demands a big sound from the organ. At the end of each section, Nielsen thins out the texture gradually. The first section begins to thin from measures twenty-five through thirty-eight, where Nielsen simply has a pedal point. (See Figure 10.)
A single ine leads into the next section. The
Andantino section is less bulky in texture and there is opportunity for use of solo colors. Again at the end of the Andantino, Nielsen thins out his texture and again has a sAngle line leading into the canonic section at measure 113. (See Figure 11.) This canonic section is a forceful dynamic passage that demands a thick but unmuddled sound, so the individual voices might be distinguished. The chorale-like section at measure 258 34
1 -w dim.
W, Pff 0
X-11"IqII n
111
6a _106 IT T a I f " 11 ldlk'fl L T -upw I [.Ad I Tim VI fg- Aif -ni T--l 4-4 Ando I evipre- mi
AL,. NO
4* i
ral.
Fig. 10--Commotio, measures 25-38 14=4
10TT
.916 laloo",44.. 4w - A-A
dim. poco rail _| - . alk
1110 _ltI____n'_X _N_____
pIc0 Iranquiio Now i I
faAt tempo
L --. , --
2ig. Il--Commotio, measures 102-117 -36
- reiniscent of some of Nielsen's most beautiful string
-tirg passages in his symphonies. (See Figure 7.) There is an aoportunity at measure 271 to change colors a-d return again to the texture that most benefits an imitative section. (See Figure 8.) Toward the end of this section, Nielsen thickens the texture and seemingly ivoves every voice, especially the pedal.
The 12/8 fugue is a study in different textures,
-his long fugue contains three-,f our-, and five-voiced writing, with intermittent trills, consecutive thirds, sixeenth-note patterns and chromatically descending
otio. (See Figure 6.)
As to specific examples, i.t is possible to compare passages from Nielsen's symphonies with the
Comuoto that are generally alike in mood if not in eXact contour.
The melodic contour at the beginning of the
Oouotio is chromatic and covers a wide range o the keyboard. The comparable melodies that follow are unlike the aain tI hemes of the Gommotio, but the use of chromaticism and like-intervals (minor seconds) places tho- in the same category. (See Figures 12-18.)
a, 37
Adagio.
03 -qrTL R
Am, T Alit f VFW mw AM,
mjw. IV
fig
Ida
WIN
-Mff
MAIN"
......
Fig. 12--Commotio, measures 1-2
' 103IN I 11 0F wil[
jw
I" I ll ------t A y I -1, I 4 38
Fic. 13--Sixth Symphony, p. 46
r3 AN I- I-- I
Fig. 14--Sixth Symphony, p. 40 39
1
&T
I U,
4
Fig.15-sxth ymp..y, .o4 40 ama ;I i A
;t
......
I
& ... _ _a
______A' __ _ _
_ -~I _
s =
Fig. 16--Third Symphony, p 43
44
1 J. II i T 71-
W Iei = ll
ii I '3 ~tU~:1
Fig* 17--Sixth Symphony, p. 46 41
AT- l
meme
#4W. .-...... Jai
M R ji
-It
Fig. 18--Third Symphony, p. 8 The eZanmples above are mainly -rom the Sixth Symphony.
This :ork and the Comrmotio were written in the same pe.L o o: year4 t1925-1931). The melodies are more alike in these two works than any other symphonies.
The next important melody which affects the re mainder of the Qommotio is the Andantino Quasi
Allegretto theme. The characteristic of this theme is found in the second and fourth measures;- the motivic interval of a third. As-one progresses through this sect-ion, the motivic third is treated in various ways.
Andantino quasi allegretto.
A 44 _ __- --- I I -m- Llk - - 11 W jruman
4
IOL 4 1.d 4 .j R u I ma And Oka
AlE
L L
J 4LJ4
lam
memo
Fig. 19--Qommotio, measures 39-45 43
WA
3r.
r --
Fig 20--Sixth Symphony, p. 5
-----
41aM U -pp-a
Pig. 21--Second Symphony, p. 95
00*40a WAM"Wow 44
R4
F ~ ~ FiP,
_ :
4 ~:]<~---
lu
ng a l
4MSMO
Fig. 22--Fourth Symphony, p. 63 45
x
-n-t
-- K- -1-0-
- 4"-MI-.&F--M!--it""|- 'T-'"Hi?""i -- ' W.-ar:wers'an--...... 46
.- 7 . - - w, -
-4.
S L I . ] II-L
I ynm--- -W -A
Fig. 23-Sixth Symphony, p. 17 47
In ohe Fourth Symphony it is notable that Nielsen comboines a triplet-figured rhythm against a rhythm of cotted eighth and thirty-second figures. (See F i gur e 2 2.
The Andante Sostenuto has a theme in G major which is centered around the note D. This theme in its second measure contains a figuration which resembles a urn. (ee Figures 24 and 25.)
Andante sostenuto.
/WON M
-1-
o-oomotio ig.qQ. lmeasures 218-26 48
_51-1
__Pi ~
- -- = +------
H -- ~ -__-_ _-_ __-__; -_-__;_
p pp- --- P
-______-__- -rh-
Pp PP
I-_-_-_-_-_- -s
D pp
1ig. 25--Second Symphony, p. 94 4
The string-like passages are found throughout Nielsen's sy onie. Figure 25 is an example of a passage written for strings in the Second Symphony. The consistent Nigure which resembles the turn-like statement is fouin ixn this Symphony.
A contrasting theme is found in measure 271 of this Dection. Although there are skips of thirds, ts contour is patterned on a scale. Its imitative character is seen throughout the remainder Of this section often in different rhythmic modes. (See Figures 26 - 29.)
a enmpo (I ma
msf~2~7 -FL a /empo
Fig. 26--oommotio, measures 271-274 50
_ 4
______r______
IV______
IVV______I~.~ _____
~IZ~iI[- _- _
3
I - ~ zz ---
4 - s ------. .. d i -- - Mfigi.rrv =,=
y
CCCCC~ "i/ P
Fig L27--Second Symphony, D. 81
14 A~ 1 4W - , , N,&t -1 -44AA*4k- IJ 4, - -41
It ] _ _ _ _
I o'.
~Sim., zr
I cZ4 (1?) ) Jr
- -~~*~-
IZ
4*=I "7
Fig. 28 -- Sixth Symphony, p. 34 52
Ci I.
- ~~4----- ___ i~ - .4s
'I
_4=7 ___
zr~~~ ~--~t ~ - ____
Fig. 29--Second Sympnony, p. 29
The Second Symphony (Figure 27) contains a theme which is descending, but it is similar to the theme in Figure 26. This descending motive in the Second Symphony has a counter-motive which favors the first theme of the Andante Sostenuto. (See Figure 24.) Nielsen's neo-classic tendencies are seen more clearly when examining his fugues. The fugue in the
onoiiotio is gigue-like in its nature. (See Figure 30.)
T_ chlaracteristic interval in the subject is the rTinor second. It is a strict four-voiced fugue written in a grand fashion. This fugue is not only academically inclined, but it is emotional in its objective outlook . (See Figures30-32.) Because this fugue 53
Waft-"-* -.- _-
Fg30--Commotiot measures 3e*Wwp 119-324
dpp
K2
Fig. 31--Second Symphony, p. 96 54
va peep aeceler&ands Fe* P" Q
_ L _
...... _ _
...... _
If~=:~ I _
_ Ama_
- ~ ______I_ __in
Fig. 32--Fourth Symphony, p. 19
is different from other fugues that Nielsen composed,
it is only possible to find a melody which contains
seconds and thirds. The short measure found in Figure 31 is only a small portion that is similar to the fugue
in the Coxnmotio. Nielsen's favoritism fxfrthe minor
second is seen in the Fourth Symphony. (See Figure 32.) There are many passages in Nielsen's symphonies
where IE renders the melodic theme of a minor third as being important. (See Figures 33 and 34.)
B- - _ J44
~ ~ p C?4, - J~n'x7
_ 11; e = __ - d- t
_ - -wwww-w-~
VOLtaU
- -m
= p C-'-0-0- * - -~ Seem - di
__ L-J
~~zz-~' ~ - -MR
Fig. 33--First symphony, Po 157 t '42,
__ T77 --- i vaa
Noa
Ft ML
C5 7
-ig. 34--First Symphony, D53 57
As it can be seen, the melodic minor third motives
ecomean ostinato figure in the First Symphony.
( SePe 'igure 33.) Nielsen, especially in his later symphonies, use 11he interval of a fourth to a great extent.
( -e e Figures 35-39.)
UAMJJ I
TV
Amk Adlh
Fig. 35--ommotto, measures 27-28 ~--ZEE
I VIA~ 4I
Sir"=?
A -zog
s
zz "
F
-- 40 rzrl
4 p 27 6 ii
-;
Vj . lip
Fig. 36--Fourth Symphony, p. 27 C9
i~1 ..".Wo A
irr
4 -w
bA., 7--tp...... yp...
Aig. 37--Fourth &ympho ny, P.13 Go
---- - m-o~
-! --
7711 - - - pcO .- -
h -O
L} -_ _
~~7Z~i-32vp
- ,--a.
(pz. K
9i~. 3&--Sixth Symphony, p. 13 61
Fig. 39--Sixth Symphony, p. 73
In Yigure 35 the interval of a fourth is used in
conjunction with an interval of a third. Their functions in measures twenty-six and twenty-seven are transitional in character. The rhythmic figures seen most in Nielsen's works are his triplets and dotted eighth-note figures.
A >reat art of the Commotio is written in compound
time. The first section of the Commotio (Figure 12)
Uses nany rhythmic triplets. Figure 40 is the conclusion
of the Jommotio. In it are multiple compound-rhythimio
.Pigres; triplet-felt patterns are seen in all of these, even in the pedal. Figure 44 shows Nielsen's use of the dotted-rhythmic figures. As in measures 306 (Figure 44) through 312 a continuous stream of sixteenth notes precedesthe dotted-rhythmic pattern in measures 313 and 314. A similar situation is found in the Third Symphony. (see Figure 45.) 4673
U I~F
- W I T
____1 -71
tao pesante
FIg 40--Commotio, measures 505-512
se>ae I
Fig. 41--Sixth Symphony,-p. 45 63
)7~jE7 (44 141A_
S II I j rl 6
n~~~~_ -- _
i 4E
7 I ______== ~ -- - ~ ______
Fig. 42--Fourth Symphony, D. 9
Carl Nielsen, op29.
zJr 8),T 4letnel4 '7 f
A.43--Fourth Symphony, p. I 64
1 T P 1 . WXL - HY1tt _ JL r I I
I- J-7
Adft "NIMS AFT
MO.
ITT Milo O pp iiiiiiiiii
40
Dual I'lls J J 01
IN, -mod I limp I
NOW
.00
,ig. 44--Cormmotio, measures 308-314 65
4 ix
-Alt 414M
Jr. je .;L
______ji. ______
4'A 0~ 1 I
!~ = ~ ______z ~ I
.iAr *w I'' p f
ro
-Z"m -* Ji-l-l
Fig. 45--Third Symphony, p. 88 ZL, 4 ,
'A
al RLt
b LYI
fi
I IL T4
IV LF
4
Fig. 46--Third Syraphony, p. 89 Consecutive thirds form the thematic material for manay of Nielsen's symphonies. Many times consecutive
thirds are an accompaniment figure. Figure 48 shows the use of double thirds in a triplet-oriented
rhythm (See Figures 47-51)
--s
419,
r II ) I I
- & -
qp
WOW," cresc.
-dF 7 Imp. J 60'
1 6
11 or
WE ja
Fig. 4 7--Cormmotio measures 206-214
.44r u tu
0,L
......
_ _ ------L __--_
S...
-IMP
Fig. 48--Fourth Symphony, p 9 6o
10Y
pa
-i
_ _ _-~ _-_- .
-_
Zorr _ __IT, Uv
- ; - ---....-....
:---- I - -. 1
-1 W% r T 67 f 3 All
Fig. 49--Fourth Symphony, p. 101
_ _ _-
. -u3
Fig. 50--Commotio, measures 353-55
.1-4MMA-0 -Imm-moffilm f-A
15 yz7tm~IrWE 4
I
i4 R;
Ir
iL _Aft AIL
A A_ _4- 1 _ ~z z~ .... __._ _
Fig. 51--Fourth Symphony, p. 16
It is not unusual to see consecutive thirds in a chromatic relationship as seen in the Fourth Symphony. (See Figure 49.)
The Coamotio is filled with scale passages that demonstrate not only the emotional content of the piece bu also the player's virtuosity. Likewise in his 71
srphonies Nielsen creates massive scale passages that are written in an agitated style, (See Figures 52-57.)
AWL a t- 4 FL r---w Xv
If'
"now 0i"m
iiiiiiiiiiiiiiiiiij I
AUL
L Aft
'To
110 I . I--- "II - el Ii . 'i - I - .1 -1 1 ------i now Ll ONO coo 295 gob
Fig. 52--0ommotio, measures 292-295 3mfNr
------
L
igo 53--First Symphony, p. 98
Mom
f9 l dr. To
#OLAAui I aw
-40-
Fig* 54--Sixth Symphony, D. I (5
j -
-- T r______~ l
sm i -- -- ic1 p ~ ~ ~==I . ~~Act,I "I,. -I -- - _* ry
4' -F
1W (f
* ~ I ______- + "Z2 "4,7.
z Ir-
jow- 11
Fig. 55--Third Symphony, p. 134 74
sempre i
A
sempreif ~
At
_- 4
AA
xL A
& lot ____ A 7
srmre [4,
Fig. 56--Secondc Symphony, P. 139 75
___R A -Air A- Iff I Jrj F 1 P-7 AftL AM a no 7,
qpF
. ...
F'ig. 57T-Oommotio, measures 485-488.
In ig,ure 53 a chromatic scale is featured in the
First Symphony. The Sixth Symphony (Figure 54) begins with a descending scale. Scales in triplets are seen n the Third Symphony (Figure 55); also mass chords and trills. Ostinati figures fill many measures in Nielsen's symphonies. These passages are oscillating seconds or thirds. (See Figures 58-60.)
Fig. 58--CommotIo, measures 475-476 76
-wr
i
Al l - -::=
It*IA I lmma
'iJ, k.4 i +4
dv IX
Fig. 59--Third Symphony, p. 83 77
4 1f
r I P9 X Ix
pit-4,1 ..p
Fig. 60--First Symphony, p. 102
IU Xigure 59 Nielsen makes extensive use of the minor second in the woodwinds and strings. The brass holds a chord which creates a foundation for the minor seconds.
In F gure 58 the ostinati sixteenth-note figure is secondary to the motivic development of the 12/8 fugue. A musical device which Nielsen establishes is the imitative, short motives.(See Figures 61-63.)
ta tempo ha - I- A * i I
Ask -AIr
Ask AI k
""Pdrm FA Ilcv_.
Fig. 61--Commotio, measures 271- 273 _ I_ -J'h-mo-_ .L_ _
rr i
f"V
. 11. I # I I I I i I v I I I I 1 -1 1'- - IV 1 I I .2
62--Fourth Symphony, p.,10
The Commo io is filled with short passages that are imitative. The contrasting theme in the Andante
Sostenuto section is a perfect example. (See Figure 61.)
Nielsen's use of pedal points is seen in the
Third and Fourth Symphonies. (See Figures 64-66.)
.he coda found at ta tempo ma fluente" in the 0om o4io features an eighth-note rhythmic figure and a compression of the Andante Sostenuto thematic 79
CIP40C.
trese. pp
erese.
lo ere seor c1 er#o Srem
-er. Seem . *
Wiwi ere Sg*en -
igo 63--Second Symphony, po 57
pI -- om l
80
Fig. 64--Commotio, measures 450-460
:z u$.- -
0L-.m -i.
'5r. -_~m
T ' __ I i _
...... ,
Fig. 65--Fourth Symphony, p. 82 81
I & b
73
I -
21
4'- _W_ _w_
4EE
= ~ ~ N ---
1 Tr -- &=L_-7
All~ _ __ _
--w- n-_- _ - t
OIL+
j V -7
Fig. 66-Third Symohony, o. 96 material and several melodies found in the 12'8 fugue. (SE' Figure 64.) In the Fourth Symphony (Figure 65) a double pedal point is featured in the Horns in F whl e an ostinato figure is repeated in the violins and violas . Another favorite device of Nielsen' s is the descending motion found in his symphonies and the
0ouvtoto. (oSeeFigures 67-69.)
a tempo
ig. 67--Commotio, measures 393-395
Fiure 67 shows a group of sixteenth-notes eat re Ses cendingin a chromatic fashion. In the Sixth
S y ph ony (Figure 68) not only is the motive of the descending melodic third present, but a broken scale 83
K 44 W ~ 4i: aI
MWAM (**Oo 4Ed i 4 96
-Ilk
I L Aft
all It I AW Ft
- T-j milli
V 17 0 I 'j- I A,. MID f AX! 31A Js 4 Ali, 10 V I -1 "W 7A as ---
-. Pp"o
4t-~ J~. {dom r
~$fmye ff %%~ >A
i~~1- 1[ -wv
~ > 1 se
Fig. 68--Sixth Symphony, p. 100 84
s . . . . .
r ------85 n {tf
~M1
1-- P
p -assage is in contrast to the thirds, all of which are written in a downward motion.
Although the Commotio was symphonically conceived and examples have illustrated the analogous writing in the organ Work and symphonies, it is not yet orchestrated. The Commotio is therefore a composi tion that is played on the organ. The performing problems are in the field of organ registration. CHAPTER BIBLIOGRAPHY
i. :i>mson, Robert, "The Keyboard Music", gCfl',ilelsen, $3mphonist, London, J. M. Dent, 1952. 2. "S m-ohony" Grovet Diotionary of Music and Musicians, 4th edition, New York, acMillan and Comany, 1954.
87 CHAPTER FOUR
DETERMINING FACTORS IN PERFORMING THE COMvIOTIO
Before discussing the registrational possibilities for the Comotio, a look at the organs prior to the
1920's and 30's will be beneficial; for, in discovering the Romantic organ on which Carl Nielsen intended the
Commotio to be played, we can translate that sound and find the type of organ in America that would best give a rendering of the piece.
When the nineteenth century emerged, there was a decided decline of taste for old music and the old organs.
The Romantic Era was coming to the fore and a new kind of organ was soon to be born.
Aristide Cavaille-Coll was of Spanish origin and had established his reputation as a master organ builder by the age of thirty. He was to become the foremost builder in the world and his influence would spread for many years, even af ter his death.
In 1841 he completed a large organ for the
Cathedral of Saint Denis near Paris. This was a new kind of instrument, and it was in opposition to many of the characteristic traditions which had been established for centuries in organ building.
88 89
Cavaille-Coll was interested in improving the tone color of certain reed sounds. His Imitation of orchestral
sounds resulted in a completely new way of voicing reeds.
Also, he wished for a tone color to remain the same from
the bottom register to the top register, and his company
invented the divided wind chests in which varied wind
pressures were introduced throughout different parts
of the compass so that his reeds and flutes would maintain
a good strong quality in the upper registers as in the lower portion of the keyboard. 'When one visits Notre
Dame and St. Sulpice in Paris, one realizes that Cavaille Coll indeed succeeded in developing a large instrument which would envelop the whole nave with sound. This
can only be achieved when the builder equalizes the color of a sound and develops it into a strong reed sound.
As in the old French organ, reeds dominated the entire organ; this was the real reason for the power of the instrument. The Harmonic Trumpets were usually located in every division and in the pedal. The Bombard 16' appeared on the Grand Organ and the pedal included the
Contre-Bombard 32' and the Clarion 4t reeds. Because the reeds played such an important part in making a crescendo effective, a toe stud for each division of reeds was added; thus, the player could push the toe studs when he wanted the added reed sound. 90
Other changes were made, some of which are still in vogue today. The old French and German organs were
Instruments consisting of several complete and distinct
divisions, one division being separated from another.
The first division stood on the floor of the gallery
and its opposite division, the Positive, hung on another
small case from the gallery railing, In the new movement, this was completely swept away. The new organ by
Cavaille-oll placed the separate divisions where they
would favor one another and would create an ensemble
sound, imitating a large orchestra. The purpose, instead of division, was unity.
Another change ras the predominance of 8' and 4' pipes and the discarding of many mutation stops. The Uixttre were not so brassy, but were more subordinate
to the overall sound.
New to the Oavailletdoll organ was a "Recit" manual. This was a division which was placed in a swell
box under exression. The tonal elements of this Recit were similar to those of the other divisions,
for it contained diapasons, reeds, flutes and strings. Due to the invention of this new division, a general
switching about in the position of the manuals was necessary. The order of manuals was, Grand Organ, 91
Positive, and Recit, the Grand Organ being at the
bottom, On the larger organs, the Bombard became
the third keyboard and the Recit the fourth manual at the top.
Since the beginning of the twentieth century,
organ design has gone in all directions. The old tr dion of building has been broken down, and many new ones have emerged, some of which are poor substitutes
for 1h.at has gone before. On many of the American organs, r 61istsare forced to create new registrations because those suggested by the composer are inappropriate.
The colors of our stops are changing and organists are
trying to comply closely with the composer's wishes, but this is not always possible.
Americans are in the midst of an organ
Renaissance. It began in the 1930's when organists and
oroan builders, satiated with the excesses of the
Romantic instruments, began to look for a way, to Improve their instruments.
Albert Schweitzer was the foremost writer to point out the disparity between the typical modern organ and the instrument for which Bach's works vero composed. He insisted that Bach's works sounded better on the two-hundred year old instrument than on the modern organ (1, p. 87). The movement toards the Baroque organ grew and finally gained recognition at the Organ Congress at Hamburg in 1926. 92
During the inception of this movement, there was an intense research into Baroque and pre-Romantic
music and the performance practices of this music.
Composers of the early 1900's were even looking back
to earlier models for their compositions. At the same
time Walter Holtkamp was busily undressing his pipes,
cleaning up and clarifying the organ ensemble and placing pipes that were functional out into the room Where they could be seen.
If an organist sat down at a Holtkamp organ, he suddenly had the feeling of nakedness, possibly because the fingers seemingly did everything exactly as they were promoted and each contrapuntal line could be hard distinctly. The influence of Walter Holtkamp and others spread fairly rapidly, particularly in the younger geIeration of builders.
Several years after the 1930's the opposing camns were known as the "Purists" and the "Romanticists".
The majority of organists in American are in a Romanticist camp and resent the idea of going back to a Baroque instrument. The Romanticists still strive to achieve textures and colors that are natural for the orchestra but are alien to the inherent nature of the organ. They still demand stops that sound like orchestral strings, oboes, bassoons, and French 93
horns, and they delight in harp effects, chimes, and the glocrkenspiel. Also there is a desire for constant vibrato, celeste stops and one overall-quality of sound.
The Purists want the instrument to be returned
to its original state of noble individuality. They feel
that the organ has suffered a decline in the nineteenth and twentieth centuries. In contrast to the emphasis
of the Romantic organ, individual solo stops and certain effects, the emphasis of the Baroque organ was on an effective ensemble tone produced when several related
stops were employed simultaneously. Each manual had a
specific function and when its stops were combined with
others it produced a homogeneous chorus which contrasted with the chorus of the other manuals. Individual stops were judged first by their usefulness in their respective choruses and second by their ability to function
independently. The ensemble tone of the Baroque organ was clear, brilliant, and penetrating.
Many Americans have traveled to Europe and have seen many interesting aspects of organ design and
building which are now just beginning to appear in this country. They found that organ cases are not a mere decoration or only a means to keep the dust out, but are built for acoustical reasons. Also these 94
travelers for the past twenty years have heard warm
tones and a certain blend. The European organs do
not scream but have instead a full, rounded tone.
Scholars also have found that the French reed is ouite different from what they have known it to be in America. Also the American traveler has realized that tracker action is an important ingredient in the European organ and that the artist has a more sensitive contact with the response of the tone.
The "back to Bach" movement grew to its peak in the 1950's. In the early 1960's, the movement has been modified and the pendulum has swung back and forth. Today, organists are ishing for the return of the swell box, for new colors, and for different sounds which are imitative, such as on the former Romantic organ. They are also wanting a big sound, and along with this sound, heavy reeds.
Although this pendulum is swinging haphazardly in America, there are countries yet that are making definite progress in a unique organ-building mastery.
In Demark few organs have descended to modern man which have a history numbering in the centuries. There have not been many Danish organ builders of importance except certain builders from other countries hired by the Danish Royal patronage. One of the most outstanding organ companies in
Denmark today is the Marcussen company, headed by
Messrs. Zachariassen and Gerhardt-Andersen. This company was one of the first to ad opt the Spani sh
Trumpets placed "en chamade". It is not common to find imitative reeds such as oboes, bassoons, and tryings on their organs. One of their fundamental principles is the requirement that all organ cases be designed and built by the organ builder. The case is designed so it may be a sounding board for the pipes, not only as a decoration.
An organ built recently is located inthe
Jdgersborg Church in Copenhagen. The Purists can take pride in this organ. The specifications follow:
Jigersborg Church
Huvudverk Ryggpositiv
Truupet (horizontal 8t Principal (fraont) 4' pipes, above Gedackt 81 organist's head) Rbrfl'jt 4t Principal (front) 8' Kvintadena 2' Oktava 4' Scharf II rk. Mixture IV rk. Krumhorn 8t
Pedal Bros tverk Subbas 161 Rankett 4t Principal" 8' Cybel 11 Gedackt 8' Nasat 1 1/3' Fagott 16' Principal 2' Regal 4' Spetsgedackt 4' 96
Carl Nielsen had the Christiansbrg "Sl/tskirche" organ in mind when he composed the Commotio. This organ in Copenhagen was built by Marcussen-Reuter in
1929. The organ is primarily a Romantic-oriented instrument fashioned after Cavaille-Coll. This instrument lacks mixtures and the fundamental stops are deep-textured. It contains many 81, 4, and 21 pipes.
The reeds are based on the French reed system.
On the first manual there is a Quintat/n 16t and on the second manual, a Bourdon 16? and also noticeable is the Pedal Untersatz 321. The reeds are made up of Trumpets, Posaunes and Fagotts. This organ with its blended ensemble sound and heavy textural sound is appropriate for the broad., sweeping melodies so prevalent in the Commotio. The ComLmotio also demands a mass sound effect which this organ with its French reeds can accomplish.
This instrument is a well-built one, and each stop speaks distinctly with a great forcefulness.
The voicing of the pipes is clear and brilliant and the lack. of a spongy tone places this instrument mid-way between the Baroque and Romantic instruments. As
Peter Thompson has said, "Danish organs such as the
Christiansb/rg organ have not had to come as far out of the degradation of the old Romantic organ as have other instruments in other countries." 97
Organ at Christiansbgrg Sldtskirke Copenhagen, built in 1929
Manual LM Manual II
Sesquialtera 2 2/3' - 1 1/31 Bordun , 16' Quintat/n 161 Principal 8' Quint 5 2/3' Rohrfite 8' Quintet 2 2/3t Octave 2' Terts 1 3/5' Dolcian 8'
Pedal Manual III
Untersatz 32' Principal 8t Principal 16' Gedakt 8' Subbas 16' Viola da gamba 8' Octav 8' Fugara 41 Gedakt 8' Waldfl/te 21 Cello 81 Fagott 8' Octav 21 Fagott 16' Nachthorn 2' Trom pet 8' Posaune 16'
Not every organist can play the Conmotio at the
Christiansb4rg Church in Copenhagen, so an organ in
the United States has been chosen as one of the best
instruments that has entered this country in the twentieth
century. A good rendering of the Coamotio can be accomplished
on the St. Paul's Cathedral organ in Pittsburgh, Pennsylvania,
This organ was built by Rudolf von Beckerath, a builder whose home officially was in Hamburg, Germany. This
instrument is respected by authorities in this country and by 3 uropeans.,and they call it the "American organ". This organ is built in the classic tradition but yet is suitable to modern times.
Rudolf von Beckerath was a prominent organ builder in Paris. Returning to Hamburg in the 1930's, he decided to dedicate himself to the preservation of Hamburg's great organ building tradition. He restored many notable organs in Europe and built with expert ingenuity many fine new instruments. He feels that organ building has not yet reached its Utopia and disagrees with many builders who think that Silbermann's organs of the eighteenth century were the peak in organs. He believes along with Frobenius,
Flentrop, Marcussenand Schuke that present-day builders should lean on the genius of other generations, but channel this genius into modern forms. Beckerath's intentio and accomplishment are best summarized in his own words:
The Classic organ or Baroque organ is no longer possible except through an imitative return to the past, Our time is neither classic or baroque. The vitality of a modern instrument demands the translation of the spirit of past greatness and into constructive form (2, p.80).
This organ at St. Paul's Cathedral is a fourm manual organ with sixty-seven stops, totaling hinety seven raiks of pipes. In construction, two ranks of 99
Spanish Trumpets are projected horizontally from the center of the case. It has an American-type console which combines the classic key action with electrN
Pneumatic stop action, controlled by a complete electric combination system; thus, it presents a dramatic merger of the seventeenth and twentieth centuries.
The composition system is a Swiss-styled mechanism which permits six general pistons that are allowed to be set up on each of six master controls. A total of thirty-six general combinations are available at one time.
Below is a diagram showing the placement of each division.
Great
Pedal Swell Pedal
010
Riick Rick
Positiv Positiv
Diagram 2--Placement of the organ divisions at 3U. Pauls Cathedral in Pittsburgh, Pennsylvania 100
2pecifications St. Paul's Cathedral, Pittsburgh
owell Pedal
Q'inuadena 16' Principal 32' Violeflote 8' Principal 16' Flute 3' Subbasse 16' Geishorn Flute 16' 8' Gemshorn-Celeste Octave 83 Violflbte 41 Spielflote 8' INachthorn 4' Octave 4t as at e2 2/3' Rohrflote 4t 2' Nachthorn 2' TI vi Mixture i V Rauscapfeife III FagoU-12 t 161 Posaune 32' 3' 16' Oicac i Posaune 4' Fagott 16' TrOnette en chamade 8' Trump et 8' Tromoette en chamade 4' Trwmpe t 4'
Rtickpositiv Principal 3' Quintadena 3' Rohrflote Octave 4' Blockflote 4' Nasat 2 2/3' Octave 2' Gemshorn 2'
Quinte 1 1/3' Scharf V Sesquialtera II BArpfeife 16' Cromorne 3' 101
Ieat Solo Princra1 16' Gedackt 8' Prince al 8' Principal 4' Koppel Gedackt 8' Rohrfldte 4' Octave 4' Quintfl6te 2 2/3' Quinte 2 2/3' Waldflbte 2' Octave 2' Tierce 1 3/5' Mixture V Nasat 1 1/3' Scharf IV Sifflote l' Trupet 16' Cymbal III Trumpet 8' Va Humana 8' Trumpet 4' Musette 4'
A relatively new attempt to build an organ so that music from all periods may sound adequate according to its registrational demands, is suggested by the organ blue-print (not an actual instrument) by Robert Noehren. This calls for a large instrument in which the voicing of the pipes is in the tradition of Schnitger (seventeenth century) and the harmonic flutes and strings in the tradition of Cavaille-Coll. The reeds are also of pre-Romantic and Romantic sounds and colors. Next is a diagram of the slacement of each division. This organ is large and its placement can be difficult to arrange. Only the larger hall or sanctuary would be interested in this spMcification and diagram. 102
S Pw1IsI S Lmmr a
-
Solo Pedal Great Pedal SwelI Bombarde
C~noleI
Positiv
Diagram 3--Noehren's Organ (2, n. 59)
Specifications Noehren's Blue-print
Bombarde Organ Positive Organ Principal 8' Bourdon 8' Gedeckt Flute Harmonique 8 ' 8' Octave 41 Nrncipal 4' Rohrfloete Octave 2' 4' Slein jeu VI Octave 2' 16' Scharf VI :Bombarde Sesquialtera Trompette 8' 81 Clarion 4 t Cromhorne Great Organ Pr in c ip al1 16' Waldfloete 2 Quintadena 16' Raus chqui nt e II Octave 8 Mixture VI Rohlrfloete 8' Cornet V Flute Harmonique 8 Bombarded 16' Octave 4' Trompette 8 Spitzfloete 4' Clarion 4 Octave 2 103
Sell Organ solo Organ B ourdcon 8' Bourdon 8' 8't Gemshorn 8' Voi Oeleste 8' Unda Maris 8' ui e Octaviante 4' Gambe 8' V c lav iIn 2' Flute 4' 1i jeu VI VI Nasard 2-2/3t Bas s o.n 16' Piccolo 2' izomp-ette 8' Tierce 1-3/-' -Hautboid 8' Larigot 1-1/3 Voix umaine Flageolet It 11airon 41 Cymbel II Tre ulant 4' Tremulant Pedal Organ 6ubbass 32' Principal 16' Bourdon 16' Octavebass 8' Gedecktbass Octave 4' Octave 2' Rauschquinte II Mixture VI Centre -Bombarde 32' Bombarded 16' Basson 16' Trompette 8' Clairon 4'
The beginning of the Commotio is performed with a majestic sound, and the dynamic marking is fortissimo.
The organ at St. Paul's Cathedral has the ao'nd that is needed for the whole of the composition. The remainder o this chapter has suggestions for registeri g. the
on this organ, An appropriate registration from measures one through twenty-five is~ his 104
Great Pedal
principall 8' Principal 32' OCt ave 4' Principal 16' Octave 2' Octave 8' Mixture V rk. Octave 4' Trumpet 8' Mixture VI Trumpet 4' Posaune 16'
There is no need for coupling from either the
RAckpositir or Swell divisions. Because of the twelve measure iedal point, it is important to create a sound that is re;1 established but not too loud for the manual counterparts. (The Principal 32' creates an illusion of bigness in mood and tone. See Figure 1.) The Andantino Quasi Allegretto is the next section of importance in discussing registration.
(See Figure 2.) These measures are filled with opportunities to demonstrate the varied colors of the organ. The c athedral organ contains solo stops that are appropriate for the two main contrapuntal lines starting in measure forty-nine.
Solo Pedal Swell
R'hrfl'te 4' Flute 16' Gemshorn 8' Gedackt 8' R'Ohrfl'6te 4' Nachthorn 4'
The registration for the soprano voice is a clear
piercing sound; its orchestral counterpart includes flutes andpiccolo. The accompanying figure has a strin 'qualitytopped with a light flute sound that causes a blend between the two voices.
The canonic section begins with mezzo-forte.
This assag continues to build to a fortissimo, which is located at measure 210. This fortissimo remains constant until measure 235.
Ruckpositiv
Principal 8' Princioal 16? Octave V& 4' Octave" 8' & 4' -'harf V Nocturne 2' Rauschpfeife V Nielsen's fugal subject calls for a bright detached sound. The Scharf is a mixture of high-pitched
uAlity that adds a certain brightness that is necessary.
The Rcaschpfeife is also a mixture with a brassy quality.
When the player reaches measure 206, he has
Established the key of D minor. (See Figure 4.)
'if tis section were to be played by an orchestra, the strings, woodwinds,and brass would be included. To insure a similar sound on the organ, it is necessary to couple the
Great to the Swell.
Great Swell Pedal Principal 8t Violflt e 8' & 4' Principal 16' Ockv 4'g 2' BlockI te 2' Octave 8' & 4' fixture V Mixture VI Mixture VI Quite 2 2/3' Oboe 8' Fagott 16' Trumpets 3' & 4' Schalmei 4' Trumet 8' & 4' 106
From the above specifications the pedal has an immense sound that includes the Fagott 16t and Trumpets 81.
The reason for this bigger sound is the importance of its melodic line. Again, NKielsen features the interval of the third.
Nielsen cLould have easily writ ten the Andante
Sostenuto in full sonata form. Although it is not in sonata form, two thematic groups, the development and recapitulation sections, are present. To bring out the differences of thematic groups, different divisions of the organ are used. The first section in cludes measures 258-270. (See Figure 7.) This passage favors one of the beautifully written string passages found in any of the Nielsen symphonies. The string quality with a vibrato effect is found on the Swell.
Swell
Gemshorn 81 Gemshorn-Cel. 8t Violflote 41 The above specification provides a rich string-like approach to writing. The celeste effect gives the piece an ethereal quality.
A contrast between the two thematic groups provides more interesting colors. In orchestrating, the woodwinds would be used from measures 271-262. (See Figure 8.)
Likewise on the organ, a change of color enhances the new section by changing manuals. The clearest possible distinction on the organ is switching from strings to flutes, 107
Rtckpositiv Rohrfl'te 8' Blockflote4'
Following the second thematic section is a quasi development. This section leads to a quasi recapitulation at measure 296. (See Figure 9,) Instead of G major, the key is C major. A registration on the
Great Is
Great Quinte 2 2/3' Principal 8' Octave 4& 2' Scharf IV
Since this section is the climax of the movement, it is necessary to have a full sound that the "pleno choro"
can give. The Scharf adds a top- brilliance to the
foundations. legistrating the fugue is difficult; there is a
constant demand for an ensemble tone, yet an obligation to briag out the intermittent solos. In an orchestra! version, Nielsen probably would have used the strings to announce the four entrances of the subject with wood inds added occasionally for greater sound and emphasis of fgal material. The gradual crescendo started at the beginning of the fugue is mirrored by a growing sound on the organ: a transfer from the Swell, Rick positiv and Great. Registration at the beginning is 108
Violflote 8' Principal 16' Vitlflote 4' Spielflote 8' %achthorn 4' agott 16' Bloclkflote 2'
Another section of sound is from measures 25-38. (See Figure 10.) Nielsen thins out his melodic and armonic texture in these measures. On the organ
Vt is possible to take off stops gradually in order to dIminuendo.
One other consideration in performing the
Qootio is the tempo; the pace should be moderately fast. To hurry it or to lose the steadiness of its momentum is disastrous. If the Qommotti is performed proerly, the whole immense work cannot fail to reveal the finest characteristics of Nielsen's mature mind. Nielsen's style is consistent and individual.
For htm inspiration was not enough; craftsmanship was equally important. He successfully avoided the pitfalls of Romanticismsuch as empty display of virtuosity and the formlessness of music so prevalent in the Romantic era. While the present study is limited to the Co atio, it is by no means an exhaustive study. Any chapter of this thesis is worthy of further consideration. 109
Perhaps when more of Nielsent s music has been diligently examined, more of the musical world will know him. CHAPTER BIBLIOGRAPHY
1. i.ughes, Allen, "The New American Organ," Diapason, LVIII (New York, 1954). 2. Noehren, Robert, "Schnitger, Cliquot and Cavailleo-Coll to Contemporary," Diapason, LIX (New York, 1955).
110 BIBLI OCTRAPHY
Books
Balzer, Jurgen, Centenar Essays, London, 1966.
Geer, Harold, Organ Registration, In Theor an Practice, Glen Rock, New Jersey, J. Fisher and Bros., 1957.
Goodrich, Wallace, The Organ n France, Boston Music Company, 1917.
Simpson, Robert, C arl Niels en,Symph onis t, London, J. M. Dent, 1952.
Sumner, William Leslie, The2tan, Its Evolution, PrinCiples of Construction and Use, London, MacDonald, 195$.
Articles
Gibbs, Alan, "Carl Nielsents Commotio," Musical Times, CIV (March, 1963), 208.
Hughes, Allen, "The New American Organ," Diapason, LVIII (New York, 1954). Noehren, Robert, "Schnitger, Cliquot and Cavaille-Coll to Contemporary," D'apason, L1 (New York, 1954).
Porter, Andrew, "A Carl Nielsen Festival," Musical Times, XCIV (November, 1953), 527.
Publications of Learned Organizations
Press Department of the Danish Ministry for Foreign Affairs, Carl Nielsen, edited by Frede Schandorf Petersen, Copenhagen, Det Berlingske Bogtrykkeri, 1965.
il 112
Mncyclopedia Articles
Apel, Willi, "Neo-Classicism", "Romanticism", and "Symhony", Harvard Dictionar of Music, Cambridge, Harvard University Press, 1958.
"Syrphony", Grovdb Dictionary of Music and musicians, 4th edition, New York, MacMillan and Company, 1954.
MUsiC
Nielsen, Carl, Commotio, Copenhagen, Hansen, 1954.
, Symhon No. 1, Or. 7, Copenhagen, Hansen, 1947
Symhony No. 2, 0o. 16, Copenhagen, Han sen, 950
,yP~Thon. No. 3, Qp. Q Copenhagen, andX;gstri Jdring, 1951.
,Sy ohon No. 4, . 29, Leipzig Hansen, 1916.
, S rhony No. 6, Corenhagen, Dania, 1957.
, Twenty-Nine Little Preludes, CoPenhagen, Hansen.