DOCSLIB.ORG

MUSC 1013 Lecture, Study Guide 5 1) Hector Berlioz (1803–1869)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MUSC 1013 Lecture, Study Guide 5 1) Hector Berlioz (1803–1869) MUSC 1013 Lecture, Study Guide 5 1) Hector Berlioz (1803–1869) • Born in southern France, first great proponent of musical Romanticism in France, He combined musical creativity with personal storytelling • Fan of Beethoven and Shakespeare • Works draw upon literary influences • Genius orchestrator-- Berlioz and the Symphonie fantastique • Program symphony based on personal life; • Idée fixe a recurring musical thread unifying the five movements; Thematic transformation 2) Edvard Grieg (1843–1907) • Born in Norway, attended Leipzig Conservatory (Germany) • Stipend from Norwegian government allowed him to focus on composition • Goal was to create art accessible to all the public • International figure, notable for lyricism and use of folk music and dances Compositions: Peer Gynt, Suite no. 1 • Morning Mood, --atmospheric depiction of sunrise In the Hall of the Mountain King, grotesque ballet music as troll daughters chase Peer; Play by Henrik Ibsen based on moralistic Norwegian folk tale • Grieg composed twenty-two pieces as incidental music for the play • Later extracted eight of them, created two four movement suites • 1 One Piano Concerto 3) Giuseppe Verdi (1813–1901) • Born in northern Italy • Operas for Milan’s La Scala opera house • Identified with Italian independence movement • Twenty-eight operas in all, written throughout his lifetime— two of most famous operas are Aida, Rigoletto, • Hit songs from operas saturated the culture; Commercially successful multimedia arose in the 1800s Italian theatrical tradition Verdi’s music adopted by supporters of Italian independence – Appealing melodies, intense dramatic situations; – National soundtrack for the new Italian spirit 4) Richard Wagner (1813–1883) • Born in Leipzig, Germany • At age twenty-three began writing operas – Wrote all librettos himself • Trio of works on German epics – The Flying Dutchman, Tannhaüser, Lohengrin • Developed theory of music drama—example: The Ring of the Nibelung –it is a Four-opera epic cycle “Endless melody”; Gesamtkunstwerk (“total artwork”) • Unity through leitmotifs, a lot of Chromatic harmony. 5) ROOTS of JAZZ • Jazz is neither exclusively European nor African. It is an American art form. It is mainly the creation of African-Americans whose roots and beginnings were in Africa. Comparison of Jazz to Classical Elements Classical Jazz • Sound Standard Personal • Pitch Fixed Flexible • Modes Major/minor Blues • Social Concert Hall Night Clubs What is art? What is entertainment? – Definition: • Entertainment - something that amuses, pleases, or diverts. • Art - the conscious production of human creativity; sounds, colors, forms, movements, or other elements found in a manner that affects the senses. 6) a) Scott Joplin (1868–1917) The “King of Ragtime” • Maple Leaf Rag sold a million copies • Strove to elevate ragtime to a serious art form • Balanced phrasing and key structures with highly syncopated melodies • The Entertainer b) Robert Johnson Hell Hound on My Trail • Example of early Delta Blues; c) Bessie Smith Lost Your Head Blues d) Sidney Bechet Blue Horizon; Nota Bene! – the unique clarinet sound • Extensive use of vibrato, also played the soprano saxophone 7) Louis Armstrong –unique trumpet sound • January 1, 1913, sent to Colored Waif’s Home for disturbing the peace. (18 months)—change of his life. • The nickname “Satchmo” – was short for satchel mouth. • He replaced older musicians as they left for the north. Recordings of Hot 5 and Hot 7 most influential; Compositions/performances-- Struttin’ with Some Barbecue, Hello Dolly, Wonderful World, Hotter than That--Good example of “scat” singing. 8) Duke Ellington—pianist, composer, arranger, conductor • Louis Toodle O--recorded 1927 – Example of repertoire from the Cotton Club East St. Continuation of excellence, Expansion of forms, and compositions. Many believe his best works are from the 1930s and 40s. More sacred concerts. Suites – Such Sweet Thunder, Suite Thursday, Nutcracker Suite, Black Brown and Beige Suite 9,10)Listening examples: Edvard Grieg: Peer Gynt Suite No.1 https://www.youtube.com/watch?v=dyM2AnA96yE Duke Ellington-- East St. Louis Toodle-Oo https://www.youtube.com/watch?v=q6LmSj26RRc .
Load more

Recommended publications
  • Romantic Listening Key
    Name ______________________________ Romantic Listening Key Number: 7.1 CD 5/47 pg. 297 Title: Symphonie Fantastique, 4th mvmt Composer: Berlioz Genre: Program Symphony Characteristics Texture: ____________________________________________________ Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: timp start, high bsn solo Number: 7.2 CD 6/11 pg 339 Title: The Moldau Composer: Smetana Genre: symphonic poem Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: flute start Sections: two springs, the river, forest hunt, peasant wedding, moonlight dance of river nymphs, the river, the rapids, the river at its widest point, Vysehrad the ancient castle Name ______________________________ Number: 7.3 CD 5/51 pg 229 Title: Symphonie Fantastique, 5th mvmt (Dream of a Witch's Sabbath) Composer: Berlioz Genre: program symphony Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: funeral chimes, clarinet idee fix, trills & grace notes Number: 7.4 website Title: 1812 Overture Composer: Tchaikovsky Genre: concert overture Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: soft beginning, hunter motive, “Go Napoleon”, the battle Name ______________________________ Number: 7.5 website Title: The Sorcerer's Apprentice
    [Show full text]
  • Peer Gynt: Suite No. 1 Instrumentation: Piccolo, 2 Flutes, 2 Oboes, 2
    Peer Gynt: Suite No. 1 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, strings. Duration: 15 minutes in four movements. THE COMPOSER – EDVARD GRIEG (1843-1907) – Grieg spent much of the 1870s collaborating with famous countrymen authors. With Bjørnstjerne Bjørnson, the composer had hoped to mount a grand operatic history of King Olav Tryggvason but the two artists soon ran afoul of one another. A possible contributing factor was Grieg’s moonlighting project with Henrik Ibsen but, in truth, Bjørnson and the composer had been nursing hurt feelings for a while by the time the latter began to stray. THE MUSIC – As it turned out, Grieg’s back-up plan was more challenging than rewarding at first. He was to compose incidental music that expanded and stitched together the sections of Ibsen’s epic poem. This he did with delight, but soon found the restrictions of the theatrical setting more a burden than a help creatively. “In no case,” he claimed, “had I opportunity to write as I wanted” but the 1876 premiere was a huge success regardless. Grieg seized the chance to re-work some of the music and add new segments during the 1885 revival and did the same in 1902. The two suites he published in 1888 and 1893 likely represent his most ardent hopes for his part of the project and stand today as some of his most potently memorable work. Ibsen’s play depicted the globetrotting rise and fall of a highly symbolic Norwegian anti-hero and, in spite of all the aforementioned struggles, the author could not have chosen a better partner than Grieg to enhance the words with sound.
    [Show full text]
  • Jüri Reinvere Peer Gynt Opera from the Play by Henrik Ibsen Jüri Reinvere
    JÜRI REINVERE PEER GYNT OPERA FROM THE PLAY BY HENRIK IBSEN JÜRI REINVERE With the international acclaim of his first opera Puhdistus (Purge), premiered at Finnish National Opera in 2012, Esto- nian-born composer Jüri Reinvere gained his reputation as one of the most faithful, yet versatile composers of our time. Not only a composer but also the librettist of his own operas, his works and life have been shaped by three essential fac- tors: his childhood in an occupied country within the Soviet Union, his developing years in Finland and in Stockholm, and by his private teacher Käbi Laretei, pianist and novelist, and, most importantly, through the presence of her former husband, Ingmar Bergman; an environment which brought Reinvere close to the Nordic theatre tradition and has influ- enced him as a composer, a thinker and as a writer in the most personal way. Among others, he composed Opposite Shore, a radio opera, Northwest Bow, Written in the Sand, Four Quartets I, Requiem and Norilsk the Daffodils, most of these based on his own poetry, written originally in English, using different musical genres in unpredictable ways in an assessment of humanity and its polarities. Reinvere has been described as a “true cosmopolitan with Estonian roots” by Sofi Oksanen, on whose bestseller his opera Purge was based. In addition to his music, he has last year written contributions as political essayist for the Frankfurter Allgemeine Zeitung, as well earlier for radio, TV and various publications in Germany, Finland, Sweden and Estonia - all of them in multiple languages. Sibelius Academy, Finland (2005) Warsaw Chopin Academy of Music, Poland Tallinn Music High School, Estonia awarded locally and internationally: e.g.
    [Show full text]
  • Norwegian Nationalism Or Pan-European Production? : Peer Gynt at Bergen’S Den Nationale Scene
    This is a repository copy of Norwegian nationalism or pan-European production? : Peer Gynt at Bergen’s Den Nationale Scene. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/75037/ Version: Accepted Version Article: Olive, Sarah Elizabeth (2013) Norwegian nationalism or pan-European production? : Peer Gynt at Bergen’s Den Nationale Scene. TDR : The Drama Review. pp. 176-179. ISSN 1531-4715 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Peer Gynt by Henrik Ibsen. Dir. Kjersti Horn. Den Nationale Scene, Bergen. 30 June 2012. Abstract: For Den Nationale Scene’s Peer Gynt, directed by Kjersti Horn, audiences were promised a ‘controversial, vital and nightmarish version of the original play’, an experience of it ‘from a completely new angle’, as well as a show which speaks to universal human concerns. This review evaluates the extent to which these two objectives were achieved, with particular reference to ongoing European politics and the aesthetic traditions of contemporary European theatre.
    [Show full text]
  • Pericles S. Vallianos I. Romanticisms
    ROMANTICISM AND POLITICS: FROM HEINRICH HEINE TO CARL SCHMITT – AND BACK AGAIN Pericles S. Vallianos Abstract: After a reference to the debate concerning the concept of Romanticism (Lovejoy vs Wellek), the article briefly evokes certain key stances of English and French literary Romanticism. It then points to the distinguishing features of German Romanticism, namely the enlargement of the doctrine into an integral metaphysics with the concept of the “organic state” at its core (A. Müller). The critique of political Romanticism by two revolutionary democrats (H. Heine and A. Ruge) is then presented. The article closes with a critique of C. Schmitt’s interpretation of political Romanticism. I. Romanticisms Romanticism was a cultural movement which put European civilization on new tracks. It is, however, notoriously difficult to define – so ramified are its particular forms and branches. The term “Romantic” as a marker of a new age of “progressive universal poetry” superseding the anti-poetic Classicism of the Enlightenment was invented by Friedrich Schlegel1 and elaborated further by his brother, August Wilhelm. In France it emerged after the Bourbon restoration and established itself towards the end of the 1820s and especially in the wake of the notorious “Hernani battle” of 1830.2 Capitalizing on this continuing difficulty a whole century and more after Romanticism’s first stirrings, Arthur O. Lovejoy argued, in a landmark article published in 1924, that we must give up striving for a general definition. In his view, there is no one internally cohering Romanticism. The concept must not be “hypostatized” as if it referred to a single real entity “existing in nature”.3 What we have instead is a variety of local and specific cultural and literary phenomena to which, for the purposes of brevity and broad-stroke classification, a common name is appended.
    [Show full text]
  • Sung Texts CD 4
    GRIEG: Complete Orchestral Works CD 4 GRIEGCOMPLETE ORCHESTRAL WORKS Sung Texts CD 4 9 DET FØRSTE MØDE 9 THE FIRST MEETING Bjørnstjerne Bjørnson (1832–1910) Bjørnstjerne Bjørnson (1832–1910) Det første mødes sødme, The thrill of love’s first blooming det er som sang i skogen, is like a song in springtime, det er som sang på vågen or golden rays of sunshine i solens sidste rødme, when eventide is looming. det er som horn i uren Like distant horns resounding, de tonende sekunder in tones of muffled thunder, hvori vi med naturen all nature us surrounding, forenes i et under. our souls unite in wonder. English translation: W.H. Halverson DEN BERGTEKNE THE MOUNTAIN THRALL fra M.B. Landstad: Norske Folkeviser from M.B. Landstad: Norske Folkeviser Eg fòr vilt i veduskogin Thro’ the dark wood I did stray, kringum ein elvesteine, The Elfstones above me frowing; jutuldottri narrad meg, Elfinmaids beguiled my way; eg fann inkji vegin heim. never more shall I reach home. Eg fòr vilt i veduskogin Sad ’mid rock and tree I stray’d, kringum ein elve-runne, the elfstones hung darkly o’er me. jutuldottri narrad meg, Thou’st beguiled me, elfin maid; eg hev inkji vegen funnid. homewardpath ne’er shines before me. Eg hev vorid med jutulen I have dwelt with the elfin folk og jutulen etter meg rann, and danced with the queen of their race, gentunn sa’, eg lokkad dei, in her eyes no rapture lies, um eg dei aldri fann. no smile is on her face. Eg hev vorid med jutulen I have dwelt with the elfin folk og jutulen etter meg låg, and danced in their maddening round; gentunn sa’, eg lokkad dei, in the elfin maiden’s arms um eg dei aldri såg.
    [Show full text]
  • Peer Gynt in China and Its Adaptations
    KWOK-KAN TAM Chineseness in Recreating Ibsen: Peer Gynt in China and Its Adaptations Ibsen was introduced to China about one hundred years ago, first as a champion of individualism, when the Chinese were in need of a new identity after the collapse of Confucianism. Ibsen’s individualism gave the Chinese a source for a new identity, in which a person could define him/herself as an individual, free to choose and have the right to defy social impositions. Against such a background, Ibsen’s plays such as An Enemy of the People, A Doll’s House and Ghosts became popular in China in the early twentieth century because of their radical social messages for the Chinese revolution that changed China from dynastic rule to modern democracy. For such a change, drastic refor- mation had to occur in politics as well as in culture, especially in people’s concept of the self and nation. In the early years of reception in the 1910s-1940s, Peer Gynt was not considered representative of Ibsen’s social ideas and hence did not attract the attention of the Chinese in days of cultural turmoil. Later in the early years of socialist China, Peer Gynt was condemned for promoting the idea of “thyself- ishness,” which only trolls, not human beings, would adopt as a philosophy of life (Xiao 1949: 5, Tam 1986: 210–211, Tam 2001: 129). As Peer says, The Gyntish self – it is that host of wants, desires that stir one most, – the Gyntish self, – it is a sea of whims and needs and urgency, whatever stirs my breast precisely, and thereby makes me live – concisely.
    [Show full text]
  • Refrain, Again: the Return of the Villanelle
    Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
    [Show full text]
  • FRENCH LITERATURE – 19Th Century Buckner B Trawick, Ph.D
    HUMANITIES INSTITUTE FRENCH LITERATURE – 19th Century Buckner B Trawick, Ph.D. PART I : Early 19th Century Literature -The Romantic Age1800-1842 OVERVIEW Historical Background.* Many exciting political events which helped determine national thought and literature took place in France in the first half of the nineteenth century. As has been mentioned, Napoleon Bonaparte was made consul in 1799 and emperor in 1804. It soon became clear that he was not merely continuing a revolution which had once aimed at freedom from tyranny and oppression, but that he was waging an aggres-sive war of conquest. His fortunes continued to rise till his unsuccessful invasion of Russia in 1812. He met disaster again at the Battle of Leipzig (1813), was exiled to Elba (1814), but escaped (March, 1815)—only to lose his final battle at Waterloo (June, 1815). He was exiled again - this time to the island of St. Helena, where he died in 1821. The Bourbons were restored to the throne in the person of Louis XVIII, who ruled from 1815 till 1824. He was succeeded by Charles X, whose despotic methods led to another revolution (July, 1830). France was proclaimed a constitutional monarchy, andLouis Philippe was called to the throne. Another revolution (1848) overthrew this monarchy, and the Second Republic was proclaimed.Louis Napoleon, a nephew of Napoleon I, served as president from 1848 till 1851. Then by a coup d‟etat he establish himself as dictator, declared France an empire again, and was crowned EmperorNapoleon III in December, 1851. The political unrest is, of course, reflected in the temper of the times.Both the failure of the French Revolution to establish and maintaina just and democratic government and the defeat of Napoleon I were inevitably followed byperiods of disillusionmentamong many groups.
    [Show full text]
  • Commentary Henrik Ibsen's Peer Gynt
    A Commentary OD Henrik Ibsen's Peer Gynt A Commentary, critical-and explanatory on the Norwegian text of Henrik Ibsen's Peer Gynt its language, literary associations and folklore by H. LOGEMAN, Ph. D., Hon. L. L. D. (Glasg.), PROFESSOR IN THE BELGIAN STATE UNIVERSITY OF GHENT. Nu kommer Raden till Gyntiana, mit unge LandI THE HAGUE, MARTIN US NljHOFF,9LANGE VOORHOUT~ . 1917 CHRISTIANIA, H. ASCHEHOUG & CO. (W. NYGAARD) ISBN 978-94-011-8155-6 ISBN 978-94-011-8784-8 (eBook) DOI 10.1007/978-94-011-8784-8 CONTENTS. Prefatory and Introductory ....................... p. VII To be observed .................................. XVI A Commentary on Henrik Ibsen's Peer Gynt ....... I Textual Criticism on Henrik Ibsen's Peer Gynt Preface ........................................ 367 Textual Criticism ............................... 373 Addenda and Corrigenda ...... 465 Abbreviations and Bibliography ... ................ 469 Index............................................ 477 PREFATORY AND INTRODUCTORY \Vhen a man like Georg Brandes, than whom few have better qualifications to understand Ibsen, writes that Peer Gynt is "difficult to understand i nit s I ate r par t s", the for­ eign student of the play is likely to read this with a sigh of re­ lief. At the same time many a reader will have been inclined so far as he himself is concerned, to make the sentiment his, om itt in g the f 0 urI a s two r d s. For, if there is any play of the Master's that requires for its understanding a special knowledge of the milieu and the circumstances that gave rise to it, it is this child of the poet's most exuberant fancy, written at one of the rare periods of his life and practi­ cally the first when everything smiled upon him, when, owing to the success of "Brand", some dissonants notwithstanding (n.
    [Show full text]
  • “In the Hall of the Mountain King” from Peer Gynt by Edvard Grieg Dr
    Introduction to Music Unit for grades K-2 on “In the Hall of the Mountain King” from Peer Gynt by Edvard Grieg Dr. Kay Edwards, Miami University Unit Length There are 3 lessons in this unit for grades K-2. Lesson plans are designed for class periods of approximately 35-40 minutes. Teachers will need to adapt the lesson plans to fit their school resources and the individual needs of their students. Lesson Use The 3 lessons are designed for use by general music teachers, however, portions of the lessons could be used by classroom teachers or homeschool teachers as well. Standards National Core Music Standard – Artistic Process #1: Creating Anchor Standard – Imagine Objectives: • Lesson 1 • Lesson 3 Anchor Standard - Plan and Make Objectives: • Lesson 1 • Lesson 3 Anchor Standard - Evaluate and Refine Anchor Standard - Present Objectives: • Lesson 3 National Core Music Standard – Artistic Process #2: Performing Anchor Standard – Select Anchor Standard – Analyze Objectives: • Lesson 1 • Lesson 2 • Lesson 3 Anchor Standard – Interpret Objectives: • Lesson 1 • Lesson 3 ©Classics for Kids® 2012 - ©Dr. Kay Edwards 2012 Anchor Standard - Rehearse, Evaluate, and Refine Anchor Standard – Present Objectives: • Lesson 1 • Lesson 3 National Core Music Standard – Artistic Process #3: Responding Anchor Standard – Select Anchor Standard – Analyze Objectives: • Lesson 1 • Lesson 2 Anchor Standard – Interpret Objectives: • Lesson 1 • Lesson 3 Anchor Standard – Evaluate National Core Music Standard – Artistic Process #4: Connecting Anchor Standard - Connect #10 Anchor Standard - Connect #11 Objectives: • Lesson 3 The Ohio Standards for Music are indicated on each lesson also. Music teachers in other states can easily match their standards to those in this Unit.
    [Show full text]
  • 17.-Nature.Pdf
    Pieces to Know (so far) ! Puccini, “Che gelida manina,” La Bohème ! Puccini, “Mi chiamano Mimì,” La Bohème ! Vivaldi, “Summer” Concerto, mvt. 3 ! Tchaikovsky, Piano Concerto in B-flat minor, mvt. 1 introduction NATURE OUT of DOORS with CLASSICAL MUSIC Nature in Classical Music ! Landscape, Seascape ! Mountains, Plains ! Gardens Edvard Grieg (1843-1907) “Morning Mood” Edvard Grieg (1843-1907) “Morning Mood” ! Norwegian composer ! One of the most famous of Romantic-era composers ! Incorporated Norwegian folk music into his compositions, many of which are on Norwegian subject matter ! “Nationalist” composer Edvard Grieg (1843-1907) “Morning Mood” ! In 1874-76, Grieg writes incidental music for Henrik Ibsen’s play Peer Gynt (1867) ! Peer Gynt loosely based on Norwegian fairy tale Per Gynt, tracing the life of the title character Peer Gynt ! Blends realistic scenes with fantasy and the supernatural ! The dramatic action—moving through many places and times—was unstageable at the time Edvard Grieg (1843-1907) “Morning Mood” ! “Morning Mood” depicts the rising sun in Act IV, scene 4 of the play ! Peer has been abandoned by his companions while he was sleeping. Norwegian fjord Edvard Grieg (1843-1907) “Morning Mood” ! Peer has been abandoned in the Moroccan desert by his companions while he was sleeping. ! Represents, “A grove of palm and acacia trees at dawn.” Moroccan desert Edvard Grieg, “Morning Mood,” Peer Gynt Suite Claude Debussy (1862-1918) “Clair de Lune” [Moonlight] Claude Debussy (1862-1918) “Clair de lune” ! Part of a piano suite,
    [Show full text]