Combinatorial Enlightenment Slideshow (1)

8/19/2019 Combinatorial Enlightenment Slideshow (1)

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The Combinatorial

Enlightenment

Music 1

29 February


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Announcements• You should have received a study guide for our Midterm, which is comingup on 12 March. I will talk about the exam itself more on Wednesday!

• You will receive your listening quiz back in quiz this week. If you have anyconcerns about your performance, please come talks to us! We’re happyto help.

• Tomorrow: Don Giovanni is being screened in Currier House at 7pm, in

the Fishbowl! You can come have dinner and watch the opera!

• If you can’t come to the screening, please try to see a production of DonGiovanni this week. We’ll be showing the 2001 production conducted byNikolaus Harnoncourt with Rodney Gilfrey as Don Giovanni.


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Today’s Lecture•The Idea of the Classical Style

•Enlightenment Taxonomies

•Musical Combinatoriality and the Idea ofthe Musical Topic

•Sonata Form


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Kristian BezuidenhoutThe Freiburger BarockorchesterOrchestre des Champs Elysées

Orchestra of the 18th CenturyEnglish ConcertOrchestra of the Age of Enlightenment

Concerto KölnChamber Orchestra of Europe

Royal Concertgebouw OrchestraChicago Symphony

Sinfonieorchester des Bayerischen RundfunksCollegium Vocale Gent


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Kristian Bezuidenhout


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The Christoph Wolff Residency


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Today, 4pm: Open Rehearsal with

the Harvard Baroque Chamber

Orchestra, in Memorial Church

Friday, 4 March and Saturday, 5 March,

with the Boston Baroque:

Beethoven, Symphony No. 5Beethoven, Piano Concerto No. 2

Jordan Hall, New England Conservatory


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We are entering a newmusical era…


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Johann Adolf Scheibe, on J. S. Bach

(1737)This great man would be the admiration of whole nations if he

had more amenity, if he did not take away the natural element in

his pieces by giving them a turgid and confused style, and if he didnot darken their beauty by an excess of art. Since he judgesaccording to his own fingers, his pieces are extremely difficult toplay; for he demands that singers and instrumentalists should be

able to do with their throats and instruments whatever he can playon the clavier. But this is impossible. Turgidity has led [Bach] fromthe natural to the artificial, and from the lofty to the somber; andone admires the onerous labor and uncommon effort-- whichhowever are vainly employed, since they conflict with Nature.


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The Galant Style

•Emphasis on textural clarity, clear phrasing,and “singability”

•Musical analog to elegant courtlyconversation


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The Enlightenment EraWait… I

thought this

was theClassical Era?


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Did Mozart or Haydn think of

themselves as “classical”?


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In their time, they were heard as

Modern …


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LateEnlightenment

Music

19th- and 20th-CenturyIdeology

My street,February 2015


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Listening for the

smoothness versuslistening for the variety.


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Dynamic

integration of

styles & themes


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Beaumarchais (Pierre-Augustin Caron), La

Folle Journée, ou Le Mariage de Figaro (1778)


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Le théâtre représente un chamber à demidémeublée: un grand fauteuil de malade est aumilieu. Figaro, avec une toise mesure le plancher.

Suzanne attaché à sat ête, davant une glace, le petitbouquet de fleur d’orange, appelè chapeau de lamariée.

A half furnished room, with a large high-backedchair in the middle. FIGARO is measuring the floorwith measuring rod. SUZANNE is sitting in front of a

mirror trying on a wreath of orange blossoms, herbridal veil.

FIGARODix-neuf pieds sur vingt-six.

FIGARONineteen feet by twenty-six.

SUZANNE

Tiens, Figaro, voilà mon petit chapeau: letrouves-tu mieux ainsi?

SUZANNE

Look, Figaro, here is my little hat. Do youlike it better so?

FIGARO, lui prend les mains Sans comparaison, ma charmante. O! quece joli bouquet virginal, élevé sur la têted’une belle fille, est doux le matin desnoces à l’oeil amoureux d’un époux! …

FIGARO, taking her handsWithout comparison, my lovely! Oh!How sweet in the loving eyes of husbandis that pretty virginal wreath, on the headof his beloved on the morning of their

wedding!

Beaumarchais, La Folle Journée ou LeMariage de Figaro (1778), Opening Scene


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Da Ponte’s Version

The Libretto for Prague, 1786

FIGARO: FIGARO:

[misurando] [measuring]Cinque ... dieci ... venti ... Five ... ten ... twenty ...trenta ... trentasei ... quarantatre. thirty ... thirty-six ... forty-three.

SUSANNA: SUSANNA:

[specchiandosi] [looking at herself in the mirror]Ora sì ch'io son contenta; Yes, I'm happy with it now;sembra fatto inver per me. It seems as if it was made for me.

Guarda un po', mio caro Figaro, Just look a moment, my dearest Figaro,guarda adesso il mio cappello. look over here at my hat.

FIGARO: FIGARO:Sì mio core, or è più bello, Yes, my heart, it's much prettier now,sembra fatto inver per te. It seems as if it was made for you.

SUSANNA: SUSANNA:

Ah, il mattino alle nozze vicino Ah, on the morning of our wedding dayquanto è dolce al mio tenero sposo How sweet to my loving bridegroomquesto bel cappellino vezzoso is this charming little hat,che Susanna ella stessa si fe'. which Susanna made herself.

FIGARO: FIGARO:

Ah, il mattino alle nozze vicino Ah, on the morning of our wedding dayquanto è dolce al tuo tenero sposo How sweet to your loving bridegroomquesto bel cappellino vezzoso is this charming little hat,

che Susanna ella stessa si fe'. which Susanna made herself.


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A

B

A + B

B!

B + B

FIGARO: FIGARO:

[misurando] [measuring]

Cinque ... dieci ... venti ... Five ... ten ... twenty ...trenta ... trentasei ... quarantatre. thirty ... thirty-six ... forty-three.

SUSANNA: SUSANNA:

[specchiandosi] [looking at herself in the mirror]Ora sì ch'io son contenta; Yes, I'm happy with it now;sembra fatto inver per me. It seems as if it was made for me.

Guarda un po', mio caro Figaro, Just look a moment, my dearest Figaro,guarda adesso il mio cappello. look over here at my hat.

FIGARO: FIGARO:Sì mio core, or è più bello, Yes, my heart, it's much prettier now,sembra fatto inver per te. It seems as if it was made for you.

SUSANNA: SUSANNA:

Ah, il mattino alle nozze vicino Ah, on the morning of our wedding dayquanto è dolce al mio tenero sposo How sweet to my loving bridegroom

questo bel cappellino vezzoso is this charming little hat,che Susanna ella stessa si fe'. which Susanna made herself.

FIGARO: FIGARO:Ah, il mattino alle nozze vicino Ah, on the morning of our wedding dayquanto è dolce al tuo tenero sposo How sweet to your loving bridegroom

questo bel cappellino vezzoso is this charming little hat,che Susanna ella stessa si fe'. which Susanna made herself.

Mozart, Le Nozze di Figaro (1786), opening duettino


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Bryn Terfel and Alison Hagley (Conducted by John

Eliot Gardiner)


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What if we don’t have words?


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MUSICAL TOPICS

A topic is a clearly identifiable musical idea. It

could refer to a dance type (minuet, gigue, etc.),other kinds of functional musics (hunting calls,marches), a performance style (the brilliantvirtuosic style or the lyrical singing style), or a

compositional style (the fugue). We can think ofthese as little nuggets of meaningfulassociations.


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TheMinuet

ContradanseThe

March

Fugal style

Brilliantstyle

Singingstyle

TOPICS

The Hunt

Alla Turca


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We could place this in

the broader context ofthe taxonomic urge of

the Enlightenment


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Diderot & D’Alembert, Encyclopédie

(1751-1772)


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Taxonomy of HumanKnowledge:

Memory (History)Reason (Philosophy)Imagination (Poetry)


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The Enlightenment style wasgood at taking many different

kinds of musical ideas andmixing them together in

dynamic ways.


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Mozart Sonata in D major, K. 284

OrchestralTutti—

Unison

Singingstyle

BrilliantStyle!

Stileconcitato —the agitated

style

Fastmarch

MiniFanfare

Singing style

Brilliant Style!

Singingstyle

FanfareSingingstyle Fanfare

OrchestralUnison

OrchestralUnison

FanfareSingingstyle

Singingstyle


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That looks like a crazy

jumble of ideas. How is

it organized?


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Tonality •Idea that different harmonic areas have differentfunctions

•The strong sense of direction and home: the homekey (the tonic) functions as the center of gravity for

a piece

•With that sense of home, the sense of distance fromhome


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The minuet:

|:A :||:B A’:| =

Rounded Binary


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Sonata form

Warning:Sonata formis not the form of a

sonata.


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Sonata versus Sonata Form

A sonata is a multi-movement composition fora solo instrument or small ensemble (i.e. aPiano Sonata, or a Sonata for Cello and Piano).The form of a sonata varies, but is often a threeor four movement work. A sonata is a GENRE.

Sonata form is the FORM of a singlemovement, and is found in many genres:symphonies, sonatas, string quartets, etc. etc.


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Sonata form seen from a distance:

A B A’

(It looks rather like a rounded binary form, like Haydn’s minuet)


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Sonata form, seen closer….

Exposition Development Recapitulation

A B A’


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Even closer...

Exposition Development Recapitulation

Presents thematicmaterial

Takes thematicmaterial and breaks it down,

reworks it, wanders toother keys

Brings thematicMaterial back to the tonic


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More details...

INTRO ||: Expos. :||(:) Develop. Recap. (:)|| CODA

Repeat signs

(Often performances will omit the repeatof the development and the recapitulation)


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Exposition

Primary

Theme Area

Secondary

Theme Area

Medial

Caesura

Closing Theme

Area

Energy Gain &

Transition

Tonic Dominant(Or mediant in the minor)


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DevelopmentNo set form in development sections!

It is a free space for the elaboration of musical material

we have already encountered

Often we’ll find our basic musical ideas broken down andrecombined… sometimes in stormy, agitated ways

Sometimes a composer will throw in a “false recapitulation”

It can end with a re-transition back to the primary theme… or thecomposer can suddenly jolt us back to the primary theme!


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Recapitulation

PrimaryTheme Area

SecondaryTheme Area

Medial

Caesura

ClosingTheme

AreaEnergy Gain &

“Transition”TonicTonic

The recap brings us back to the primary theme, most often in thetonic; most often, the entire recap stays in the tonic key. Some recapscan be very close repetitions of the expositions. Others might leave

out material, abbreviate, or re-compose material.

Coda(optional)


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MOZART SONATA IN D MAJOR, K. 284.

EXPOSITION

Exposition

PrimaryTheme Area

EnergyGain!

Medial

Caesura

(pause)

Secondary ThemeArea||: ClosingArea :||

Cadence!

D major A major

Transition!

(not a single theme,but lots of thematic ideas!)

Cadence?


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MOZART SONATA IN D MAJOR, K. 284.DEVELOPMENT AND RECAPITULATION

Instant

storminess:move to aminor key!

Development

Sequencing

Wild contrasts:

expressive criesand storminess!

pureagitation! Retransition

Recapitulation

PrimaryTheme area!

Secondary ThemeArea

ClosingArea

Energy Gain and Transition

||:

:||

Medial Caesura Cadence!


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MOZART SONATA IN F MAJOR, K. 332


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Coming up next: Don Giovanni

Listening: from Mozart, Don Giovanni (1787):

Aria (Masetto): “Ho capito” [II/39]

Recitative (Don Giovanni and Zerlina): “Alfin siam liberati” [II/40]

Duet (Don Giovanni and Zerlina): “Là ci darem la mano” [II/41]

Aria (Donna Elvira): “Ah, fuggi il traditor” [Canvas]

Recitative and Aria (Donna Anna): “Crudele!... Non mi dir" [Canvas]

Reading: Chapter 14 , Kickstarter #10

Viewing: Mozart, Don Giovanni

Combinatorial Enlightenment Slideshow (1)

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