Katherine Hubbard

0421624

The composition of Opera is a highly dramatic work where the drama is sung. Due

to the nature of these compositions, it is considered a work great artistic

achievement, stylistic and forever changing. Composers for centuries have favoured

this type of art form, thus the popularity of this style developed it to new heights,

especially during the 19th and 20th centuries. Discuss and analyse the aesthetics how

opera is written when comparing Shakespeare’s Otello to Philip Glass’s twentieth

century opera Einstein on the Beach.

Giuseppe Verdi’s opera Otello is considered by many critics to be his best work. It is a

complex work taken from the play Othello written by William Shakespeare and given a

strong setting by the composer Verdi. Verdi's dramma lirico is a drama in four acts, with

a libretto by Arrigo Boito. The process of turning spoken drama into opera involves

cutting, condensing and simplifying. Philip Glass’s opera Einstein on the Beach however

takes on a different revenue of composition in comparison to Otello. His opera is not in

the style of Romantic but a style of minimalism that Glass helped to develop. Glass’s late

20th century composition is not only musically brilliant but the imagery that is used was

fresh, unique and clearly engaged the audience. An intense and dramatic libretto is not

found this opera, quite the contrary. It consists of a no plot story by librettist Robert

Wilson and his intension was to let the audience supply the imagination of the action.

Throughout this essay, it will explore the two operas of Einstein of the Beach and Otello

and how writing styles have progressed within centuries.

An opera is a work where all the arts unite to charm the spectator and, although in this

beautiful alliance it is music which is predominant. The composer, however original he

may be, is nevertheless restricted somewhat by the poet, who indicates the points where

his inspiration should be focused.1 Composition of opera is that the libretto or poem

serves as a base for the music. The main precondition for any theatrical work is life,

movement, and a variety of feelings and desires.2 Opera’s like Verdi’s Otello, developed

during the 19th century from the Western origins of classical music and in structure it

consisted of a variety of recitatives, arias, duets, ensembles, dance and sometimes spoken

text. However modern operas during the 20th century made major stylistic revenues. From

the blissful opera like Otello, came the brilliance of Einstein on the Beach by Philip

Glass. An opera complete with atonal character.3 The first indication of opera’s changing

tonality was by composer Richard Wagner. His operas influenced and dared composers

to compose outside the norm, thus influencing composers like Glass to composer his

atonal opera Einstein on the Beach.4

The skill of converting libretto to music is incredibly arduous and it is evident that an

opera is of longer duration than words in a spoken libretto. An opera that is based on a

play can rarely compete with its source because it is from a derived work of art and it

1 , S, “Russians on Russian Music 1830 – 1880: an anthology/selected, translated and annotated by Stuart Campbell.” (page 95)2 Campbell, S, “Russians on Russian Music 1830 – 1880: an anthology/selected, translated and annotated by Stuart Campbell.” (page 95)3 http://en.wikipedia.org/wiki/Opera Contemporary, recent, and Modernist trends

4 http://en.wikipedia.org/wiki/Opera Contemporary, recent, and Modernist trends

must depend on the quality of its music and singing for its attractions. Thus the librettist

skill is the most important factor when transforming the libretto into a music drama.

Einstein on the Beach was a composition where both the librettist and the composer had

equal compositional attributes. Generally composers and librettists do not compose the

plot equally unless significant changes are required; instead composers choose a libretto

and write their work accordingly upon a decision. However both in Einstein on the Beach

and Otello, both composer and librettist worked together. Philip Glass and Robert Wilson

created a sizable work together and structured their opera whilst meeting for luncheons

on a regular basis, eventually making way for one of the most interesting operas of the

late 20th century. Einstein on the Beach has a running time of four hours and forty five

minutes with four acts where as Verdi’s Otello approximately takes three hours and also

consists of four acts. Glass had always been extremely taken with Einstein; in fact, he

was one of Glass’s hero’s.5 There’s no denying that he was an incredible man but in this

type of artistic genre, the subject of writing about Einstein had been the subject of ‘book,

photographs, gossip and rumours’ to mention a few.6 No matter the subject, the pair

agreed on the title Einstein on the Beach.

The opera consisted of visual themes of a the Train, the Trail and Field-with-Spaceship7

which was divided into four act with the intermissions named ‘knee plays’ referring to

the ‘joining function of humans’ anatomical knee perform’. These intermissions weren’t

proper breaks; instead Philip Glass featured repeated numbers accompanied by an electric

organ. Theses ‘Knee Plays’ had durations of twenty minutes.8 5 Glass, P. “Music by Philip Glass” (page 30)6 Glass, P. “Music by Philip Glass” (page 28 and 29)7 Glass, P. “Music by Philip Glass” (page 30)8 http://en.wikipedia.org/wiki/Einstein_on_the_Beach

Knee Play I

ACT ONEa. (Train I)b. (Trail I)

Knee Play 2

ACT TWOc. (Field/Spaceship I)

a. (Train 2)

Knee Play 3

ACT THREEb. (Trial 2)

c. (Field/Spaceship 2)

Knee Play 4

ACT FOURa. (building from Train)

b. (bed from Trial)c. (spaceship-interior of earlier Spaceship)

Knee Play 59

This contradicts the intermissions that occur in Otello because there isn’t any music

played in the intermissions like there is in Einstein on the Beach. One of the most

interesting features of this opera compared to Otello is the libretto. Glass’s libretto

consists of the use solfege syllables, numbers, and short sections of poetry. Einstein made

phenomenal scientific breakthroughs and the imitation of numerical and solfege syllables

symbolised he scientific discoveries.10 The musical input into the opera had just as much

importance as the visual effects of the opera. Wilson visioned the themes of the opera in

three specific points (1) a landscape seen at distance (the Field/Spaceship scenes) (2) still

life seen at a middle distance (the Trial scenes) (3) portraits seen as in a close-up (the

9Glass, P. “Music by Philip Glass” (page 31) 10 Glass, P. “Music by Philip Glass” (page 31)

Knee Plays) where as Glass saw his opera more as portrait opera where Einstein would

be ‘constructing the idea of the plot, narrative, development, and all the paraphernalia of

conventional theatre’.11 All these different types of ideas seemed nearly impossible to

create but because these two had of the contemporary aesthetics of theatre they were able

to produce this substantial work. Wilson was highly influenced by George Balanchine

and Merce Cunningham where as Glass’s exposure to European theatre, his inspirations

subscribed through the works of Brecht and Beckett.12

Although these two different opera’s vary in compositional techniques, both composers

and librettists serve the music and poetry satisfactory. Verdi’s opera Otello has many

strong moments, which critics noted as showing a new style and a new development in

Verdi’s work. Verdi’s opera is play about the devastating effects of jealousy. Gullible

Otello has promoted the fast-rising Cassio over himself; Iago plots to destroy both Bassio

and Otello. Iago’s menacing character convinces the jealous Otello that his wife

Desdemona is being unfaithful and lies to him that Cassio is her lover. Otello is overcome

by jealousy and in consequence he kills his wife and himself. From the transition from

Shakespeare’s play to libretto, Verdi and Boito made some changes to suit and heighten

the music and dramatic intent. The libretto in Otello achieves equal dramatic justice to

the story just like the Shakespeare’s play Othello. Throughout the play and the opera, the

audience is entertained with the spontaneous drama.

11 Glass, P. “Music by Philip Glass” (page 32 and 33) 12 Glass, P. “Music by Philip Glass” (page 34)

Act IV has the most dramatic tension in the opera. It begins with a mournful English horn

solo with fragmentary phrases that set the tone for what is to come. In these final scenes

Verdi captures Otello’s fury by the careful use of the orchestration. His use of descending

staccato passages followed the combination of the pulsing drum beats enhancing his

frightening entrance. The story entails that Desdemona is preparing to retire for bed,

assisted by Emilia. She tells Emilia of an old song she sued to hear in her childhood, a

song that keeps coming back to her mind this evening. The words tell of a girl who, like

herself, loved too well, and she sings this pathetic little song for Emilia called the

‘Willow Song’. This song is so moving because of its childlike simplicity. When Emilia

has bid her good night, Desdemona kneels before the image of the Madonna, which

stands over a faldstool. Here Desdemona sings her prayer, the noble, “Ave Maria”, at first

in a whispered monotone, accompanied by gently strings, and then soaring aloft in a

melody which is probably the loveliest in the entire opera.

The song ends with the quiet and peace of the “Amen”. This then flourishes into `Prega

per chi adorando'. Scarcely has she finished and the sinister figure of Otello is seen

appearing through a secret door into Desdemona’s bedchambers. He makes his way to

her bed, contemplates her for time as a mysterious double bass solo; miming to an

instrumental recitative punctuated by motive fragments. Immediately this harmonic

context of the double bass solo serves as a pivot between the A flat major of

Desdemona’s Ave Maria to the A flat minor that becomes asserted in the ensuing bars.13

14

Clutching his sword, Otello kisses Desdemona three times while the orchestra plays the

passionate theme that ended the love duet in the first act. Otello asks her if she has said

her prayers, for, he explains, he would not kill her soul. Again he accuses her of being a

paramour of Cassio’s. Denials are useless. He repeats charge after charge, his jealous

rage mounting, and the horrified Desdemona cries for help, as he takes her by the throat,

and an orchestral surge does not restore any sense of order until the deed is done. Emilia

knocks frenziedly on the door, and when Otello finally admits her into the room, she is

stunned by the tragedy facing her and shrieks for aid. In answer others rush into the

bedroom, and Otello says that he has killed his wife because of her faithlessness. Emilia

explains about the handkerchief, and Montano tell Otello that Rogerigo, dying, has

exposed Iago’s wiles.

That villain makes a hurried exit, and Otello sings a lamentation, as he gazes at the

lifeless for of Desdemona. Otello prepares for his own death, in is his "Niun mi tema,"

13 Parker, R & Brown, M, “Ancora un Bacio: Three Scene from Verdi’s “Otello” 19th century music, Vol 9. no. 1 (Summer, 1985) (page 11)14 Parker, R & Brown, M. “Ancora un Bacio: Three Scene from Verdi’s “Otello” 19th century Music, Vol. 9, No. 1. (Summer, 1985). Pp. 50-62.

which is full of rapid mood shifts. He unsheathes his dagger and sings an accompanying

passage of true lyricism. He then ends with one of the most poignant death scenes in all

opera by stabbing himself and, drawing himself close to Desdemona with his remaining

strength, kisses her, as the orchestra takes up again the “Kiss” motif. In this last action it

unfolds with maximum freedom, which is embarks of new material, not typical to the

traditional romantic style. Einstein on the Beach flourishes with new materials and

relishes with new freedom. Although Glass’s and Wilson’ libretto is uncomplicated,

Glass’s music creation of the opera is complex. Because there is no functional libretto

taking place in the opera, Glass has used his minimal approach to construct his motifs and

ideas of his opera to keep it interesting and unique.

Throughout Einstein on the Beach we can hear a simple fragment that is heard on

numerous occasions, reinventions of themes and develops them further. As Glass

explains in his his book ‘Music by Philip Glass’,

“A musical grouping of, say, five notes is repeated several ties, then is followed by a measure

of six notes (also repeated), then seven, the eight, and so on. A simple figure can expand and

then contract in many different ways, maintaining the same general melodic configuration

but, because of the addition (or subtraction of one notes, it takes on a very different rhythmic

shape.”15

In these three examples, we can see how Glass has developed a particular motif, a

rhythmic cycle and inverted it.

15 Glass, P. “Music by Philip Glass” (page 1,2 and 3)

Trial Scene

16

First train scene

17

Closing section train one

18

The structures of the Knee Plays are particularly creative. Compositions of atonal and

twentieth-century operas are usually scored for smaller ensembles as opposed to full

orchestra like Otello. Einstein on the Beach is an opera that achieves that small unity.

Because the opera is of such a vast duration, it is not expected for singers and musicians

to perform for nearly five hours. In return, the larger instrumental and vocal ensembles 16 Glass, P. “Music by Philip Glass” The Music (page 2)17 Glass, P. “Music by Philip Glass” The Music (page 2)18 Glass, P. “Music by Philip Glass” The Music (page 3)

only unit in the major scenes like the Train or Dance, thus the dominant ensembles are of

smaller numbers.19 Knee Plays contain the two major themes of the work. The first is the

‘cadential theme’ whilst the second theme takes advantage of the methods that Glass used

created. This was the combination of rhythmic and harmonic structure in a solid

integration followed by the two examples below.20

21

22

Philip Glass intended for this for this harmonic language to be predominant in Einstein on

the Beach and through this style he has allowed his talents to take on new horizons. His

transition to compose this large scale opera has made way for a new expressive language

not only for himself at the time but also for a new beginning to revolutionise new music

he creates.23

19 Glass, P. “Music by Philip Glass” The Music (page 2 & 3)20 Glass, P. “Music by Philip Glass” The Music (page 3,4 & 5)21 Glass, P. “Music by Philip Glass” The Music (page 3)22 Glass, P. “Music by Philip Glass” The Music (page 3)23 Glass, P. “Music by Philip Glass” The Music (page 6)

The compositions of Einstein on the Beach and Otello are two works of extremely high

calibre and were incredibly influential during its periods. Although they contrast greatly

in style and compositional techniques they are works that which serve justice to their

fashions. Verdi’s adaptation of Otello was ground breaking because it pushed the

composition on operatic writings into a new generation. It had been sixteen years after

Aida had seemed to be the crowning glory of Verdi’s long musical career; the great

composer astonished the musical world with Otello. Needless to say that his opera was

warmly received and his writing skills flourished, furthering his future compositions. Just

like Verdi, Philip Glass’s only opera Einstein on the Beach heightened his compositions

to new lengths mastering the art of creating music by combining harmonic progressions

with rhythmic structures.24 Considered ‘radical’ in Western traditions, this criticism did

not stop Glass composing his masterpiece, in fact it was his intension and goal to produce

a work of this sound.

Noticeable comparisons allured these operas to have motivic elements throughout, Glass

with the apparent musical groupings and Verdi with his uncanny depictions of the

coming action. Although each composer views and attempts of their structures are

different, they are both plausibly effective. At the age of seventy-four Verdi showed past

all doubt, that the fierce creative spirit which burned within him was not only alive, but

still flowing brightly and Glass’s attempt of his first opera made way for the major shift

to a large scale work, engulfing a yearning sensation for a more expressive language to

come.25 With the collaboration of Verdi and Boito, this operatic genre could possibly be

24 Glass, P. “Music by Philip Glass” The Music (page 5)25 Glass, P. “Music by Philip Glass” The Music (page 6)

one of the greatest opera’s ever written based on Shakespeare play Othello and the

collaboration of Robert Wilson and Philip Glass’s libretto Einstein on the Beach will be

forever known as one of the most interesting and creative minimalist operas of the

twentieth-century.

Bibliography

Textual Materials

Glass, P. “Music by Philip Glass”; edited and with supplementary material by Robert T.

Jones. New York: Da Capo, 1995.

Glass, p. “Opera on the Beach: Philip Glass on his new world of music theatre” London:

Faber, 1988, c1987

Haskins, R M.M. “The music of Philip Glass, 1965-1975 [microform]: an analysis of two

selected early works and Einstein on the Beach” Ann Arbor, MI: U.M.I., [19--]

Sound Recordings

Glass, P. “Einstein on the Beach” Holland: CBS Records Masterworks, p1979.

JSTOR Articles

Parker, R & Brown, M. “Ancora un Bacio: Three Scene from Verdi’s “Otello” 19th

century Music, Vol. 9, No. 1. (Summer, 1985). Pp. 50-62.