Académique Documents
Professionnel Documents
Culture Documents
Western
Classical Music
Osvaldo Glieca
© 2014 !
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Historians usually divide it chronologically!
into three different phases !
!
The Renaissance Era (1450 – 1600)!
The Baroque Era (1600 to 1750) !
The Classical Era (1750 to 1820) !
The Romantic Era (1830 to 1900)!
!
During the Baroque Era, tonality was the basis of the !
Common Practice developed!
!
During the preceding era, known as The
Renaissance (1450 to 1600) harmonic theory had been
based on what we now think of as the Greek modes!
!
!
There are 7 Greek modes!
!
Dorian Phrygian Lydian!
Mixolydian Aeolian Locrian Ionian!
!
The modes actually used in the Renaissance were!
!
Dorian Phrygian Lydian!
Mixolydian Aeolian !
!
The plagal form of these modes refers to the
range of voices in choirs, a 5th below or a 4th above.!
!
During this era composers tended to write that each part of the choir could sing a
separate part in counterpoint, treating dissonance to create a momentary drama. !
!
To do this, they established!
!
Avoidance of parallel fifths, unisons and octaves!
!
Avoidance of overlapping between the parts!
!
Dissonances always arrived at by a suspension always resolved by !
downward movement by step!
!
!
This then becomes the basis of during the Common Practice Era in 1600!
Important points to consider!
!
By that time tonality had not yet been discovered!
!
The idea of a chordal “root” did not exist yet!
!
Chord progressions were confined mostly to the triads based !
on degrees of the mode!
!
They were regarded as vertical arrangements of intervals !
rather than chords!
!
Any diatonic chord of a mode could move to any other chord as long as the
basic rules were observed: the significance of strong root progressions (in 4ths
and 5ths) as were not thought of as more significant than any other progressions.!
!
Josquin des Prez and Giovanni da Palestrina achieved a style within these
constraints that later became known as Prima Pratica .!
!
Ideal for the expression, it was very beautiful but the only drama presented was
the dissonance allowed by suspension and resolution.!
!
A parallel in painting can be seen in the painting of Leonardo, Michelangelo
and Raphael. Classical artists had re-discovered Greek perspectives and natural
realism but treated light as uniform and bland, something that did little more
than provide colour.!
!
!
Josquin Des Prez (1450 - 1521)!
!
!
An exact contemporary of Leonardo Da Vinci (1452 - 1519) !
!
Both employed in Italy by the Duke Sforza at the !
Court of Milan in the late 1400s.!
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Suggested listening !
!
Josquin Des Prez !
!
Ave Regina, (1510)!
for 5 Voices !
The Virgin and Child with St. Anne, Leonardo da Vinci (1508). !
Oil painting on wood. Louvre museum, Paris. !
Michelangelo Merisi da Caravaggio (1571 - 1610)
The Calling of St. Matthew (1599) Oil painting on canvas. Church of St. Louis of the French, Rome.
Suggested listening!
!
Johann Sebastian Bach!
Mass in B minor (1724-1739)!
!
Main characters:!
!
Orpheus = tenor or baritone Euridice = soprano or contralto!
Speranza = contralto Caronte (guardian of the river Styx) = bass!
Plutone = baritone Persephone = soprano!
!
Other crucial parts:!
La Messaggera (Sylvia)!
There are also a large number of nymphs, shepherds and spirits (forming a chorus)!
Instrumentation:!
Up to this point in history the mass had been the largest form.!
!
Desire to create an overall structural framework that would embody the
significance at background level. The Opera is in 5 acts, symmetry of
structure: acts 1 & 5 (“outer” acts) “frame” the work.!
!
System of transposition and modal transposition!
Renaissance Baroque
One practice one style Two practices, three styles
Restrained representation of the words Affective representation of the word
All voices equally balanced Polarity of outermost voices
Diatonic melody in small range Diatonic and chromatic melody in wide range
Modal counterpoint Tonal counterpoint
Intervallic harmony and intervallic Chordal harmony and dissonance treatment
dissonance treatment Chords are self contained entities
Chords are by-product of the part-writing Chord progressions are governed by tonality
Chord progressions are governed by modality Extremes of rhythm, free declamation and
No pronounced idioms, voice and instruments mechanical pulsation
are interchangeable Vocal and instrumental idioms, the idioms
are not interchangeable
“Baroque’s doctrine of the affections”!
!
Affect, in this sense refers to emotions in general. In the baroque there was a desire
to express a wider range of emotions, even those such as anger. They believed in the
power of music to heal the body and spirit.!
!
Love, fear, anger, joy, “poetry and music serving to arouse the passions of the soul”.!
!
Music attempted to reflect just one of these so called “affections” at a time!
before the Classical period you generally do not find attempt at expressing more
than one emotion within one piece of music.!
The Venice School!
(1530 – 1650)!
The Venetian “music school” was one of the finest in Europe, and their influence
on musical practice in other European countries was enormous. The innovations
introduced by the Venetian school, along with the contemporary development of
monody and opera in Florence, together had defined the end of the musical
Renaissance and the beginning of the musical Baroque.!
!
Major members of the Venetian school include:!
!
Adrian Willaert (c.1490–1562) Jacques Buus (c.1500–1565)!
Andrea Gabrieli (c.1532–1585) Nicola Vicentino (1511-c.1576)!
Cipriano de Rore (c.1515–1565) Gioseffo Zarlino (1517–1590)!
Baldassare Donato (1525–1603) Annibale Padovano (1527–1575)!
Giovanni Gabrieli (c.1555–1612) Giovanni Croce (c.1557–1609)!
Palace of Versailles, France. !
The Hall of the Mirrors!
Jean Baptiste Lully (1632 - 1687)!
Gavotte - moderate 4/4 upbeat of 2 quarter notes. Phrases start/finish mid-bar e.g.:
Gavotte from Lully s Atys!
Sarabande - slow dignified triple metre, Mexican or post Spanish origins (slow
minuet? According to some)!
Minuet - particularly associated with Lully, normally in 3/4 time ( but not always)
moderato tempo!
!
Gigue - compound duple, 6/8 some Italian examples even 9/8 or 12/8 originated in
Ireland and England, evolved differently on continent. Normally last in suite of 4.
Dotted rhythm, wide interval leaps full of dotted notes and syncopations.!
Chaconne - continuous variations in slow triple metre!
Passpied - gay spirited dance in fast 3/8 or 6/8 may have originated in Brittany!
Canarie - wild dance, faster than gigue associated with 17th century view of
natives of Canary islands. Often in quick 6/8 or 3/8 time but often with melody
on: minim, crochet, crochet. !
!
Galliard - vigorous dance of Italian origin 6/8 with hemiola. Rapid decline in
Lully s time!
!
Riguardon - A folk dance in 4/4 from Provence often found in Lully’s operas/
ballets!
!
Loure´ Moderato 6/4 time dotted rhythms leaning on strong beats!
Throughout this period Italian music was enormously influential in France, but in
love/hate relationship.!
!
Italian music was seen by the French as self-indulgent, exuberant and eccentric. !
!
French took pride in the supposed virtues of restraint and refinement, cultivated
by Jean Racine, Pierre Cornielle and Moliere.!
!
Irony is that it will be an Italian, Lully, who should help to bring about the
change of style to suit French tastes.!
!
Lully was favoured by the King to naturalize music for French tastes. !
!
The pioneering thoughts for rationality, valued over emotionalism: consequences
for the mature development of tonality ?!
For most of his career Lully collaborated with Philippe Quinault (1635 - 1688). Lully
alienated Moliere at an early stage of his career. He had a natural flare for comedy, but this
was not favoured in France (in late XVII century opera buffa was developing in Italy).!
!
Cardinal Mazarin commissioned Lully in 1656 for a ballet to be performed at the Louvre for
the King in carnival season.!
!
Ballet de la Galanterie du Temps, the main role, that of a gallant, performed by Louis XIV.
Lully was inclined to make the inner parts as important as treble and bass. !
!
Ballet d Alcidiane, first performed in 1658 is the first ballet by Lully (N.B.: he did not
compose all this music to this, however) that is regarded as forming the link between the
ballet s and later tragedie lyrique. !
!
Performed on more than 80 instruments including 36 violins, flutes, viols, harpsichords,
guitars, lutes and theorbos. It features a “combat music” with trumpet flourishes, etc.
prefigures military “divertissement” to be found in later works. !
Meeting musicians by François Puget. This painting was donated by the
artist to King Louis XIV in 1677-1678. Traditionally the two main figures
have been identified as the composer Jean-Baptiste Lully and the
librettist Philippe Quinault (Musée du Louvre, Paris). !
Overture with its wide interval leaps and dotted rhythms and fugal central section
“bears the classical stamp of all French overtures to come”. !
Another example of this type of overture is from Atys.!
!
At start shows clear sense of tonal rationalism: Gm – Cm – F – Bb – G7/B – Cm –
Gm/Bb - Cm/Eb – Gm 6/4 - Gm – D7 working either with strong 4th root
progressions, pivot notes (eg, the d in common between the Bb and G7) and the
suspensions. Then Bb, D7/C, D7/F#, Am, C7, melody emphasizing the tritone.!
!
Then note the fugato of middle section a feature sustained forwards into the time
of Rameau.!
Ballet Comique might not be comic, may even be a tragedy (as comedy was a
word that at one time simply meant drama).!
Tragedies Ballets, Tragedies des Machines and finally Tragedies Lyriques were
further genre terms used, leading to the development of French Opera. !
Tragedies des Machines stage machinery, developed first in Italy, allowed figures
such as Venus to float down on clouds ballets featured all manner of animals !
(live animals very often) owls, peacocks, monkeys etc. or people in animal
costumes.!
!
Acis and Galatee, Lully’s last opera in 1687. Comparison of overture with that !
of Atys. !
!
More decorative accompaniment, elegant, light rococo style. More confident,
less experimental use of tonality. Lully thought to be somewhat conservative in
his string writing than composers in Germany and Italy at this time.!
!
However, the Vingt Quatre Violons du Roi represented the start of a new era,
laying the foundations of the modern orchestral ensemble.!
!
Method of string playing, as if with deeply curved bow, more pressure mid-note,
towards centre. By this time viols all but vanished.!
Organs in 17th C Italy did not have independent pedal boards so the writing is
indistinguishable from that for harpsichord in notation and musical idiom. !
In Vivaldi’s Concertos you find a further level of development in the idea of!
tutti and solo alternation. Concerto more often with solo virtuoso instrument. !
!
There are 3 types of possibility in currency during this period: !
1) virtuoso figuration not related to the tutti theme (but note that we are talking
here of figuration only, not a separate idea). !
2) soloistic figuration and expansion of the tutti idea. !
3) a solo idea distinct from that of the tutti (ritornello) idea.
Particular mention should be made of Heinrich Shutz (1585 – 1672) who studied
with Giovanni Gabrieli in Venice. He showed an interest in both the Netherlands
polyphonic style and seconda prattica style of Monteverdi.!
!
Most phrases, however, seem to consist of short motives (unlike either Netherland
schools or Italian – unless you count Josquin Des Pres)!
!
The counterpoint is limited to that within a certain antiphonal activity
reminiscent of Gabrieli (activity, almost hocketing with subgroups of choir some
supported by strings some by brass).!
!
Harmony seems to have clearly advanced to the point that the main progressions
seem to be around circle of fifths in strong root progressions.!
Late Baroque Religious Music!
!
Henry Purcell (1659 – 1695)!
!
!
Much of Purcell’s development is concerned with an English version of
the polyphonic style, note the coming together at cadence points in
homophony. !
!
Tendency to contrast the virtuosic soloist with simpler chorus lines.!
!
Idea of religious text interspersed with ”Pastorale” “Sinfonia” and
choruses with alternation of polyphony and homophony (which have
influence on Handel later). Note use of “Hallelujah” here. !
George Frederick Handel !
(1685 - 1759) !
Smaller modest scale. Term possibly derived from word for shell rocialle,
combined with ‘baroque’. Portraits now more friendly and domestic. Wish to
indentify with rustic scenes. (later Marie Antoinette dresses as milk made, not that
she actually went the whole way and milked a cow). Decoration now more likely to
involve natural objects such as leaves, shells, etc. Court now preferred small town
c.1720!
c.1770!
Interiors!
The Music Room from Norfolk House, St James's Square, London. Matthew
Brettingham (architect), Giovanni Battista Borra (designer). The House was built
in 1722 and demolished in 1938. The interiors have been acquired by the
Victoria & Albert Museum in the same year. Original picture from 1937.!
Reproduction of c.1780!
Architecture!
Idea that reason, logic, scientific method could be taken into realm of politics!
inspire Mozart and his librettist Lorenzo Da Ponte to write The Marriage of Figaro!
Later Classical Era!
!
Idea of “musical absolutism” (or “spiritual absolutism”) associated with
philosopher/writer Johann Wolfgang von Goethe (1749 – 1832) and E.T.A. Hoffman
(1776 – 1822).!
!
Expressed this way: “music has no subject beyond the combinations of notes we
hear, for music speaks …nothing but sound” by Eduard Hanslick (1825 - 1904) in
The Beautiful in Music.!
!
The object of music seen to be elevating the listener to a higher, abstract plane!
Motivation for the reforming aristocrats and wealthy merchants of Vienna to give
support to music in this era.!
Genres!
The Classical Era saw the rise of two new genres: The String Quartet and the
Symphony. Alterations made to others genres: Concerto, Sonata etc. and the
virtual disappearance of baroque genres. String quartet origins particularly
associated with Haydn. !
The symphony originated largely as an outgrowth from operatic overtures.!
Form!
!
The era’s main formal triumph is sonata form. Note that the word “sonata” is used
for both a form and a genre. Sonata form is a.k.a. “first movement form” as it is
invariably the form used in first movements of symphonies. It is also used for first
movements of most string quartets.!
Sonata form developed out of binary form. The most essential features are key
contrast, development and return to home key: these must be present.!
Outline of binary form in major key!
Outline of Sonata form in major key!
Outline of Sonata form in minor key!
Giovanni Battista Sammartini (1700 - 1775)!
Nicknamed as the “father of the symphony” and quickly became a famous
composer outside of Italy by the 1730s. !
!
Mostly praised for his innovations in the development of the symphony,
his approach to composition was unique taking influence from the trio
sonata and concerto forms, in contrast to other composers during the
time that modeled symphonies after the Italian overture which was
typically in a three-movement structure: the outer movements are quick,
the middle movement is slow. !
!
Sammartini was a prolific composer: 4 operas, about 70 symphonies, ten
concertos, and a significant collection of chamber music.!
Sammartini Symphony in G major!
!
Good example of his most inventive music of middle years!
Even as his works dropped from performance, and he wrote no new operas after
1804, he still remained one of the most important and sought-after teachers of his
generation, and his influence was felt in every aspect of Vienna’s musical life. !
Franz Liszt, Franz Schubert, and Ludwig van Beethoven were among the most
famous of his pupils.!
!
!
The Classical Era!
&!
Ludwig Van Beethoven!
!
Sadak in Search of the
Waters of the Oblivion!
!
Oil On Canvas!
(1812) John Martin!
!
The Classical Era (1750 to 1820)
Songs (Lied) !
Masses (the Catholic ceremonial form still existing since middle ages)!
Classical Piano Sonatas!
!
Early Sonatas, was not always clear whether written for the piano (then
very new) or clavichord or harpsichord.!
The main difference had to do with the ability to make large differences
in dynamics.!
Before Beethoven the idea of structural unity seems to have been confined to single
movements. Another example of a Classical sonata that does not have a sonata first
movement. The first movement melody is the result of the uppermost voice in the compound
line of arpeggios.!
The fast final movement is a virtuosic tour de force comparable to the last movement of
Mozarts’ Sonata K331.!
Sonata Rondo example of form:!
A - Bridge - B (dom ) - A – C (subdominant: development section) - A (recap)- Bridge B (home
key) - A (variations and developments and coda) In which A is the rondo theme.!
!
It is generally considered that Beethoven’s most innovative symphonies were the 3rd, 5th , 6th
and 9th.!
The 5th symphony is regarded as an extreme example of a piece generated from one motivic
fragment. Note, however, that it is the rhythmic proportions of the motif, rather than its pitch
content, that allows it to appear in so many apparent transformations. Consisting of three
short notes and one long one it is more malleable than any arrangement of pitches.!
Opera of the Age of Enlightenment (1750-1830)!
Two developments ended the hegemony of serious opera (opera seria). The first was
the success of G. Battista Pergolesi 1733 Neapolitan comedy, La Serva Padrona. !
Comedies (opera buffa) such as this made opera seria look old fashioned. !
!
The second from a desire to re-organise opera along the Age of Enlightenment
agenda (science, philosophy, literature, paintings). Gluck provided the guidelines for
this new age focusing on dramatic truth. !
!
At the end of the 18th century, Mozart composed a sequence of comedies all sung
in Italian (Nozze di Figaro 1786, Don Giovanni 1787, and Così fan Tutte 1790).!
!
Italian famous Opera composer such as Rossini, Donizetti and Bellini developed
the “bel canto” style later flourished around Europe. !
The main features of the “bel canto” style!
!
“Bel canto” refers to the Italian-originated vocal style that prevailed throughout
most of Europe during the 18th century and early 19th centuries. !
!
• Prosodic singing, use of accent and emphasis of rhythmic patterns used in the lyrics!
!
• Matching register and tonal quality of the voice to the emotional content of the words!
• Frequent alteration of tempo through rubato quickening and slowing the overall time!
• Use of vibrato for expression of certain words and for gracing longer notes!
Gioacchino Rossini (1792 - 1868) !
Italian composer who wrote 39 operas as well as
some sacred music, songs, chamber music, and
piano pieces. His music is sensuous, brilliant and
rhythmically energetic.!
His best-known operas include the Italian
comedies, The Barber of Seville, The Italian Girl in
Algiers and Cinderella. He wrote serious operas in
Italian: Tancredi, Otello, and Semiramide. The
Thieving Magpie is one of his most celebrated
overtures. !
Rossini introduced innovations that transformed Italian opera, and would influence
generations of French and Italian composers.!
He had a natural ease of composition and gift for melody, showing obvious
influences of Beethoven and Chopin. Rossini was an outstanding pianist whose
playing attracted high praise from Franz Liszt and Camille Saint-Saëns. !
Influenced Meyerbeer, Offenbach and even Wagner in the second half of the 19th
century.!
Gaetano Donizetti 1797 - 1848!
Refers to work of literature, arts, and furniture in the period between the !
years 1815 (Vienna Congress), the end of the Napoleonic Wars, and !
1848, the year of the European revolutions.!
!
Early 19th century in Germany and Austria continues the Neoclassical !
development first in the Greek and Roman revival style, followed by a !
more eclectic approach of the Italian Renaissance, and Byzantine.!
!
!
Re-adapt the French Empire style replacing formality and majesty with !
comfort and function.!
!
1815 – 48 also known as the Biedermieir era, yet this tendency can be !
seen as a counterbalance to the wildness of romantic ideals.!
!
Artistic repression: discouraged from political engagement.!
!
Most often refers to the kind of peaceful domesticity that was encouraged !
particularly seen in the style of furniture in central Europe/Germany.!
!
Mendelssohn’s name associated with this, unfairly according to Charles !
Rosen (American Pianist and musicologist 5th May 1927 - 9th Dec 2012).!
Jakob Alt (1789 - 1872) !
A Lady At Her Writing Desk in a Biedermeier Sitting Room, (1821)
Watercolors on paper. !
Beidermeier interior, Chrzanów Museum, Chrzanów, Poland!
The Propylaea, (1846 - 62) Munich, Germany. Architect: Leo Von Klenze!
Berlin Konzerthaus, (1818 - 1821) Berlin, Germany. Architect: Karl Friedrich Schinkel!
Walhalla, (1830 - 1842) Regensburg, Germany. Architect: Leo Von Klenze !
Franz Schubert (1797 – 1828)
!
A native of Vienna, discovered and helped as a child prodigy by Antonio Salieri
(1750 – 1825), who noticed some unusual and daring harmonies in his early
pieces.!
!
Particularly known for the genre of Germanic Lied. Set poems by Goethe,
Muller, Schiller, Heine, etc.!
!
Despite the poetic, refined imagery of his music he was something of a !
hell-raiser and died of syphilis. Early 19th Century. Germanic preoccupation
with folk poetry.!
!
Der Erlkonig, a poem by Goethe, piano accompaniment unusually elaborate for
Schubert. Alternations of disturbed child answered by his father in a calming
manner. Rhythmns reflecting riding on horse, and increasing sense of panic.!
Schubert started writing symphonies in his early teens and there are three mature works
including the B minor symphony no. 8, the Unfinished written in 1822 but not known
widely until some time after his death.!
!
It is “unfinished” only in the sense that it does not conform to the 4 movement pattern.
The first movement exposition presents three themes, rather than just two. The opening
slow theme introduces the movement in a manner unprecedented in symphonic
writing. The themes are all of a strongly melodic nature and so contrasted from one
another that the whole teeters on the brink of being a medley.!
After Schubert the Lied seen as having a substantial new tradition as genre.!
His songs are considered particularly innovative and significant in the late 19th
Century.!
!
With Mahler he was a student of at the Vienna Conservatoire where he studied
with Anton Bruckner (1824 – 1896).!
!
Caught syphilis at the age of 18 which eventually led to his early death (aged 42)
and led to bouts of depression. He earned money as a music critic and used this
role to attack Brahms for his lack of faithfulness to the texts he set.!
!
Mahler regarded Wolf’s Lieder as even more significant than his own. Wolf’s lieder
include settings of Heine and Goethe among others.!
!
Use of leitmotif and exotic harmonies often reminiscent of Wagner. Example of
the setting of Goethe poem “Ganymed”.!
Hector Berlioz (1803- 1869)
Programmatic, yet not in the sense of a tone poem. In the legend Faust trades his
soul for the magical powers Mephistopheles offers him, but this would take him
away from Gretchen.!
!
Important: Twelve note theme. !
!
Note resemblance of Faust movement (I) opening aug triads and viola, cello,
clarinet of page 166 in Mephistopheles movement (III). Brass section fully valved;
early example of brass able to fully participate in chromaticism.!
!
Liszt style it becomes apparent perhaps for the first time that big orchestral
effects, relations of tessitura, combinations of instruments, contrasts of
instrumental groups, texture, gesture, etc. can bestructural shaping forces in
music. !
!
!
The Symphonist: Brahms, Bruckner and Mahler!
The Opera Greatest Masters: Wagner and Verdi!
!
Johannes Brahms (1833 – 1896)!
!
!
Identified as the most conservative of prominent
composers during the 19th century.!
!
Liszt’s Allgemeiner Deutsche Musikverein
associated with New German School of
programmatic composers - to some extent an anti-
Brahms alliance.!
!
Photo of a young Johannes
Brahms (circa1853).! Although leader of the opposing camp even Wagner
acknowledged that Brahms did new things with the
old forms. Later, in 20th C, Schoenberg was to
identify the innovative “developing variation” in
Brahms’ music.!
!
Championed by Schumann and Clara Wieck.!
!
Brahms received great encouragement from Robert and Clara Schumann at a
young age. He was a piano virtuoso brought up in Berlin in dire poverty. His
father was a popular musician who was often unable to provide for his family so
that even as a child Johannes often had to play to support the family. !
!
!
Some of the praise that Robert Schumann, in his role as music critic, lavished
upon the young Brahms gave him a lot to live up to, so that for many years his
production might have been inhibited: it was quite slow.!
Brahms, more than any other composer active in the late 19th century, is seen as
continuing the Classical tradition of Beethoven. Yet he evolved what Schoenberg
has referred to as “the developing variation”.!
!
Anton Bruckner (1824 – 1896)!
!
He is especially famous for his nine symphonies.
All very long and are written in a late Romantic
style for a large orchestra. Moved to Vienna where
he became Professor at University!
founding life difficult - regarded as a naïve
peasant. Taught Hugo Wolf, Hans Rott and
befriended Mahler. Also taught Schenker (but S.
disparaged Bruckner’s music)!
His earliest symphonic attempts date from his late
30’s. Influence of Beethoven’s symphonies for
their grandeur gestures.!
Bruckner’s symphonies show a wonderful ability to develop ideas slowly over a
long period of time. Some of the slow movements last about 30 minutes. !
!
His music builds up in stages to big climaxes in a similar way to organ music. His
scherzos (third movements) are tuneful dance movements which often sound like
country dances. His music shows great harmonic and polyphonic skills. !
!
Bruckner often made revisions (changes) to his music. This often makes a
problem for conductors today as they have to decide which version to use. Many
musicians think that often Bruckner’s first versions were the best. !
!
The revisions were often cuts to make a symphony shorter so that orchestras
would be more likely to play it, but the cuts spoil the flow of the music. !
!
Nowadays we recognize Bruckner as one of the greatest writers of symphonies as
well as a great composer of choral music.!
As with Liszt’s Faust symphony the time-scale is expanded!
Lack of programmatic element; different kind of sonata structure!
Also known for his motets, E minor mass!
One string quintet in F (a rare example of a commission)!
Recently discovered early string quartet!
!
Gustav Mahler (1860 – 1911)
!
From Austrian Bohemia, family later settling in Moravia!
From a German-speaking Jewish Czech ancestry. !
!
A child prodigy, virtuoso pianist who became best-known
as conductor. By the time Bruckner knew him at the Vienna
Conservatoire he was 17.!
!
Friendship with Hans Rott, Influence of the anti-Habsburg
leftist politics of the time. He was against the conservatism
of bourgeois liberalism.!
!
Saw aesthetics as influenced by aristocracy (via, e.g.:
Hanslick). New youth-orientated Germanic culture (state
created in 1871).!
!
Influence of Nietzsche and Schopenhauer on the Leseverein
der deutschen Studenten Wiens (Reading Society of Viennese
German Students).!
Mahler at 25!
!
Influence of the Nietzsche prodigy Siegfried Lipiner (1856
– 1911) who wrote The Unbound Prometheus and was mentor
to Mahler.!
Mahler’s Symphonies!
!
9thsymphonies and unfinished 10th. Works on an expanded scale, even beyond Liszt and
Bruckner. Use of folk tunes and popular music, often adding deliberately vulgar touches to
suggest, for example, mockery !
!
Enormous eclecticism, full of references to other music!
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