BBC Four - Symphony Episode 3

I watched the third episode of this series on Friday evening, although I had seen the full series when it was originally aired. The third episode, "New Worlds and New Nations", looks at the draw of Vienna for composers, the works of Brahms, Wagner and Bruckner, as well as the nationalist composers of the late Romantic era, such as Dvorak, Sibelius and Tchaikovsky.

They look at Dvorak's 6th and 9th symphonies and how he utilised the musical cultures of the Czech Republic in the former and America in the latter. They particularly focused on the 3rd movement of the 6th symphony, where Dvorak uses a style of a Furiant (a Bohemian dance), and the 2nd movement of the 9th symphony where the melodic theme has been linked with Negro spirituals. I found this interesting to see how the composers got the inspirations for their large scale works. 

There was an interesting moment, whilst looking at Sibelius and his Finnish influences, where they mentioned the encounters between him and Gustav Mahler; how they would talk about symphonic form, but each composer had a different view of what it meant to them. Sibelius said he admired the severity and logic of the form and how it created connections between motifs, Mahler said the symphony should be like the world, it should embrace everything. 

The program briefly looked at Mahler, in particular his 3rd symphony and the ground breaking developments he made in orchestration and musical sound. They mentioned how he grew up around military marching bands and how he tried to re-create the sound of the "slightly out of tune" marching band; Mahler tries to create a very raw and biting tone to some of the passages. He also knows exactly how he wants pieces to sound, calling for oboes and horns to play with their bells in the air. They say in passing how Mahler was the Berlioz of his day for musical sound and orchestration. Having studied Berlioz's 'Symphonie Fantastique' at school I understand what they mean by this; both composers did some ground breaking things with their respective works. 

Valery Gergiev Interview in BBC Music Magazine

In the June issue of BBC Music Magazine, James Naughtie writes about an interview with Valery Gergiev. They talk about the influence of Russian composers and his upbringing and education. They talk about his education under Ilya Musin and how he won a conducting competition Musin didn't want him to enter.

For me, the most interesting piece of the article was where Gergiev says he was left with a recording of a Tchaikovsky symphony by Musin and asked to write down the second viola part. When he couldn't, Musin said he had to learn how to listen. I found this interesting, because I have only recently discovered how listening to different recordings of a pieces will bring out different parts in the texture. Equally, I have started listening to pieces with the score in front of me and it makes you realise how many subtleties there are hidden away in an orchestral texture; it then creates a new listening experience for a piece you may have thought you knew very well.

Research Point: Polyphonic Vocal Music

Thomas Tallis - If ye love me

This piece, like many Renaissance choral works, starts with a homophonic passage before Tallis introduces more polyphonic writing. This starts with the sopranos, followed by the tenors singing the same opening notes, but then a slightly altered melody to fit with the soprano line. He does the same with the alto and bass entries so all 4 parts are singing together; the polyphony creates a pulse or beat to the music that you couldn't feel in the opening homophonic passage. The tenors begin the next phrase, but this new pulse is slower than the previous phrase, as the melodies are based around minims rather than crochets. Tallis brings some parts in on the 2nd and 4th beats of the bars to create a syncopated feel to the music which is very effective.


William Byrd - Nunc Dimittis from the Great Service

This was the first piece of Byrd I ever sung and it has stuck with me ever since because of the sheer beauty of the writing and the way the different lines weave around each other, particularly in the amens; we sang this at an evensong with the Arvo Part 'Magnificat', so it provided quite a contrast!

There are some passages where one voice leads the others by a bar, but through the polyphony this is eventually resolved. It is also a useful way of introducing a new section or line in the text; one of the downsides of heavy polyphonic writing is that the text can get lost. The use of rising and descending scales really lifts a particular line out of the texture, particularly in the amens where the text isn't changing.


Claudio Monteverdi - Vespro della Beata Vergine (1610)

Whilst not an English Elizabethan composer, Monteverdi was composing in Italy around the time of Byrd and  Morley. His 1610 Vespers is a large work for SSATTBB soloists, double choir and orchestra. I bring this piece up as I'm performing it in a couple of weeks time so had a copy of it to hand.

Monteverdi uses a Cantus Firmus based on existing Gregorian chants for the text of most movements as the basis to build the choral writing around. He also combines large homophonic and polyphonic passages to great effect; these polyphonic passages can be built around up to 10 voice parts. He also uses the double choir to different effects, sometimes writing call and response passages between the 2 choirs and sometimes using all parts at once, either polyphonically or homophonically.

I think the most effective part of this piece is in his polyphonic writing where he uses syncopation to great effect; in many cases one voice part sing identical music to a different part but 1-2 beats later. When used in light, detached passages this is very effective.

Research Point: Henry Purcell

When researching Purcell rounds and catches I found the following playlist on youtube:
http://www.youtube.com/watch?v=ioiOJf7YsX4&list=PL52CF65EACA871B81

I found these videos useful as they also show the sheet music so you can see how the round is set out, though you need to do a bit of work to see how the parts move when put together.


Come, let us drink (Z245)

My first thought when hearing this was how long the opening theme was before the second voice entered, and thus how much thought and planning must have gone into composing it; there are moments when each part moves together in thirds while the number of beats in the bar is constantly changing (though these may be editorial).


Once, twice, thrice I Julia try'd (Z265)


I think the most effective thing about this round is how the opening melody is slow moving, with many rests, but once combined in full the other parts move in these rests. He also writes it so that when one part has a held note another part moves, and vice versa, to create a constant flow to the music. The line "fo kif's my ar", when combined with the first line of the round, sounds as "fo kif's my arse", which is amusing but I'm not sure if this translates the same in Old English. 



Since time so kind to us doth prove (Z272)

The most effective thing about this round is how Purcell sets out the words and music so the singers sound like they are having a conversation or argument with one another; you have the great effect of "I must", "what do you mean?", "I must", "Oh fye". This effect only becomes apparent once the 3rd and final voice is added to the texture.

Faure - Requiem Op.48 (1888)

I recently performed the Faure 'Requiem' in Worcester Cathedral. The piece, which consists of 7 movements, is written for two soloist (soprano and baritone), choir and orchestra.

The orchestration of the piece and the setting of the vocal lines have a strong focus on the middle register; there is only a solo violin in two movements, but then spilt violas and celli. There are numerous exposed passages for the altos and tenors as well.

Its also a very restrained piece; there are lots of piano and pianissimo passage but rarely forte passages and never a fortissimo. There are subtle distinctions in dynamic contrast throughout though, such as crescendi from mp to mf, diminuendos from mp to p. There is still a lot of intensity the music though through this restraint.


Introit - Kyrie

The piece opens with a forte orchestra chord with a rapid diminuendo before the choir enters with a pianissimo, homophonic passage. The choir lines are interjected with forte orchestra chords; the choir lines themselves gradually build in dynamic to a forte for the line "et lux perpetua". The music then gradually dies back again to pianissimo. This is followed by a short passage with the organ playing the melody accompanied by the strings, before the tenors enter with the main "Requiem" tune. This is followed by a passage for sopranos before the entire choir enter with a passage consisting of contrasting phrases; the first phrase of each line is loud followed by a second phrase which is suddenly quiet. The opening tenor line returns for unison choir before a return of the contrasting phrases heard previously, gradually diminuendo-ing
to a pianissimo conclusion. The movement sets the mood of the piece very well with dynamic contrasts and subtle harmonic changes.


Offertorie

The offertorie opens with intertwining melodic lines for the celli and viola parts. The altos enter a cappella, mimicked a few beats later by the Tenors. The two vocal lines continue a cappella before being joined by the strings. The music is repeated in a different key before the basses join the texture. This is followed by a baritone solo accompanied only by organ, giving it a very religious feel appropriate to the text being sung (Hostias et preces tibi Domine). Given the nature of the text the piece calls for an intense, retrained quality to the baritone soloist. The choir return, with sopranos this time, to conclude the movement. The setting of the text by Faure wouldn't be out of place in a church service or evensong. 


Sanctus

The Sanctus opens with rising arpeggios on the harp and contrary motion arpeggios in the two viola parts. This ostinato continues for most of the movement, only breaking for the forte "hosanna" passages. Whilst the movement is written in 3/4 time, the opening gives it a 4/4 feel. The sopranos open with a long flowing vocal line which is repeated by the tenors and 1st basses. This conversive writing is continued throughout the movement. The tenors and basses are always accompanied by a solo violin descant played high in its register. The violin is only used twice in the piece; both times it is used to portray an angelic quality to the music. The music gradually builds to the entrance of the forte horn fanfare which sets up the tenor and bass "hosanna". This is mimicked by the sopranos, before the opening music returns and dies away again, ending with the opening arpeggios accompanying the solo violin. Like the violin Faure uses the horns quite sparingly as the mood of the piece doesn't really suit a big brass sound, but there are three prominent moments for them; the hosanna section of the Sanctus and passages in the Agnus Dei and Libera Mei.


Pie Jesu

The Pie Jesu is written for solo soprano and is in two verses. The first verse is piano and just written for the soprano and organ, giving it a very ethereal quality. The vocal line is interjected with legato string and harp broken chords. At the end of the first verse, the repetition of the "sempiternam requiem" line is used to build up to the start of the second verse, which is mf and has a much fuller orchestral accompaniment. The music gradually dies away to the end of the movement; the flowing quavers in the bass line create the atmosphere of a lullaby which fits the meaning of the words perfectly ("grant them eternal rest").


Agnus Dei

The opening of the Agnus Dei features polyphonic string writing to create a pastoral sound to the music; no doubt to reflect the "lamb of god" in the text. The tenors enter with a long flowing vocal line; again Faure puts emphasis on the middle register. The tenor line is followed by forte orchestra chords which introduces a full choir homophonic passage which, like in the Offertoire, consists of large dynamic contrasts. The opening music then returns with the tenor line, but the ending is altered; the "sempiternam requiem" line mimics the end of the Pie Jesu to introduce a piano a cappella choir passage. The organ is introduced as the music builds through dynamics and subtle harmonic changes to a forte climax. A short orchestral interlude, with prominent horn chords is used to change to mood of the music and re-introduce the opening music of the first movement. Instead of leading into the Kyrie, the opening pastoral string theme returns to conclude the movement.


Libera Me

The Libera Me begins with long sustained orchestral chords above a crochet bass ostinato which is heard throughout the movement. The baritone enters with a long sustained vocal line, which wouldn't be out of place as an operatic aria; it is more restrained and not sung out fully though. The vocal line builds to a climax before a piano string bridge passage introduces the pianissimo homophonic choir. The music builds and dies away again before a sudden horn fanfare introduces the Dies Irae. Compared to other requiems Faure doesn't write a big, dramatic Dies Irae. The music is loud and full of emphasis, but general movement of the music is slow; the choir and orchestra move together in long chords with only the bass motif showing some independent movement. Instead, Faure uses a sudden contrast in dynamics and harmonies to create the intensity and power. The end of the Dies Irae sees a return of the opening bass ostinato rhythm throughout the orchestra, before the choir sings the opening baritone solo in unison. The baritone sings a reprise of the opening line before final piano chords end the movement.


In Paradisum

The final movement begins with staccato arpeggios on the organ above sustained chords in the strings. The sopranos open with a high, piano, long flowing vocal line which creates an angelic quality to the music (again appropriate to the meaning of the text). The remainder of the choir eventually enter to provide backing chords to increase the texture. The harp and solo violin are added at the start of the second verse to reinforce the angelic theme. The music builds to climax with the sopranos before the rest of the choir are added and the music gradually dies away; the chords become longer and the moving arpeggios disappear before the final "requiem".

Sir Simon Rattle and The Rite of Spring

There's an interesting article in this month's BBC music magazine featuring an interview with Sir Simon Rattle as he prepares to conduct Stravinsky's 'The Rite of Spring'. He describes the occasions he has previously conducted the piece, his working relationship with the Berlin Philharmonic and how he goes about tackling the piece. There is also an insert with a history of the piece, including a summary of the fateful première.

It's interesting to read how when the piece was premièred 100 years it was considered impossible to conduct and play, yet now it is considered a staple in a professional orchestra's repertoire and even amateur orchestras perform it; I played it in my university orchestra and have never had to concentrate so much in my life! I think this goes to show how much modern classical music has pushed the boundaries and abilities of professional players, to the extent that later in his life Stravinsky suggested transposing the opening bassoon solo up a semitone so it sounds as difficult as it did when it was first performed.

Rattle also talks about the difficulties of conducting it and interpreting how Stravinsky intended the music to sound; he notes in particular how even Stravinsky wasn't happy with what he had written given the number of revisions he made. Revisions are something I've always associated with late Romantic music onwards, but it might be that we don't have records of early composer's revisions rather than it being something which only started occurring more recently. Rattle also notes that, whilst the piece has some interesting rhythms, they aren't difficult in themselves, it's how to phrase them into larger units and create a harmonic line from them which is the challenge; I liked the concept of a harmonic line based on rhythmic grouping.

Something which Rattle said which struck a chord was how we also assume what the composer wrote was what he intended, yet we forget that composers are fallible just like anyone else; Rattle tells a story about how he was rehearsing a piece with the composer present where it was marked double the speed when half the speed was much more reasonable and what the composer actually intended. He also talks about how Stravinsky struggled to write on paper the music he heard in his head; this is something I could strongly relate to.

Instrument Research - YouTube Symphony Orchestra

As part of my research for part 2 I found the following videos useful:
http://www.youtube.com/playlist?list=PLF852224BFF35A1BE

These are a series of master classes by members of professional orchestras, such as the Berlin Philharmonic and London Symphony Orchestra, about their instrument to introduce a series of audition excerpts for when the YouTube Symphony Orchestra was set up.

Not only did these videos show off the tone colour of the instruments introduced in section 2, there are also videos for other instruments in the woodwind family, such as Cor Anglais, Eb Clarinet and Piccolo. It's interesting to listen to the professionals talk about the difficulties of playing the excerpts, despite making it sound effortless when they play them.

There are also other videos for most instruments in a symphonic orchestra, which will no doubt useful when they are introduced later on.