Appreciate Classical Music

Classical Music AppreciationIntroductory
Class Outline
Bill Buffam, instructor
21-Jul-2006
This class emphasizes actually listening to musicwe dont much delve into its structure
and history. That said, we cover just enough of classical music structure to be able to
understand and relate to it in a satisfying way. The works are chosen for their ready
accessibility, and cover a fairly broad spectrum of musical styles. Well be listening to
complete works (as opposed to excerpts) without interruption, guided by program notes.
Ill be marking off our progress as we listen to each piece, keeping you oriented to where
we are in its structure.
Well have a 5-10 minute class discussion of each piece, during which well all be able to
learn from one anothers questions and insights.
Here is the outline for the entire class:
week 1
Barber, Adagio for Strings 1
Introductions
Grieg, Peer Gynt Suite No. 1
Theme-and-Variations Form
Britten, Young Persons Guide to the Orchestra
Rodrigo, Concierto (for guitar) de Aranjuez
week 2
Basic elements of classical music structure
Mozart, Eine Kleine Nachtmusik
Holst, A Moorside Suite
Holst, The Planets
Elgar, Pomp and Circumstance No. 1
week 3
Mussorgsky, Night on Bare Mountain
Mussorgsky, Pictures at an Exhibition
Sibelius, Karelia Suite
Wiren, Serenade for Strings
Tchaikovsky, Capriccio Italien
Italics indicate music well listen to.
Classical Music AppreciationIntroductory, Class Outline

William J Buffam, 2007
Chester County Night School, Spring 2007
week 4
Wagner, Prelude to Act III Lohengrin
Beethoven, Symphony No. 1
Warlock, Capriol Suite
Mendelssohn, Symphony No. 4
Wagner, Prelude to the Mastersingers
week 5
Still, Symphony No 1
Debussy, Prelude a L'Apres Midi d'un Faune
Vivaldi, The Four Seasons
Vaughan Williams, The Wasps
Wagner, Ride of the Valkyries
Copland, Fanfare for the Common Man
week 6
Tchaikovsky, Symphony No. 5
Tchaikovsky, Marche Slave
Delius, On hearing the first cuckoo in spring
Saint Sans, Symphony No. 3
Classical Music AppreciationIntroductory, Session 1


Session 1 notes
27-Feb-2007
Tonights agenda
Administrivia
Barber, Adagio for Strings 1
Introductions
Grieg, Peer Gynt Suite No. 1
Britten, Young Persons Guide to the Orchestra
Rodrigo, Concierto (for guitar) de Aranjuez
Samuel Barber (1910-1981) (born West Chester, PA; died New York, NY)
Adagio for strings
Barber studied at the Curtis Institute in Philadelphia from 1924 (aged
14!) to 1932. The Adagio is an arrangement for string orchestra that
Barber made from a movement from his String Quartet No. 1. This
piece was composed in response to a request by a quartet of his Curtis
friends, who wanted a new piece to play on an upcoming European
tour. Although he struggled to turn out the work, Barber himself was
stunned by the beauty of the slow movement even before he had heard
it played, describing it to a friend as a knockout.
The 9 minute Adagio is built on a single thematic idea, which is developed on
sequences, in which a group of notes is repeated slightly higher or lower. (This
technique is a simple form of variation, which well talk about later tonight.) The music
builds to a huge climax and then abruptly subsides, reprising the opening theme in all its
simplicity.
If this piece sounds eerily familiar, it might be because it was played in the films
o Platoon
o The Elephant Man
o Amelie
o Lorenzos Oil
o S1m0ne
It was also played at JFKs funeral. The work was voted saddest classical work ever by
BBC listeners in a 2004 poll.

Barber himself later arranged the work for chorus. Thus Barber developed the piece in
three separate settings: string quartet (in the context of additional movements), string
orchestra, and chorus. Such reuse of material by composers is a recurring technique that
spans the entire history of music. Some other examples are:
o Berlioz: Harold in Italy; Rob Roy overture
o Holst: St Pauls Suite (strings), Suite in F (wind band)
o Copland: Fanfare for the Common Man; Symphony No. 3
o Handel: The Triumph of Time and Truth (1757) consists mostly of reused
material
Edvard Grieg (1843-1907): Peer Gynt Suites
Grieg was a younger contemporary of Henrik Ibsen (1828-1906), the great Norwegian
playwright and poet. Ibsen wrote the dramatic poem Peer Gynt, never intending it to be
performed. One of Griegs major missions in life was to bring Norwegian folk tunes to
prominence through classical music. Ibsens epic poem makes use of Norwegian folk
tales, and Grieg collaborated with Ibsen to illustrate episodes of the poem with music.
Grieg completed 23 pieces in all for Peer Gynt. He later collected nine of those pieces
into the two suites, Peer Gynt Nos. 1 and 2.
Suite No. 1
The poem tells of the adventures of Peer Gynt, a regular-guy farm hand. (The story is
actually an allegory of the human life experience). After a drunken night of indiscretion,
he runs away on a journey of debauchery. At one point he sleeps with a trolls daughter,
and later discovers that a large dowry is available for marrying her. He approaches her
father on the subject, and it is this episode thats illustrated in the fourth movement : In
the Hall of a Mountain King. The Troll king warns Peer that trolls and men are different,
and when Peer discovers that in becoming a troll he will forfeit his humanness, he
changes his mind about the marriage. The king is enraged, and sets the troll children on
Peer, a violent scene well illustrated by the music.
Peer decides to leave the country (Norway) to leave his dissolute past behind him, but
before he does he stops to see his mother, Aase, to say goodbye. He finds her sick and
dying. It is this scene that is illustrated by the second movement.
Having fled to Morocco, his fortunes continue to be volatile, and he manages to assemble
a harem of dancing girls, the lead dancer being one Anitra. Anitras dance is the third
movement of Suite 1.
After Anitra robs Peer and runs off with his horse and riches, Peer wakes up in the desert
and ponders his lot. It is this scene that is illustrated in the first movement, Morning.
This is a very abbreviated synopsis of Ibsens Peer Gynt poem, intended only to put the
music into the context of the story. You can find very good extended summaries of Ibsens
Peer Gynt story on the Web. One of the best is at http://www.awerty.com/peergt2.html
The Theme and Variations form

Theme and variations is perhaps one of the most easily recognizable musical forms. A
theme (i.e. a tune) is stated, usually at the beginning of the work, and the remainder of the
work consists of variations on that theme. Variations may be based on many devices,
such as:
o harmonic the theme may be worked through different keys, e.g. major to
minor, or accompanied by altered harmonies
o melodic the theme may be elaborated with more energetic note sequences
o contrapuntal where two or more themes are played simultaneously, or one
theme is played against itself with time delay (fugue).
o rhythmic the rhythm may be altered, keeping the pitch sequence relatively
constant
o timbre, instrumentation the theme is passed around the instruments of the
orchestra
Of course, some or all of these devices may be in play simultaneously, taking the music
quite far away from its thematic origins.

Benjamin Britten (1913-1976) (England) Variations And Fugue On A Theme

Of Purcell (Young Persons Guide to the Orchestra)
0. The work begins with the full orchestra quoting the (rather simple) theme.
Variations:
1. Woodwinds. The me with little or no variation
2. Brass: some variation beginning to creep in
3. Strings: more variation now.
4. Percussion: limited pitch available!
5. Full orchestra: theme restated.
6. Flutes and piccolos. An energetic variation showing off the flutes agility.
Prominent harp accompaniment
7. Oboes: Slowing things down.
8. Clarinets. Note prominent tuba accompaniment.
9. Bassoons: a jocular mood, almost poking fun at the bassoons sound.
10. Violins: mazurka rhythm
11. Violas: slow and thoughtful
12. Cellos: continuing the slow and thoughtful mood, showing off their range.
13. Double basses: staccato intro to an almost lyrical passage leading to a humorous
ending.
14. Harp
15. French horns: almost a purely transitional interlude. See how far weve come
from the original theme. Its still a variation, though quite radical by now.
16. Trumpets, showing off their skill and nifty articulation..
17. Trombones, followed closely by tuba, who then engages the trombones in a very
brief canon.
18. Tympani (kettle drum) and percussion. Percussion is largely pitch challenged,
although the three notes played by the tympani are enough to remind us of the
theme. The xylophone provides some tuneful variation.
19. Fugue. A fugue consists of a theme, or series of themes played against itself with
a time delay. Thus, fugue is a particular form of counterpoint. Here, the fugue is
introduced by the piccolo. After 3 bars the flute joins in, and the other
woodwinds join in sequence, in descending order of pitch. The first theme of the
fugue is recognizable as a variation of the original theme of the work. When the
bassoons join in, the piccolo moves onto a new theme, again a variation of the
works original theme. Strings join in, again in descending order of pitch. The
harp provides a brief interlude without interference from the rest of the orchestra
(otherwise its light sound would be drowned out), and finally brass and
percussion add their considerable weight. Eventually, against the still furiously
progressing fugue, the original theme returns in majestic style to bring the piece to
a satisfying conclusion.
Heres a simplified map of the entries in the fugue section:
woodwind
piccolo
flutes
oboes
clarinets
bassoons
strings
violins
violas
cellos
double basses
harp
brass
horns
trumpets
trombones
percussion
Joaqun Rodrigo (1901-1999) (Spain) Concierto de Aranjuez
Guitar concerto with symphony orchestra (Modern Period)
Blind from the age of three after a bout with diphtheria, Joaqun Rodrigo was a very
significant creative, critical and pedagogical force in contemporary Spanish music.
Ironically perhaps, he identified his blindness as a major factor in leading him to a career
in music.
After early training in his home town Valencia, Rodrigo went to Paris, as did so many
Spanish musicians and artists, where from 1927 he studied with Paul Dukas. It was in
Paris that Rodrigo met and married Victoria Kamhi, a young and promising Turkish
pianist. By 1936 Paul Dukas had died and the Spanish civil war had broken out. These
events prompted the Rodrigos to move to Germany to wait out the war in the Black
Forest, where they lived very simply off their earnings from teaching private lessons.
After the war ended in 1939, they returned to Spain and settled in Madrid, where Joaquin
divided his time among composing, writing music critiques, and serving as Professor of
the History of Music at the University of Madrid.
It was on a visit to Paris in 1938 that Rodrigo met the guitarist Regino Sainz de la Maza.
Rodrigo was so inspired by this encounter that he resolved to write a guitar concerto (an
instrument he did not himself play). The result of this resolution was of course the
Concierto de Aranjuez for guitar and orchestra, and Rodrigo fittingly dedicated it to Sainz
de la Maza. Introduced in 1940, it propelled him into the front ranks of Spanish
composers. Over the years, it has become one of the most widely performed concertos,
although often it has been played in transcriptions for instruments other than the guitar.
Regino Sainz de la Maza was, appropriately, the soloist at the concertos premiere in
Barcelona on November 9, 1940. The work is lightly and transparently scored, so that the
soloist can be easily heard, but the orchestra is nevertheless sizable: piccolo and two
flutes, two oboes and English horn, two clarinets, two bassoons, two horns, two trumpets
and strings.
The concerto takes its name from a famous royal residence, a palace on the banks of the
Tagus River to the south of Madrid. The castle has been called the most beautiful and
most cheerful of all the Spanish royal residences. The composer has said, in the notes to
the concerto, that one "may fancy seeing the ghost of Goya, held in thrall by melancholia.
. .. [I]n its themes there linger the fragrance of magnolias, the singing of birds and the
gushing of fountains. [It] is meant to sound like the hidden breeze that stirs the tree tops
in its parks; it should be only as strong as a butterfly, and as dainty as a vernica."
The music evokes the era of sixteenth-century kings, Charles X and Philip II. In it,
Rodrigo's compositional style embodies the rhythms and melodic inflections of Spanish
folk music of the particular region surrounding Arunjuez and joins them with his own
melodic invention and colorful orchestration. Rodrigo employs the structure of a Baroque
concerto: three movements in a fast-slow-fast arrangement, with distinct alternation
between solo and orchestral passages in the outer movements.
First Movement
Delicacy is combined with rhythmic energy in the concerto's dancing first movement. In
Rodrigos own words, the Allegro con spirito is animated by a rhythmic spirit and vigor
without either of the two themes contained within it interrupting its relentless pace.
Listening to this movement, you may fancy you hear a large number of themes, never
mind just two. In fact, listening with a theme-and-variations mindset, you can link back
almost all the material in the movement to one or other of the two themes that Rodrigo
acknowledges.

Second Movement
The middle movement, a romantic Adagio of reflective character, has an improvisational
quality2 and delivers a feeling of melancholy passion and romance that suggests a
Moorish influence. Of this movement, Rodrigo observed the Adagio represents a
dialogue between guitar and solo instruments (English horn, bassoon, oboe, horn, etc).
There is a constant and persistent beat supporting the entire sound structure of this
movement. Towards the end of the movement an extended guitar cadenza leads to a lush
orchestral climax.
Third Movement
The final movement, Allegro gentile, is a rondo whose folk- like principal theme recalls a
courtly dance. The combination of duple and triple time maintains a taut tempo right to
the closing bar. Notice how, at the opening, the guitar cleverly manages to play the theme
in canon at the octave.
Yet interestingly, all the twiddly bits that sound so improvised are fully written out in Rodrigos score.



Session 2 notes
27-Feb-2007
Tonights agenda
Mozart, Eine Kleine Nachtmusik
Holst, The Planets
Holst, A Moorside Suite
Elgar, Pomp and Circumstance No. 1
A (very) brief and simplified guide
ABA
A theme, a contrasting theme, and a repeat of the first theme. Very often employed for
one or more of the inner movements of a symphony, and in many other types of work. A
basic building block.
ABAC(AD)A
The rondo form. The first theme (A) keeps coming back like a chorus after each
successive episode.
Arch form
ABCBA
Sonata form
AB dev AB
where dev is development, a free fantasia of variations on themes A and B.
Sonata-rondo form
Just like it soundsa rondo with some elements of development thrown in.

Wolfgang Amadeus Mozart (1756-1791) (Austria) Eine Kleine Nachtmusik
Eine Kleine Nachtmusik translates literally to A little night music. Mozart composed it
in 1787 while he was working on his opera Don Giovanni, although history has not
managed to record the motivation behind it. Eine Kleine Nachtmusik is perhaps Mozarts
most popular piece. Snatches of it will be familiar to most of us, because it turns up
frequently in movies and advertisements.
Mozart scored the piece for string quartet: two violins, viola, and cello optionally doubled
by bass. However, modern practice is to play the piece with a chamber-sized string
orchestra, which is the version we will hear.
Curiously, Eine Kleine Nachtmusik is regarded as a serenadewhatever thats
supposed to mean1 . In fact, Eine Kleine Nachtmusik fits exactly with the design of a
classical symphony, and with a duration of 18 minutes it can hardly be disqualified from
symphony status on grounds of brevity. Indeed, Mozarts own Symphony No. 32,
composed eight years earlier, runs for less than 10 minutes.
Key factors in Nachtmusiks popularity are its readily hummable tunes and its
uncomplicated structure and transparent scoringthere are only four parts throughout.
Wikipedia provides an informative discussion on the concept of a serenade at

http://en.wikipedia.org/wiki/Serenade, but none of that material makes any sense to me in relation to Eine
Kleine Nachtmusik .
Here is a map of the piece.

ref
1
2
3
4
5
6
7
8
time remarks
First MovementAllegro
Exposition
First Theme
(bridge passage)
Second Theme
Exposition repeats
Development
Recapitulation
First Theme
Second Theme
Coda
ref
9
10
11
12
13
14
sonata form
the movements melodic elements are stated
0:00
0:36
0:55
1:50
3:41 the themes are developed, somewhat like
variations
the themes are restated
4:23
5:11
6:13 a short reworking of themes already stated to
provide a tidy end to the movement
time remarks
Second Movement
Romanze; Andante
First theme (A)
B
A
C
A
Coda
ref
Third MovementMinuet
and Trio
15 Minuet
16 Trio
17 Minuet repeats
Coda
rondo form
0:00
2:14
3.23
3:57
4:59
6:06
time remarks
0:00
0:50
1:50
notable by its absence

ref
18
19
20
21
22
23
24
Fourth Movement
Rondo: Allegro
First Theme (A)
Second Theme (B)
A
Development
B
A
Coda
time remarks
sonata rondo form
0:00
0:26
0:45
1:12 notice the abrupt key change into Eb major
1:44
2:03
2:39
Gustav Holst (1874-1934) (England) The Planets
Holsts Planets suite was inspired by his interest in astrology. The music thus reflects the
astrological character of the planets rather than their physical or astronomical
characteristics or situation. The movements are:
1. Mars, the Bringer of War
2. Venus, the Bringer of Peace
3. Mercury, the Winged Messenge r
4. Jupiter, the Bringer of Jollity
5. Saturn, the Bringer of Old Age
6. Uranus, the Magician
7. Neptune, the Mystic
(Pluto had not been discovered when Holst wrote this piece).
The Planets is scored for large orchestra, including orga n and (wordless) womens choir.
It is a substantial work, taking almost an hour to perform.
Mars has often been used in film and television music. It was written a few months
before the outbreak of World War I, and paints a vivid picture of war. Note its unusual
time signature (5 beats to a bar).
Venus indeed brings a welcome peace after the tumultuous opening movement.
Mercury has the pace and purpose youd expect from a messenger, especially one with
wings.
Jupiter is perhaps the best known of all the Planets movements. Like Mars, it gets a lot
of exposure in film and TV music. After an energetic and jolly opening, an expansive
and optimistic-sounding theme begins in the lower orchestra, and proceeds to climb
inexorably upward. The jolly mood returns as the opening section is reprised, and we
hear the brass briefly restate fragments of the expansive theme from the middle section as
the movement comes to an emphatic conclusion.
Saturn depicts the coming of old age as a relentless procession of time.
Uranus in its opening suggests magic through the twists and turns of its rhythms and the
displaced accents of syncopation. Thereafter the music becomes more straightforward,
consisting of hummable tunes in march tempo. The movement ends in an enigmatic
climax that contrasts starkly to the rest of the movement, leaving us wondering what kind
of bizarre event Uranus the magician has conjured. According to one commentator, this
bizarre event is in fact the bumbling and accident-prone Uranus finally achieving his goal
of opening the doorway to eternity. You can take that explanation or leave it, as you
wishI cant find any convincing support for that interpretation, though you must admit
its an appealing one.
Neptune the mystic is mystic indeed. There are no hummable tunes hereits all mood
and atmosphere. When the womens chorus joins after 4 minutes, the voices dramatically
enhance the mysterious atmosphere. Chorus and orchestra conclude the work by fading
very gradually to nothing. Perhaps this was the prototypical fade out that the popular
music world was later to adopt so eagerly.
Gustav Holst (1874-1934) (England) A Moorside Suite
A Moorside Suite was commissioned in 1928 as the test piece for a national competition.
We know little about Holsts inspiration for the music, except that Holst was a keen
walker who much admired the North Yorkshire moors, where he often took long walks.
The piece is in three movements: Scherzo, Nocturne, and March.
Scherzo
The form of this movement will by now be familiar, mirroring as it does that of the
Scherzo in Wirens Serenade. The opening theme, in triple time, has purpose and energy,
yet the energy is subdued amid thin and transparent scoring, as perhaps befits a walk in
the hills. Notice that, again like Wiren in his Serenade, Holst employs a [1] brief canon
effect on his opening theme.
[2]The trio- like section (the more lyrical theme), first played by the treble instruments, is
accompanied by a rising triplet figure drawn from the opening theme. [3]The bass
instruments then take over the theme as the treble instruments pick up the

accompaniment. The theme is passed back and forth before the opening theme reappears
to reprise the scherzo section.
Nocturne
A nocturne is a piece inspired by, or descriptive of, nighttime.
[4]The opening section of Moorside Suites Nocturne is very thinly scored and
meditative. Notice the plaintive melody played by solo cornet, with a thin treble-and-alto
accompaniment eventually joined by a solo bass.
Eventually the full ensemb le joins in, and what a fine passage this is. [5]Pay particular
attention to the bass line, which moves in a continuous stepwise progression, soaring
upwards with such majesty that it seems to overtake even the treble instruments. (It
doesnt of course, but it surely sounds that way.)
After another thinly scored and delicate interlude, the stepwise bass figure returns, again
under the chords of the higher instruments sustained and tranquil melody. A final thinly
scored section, this time dominated by the lower instruments, brings the movement to a
peaceful close.
March
The march section follows the usual march format, with an energetic opening giving way
to a more lyrical trio-like middle section. The trio concludes with a fascinating
development as Holst teases us with fragments of his opening theme, eventually leading
to a [6]spine-tingling (it tingles mine, anyway) scale figure that starts in the lowest basses
and rises and rises and keeps on rising until it climactically lands on the first note of the
restated opening theme.
And were still not done with dramatically rising bass lines, because Holst introduces [7]
his coda with yet another one. The coda itself is a triumphant reprise of the trio theme,
three bars of which are underpinned by (you guessed it) [8] still another majestic rising
bass line borrowed straight out of the Nocturne.

Edward Elgar (1857-1934) (England) Pomp and Circumstance No. 1
The curious-sounding title of this march is drawn from a line from Shakespeares
Othello: Farewell the neighing steed, and the shrill trump, The spirit-stirring drum, the
ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of
glorious war! The march was written in 1901. Its structure is the usual march structure
weve encountered already, with an energetic opening section, a contrasting lyrical trio
section and a reprise of the opening. Most of us will immediately recognize the trio
section as the Land of Hope and Glory anthem featured in so many graduation
ceremonies. In common with many other composers, Elgar sometimes recycled his
music, in this case for his 1902 Coronation Ode for King Edward VII, and of course it
was this ceremonial application that led to the popularity of the piece at events like
graduations.



Session 3 notes
27-Feb-2007
Tonights agenda
Mussorgsky, Night on Bare Mountain
Mussorgsky, Pictures at an Exhibition
Sibelius, Karelia Suite
Wiren, Serenade for Strings
Tchaikovsky, Capriccio Italien
Modeste Mussorgsky (1839-1881) (Russia) Night on Bare Mountain
The orchestral piece that has come to be known as Night on Bare Mountain (or Bald
Mountain) has a long and rather confused historybut Ill give you the short version.
Mussorgsky apparently received a commission in 1860 to compose an opera, a whole act
on the Bare Mountain (from Mengdens drama The Witch), which depicts (in
Mussorgskys words) a witches sabbath, separate episodes of wizards, triumphal march
of all this scum, finaleglorification of the sabbath. He finished the score for the
complete work in 1867. However, his mentor Balakirev1 criticized his score so severely
that Mussorgsky made no attempt to have it performed. It apparently received only one
performance, in 1932, over 50 years after Mussorgskys death.
The orchestral piece that remains is due to Rimsky-Korsakov, who completed and
orchestrated many of Mussorgskys compositions, including this one. It was first
performed in 1886 in St. Petersburg, with Rimsky-Korsakov himself conducting.
The music itself is a very free fantasia on several recognizable themes, effectively
portraying its subject matter. The bulk of the piece is fast and furious, with occasional
calm descending briefly on the music, only to be overtaken again by menace and
demonic mischief. Eventually a church bell sounds, heralding a serene and ghostly
musical passage as the hosts of evil fade back into the night.
A Russian composer who was highly esteemed in his time, though now remembered more as a mentor to
younger composers than as a composer in his own right.
Modeste Mussorgsky (1839-1881) (Russia) Pictures at an Exhibition

The inspiration for Pictures at an Exhibition was an 1874 exhibition of watercolors and
drawings by Mussorgskys friend Victor Hartmann, who had died the previous year.
Mussorgskys original score was for piano only, which seems strange to those of us who
have long known the piece in its very rich orchestration by Maurice Ravel.
We know that Mussorgsky, who died a week after his 42nd birthday, had a very serious
drinking problem. The art of orchestration was definitely not one of his strengthsmany
of his works were reworked and orchestrated by others, notably Rimsky Korsakov. We
dont really know what were his intentions with Pictures. Did he intend it as a piano
piece from the beginning? Or was he too disorganized, drink impaired, or self-knowingly
lacking in orchestration skills to attempt to express his musical vision through the full
orchestra? The fact that his piano score for Pictures was not published until after his
death suggests that he never regarded it as the finished article.
Each major passage of Pictures describes one of Hartmanns displayed works, and the
passages themselves are often connected by the recurring promenade theme, which
depicts the walk of the visitor as he moves from picture to picture. Notice how the
promenade theme is varied each time it returns.
The pictures are:
1. (promenade)
2. Gnomus represents a nutcracker, this one in the form of a gnome with huge jaws
3. (promenade)
4. The Old Castle is haunting and mysterious, shrouded in near darkness. The quiet
music aptly describes the mystery. What instrument is playing the theme here?
5. (promenade)
6. The Tuileries conveys the mischievous play of children at the famous gardens in
Paris, long before the Tour de France ever passed that way.
7. no promenade! We go straight into
8. Bydlo. Bydlo is a Polish word meaning an ox-drawn cart. This passage portrays
an enormous oxcart rumbling down a country road while its driver sings a
Russian folk song. What instrument is playing the theme here?
9. (promenade)
10. Ballet of the Chicks in their Shells is the shortest and most jocular of the set, with
squawks from the newly hatched chicks that life may well have been better back
in the shell
11. again no promenade. Its straight on with
12. Samuel Goldenberg and Schmuyle, which evokes the animated attempts of one
impoverished Polish Jew to wheedle some spare change out of another, but
wealthy, Polish Jew
13. the promenade stays on vacation. On to the next picture, which is..
14. The Marketplace in Limoges, which depicts the bickering and haggling of the
shoppers and merchants
15. the promenade is still on vacation. We descend to

16. The Catacombs. Eerie and threatening. A pile of skulls lies on the floorenough
to make your skin creep, but then
17. the promenade returns to reassure us that were not trapped after all. But wait
were still under threat. Here comes
18. Baba Yaga, a Russian witch who lives in a hut supported on four chicken feet,
and who flies through the air in a mortar, propelling herself with the pestle she
uses to grind up human bones for food. She eventually flies up into..
19. The Great Gate of Kiev . Its a pity, but there is no Great Gate of Kiev. Hartmann
(who youll recall was the creator of all these pictures) had entered a competition
to design a great monument for Kiev. He didnt win the competition, but no
matter because no Gate was ever built owing to of lack of funds. However, were
left with this monumental movement (with its monumental physical challenge for
the brass section2 ) to conclude a very fine piece of music.
Jean Sibelius (1865-1957) (Finland) Karelia Suite
Sibelius selected the three movements of the Karelia Suite from a series of seven tableaux
representing important moments in the history of Karelia, the now-absorbed province that
forms the southeastern part of modern Finland. The tableaux themselves were written in
1893 for a pageant in Viipuri, Karelias capital. The music is light in character, as suited
the occasion, and reflects the character of the Finns popularly said to inhabit Kareliaa
lively, sensitive people devoted to the folk myths of their province.
Intermezzo
Originally the third number in the series of tableaux, the Intermezzo depicts the
Lithuanian Prince Narimont collecting tribute3 from the Karelian people. The movement
is constructed in ABA form, preceded by an introduction that has horns hinting at the
melody to come, and rounded out by a coda in similar vein. The trumpets are the stars of
this movement, carrying the theme throughout the ABA body, aided and abetted for a
short snatch by the woodwinds and later by the trombones. None of the strings get a
crack at any melody for the entire movement 4 .
2
Yes, the voice of experience.

As far as I can tell, tribute is a euphemism for taxes at best, protection money at worst.
4
All of which does a lot to explain why I (yes, yesa trumpet player) like this piece so much.
3

Ballade
The fourth tableau originally included a vocalist who sang to Karl Knutsson5 in Viipuri
Castle. However, in this three- movement suite Sibelius replaced the voice by instruments.
The construction of the movement may almost be regarded as a modified rondo. As in the
first movement, a short introduction hints at the melody to come, which well call the A
of the rondo form. Then comes another theme (B), aft er which the AB ideas are reprised.
Notice the canon effects in the reprise of the B theme.
Now comes a new idea (C) in a darker and more serious mood. Theme A briefly
reappears, but its in the same mood and character as C and we might not recognize it if
we dont pay close attention. Theme C is reprised to complete this section.
Finally comes another totally new idea (D) sung by English horn for a mere 24 bars
before one last 8-bar reprise of A closes out the movement.
Alla Marcia
The fifth tableau represents the conqueror Pontus de la Gardie. It is a breezy march
consisting of two contrasting sections played alternatelythe first a spirited and happysounding affair for the strings, the second a more substantial and declarative statement
from brass that displays affinity with the mood and themes of the opening movement.
Canon effects can again be heard when the happy theme makes its first and subsequent
reappearances.
The two themes alternate with increasing frequency until the work reaches a rather
sudden and jubilant conclusion, with the happy theme having the triumphant last laugh.
Dag Wiren (1905-1986) (Sweden) Serenade in G major (for strings)
Dag Wiren, although chronologically a modern composer, rejected the dissonant and
raucous styles favored by many of his contemporaries, instead setting out unashamedly to
entertain and please with listener-friendly modern music. Although his musical output
ranging from commercial popular music (one of his songs was an entry to the Eurovision
5
King of Sweden, 1467-70.

Song Contest) to neoclassical workswas by no means small, the 1937 Serenade is the
only one of his works to have retained a place in present-day repertoire.
The Serenade has four movements, ranging in length from just under 3 minutes to 4
minutes. It thus comes in manageable pieces of similar length to that of a popular song.
The movements are:
o Allegro molto (very fast)
o Andante expressivo (moderately slow, expressive)
o Scherzo and Trio
o March
Allegro
[1]The movement opens with the violins singing a soaring theme above an
accompaniment that sounds as if its racing to get somewhere. [2]The lower strings then
introduce a contrasting staccato theme, which is eventually taken up by the violins.
[3]After a modulating (key changing) bridge passage, [4]the opening soaring theme
reappears and is passed around the orchestra before being finally reclaimed by the
violins. [5]This reprise is now heard in counterpoint with the staccato theme in the lower
strings, and the movement comes to a close.
Andante expressivo
[6]In spite of its expressivo label, the movement opens with a pizzicato theme of sorts,
which soon settles down and becomes the underlying accompaniment for the
expressivo lyrical theme introduced by the violas. Wiren employs elements of this
theme as he develops variants and modulations around it, interweaving it with the stillprogressing pizzicato accompaniment. [7]We hear the lyrical theme being played against
itself in canon, a device we also heard in the opening movement.
Scherzo and Trio
[8]The Scherzo and Trio is a form typically employed as the second or third movement of
a symphony. Here, we hear a complete scherzo and trio in the space of less than three
minutes. The Scherzo (its the Italian word for joke) is a light- hearted theme in triple
time. [9]The trio 6 refers to a contrasting passage, usually slower and calmer than the
scherzo, which follows. After the trio, [10]the scherzo returns. Notice that here again
Wiren employs the canon technique with the scherzo theme.
March
The march movement is a typical march structure, played at the standard 120 beats per
minute. Like the scherzo, a march almost always has (as does this one) a trio section, a
contrasting and more lyrical section than the opening, which is typically more rhythmic
and forceful.
The term trio originated way back in the early Baroque period (17th century), when it was customary for
a dance suites contrasting middle movement to be played by three solo instruments.
Peter Tchaikovsky (1840-1893) (Russia) Capriccio Italien
Capriccio Italien was inspired by Tchaikovskys vacation in Rome, at the time of the
Roman Carnival. Music filled the air, and Tchaikovsky couldnt help but write some of it
down. Tchaikovskys hotel was very close to a military barracks, and the bugle call he
heard every evening became the opening tune of his capriccio. What follows is a tightly
integrated succession of some of the melodies Tchaikovsky captured from his holiday,
together with some of his own composed in the same style. The tarantella known in Italy
as the Ciccuzza concludes the piece in a dazzling flourish.
As you might guess, capriccio is the Italian word for caprice, which means an impulsive
change of mind, or an inclination for such behavior. Thus, to label a piece of music a
capriccio is perhaps a euphemism for theres no particular form here, I just made it up
as I went along.


Session 4 notes
27-Feb-2007
Tonights agenda
Wagner, Prelude to Act III Lohengrin
Beethoven, Symphony No. 1
Warlock, Capriol Suite
Elgar, Cello Concerto
Wagner, Prelude to the Mastersingers
Richard Wagner (1813-1883) (Germany) Lohengrin: Intro to Act III
This introduction is effectively the overture to Act 3, the concluding act of Wagners
great opera. It is in this act that the well-known Here comes the bride wedding march
appears, although we do not hear this theme in this Introduction.
This Introduction presents two major excerpts from the opera, arranged in the by-now
familiar ABA form weve seen in marches and scherzo-and-trio movements.

Ludwig van Beethoven (1770-1827) (Germany) Symphony No. 1

Symphony orchestra (Classical Period)
Historical context
Beethoven was born in Bonn, into a musical family, although none of his forbears was a
composer. Beethoven studied piano and music theory with his father and later with
Christian Neefe, to whom Beethoven was appointed deputy when Neefe was appointed
court organist to the Prince-Elector in 1782. In that same year, Beethoven published his
first composition, the Dressler Variations. Encouraged by Neefes prophetic remark that
Beethoven would surely become a second Mozart were he to continue as he has begun,
Beethoven produced several more workssome showing distinct originalityover the
next several years.
In 1792 Beethoven had the opportunity to meet Haydn (38 years his senior), who was
passing through Bonn on his way back to Vienna from London. After Beethoven had
shown Haydn some of his compositions, Haydn agreed to take on Beethoven as a student,
and Beethoven left soon after for Vienna, never to return to Bonn.
In Vienna, Beethovens career blossomed, both as a concert pianist and as a composer.
His compositions were much in demand, thus providing income from members of the
nobility paying for commissions and dedications as well as income from publication.
The First Symphony appeared in 1800, and although Haydns style was the principal
model, Beethoven introduced several daring innovations. It was around this time that
Beethoven first sought medical advice on the first manifestations of his hearing
difficulties, which are thought to have been caused by an infection contracted some three
years earlier.
The music
The symphony is ostensibly constructed along the standard pattern of a Haydn
symphonysonata-form first movement, slow second movement, minuet-and-trio third
movement, fast finale.
Here is a map of the symphony. Timings refer to the recording by the City of
Birmingham Symphony Orchestra, conducted by Walter Weller, on 532409H1 .
1
Musical Heritage Society

First movementAdagio molto, Allegro con brio

Sonata Form
bar
1
time
0:00
13
1:12
53
88
109/13
110
178
2:00
2:45
3:13
5:13
6:33
206
241
259
7:06
7:50
8:14
introduction
the symphony begins with a slow introduction that epitomizes
Beethovens daring innovation, beginning on a dominant seventh
chord 2 resolving to F major. After some progressive modulation
exposition
the expositions first theme is introduced in C major.
the expositions second theme, in G major
codetta, incorporating both themes
exposition repeats
development begins with a very abrupt arrival of the key of A ma jor
recapitulation
first theme (C major)
second theme (C major)
codetta
coda
Second movementAndante cantabile con moto

Sonata Form (condensed)
This is the slow movement.
1
27
54
64
0:00
0:45
1:37
65
101
127
154
162
1:57
3:01
3:47
4:37
4:52
exposition: first theme

second theme (dominant key)
third theme (dominant)
exposition repeatsor not, as the case may be. (Beethovens score
indicates a repeat, but this recording does not take it)
developmentvery brief, almost vestigial
recapitulation: first theme
second theme (tonic key)
third theme (tonic)
coda
This chord alone was enough to enrage the critics of the day. Some things never changesuch as critics
resistance to innovation, which must rank as one of the most powerful forces in the universe.
Third movementAllegro molto e vivace

Minuet (?!!) and Trio
Its unclear why Beethoven labeled this movement menuettoits furious pace is that
of a scherzo, not a minuet.
After the first presentation of the scherzo we hear the trio. Unlike most trios, it provides
scant contrast with the mood of the scherzo (minuet, whatever). It maintains the same
frantic pace, with the woodwinds playing a slightly more relaxed melody, which almost
sounds like it could be subtitled Beethoven meets One-Note Samba, above string runs
even more frantic than the scherzo. The scherzo itself is then reprised, ending as suddenly
and as energetically as it began.
Fourth movementAdagio, Allegro molto e vivace
Sonata form
Like the first movement, the final movement begins with a slow introduction, a very short
one in this movement. The symphony ends with an extended coda (something of a
Beethoven trademark), which intermixes brand new material with material derived from
themes already stated.
1
6
56
87
97/6
98
163
192
226
238
0:00
0:23
1:04
1:29
1:38
2:52
3:48
4:12
4:41
4:53
introduction
exposition: first theme
second theme (dominant key)
codetta
exposition repeats (for real this time)
development
recapitulation: first theme
second theme (subdominant key)
codetta
coda
Peter Warlock (1894-1930) (England) Capriol Suite
Philip Heseltine, a music critic and composer, used his real name in his role as a critic,
but adopted the pseudonym Peter Warlock for the composing side of his life.

Capriol Suite is a suite of dances for string orchestra, very much in the structural style of
dance suites of the Renaissance period, its thematic material being derived from a book
published in 1589. Although the work is largely recognizable as owing its origins to the
16th century, Warlocks boldyet very sparingsprinkling of 20th century harmonies
adds a piquant modern spice.
The origin of the name Capriol and indeed of the name Warlock are not without
interest, and can be pursued at http://129.22.153.16/hco/notes/051103notes.htm.
Coincidentally, the same Web page has some revealing notes on Debussys Prelude a
lapres midi dun faune, Both notes are brief and digestible, and well worth the mouse
click it takes to get there.
The movements are:
1. Basse-Danse, a fairly fast dance in triple time. Basse-Danse is nothing to do
with bass instruments. Its a term that means that the feet are to glide across the
floor rather than being raised. Notice how we only get 13 bars in before Warlock
throws us the works most surprising zinger: the same note of the melody that was
harmonized by an [1a] F major chord the first time around now gets treated with
[1b] A major with an added second (B natural). How wild is that?
2. Pavane , a fairly slow dance in 2/4 time (two beats to the bar).
3. Tordion, a moderately fast dance in triple time (actually 6/4, with 6 beats to the
bar).
4. Bransles, a very fast dance in 2/2 time. The music cant decide what key it wants
to be in. It starts ambiguously in G minor and plays with G major. The final chord
is G major.
5. Pieds-en-lair. Literally, feet in the air. The mind boggles. Apparently it
doesnt mean dead. Rather, this name is used to describe a figure of the
Galliard, a dance in which the feet are raised from the floor.
6. Mattachins , a fast sword dance, performed by men wearing armor of gilded
cardboard. It was also known as Bouffons, which strikes me as a far more
appropriate label. The coda goes through some fairly wild modulations and
harmoniesthree bars from the end the first violins are playing Ab against A
natural3 but finally lands on a plain vanilla F major chord.
I see this in the score, but either my recording or my ears (probably my ears) dont allow me to claim I
can actually hear it.
Felix Mendelssohn (1809-1847) (Germany) Symphony No. 4

Symphony orchestra (Romantic Period)
Historical context
Mendelssohn was born into a wealthy and privileged family. His father Abraham, a
successful banker, was the son of esteemed Jewish philosopher Moses Mendelssohn. The
innate talent that the very young Felix revealed was carefully nurtured through the best
teachers and a rigorous discipline of dedicated hard work imposed by Abraham. Under
these three driving forces, the young Mendelssohn quickly developed into an outstanding
musician at a very early age.
Mendelssohn played violin well, and piano and organ brilliantly, making his first public
appearance at age 9. His work was first publicly performed when he was 10, and he
attained maturity as a composer at the astonishingly young age of 16 with his Octet for
Strings, a accomplishment that eclipses even that of Mozart.
Mendelssohn enjoyed great fame and admiration. Acquiring a reputation as a conductor
by the time he turned twenty, he had the influence to stage and conduct, on 11 March
1829, the first performance of Bachs St. Matthew Passion in over a hundred years. Such
was the success and impact of this event that it led to a full-blown revival of Bachs
music, which had languished in obscurity since the composers death. Mendelssohns
stature as a conductor continued to grow, and he was appointed musical director of the
Leipzig Gewandhaus Orchestra at the age of 27. By this time he was the most famous and
most admired musician of his time.
Mendelssohns stature and comfortable financial circumstances allowed him the freedom
to travel widely. He made many visits to England, where he was enormously popular.
The winter of 1830-1831 he spent in Italy, and it was this periodrecall that he was only
21 at the timethat saw the germination of the ideas that led to the creation of the Fourth
Symphony. Mendelssohn completed the work in March 1833, and it was first performed
in London on 13 May 1833. Successful as this premiere was, Mendelssohn resolved to
revise the work, a task tha t apparently spanned several years. The first performance of the
revised version apparently took place on 18 June 1838, again in London. (Oddly, this
version of the symphony was never performed in his native Germany during
Mendelssohns lifetime.) The still- unsatisfied Mendelssohn revised the symphony yet
again, but he was dead by the time this new version was performed on 1 November 1849,
fittingly in the Leipzig Gewandhaus.
The music
The symphony portrays Italy through the ears of a tourist responsive both to local color
and to a less tangible sensation of atmosphere. It is the atmosphere of the south, rather
than any identifiably national trait of melody or orchestration, that permeates the jubilant
6/8 opening movement, in which the momentum eases only once, shortly before the
cleverly camouflaged beginning of the recapitulation. The third movements graciously
old- fashioned minuet and trio is similarly devoid of explicit local reference. There are
even hints in the trio and coda of the fairy- land world of Mendelssohns Midsummer
Nights Dream music.
Local color plays a greater role in the other two movements. The second, a D minor
Andante, is an impression of a religious procession that Mendelssohn saw in Naples. The
fragment of liturgical chant that forms the two-bar introduction imparts an air of
solemnity; the rest, as musicologist Donald Tovey wrote, is eminently picturesque and
processional. The finale is a dance movement of great vitality, driven onwards by the
relentless rhythm of the saltarello, an old Roman dance.
The symphony conforms but loosely to classical designs, a distinguishing trait of the
Romantic period. Although the first movement is firmly anchored in sonata form and the
third a rather straightforward minuet and trio, the second and fourth movements are rather
free in form. Mendelssohn tends to construct his major sections (notably the first
movements recapitulation, and the fourth movements first section) from a thorough
integration of his principal themes. This technique stands in sharp contrast to the
classical-era style, which normally presents clearly delineated themes often connected by
bridge passages.
Here is a map of the symphony. Timings refer to the recording by the Philharmonia
Orchestra, conducted by Giuseppe Sinopoli, on Deutsche Grammophon 445 514-2.

First movementAllegro Vivace

Sonata Form
bar
1
time
0:00
110
159
209/4
187
(sic)
310
346
1:28
2:08
2:49
5:16
475
9:07
6:53
7:22
exposition
first subject
second subject
codetta, incorporating both themes
exposition repeats
development
heres the easing of momentum I talked about in the overview
recapitulation tries to slide in under the radarbut were onto it, arent we?
The recapitulation is much more free- form than the exposition. Here,
themes are extended with elements of variation, and integrated together
in a much more intimate way.
coda
Second movementAndante moto

This is the slow movement.
1
4
12
35
45
57
75
86
94
0:00
0:13
0:49
2:30
3:13
4:05
5:23
6:14
6:47
liturgical chant fragment

A (oboe, bassoons, violas)
listen to the delicate flute-duet counter melody
B
C
A (again preceded by liturgical chant fragment)
C
B
coda
Third movementCon moto moderato

Minuet and Trio
1
77
125
203
0:00
3:10
5:03
7:33
minuet
trio
minuet reprised
coda

Fourth movementSaltarello, Presto

The final movement falls into two major sections rounded off by a coda. Although the
score carries the 4/4 time signature, both major themes are in the 6/8 triple rhythm.
After introducing its principal theme, the first section spices things up with two 4/4 theme
fragments, followed by a sustained and legato counter melody. Mendelssohn weaves all
of this material together in a very satisfying and attention-holding way. The first section
is rounded off with a bridge section that could be regarded as codetta, but also reveals
some traits of a sonata- form development section. But instead of leading to a
recapitulation, the music takes us into the second section.
Interestingly and unusually, the second section introduces two themes simultaneously.
The first is a fast-flowing legato 6/8 figure, which dominates the underlying staccato and
spacious 4/4 viola counter-theme. Indeed, the viola figure is so stealthy that its easy to
overlook as mere accompaniment.
1
0:00
6
34
61
64
0:08
0:44
1:22
1:27
122
2:45
133
156
3:00
3:32
196
4:27
First Section
a brief introduction establishes 6/8 rhythm
A the first principal theme, in staccato 6/8 rhythm
A2 heres a theme fragment in 4/4 rhythm
A3 a new theme fragment in 4/4 rhythm
A4 a new counter melody, sustained and legato, in 4/4 rhythm except
for the quirky initial triplet
Second Section
B1 violins introduce the second principal 6/8 theme, flowing and legato,
while violas underscore with B2 , the spacious and detached melodic
accompaniment.
violins and violas exchange themes
A Heres the first theme making a guest reappearance. Sparring
between A and B will take us the rest of the way to the coda.
coda
Richard Wagner (1813-1883) (Germany) Overture to the Mastersingers

Wagner is remembered for his operas. The overture to an opera (and in contemporary
times, a Broadway musical) traditionally presents previews of the main tunes of the
opera, arranged in a free- form kind of way (dare I say capriccio?). The composer
usually writes the overture after building the body of the work. In this case, Wagner
wrote the overture first, providing himself with the raw thematic material from which to
construct the opera itself.
The Mastersingers were German artisan poets and musicians, similar in some ways to the
troubadours of France, but with their own unique culture. They organized themselves in
guilds, and at the height of their popularity every town in Germany boasted a
mastersinger guild. The movement is believed to have emerged as early as the fourteenth

century, and the last remaining guild finally called it quits in 1839, their membership
having dwindled to four.
The mastersingers held meetings at which they critiqued one anothers work, and also
held competitions. By tradition, the composition of their poems and verses was governed
by a set of pedantic rules.
The love interest of the opera involves the apprentice mastersinger Walther, who is
determined to enter a mastersinger competition to win the hand of Eva, daughter of one
of the mastersingers. However, being an apprentice, Walther breaks many of the rigid
rules, and very nearly fails to gain entry to the competition. However, with the collusion
of the respected mastersinger Hans Sachs (who was an actual historical figure, not merely
a Wagner invention) he not only enters the competition but wins it, in spite of breaking
more rules than ever. Because Walthers melody is so beautiful, the mastersingers invite
to him to join their guild, implicitly accepting (it appears) the enrichment of their rules.
Wagner saw himself in the Walther role, which mirrored his own disdain for rigidity and
tradition. He even creates a character in the opera through which to lampoon his harshest
critic of the time, a straitlaced nit-picking traditionalist.
Of the music of the overture itself, there is little more to add. We hear serious-sounding
themes, representing the established mastersingers, and a lighter, quicker theme that
portrays the dance of the eager young apprentices. Oh, and youll hear snippets of the
love theme in there too.
You can find a very detailed account of the story of the Mastersingers in Wikipedia at
http://en.wikipedia.org/wiki/Die_Meistersinger_vo n_N%C3%BCrnberg

10

Session 5 notes
27-Feb-2007
Tonights agenda
Still, Symphony No 1
Debussy, Prelude a L'Apres Midi d'un Faune
Vivaldi, The Four Seasons
Vaughan Williams, The Wasps
Wagner, Ride of the Valkyries
Copland, Fanfare for the Common Man
William Grant Still (1895 (Woodville MS)-1978 (Los Angeles))
Symphony No. 1 (Afro-American)
Historical context
To proclaim any event a first is dangerous, for no sooner are the words out of ones
mouth than someone else finds the real first. The record still stands, however, for William
Grant Stills Afro-American Symphony as the first such work by a black composer to be
performed by a major American symphony orchestra. Howard Hanson, who conducted
the premiere with the Rochester Philharmonic in 1931, was a noted exponent of
contemporary American music. Once he had paved the way, others moved quickly to
take up Stills cause: the New York Philharmonic gave the New York premiere of the
symphony in 1935 at Carnegie Hall. However, the work we will hear is the result of a
revision that Still undertook in 1969.
Stills father was the town bandmaster in Woodville, Mississippi. After his death, Stills
mother moved the family to Little Rock, Arkansas, where she had relatives. Still studied
the violin as a youth, but at his mothers insistence, entered Wilberforce College as a
medical student. However, like Berlioz before him, he quickly tired of medicine and
gravitated to music, and during his college days he formed a string quartet and pursued
his musical activities on the side.

His musical training was twofold, embracing the European tradition at Oberlin College,
and the African-American in his work with W. C. Handy in New York. He earned his
living playing the oboe in the pit band for the musical Shuffle Along. While the show was
on tour in Boston, he took some composition lessons from George Chadwick; later, the
avant-garde composer Edgar Varse took him on as a composition pupil. For a while, he
became an apostle of Varse, but his own musical nature dictated a more traditional path,
one that he found with the Afro-American Symphony.
Like so many works which are important to their creators, the Afro-American
Symphony was forming over a period of years, Still wrote. Themes were occurring to
me, were duly noted, and an overall form was slowly growing. I knew I wanted to write a
symphony; I knew that it had to be an American work; and I wanted to demonstrate how
the blues, so often considered a lowly expression, could be elevated to the highest
musical level.
The music
A single melody, hinted at by the English horn, then stated in full by a solo trumpet, runs
in one guise or another through the entire symphonyalthough it often takes a fair
amount of listener imagination to make the connection back to that melody. The tune
itself is Stills own creation, but it incorporates the ambiguous tonality and swaying
rhythm of the blues. According to the musicologist Eileen Southern, the other themes of
the symphony, none an actual quotation of a genuine folk melody but rather an invention
in the spirit of folksongs, are reminiscent of spirituals, shout songs, jig songs (with banjolike accompaniment), and jazz tunes.
The balance of the four movements is like that in the symphonies of Brahms, with the
weight concentrated in the first and last movements, and the inner ones relatively lighter.
Apparently, Still gave each of the movements a subtitle: 1-Longings, 2-Sorrows, 3Humor, and 4-Aspirations. However, the score of the 1969 revision carries no such
subtitles. I can only speculate why that is so, but it has been a recurring feature of
program or mood music that the composer has had second thoughts about divulging his
inner motivations to the masses. In the 1969 score, Still has quoted a few lines of Paul
Laurence Dunbars poetry as a preface to each movement, perhaps as a replacement and
expansion for the earlier subtitles.
The orchestration is interesting from a number of angles. First, it calls for instruments not
normally used in symphonies: the tenor banjo and the vibraphone. Second, the balance
and prominence of the instruments used is unusual. The harp is given a very prominent
part. And in place of the normal two tenor trombones and one bass trombone, Still calls
for three tenor trombones. Still also calls for a bass clarinet, not particularly unusual in
itself, but the instrument is given great prominence throughout the work, a feature that is
indeed unusual, especially in light of Still's omission of the contrabassoon and the
customary bass trombone.
Here is an outline of the symphony. Timings are relative to the Chandos recording
CHAN 9154, Neeme Jrvi conducting the Detroit Symphony Orchestra.
First movement (Longings)

Moderato assai
All my life long twell de night has pas
Let de wok come ez it will,
So dat I fin you, my honey, at last,
Somewhaih des ovah de hill.
Paul Laurence Dunbar
ref
[start]
[2]
time
0:00
0:30
[5]-1
[5]
[6]
[7]
[7]+4
[11]-2
[11]
2:19
2:25
2:59
3:25
3:41
4:58
5:05
[11]+1
[12]+2
[13]-2
[13]
5:10
5:52
6:27
6:35
structure
introduction
exposition
A theme
B theme
development
remarks
English horn, high in its range.
muted trumpet, later taken over by clarinet
how about that bass clarinet!
oboe starts
prominent celesta here
a few seconds of bright spotlight for the harp
bass clarinet and celesta alone in the spotlight
recapitulation
B
bass clarinet shines again
muted trumpets (3 this time)
another solo for the harp
followed by the bass clarinet, who gets his
best bit so far to end the movement.
A
coda
Second movement (Sorrows)

Adagio
Its moughty tiahsome layin roun
Dis sorrer-laden earfly groun,
An oftentimes I thinks, thinks I
Twould be a sweet ting des to die
An go long home.
ref
[14]
[15]
[17]
[20]
[21]
time
0:00
0:23
1:57
3:53
4:34
structure
introduction
A theme
B (development)
A
coda
remarks
oboe
flute and bassoon

Third movement (Humor)

Animato
An well shout ouah halleluyahs,
On dat mighty recknin day.
ref
[22]
[23]
time
0:00
0:11
structure
introduction
A theme
[25]
0:41
B (development)
[29]
2:02
[31]
2:37
coda introduced by
A theme
remarks
again the bass clarinet is prominent
note the entry here of the tenor banjo, playing
afterbeats.
tenor banjo takes a break for most of this
development section
but keeps his fingers warm with an 8-bar
guest appearance
tenor banjo rejoins the fun. Hell stay with us
for the rest of this movement and then sneak
off home.

Fourth movement (Aspirations)

Lento, con risoluzione
Be proud, my Race, in mind and soul.
Thy name is writ on Glorys scroll
In characters of fire.
High mid the clouds of Fames bright sky
Thy banners blazoned folds now fly,
And truth shall lift them higher.
ref
[32]
time
0:00
[34]
1:25
[37]
2:43
[37]+6 3:05
structure
A theme
B
C
[39]+2 4:14
[40]
4:36
[42]
6:03
[48]
7:29
coda
remarks
we go straight into a beautiful lyrical theme,
played in unison by violins, violas and cellos,
underscored by unison basses, tuba, and bass
clarinet. Trombones (directed to play organlike) add just the right amount of harmony, and
the whole effect is wonderfully transparent.
flute
vibraphone gets an understated solo. Hes seen
some action before this, but nothing so
prominent.
another vibraphone solo note
this time around the cellos are given sole
custody of the theme, accompanied only by
strings and flutes
now the musics character changes completely.
Perhaps Dunbars poem is a clue: having spent
the first section of the movement building pride
and self-confidence, we now move into an
action phase.
now the mood changes again as we near the end
of the work, seeming to suggest confidence,
resolution, energy, and optimism as we
conclude this very satisfying symphony.

Claude Debussy (1862-1918) (France) Prelude a lApres Midi dun Faune
Listening to this piece in the 21st century, as we are, it seems barely imaginable that this
beautiful dreamy piece of music could have been such an avant garde departure at the
time of its composition and first performance. Yet indeed it was. Although this was
Debussys first significant composition for orchestra, it marked a true inflection point in
the development of modern music. Its harmonies are truly revolutionary, being
completely dissociated from any home key over the first several minutes of the piece.
Neither the haunting melody introduced and virtually owned throughout by the flute, nor
its accompanying harmony, yield any clues about tonality.
No composer of the day was unaffected by this work. Even Stravinsky observed that he
couldnt have written the opening of his Rite of Spring without the education that this
composition gave him. And far from causing a riot at its first performance, as
Stravinskys Rite was destined to do, Debussys piece had to be played again, at the
insistence of the audience. True to form, the critics took longer to embrace Debussys
revolutionary innovations (and we can relate to that experience through Wagners
treatment of the critics in the Mastersingers).
This is how Debussy himself describes the work:
The music of this prelude is a very free illustration of Mallarm's beautiful
poem. By no means does it claim to be a synthesis of it. Rather there is a
succession of scenes through which pass the desires and dreams of the faun
in the heat of the afternoon1 . Then, tired of pursuing the timorous flight of
nymphs and naiads, he succumbs to intoxicating sleep, in which he can
finally realize his dreams of possession in universal Nature.
Asked about the specifics of how the music illustrates the poem, Debussy responded It
is a general impression of the poem, for if music were to follow more closely it would run
out of breath, like a dray horse competing for the grand prize with a thoroughbred.
Debussy completed the score in 1894, and its first performance was on December 22 of
that year. You can find excellent and more extensive program notes by Richard Freed,
and a short yet very illuminating video interview with NSO associate conductor Emil de
Cou, on the NSOs Web site at http://www.kennedycenter.org/calendar/index.cfm?fuseaction=composition&composition_id=2466
1
For those of us who dont know French, Lapres midi dun faune means The afternoon of a fawn (a
young deer).
Antonio Vivaldi (1678-1741) (Italy) The Four Seasons
Antonio Vivaldi, an extremely prolific composer and virtuoso violinist, was more highly
regarded in his own time as a violinist than as a composer. His huge output was assisted
by liberal recycling and reuse of his own material, and was largely motivated by
contractual obligationsVivaldi was employed for most of his working life by the
Ospedale della Piet, for periods being on a two-concertos-per-month schedule.
You may well ask, Whatever is the Ospedale della Piet? I certainly did. Turning to
Italian dictionaries, I discovered that ospedale is the Italian word for hospital, and
Piet is a representation of the virgin Mary. Okay, Hospital of the Virgin Mary, then.
Fair enoughbut why would a hospital pay anyone to compose music?
Digging further (this is one of the thingsserendipitous discoveriesthat makes leading
this class so rewarding), I discovered a Web page
(http://www.baroquemusic.org/bqxvivaldi.html) that gave a straight story, unsullied by
euphemism. Heres the juicy explanation:
Often termed an orphanage, this Ospedale was in fact a home for the
female offspring of noblemen and their numerous dalliances with their
mistresses. The Ospedale was thus well endowed by the anonymous
fathers; its furnishings bordered on the opulent, the young ladies were well
looked-after, and the musical standards among the highest in Venice.
However, other credible sources report that, although the Ospedale indeed started out as
an orphanage, the quality of its musical education gained it such a reputation that it
morphed into a respected conservatory. So pick the explanation you like better.
The Four Seasons, a set of four violin concertos, is the most well-known and most
popular of Vivaldis works. However, these four represent only the first of the 12
concertos he published as opus 8. Perhaps their enduring popularity has something to do
with their appealing titles.
Vivaldi composed each concerto to portray a sonnet. The concertos themselves were in
circulation long before their publication while Vivaldi revised and polished them over the
course of many performances. It was not until publication that Vivaldi revealed the
existence of the sonnets and their close association with the music. We dont know who
wrote the sonnets, but it has been suggested that, in light of their artistic mediocrity, the
author may have been Vivaldi himself.
Vivaldi went far beyond a mere association between poem and musiche explicitly
labeled his scores to indicate the particular line of sonnet associated with the music. In
some cases, annotations in the score are embellishments and do not explicitly occur in the
sonnets.
Well listen to this piece using the sonnets and other annotations as the maps, rather than
dissect the structure of the concertos in terms of their purely musical elements. Vivaldi
gave some of the movements descriptive subtitles, which Ive included in the tables that
follow.
Spring (La Primavera)
Mvt.
Sec
I Allegro
A
B
C
D
E
r Italian text
h
y
m
e
time2
English translation
a Giunt la primavera e festosetti
0:00
0:30
0:49
1:10
Spring has come,
b
a
b
b
a
a
b
La salutan glaugei con lieto canto;

E i fonti allo spirar de zeffiretti
Con dolce mormorio scorrono intanto.
Vengon coprendo laer di nero amanto,
E lampi e tuoni ad annuntiara eletti.
Indi tacendo questi, glaugelletti
Tornan di nuovo al lor canoro incanto.
1:40
2:13
and birds greet it

Festively with a cheerful song;
And with the breath of gentle breezes
Springs trickle with a sweet murmur.
Lightning and thunder, elected to announce it,
Come and cover the air with a black cloak.
Once they are quiet, the birds
Return to their enchanting song.
II Largo
F
c E quindi sul fiorito ameno prato

d Al caro mormorio di fronde e piante,
c Dorme l caprar col fido can al lato.
III AllegroRustic Dance
G
d Di pastoral zampogna al suon festante
c Danzan ninfe e pastori nel tetto amato
d Di primavera allapparir brillante.
0:003
Then on the pleasant, flowered meadow

A goatherd, with his faithful dog at his side,
Sleeps to the sweet murmur of fronds and plants.
0:00
To the festive sound of a rustic bagpipe

Nymphs and shepherds dance under the beloved canopy
At the brilliant appearance of spring.
Timings are relative to the Achiv recording 400 045-2, The English Concert directed by Trevor Pinnock,
with violin soloist Simon Standage.
3
In this movement, the dreamy solo violin melody represents the sleeping goatherd; the lazily moving
violin accompaniment depicts the murmur of fronds and plants, and the persistent low two-note figure from
the violas is the barking of the dog.
Summer (LEstate)
Mvt.
Sec
r Italian text
h
y
m
e
time
I Allegro non moltoExhausted by the heat

A
a Sotto dura staggion dal sole accesa
b Langue lhuom, langue l gregge, ed arde il pino;
B
a Scioglie il cucco la voce, e tosto intesa
C
b Canta la tortorella e l gardelino.
D
a Zeffiro dolce spira, ma contesa

b Muove Borea improviso al suo vicino;
E
a E piange il pastorel, perche sospesa
b Teme fiera borasca, e l suo destino.
II AdagioPresto
F
c Toglie alle membra lasse il suo riposo
d Il timore de lampi, e tuoni fieri,
English translation
0:00
0:59
1:56
2:20
2:31
2:46
3:23
0:00
0:18
c E de mosche e mossoni il stuol furioso!

III PrestoSummers violent weather
G
d Ah, che pur troppo i suoi timor son veri.
c Tuona e fulmina il Ciel, e grandinoso
d Tronca il capo alle spiche e a grani alteri.
0:00
Under the harsh season ignited by the sun

Man and flock languish, and the pine burns;
The cuckoo4 offers his voice, and, soon heard,
The young turtledove
and goldfinch sing.
Zephyr5 blows gently, but suddenly
Boreas 6 offers opposition to his neighbor;
And the shepherd weeps, because he fears
A severe storm in the offingand his destiny.
The repose of his tired limbs is disturbed
By the fear of lightning and
fiery thunder,
And by a furious swarm of flies and wasps.
Unfortunately, his fears are justified.
The sky thunders and fulminates, and hail
Flattens ears of corn and majestic grains.
The cuckoos call is a simple two-note falling third. Here its embedded in the frantic fast-note figure
played by solo violin, but made to clearly stand out.
5
The West wind
6
The East wind
Autumn (LAutunno)
Mvt.
Sec
r Italian text
h
y
m
e
I AllegroVillagers Dance and Song

A
a Celebra il vilanel con balli e canti
b Del felice raccolto il bel piacere,
B
a E del liquor di Bacco accesi tanti
C
b Finiscono col sonno il lor godere.
II AdagioDozing Drunkards
D
a Fa chognuno tralasci e balli e canti,
b Laria che temperata da piacere.
a E la staggion chinvita tanti e tanti
b Dun dolcissimo sonno al bel godere.
III AllegroThe Hunt
E
c I cacciator alla novalba a caccia
d Con corni, schioppi, e canni escono fuore.
F
c Fugge la belva, e seguono la traccia.
G
d Gi sbigottita, e lassa al gran rumore
c De schioppi e canni, ferita, minaccia
H
d Languida di fuggir, ma oppressa, muore.
time
English translation
0:00
The peasant celebrates the blissful pleasure

Of a happy harvest with dances and songs,
And, glowing with the liquor of Bacchus,
Many complete their enjoyment with sleep.
1:00
3:08
0:00
The air, tempered by pleasure, makes

Everyone give up dances and songs.
It is the season that invites so many
To the great enjoyment of a sweet sleep.
0:00
2:18
At dawn the hunters are off to the hunt

With horns, rifles, and dogs.
The wild beast flees, and they follow its trail.
Frightened already, and fatigued by the noise
Of rifles and dogs, wounded, it threatens
Languidly to flee, but, overcome, it dies.
0:00
0:33
1:04
2:18
To tremble from cold in the icy snow,

In the harsh breath of a horrid wind;
To run, stamping our feet every moment,
Our teeth chattering in the extreme cold.
0:00
Before the fire to pass peaceful,

Contented days while the rain outside pours down.
0:00
0:19
0:22
0:36
0:43
0:46
1:20
1:33
1:38
2:06
2:10
To walk on the ice and at a slow pace

For fear of falling,
move carefully.
To make a bold turn, slip,
fal1 down.
To go on the ice once more and run hard
Until the ice cracks and breaks up.
To hear the Sirocco, Boreas, and all
[the winds]7
The winds at war leave their iron gates:
[all the winds]
This is winter, but, even so, what joy it brings!
1:22
1:32
Winter (LInverno)
I Allegro non molto
A
a Aggiacciato tremar tra nevi algenti
B
b Al severo spirar dorrido vento,
C
b Correr battendo i piedi ogni momento;
D
a E pel soverchio gel batter i denti;
II LargoThe Rain
E
a Passar al fuoco i di quieti e contenti
b Mentre la pioggia fuor bagna ben cento.
III Allegro
F
b Caminar sopra l giaccio, e a passo lento,
G
a Per timor di cader, girsene intenti.
H
c Gir forte, sdruzziolar, cader a terra,
I/J
L
M
d Di nuovo ir sopra l giaccio e correr forte

c Sinch il giaccio si rompe e si disserra;
d Sentir uscir dalle ferrate porte
c Sirocco, Borea, e tutti i venti in guerra.

d Queste l verno, ma tal che gioia apporte.
one of those extra-sonnet annotations in the score

10
Ralph Vaughan Williams (1872-1958) (England) Overture: The Wasps

Symphony orchestra
The Wasps is a comic play by the Greek playwright Aristophanes, who lived from about
448 BC to 380 BC. The play is about the struggle between a son and his father over the
latters strange and compulsive hobbyattending court proceedings as a juror. For
reasons entirely mysterious to me 8 , the fathers fellow jurors appear dressed as wasps,
hence the plays title.
Vaughan Williams wrote incidental music for a 1909 performance of the play in
Cambridge. The overture follows standard practice by giving us a preview of the themes
to be heard in the body of performance.
A purposeful introduction powerfully evokes the buzzing of a swarm of wasps,
appropriately enough, and we might be lulled into thinking that the wasp buzzing is to be
the lynchpin of the work. However, the buzzing abruptly ceases after the introduction and
is barely hinted at thereafter.
There are three principal themes, two of which are march- like, the other more expansive
and lyrical.
A
C
8
There are of course boundaries to my interest in the stories behind musical works. The explanation behind
the wasp costumes lies beyond those boundaries.
11
Following the introduction, theme A begins the body of the piece, followed by B, which
sits atop an accompaniment closely derived from A.
A slower interlude appears as the middle section of the piece, during which theme C is
introduced.
The march- like tempo reappears, introduced by a brief burst of buzzing, as we embark on
a miniature sonata- form- like development. A recapitulation and coda then tastefully
reprise all three themes.
Richard Wagner (1813-1883) (Germany) The Ride of the Valkyries
The Ride of the Valkyries is from Wagners opera The Valkyrie, the second of the four
operas that make up The Ring cycle. This cycle is based on the same Norse mythology
that inspired Tolkeins Lord of the Rings. You can read much more about this Norse
mythology at http://www.pantheon.org/articles/v/valkyries.html
The Valkyries ("Choosers of the Slain") are beautiful young women, mounted upon
winged horses and armed with helmets and spears. Odin needs many brave warriors for
the oncoming battle of Ragnarok, and the Valkyries scout the battlefields to choose the
bravest of those who have been slain. They escort these heroes, referred to as the
Einherjar, to Valhalla, Odin's hall.

12
Aaron Copland (1900-1990) (born Brooklyn, NY; died North Tarrytown, NY)
Fanfare for the Common Man
Copland composed this three- minute work in response to a commission from Eugene
Goossens, conductor of the Cincinnati Symphony. In all, ten fanfares were written by ten
American composers to build patriotic spirit during World War II, although only
Coplands has held its place in the repertoire.
Copland himself was fond enough of this piece to bring it back and rework it as a key
piece of the finale of his Symphony No. 3.

13

14

Session 6 notes
27-Feb-2007
Tonights agenda
Tchaikovsky, Symphony No. 5
Tchaikovsky, Marche Slave
Delius, On hearing the first cuckoo in spring
Saint Sans, Symphony No. 3
Peter Tchaikovksy (1840-1893) (Russia) Symphony No. 5
Although we may not have applied the label at the time, weve already encountered
program musicmusic that illustrates a story, mood, or something else external to the
music itself. Peer Gynt, the Planets, Pictures at an Exhibition, Prelude laprs midi dun
faunethese are all examples. Knowing the imagery behind the piece helps us
understand and enjoy it.
But what if the music was program music as far as the composer was concerned, but
with a program not divulged? Is it still program music to the listener? This is the
dilemma we face with Tchaikovskys 5th . By the time Tchaikovsky wrote his 4th
symphony, he had come to the view that a symphony should have an underlying program.
And the 4th symphony is indeed based on an explicit program, which he expounded at
length in a letter to his patron, Nadezhda von Meck. Yet oddly, Tchaikovsky never said a
word to anyone about any program underlying the 5th . However, we know from notes of
his unearthed in the 1950s that indeed a program there was, though Tchaikovsky
apparently took most of it to his grave in his head. The only snippet he committed to
paper was this:
Introduction. Complete resignation before Fate, or, which is the same,
before the inscrutable predestination of Providence. Allegro. (I) Murmurs,
doubts, plains, reproaches against XXX . . . (II) Shall I throw myself in the
embrace of faith?

So much for a program, or lack thereof.

For additional insight into Tc haikovsky and his fifth symphony, see Richard Freeds
excellent program notes at http://www.kennedycenter.org/calendar/index.cfm?fuseaction=composition&composition_id=2080
For our purposes tonight, heres a map of the symphony that we can use to keep our
bearings. Relative to our recording, which is by Georg Solti with the Chicago Symphony
Orchestra (on London 425 516-2), times indicate the time at the beginning of the
segment, relative to that movement.

Theme Reference
Motto Theme
First Movement
First Theme
Second Theme
Third Theme
Second Movement
First Section
First Theme
Second Theme
Second Section
Third Movement
Waltz Theme
Trio Theme
Fourth Movement
First Theme
Second Theme
Third Theme

First Movement
Sonata form
bar
time
remarks
0:00
Introduction
42
116
170
2:30
4:20
5:36
Exposition
First Theme
Second Theme
Third Theme
Development
194
6:20
321
373
427
451
8:53
10:07
11:21
12:02
(clarinet) the motto theme, which shows up

repeatedly throughout the symphony
the movements melodic elements are stated
clarinet and bassoon
strings
violins
the themes are developed, somewhat like
variations
development begins with a bold restatement of the
First Theme by brass and woodwinds
the themes are restated
solo bassoon
strings
strings
horns and trombones announce the Coda with the
powerfully stated First Theme. The coda is based on
elements of both First and Second Themes
Recapitulation
First Theme
Second Theme
Third Theme
Coda

Second Movement
Slow, serious, and rather dark. ABA form.
bar
time
remarks
Second Movement
First Section (A)
First Theme
Second Theme
Reprise
serious and rather dark

(strings) introductory chords
solo horn
oboe and horn duet
(cellos) restatement and development of First and
Second Themes
(clarinet) a new theme, contrasting and a little more
urgent
(trumpets and woodwind) the Motto Theme makes
its first brief reappearance, strident and selfimportant. [Listen to the bass trombone and contrabassoon thumping out their triplet figure way down
there in the nether regions.]
1
8
24
33
0:00
0:48
2:21
3:09
67
5:56
Second Section (B)
99
7:24
Bridge
108
111
7:46
8:04
First Section reprise (A)

First Theme
128
9:22
142
158
10:02
Second Theme
11:10 Coda
171
11:56
(violins) notice the newly introduced obligato

(counter melody) in the woodwinds
(woodwinds) 1st Theme continues, now with a new
counter melody from horns
now returning in a full-orchestra fortissimo climax
(trombones and bassoons) Motto Thememaking
another reappearance, now forceful and menacing
(strings) Second Themea tranquil contrast,
bringing the movement to a peaceful close
Third Movement
Waltz and trio
A short, happy, and airy waltz movement, more light hearted than a typical classical-era
scherzo and trio.
bar
time
remarks
1
72
0:00
1.29
Waltz Theme
Trio
145
2:58
Waltz Theme reprise
241
5:01
Coda
256
5:21
violins
(violins) a busy and fussy contrast to the song- like
waltz
(strings) notice how the fussy Trio theme
continues, competing with the (oboes) Waltz
reprise for a few bars before finally yielding the
floor
(clarinet and bassoon) Motto Themehere it is
again
(violins) First Themea very brief fragment based
on the first theme elbows out the motto theme to
complete the movement

Fourth Movement
Sonata form
bar
time
0:00
51
2:34
remarks
Fourth Movement
Introduction
58
98
128
172
2:56
3:31
3:57
4:33
Exposition
First Theme
Second Theme
Third Theme
Development
296
6:28
Recapitulation
First Theme
340
378
7:06
7:38
426
474
490
8:20
9:12
9:58
the Motto Theme reappears, majestic and resolute,

running for 57 bars in its most extended form yet.
strings tease us with fragments that hint at the theme
to come
strings
strings
woodwinds
trumpets and trombones announce the Development
with (what else?) the Motto Theme
notice how the two elements of the first theme are
now played concurrently, with the first figure in the
lower instruments and the second figure in the
higher register
strings
woodwinds
Second Theme
Third Theme
Coda
(brass) the motto theme appears in a transitional role

(strings) triumphant strings sound the motto theme
trumpets and oboes wrest ownership of the motto
theme (no, I cant really hear the oboes either, but
the score says theyre indeed involved)
now Tchaikovsky treats us to one of my favorite
figuresthe relentlessly stepwise-rising bass line
First Theme of First Movement! Now in the major
key. As in the Third Movement, the Motto Theme is
elbowed out at the very end of the piece
10:25
546
11:13
Peter Tchaikovsky (1840-1893) (Russia) March Slave

Throughout his career, Tchaikovsky composed occasional pieces to mark various
events, often connected with the lives of colleagues or Russian dignitaries. The Marche
Slave is one such piece, commissioned in 1876 by the Russian Musical Society for a Red
Cross concert for the benefit of Russian troops in Serbia and Montenegro. To help boost
morale and raise money, the piece is based on Serbian folk songs, and also quotes the
Tsarist national anthem. Marche Slave is one of the Tchaikovskys more popular concert
marches, and is often found on classical pops collections.
We need to give the title March some latitude, as it normally implies a steady 120beats-per-minute tempo, and usually a major key. In contrast, Marche Slaves opening
theme conno tes not so much marching as trudging. [0:14] 1 The melancholy minor-key
melody is first featured in the lower strings and then moves to higher registers, each
repetition underpinned by a new counterpoint. [1:23] The opening theme abruptly gives
way to an optimistic lyrical theme from the second violins. After a busy bridge passage
[1:41], the full orchestra brings back the opening theme [2:29].
[3:40} The mood now changes as the clarinets take up a surprisingly happy and jovial
theme, which is soon joined [4:17] by a variant of the opening march theme which, this
time around, has a bit more of a spring in its step.
[5:04] Heres the Tsarist national anthem for the first time, which you may recognize
from Tchaikovskys well-known 1812 overture.
[6:08] Now the opening theme returns, this time sounding even more optimistic. After a
reprise of the lyrical theme, we enter a bridge passage that takes us into another major
mood change [7:40], again with clarinets handling the kick off, and now sounding
happier than ever. Low brass throw in their weight with the national anthem, and the
march heads into a brilliant and upbeat [8:55] coda.
Frederick Delius (1862-1934) (England)
On Hearing the First Cuckoo in Spring
Small orchestra
Of wealthy German parentage, Delius was born and raised in England. He moved to
France in 1888 and spent the rest of his life there. Five years younger than compatriot
Edward Elgar, the two never met until 1933, the year before both died.
Delius was not a prolific composer. His music is unlike that of any other, and tends to
have a dreamy, ethereal quality, very evocative of the mood scenes it portrays. As a
result, it demands the greatest care and empathy from its performers, lest it should sound
trivial and simplistic.
On Hearing the First Cuckoo in Spring dates from 1912. Just over seven minutes long, its
uncomplicated structure is based on a Norwegian folksong that composer Edvard Grieg
1
Timing are relative to the London recording 430 410-2, London Symphony Orchestra conducted by
Leopold Stokowski.
had published in a piano collection of folk tunes. Although the overall design of the piece
is simple, Delius achieves a very richyet delicatestring sound, dividing each of the
usual orchestral string lines into two (with the exception of basses). The harmony
becomes more and more chromatic and complex as the piece progresses, enriching the
lush texture.
The cuckoo call is a ubiquitous and universally recognized sound in the summer English
countryside (and I suppose in France too), but probably quite unknown to most American
ears. Its a simple two-note falling third; the name cuckoo being itself an imitation of
the sound, which the clarinet gets the job of making in this piece.
Camille Saint-Sans (1835-1921) (France) Symphony No. 3
Saint-Sans is one of those composers whose popularity now rests on a small number of
works, in spite of a large output and considerable fame and reputation during his lifetime.
He was a virtuoso pianist and organist, gaining entrance to the Paris Conservatoire at the
tender age of 13 and later earning his living as an organist. He gained fame for his organ
improvisations, some of which found their way into his published works, including the
Third Symphony.
Saint-Sans Third Symphony is the only one to hold a place in todays repertoire. The
other four are almost never featured on concert programs and are very sparsely recorded.
(A fairly deep scan of the Amazon catalogue reveals no recordings by world-class
orchestras.)
The Third Symphony is Saint-Sans last, and is so numbered because two others were
unpublished until after his death. Completed in 1886, the Thirdwhich has acquired the
ineluctable nickname of the organ symphonywas the result of a commission by the
Philharmonic Society of London. Saint-Sans music was popular in England, and this
period marked the zenith of his fame and compositional creativity. The first performance
was, appropriately enough, in London, conducted by the composer.
Saint-Sans presents the symphony as a two- movement work rather than the usual
symphonic design of four. However, the two movements are each constructed as rather
distinct halves, joined by connecting passages, and thus we can choose to think of it as a

four-movement work. Indeed, the recording well hear divides the symphony into four
tracks.
The work is dedicated to the composer Franz Liszt, and borrows Liszts idea of theme
transformation, in which a motto theme recurs throughout the entire work, changing its
character to conform to its context. Saint-Sans shows remarkable ingenuity in this
respect, and the symphony is thus superbly integrated.
Outline of the sympho ny
Timings are relative to the recording by Charles Dutoit and the Montreal Symphony
Orchestra, London 410 210-2.
Movement I1
Sonata form
ref
[start]
[start]+11
time
0:00
1:18
[F]
[H]
[M]
3:36
4:50
7:02
[O]+13
[P]+9
8:47
9:30
structure
introduction
exposition
first subject
second subject
development
recapitulation
first subject
second subject
coda/bridge to I2
ref
[P]+35
[S]+3
time
0:00
4:48
structure
A
B
[U]
5:14
link
remarks
remarks
motto theme
here is a delicate adaptation of the motto

theme (triplets, with the third triplet
missing)
Movement I2
ABA form
this theme is actually a variation on A,

providing a pleasant contrast to A yet
tightly integrating the movement through its
close relationship
heres a stroke of genius: this figure is what
I referred to above as the delicate
adaptation of the motto theme from the
close of I1 , which led us into I2 . Now SaintSans brings it back in extended form, again
to preface the reprise of theme A, thus
muddying up the boundaries of our pulling
apart of his two movements.

[V]
6:24
notice how the delicate adaptation of the

motto theme continues as pizzicato
accompaniment
[X]
7:46
coda
Movement II1
Sonata form
ref
[start]
time
0:00
structure
exposition
first subject
remarks
[C]+12
1:29
second subject
[F]+4
2:01
development
[K]+14
3:26
[O]+2
[Q]+6
[R]+4
4:54
5:31
6:14
recapitulation
first subject
second subject
coda/link to II2
the motto theme, transformed so that it

retains much of its rhythmic character but
little of its melody
a new idea, but I think I could almost
convince myself its derived (melodically
anyway) from the motto theme
an ingenious development section built
largely on the transformed motto theme,
which this time retains its melodic elements
but replaces its frenetic staccato with a
lyrical flowing rhythm strongly reminiscent
of the melody of I2 .
notice the motto theme in basses and cellos;

here the melody is transformed not at all,
but the rhythm certainly is.
Movement II2
Free fantasia
This movement makes for a glorious finale as Saint-Sans gives free rein to his
imagination, quite unconstrained by considerations of adherence to any design template.
The entire movement is derived from the motto theme, and most of the way you dont
need too much imagination to make the connection.
I wont attempt a detailed analysis because I dont think it would add much to your
listening enjoyment 2 it would be complex and confusing rather than enlightening. I
will, however, point out a few highlights (but Ill remind you here that Im a brass
player):
2
And writing it would make my brain hurt.

10
ref
[R]+16
time
0:00
[S]
0:30
[T]
[AA]+31
[CC]+12
1:46
4:19
5:32
[FF]+9
6:24
remarks
the organ gets the first bar all to himself here with a rich C major
chord. I love to watch sleepy- looking audience members as a live
performance approaches this point.
the dreamy-sounding extended melody in strings is clearly the
transformed motto theme. Notice the busy and pretty
accompaniment from the piano (one instrument, four hands)
heres a fugue
how bout them trumpets?
not to be outdone, trombones and tuba strut their stuff. The
Montreal brass section is a powerful unit indeed.
heres the culmination of a movement (and symphony) that, for
brass players, makes all that bars-rest counting worthwhile.

11
Classical Music AppreciationIntermediate

Class Outline
27-Feb-2007
This class is organized around three principal topics: form and structure , historical
periods , and instrumentation. We will, however, spend most of our class time listening
to music. Furthermore, well be listening to complete works (as opposed to excerpts)
without interruption, guided by program notes (which are often quite detailed). Ill be
marking off our progress as we listen to each piece, keeping you oriented to where we are
in its structure.
While the chosen works illustrate the elements of the topics around which the course is
organized, I selected music that I believe youll find enjoyable and stimulating.
Well have a 5-10 minute class discussion of each piece, during which well all be able to
learn from one anothers questions and insights.
There follows the outline for the entire class. Youll see that we jump back and forth
among the principal topics, which accommodates the constraints of the schedule while
working in some variety. Because of this jumping around, I suggest you bring handouts
from all previous weeks to each class.
week 1
Introduction
Vaughan Williams, Fantasia on a Theme of Thomas Tallis 1
Introductions
Form and Structure
Parks, First Romance [Theme-and-Variations Form] 2
Elgar, Enigma Variations [Theme-and-Variations Form]
The major structural designs of classical music
Elgar, Serenade for strings [ABA form]
Mozart, Horn Concerto No.3 [rondo form (and also sonata form)]
1
2

[brackets] explain what the piece is primarily chosen to illustrate
Classical Music AppreciationIntroductory, Class Outline

week 2
Haydn, Symphony No.102 [sonata form]
Historical Periods, Round 1
Major periods in classical music development
Plainsong (Gregorian chant) [Medieval period]
Holborne, The Fairy Round [Renaissance period]
Bach, Brandenburg Concerto No. 2 [Baroque period]
Boyce, Concerto Grosso in B flat [Baroque period]
JC Bach, Symphony Op 18 No 2 [music on the Baroque/Classical cusp]
Berlioz, Les Francs Juges [Romantic period] 3
week 3
Mozart Piano Concerto No. 21 [Classical period]
Schubert Symphony No 8 [Romantic period]
Instrumentation, Round 1
The major ensemble types in classical music
Bartok, Concerto for Orchestra, 2nd movement4 [orchestral instruments]
Holst, St Paul's Suite [string orchestra]
Holst, Suite in F [wind band]
Vaughan Williams, Variations for Brass Band [brass band]
week 4
Beethoven, Symphony No 6 [music on the Classical/Romantic cusp]
Berlioz, Symphonie Fantastique [Romantic period]
Vaughan Williams, Toward the Unknown Region [chorus and orchestra]
week 5
Shostakovich, Symphony No. 5 [Modern period]
Golland: Meiso [Modern period; brass band]
Debussy, La Mer [Modern period]
Barber, Summer Music [wind quintet]
Henry VIII, Rose without a Thorn [brass quintet]
week 6
Beethoven, String Quartet Op 18 No 6 [string quartet]
The Grand Finale
Dvorak, Symphony No. 9
Rimsky-Korsakov, Scheherazade
3
4
Yes, this one is out of chronological sequence. Its to accommodate the clock and the schedule.
That thing I said about playing only complete works: heres an exception, but its the only one.


Session 1 notes
27-Feb-2007
Tonights agenda
Administrivia
Introduction
Vaughan Williams, Fantasia on a Theme of Thomas Tallis 1
Introductions
Form and Structure
Parks, First Romance [Theme-and-Variations Form] 2
Elgar, Enigma Variations [Theme-and-Variations Form]
Elgar, Serenade for strings [ABA form; arch form]
Mozart, Horn Concerto No.3 [rondo form (and also sonata form)]
Ralph Vaughan Williams (1872-1958) (England) Fantasia on a Theme of
Thomas Tallis
Biographical Note
Vaughan Williams counts the Wedgwoods (of pottery fame) and the Darwins among his
ancestors. Born into a comfortably well-off Gloucestershire family, he began to compose
at the age of six. However, child prodigy he definitely was not. Vaughan Williams
worked very hard to acquire his competence as a composer. His progress was slow, yet
he remained dedicated and determined. Even his family remarked on how bad he was at
music in spite of all the effort and study that he put into it. He studied at Cambridge
University and the Royal College of Music under Charles Wood and Charles Stanford,
1
2

[brackets] explain what the piece is primarily chosen to illustrate
Classical Music AppreciationIntermediate, Session 1

and even traveled to Berlin to study with Max Bruch. By the time he was in his early
thirties he realized, as he later wrote, that the years were passing, and I was adding
nothing to the sum of musical invention.
His fortunes began to change after being introduced to the craft of folk-song collecting by
Lucy Broadwood. Folk tunes became a major influence, and many of his works are based
on folk songs or their musical ideas. In 1904 he accepted an invitation to be music editor
of a new hymn book, The English Hymnal (1906). This venture provided the seed for the
Fantasia on a Theme of Thomas Tallis, as Vaughan Williams harmonized the theme and
restored it to the hymnal.
His principal work around the turn of the century was Toward the Unknown Region, a
choral setting of Walt Whitmans poem Darest Thou Now O Soul. However, still
dissatisfied with his compositions, he spent three months of 1908 in Paris in a period of
intense study with Maurice Ravel, a period that apparently unleashed his creative
energies. His output thereafter grew rapidly in both quality and quantity.
With the onset of war in 1914, he insisted in enlisting in the army (at the age of 41!) and
served as a hospital orderly in France and Macedonia, later becoming an artillery officer.
After the war, he completed his Pastoral Symphony. From 1920 to 1928 he was kept busy
as conductor of Londons Bach Choir. With the death of Edward Elgar in 1934, Vaughan
Williams was propelled into the limelight as Englands most famous composer, and his
musical output continued apace, never slowing even to his dying day.
It may seem a little odd that Vaughan Williamseclipsed in stature only by Elgarwas
never knighted. Such lesser lights as Arnold Bax, Arthure Bliss, and Granville Bantock
were all knighted, as were William Walton, Be njamin Britten, and Michael Tippett.,
although Gustav Holst and Frederick Delius were apparently passed over. Digging into
the history, however, we find that Vaughan Williams was indeed offered a knighthood in
1935, but modestly turned it down, shunning what he felt was pomposity and preferring
to stay with his academic title. He did, however, accept the lesser honor of the Order of
Merit.
The Music
Fantasia on a Theme by Thomas Tallis is one of Vaughan Williams most popular pieces.
Its one of those pieces that keeps turning up on CD after CD, being equally suited to
string orchestra collections, English- music collections, pop classical collections, and so
on.
Yet interestingly enough, the work rarely appears on live concert programs, a disparity
large ly explained by the logistical difficulty involved in its performance. Vaughan
Williams scored the fantasia for two string orchestras of different sizes, plus a string
quartet, with the second orchestra frequently echoing the first. To obtain the desired sonic
effects, the two orchestras need to be seated some distance from each other, a feat not
easily achievable in the average concert hall. In a recording, of course, the sonic effects
can be created through appropriate application of technology to simulate spatial

separation..
Thomas Tallis was a 16th century English composer, organist, and singer who held
various church posts. The theme on which Vaughan Williams based this fantasia dates
from about 1567. The seed for the fantasia was planted in 1906, whe n Vaughan Williams,
as editor, harmonized Tallis tune and restored it to the English Hymnal. Following his
three- months Paris sojourn studying with Maurice Ravel, he composed the fantasia to
fulfill a commission for the Three Choirs Festival of 1910, at which it was performed in
Gloucester Cathedral.
Although Vaughan Williams uses the label fantasia, which connotes great freedom of
form, the respected critic Frank Howes has pointed out that the work makes relatively
little departure from the theme itself, and is thus more properly considered
madrigalian3 rather than fantasia- like. Well, be that as it may, were going to declare
any deeper analysis as being outside the scope of this class and just enjoy it as we hear it.
After all, this work wouldnt have become such a recurring feature of recorded
collections if it werent so instantly accessible.
The Theme and Variations form
[This short preview anticipates material well soon get into in more detail. Its a way to ease us into examination of
form without trying to swallow too much in one go.]
Theme and variations is perhaps one of the most easily recognizable musical forms. A
theme (i.e. a tune) is stated, usually at the beginning of the work, and the remainder of the
work consists of variations on that theme. Variations may be based on many devices,
such as:
constant
orchestra
Of course, some or all of these devices may be in play simultaneously, taking the music
quite far away from its thematic origins.
A madrigal is a song designed to a particular pattern. Or, more accurately, one of two patternsthe 14th
century madrigal, or the 16th century madrigal.
Aaron Parks (7 October 1983- ) (Seattle, WA) First Romance

Theme and variations (Modern Period, piano trio)
Okay, thats a bit of a grandiose introduction for Aaron Parks, and you might well ask
what hes doing in a classical music class. What were hearing is quite clearly jazz.
However, Im using his work as a particularly illuminating example of an important
classical music conceptthe theme and variations form.
Jazzespecially the traditional New Orleans styleoften conforms to a theme-andvariations form in a very strict way. The theme is stated at the outset, then the various
soloists take turns presenting their improvisations on it. These improvisations are
variations made up on the spot, in real time. Throughout, the tempo is invariant and the
length of the choruses is fixed at the length of the theme, as is the chord sequenc e.
Within this rigid framework, the soloists are free to improvise on the theme.
Aaron Parks music is a far cry from traditional New Orleans jazz, but the track we hear,
First Romance, follows that constrained structure with unusual purity. Consequently, it is
an excellent and lucid example of theme-and-variations construction in its simplest form.
Here is a map of the piece:
Theme: (which itself conforms to ABA form): A A B A (each section is 16 bars long)
First variation: A1 A2 B1 A3
[subscripts denote an improvisation]
Second variation: A4 A5 B2 A6
Third variation: A7 A8 B3 A9
Fourth variation (bass): A10 A11 B4 A12
Recapitulation: A A B A
You can read more about the youthful Mr. Parks at
http://www.keynoterecords.com/aaron_parks.html , from where you may also purchase
his recordings 4 .
In theory, anyway. The Website has a gone-out-of-business smell about it.


Basic building blocks
Repetition
If youre standing in an art gallery looking at a picture, you can stand for as long as you
like in front of that picture, examining its whole, zooming in on its parts, all the while
building up your understanding of what its all about.
You cant do that with a piece of music. Music is played from the top to the bottom in a
linear progression, so once a part of the work has gone by you dont get to hear it
again. This tyrannical property of time thus presents a challenge to the listener. How can
she be expected to retain the melodies and harmonies as they whiz by, so as to be able to
satisfyingly relate to the work as a whole?
It is this dilemma that the composers device of repetition addresses. By repeating
material, the composer more firmly lodges it into his listeners minds.
Repetition occurs on many scales, from large tracts of music lasting many minutes, to
short phrases. The repeated phrase is a familiar phenomenon in almost all forms of music.
Weve all heard phrases that so demand to be repeated that without the repeat the effect
resembles a bull with one horn.
Variation
Closely allied with repetition is variation. Variation involves altering an already-stated
idea in some way. The alterations may be based on many devices, such as:
constant
orchestra
Variation is a fundamental idea in musical form, appearing as a key feature in many of
the more-complex forms.
ABA
ABA form extends simple repetition by interposing a new idea between the repetitions of
the opening idea. ABA is a fundamental form that forms the basis of several morecomplex forms.

Rondo
Rondo is a rather straightforward extension of ABA, and features a recurring theme
alternating with a series of episodes. Symbolically we can describe it as ABACADA..
Ritornello
Ritornello is a form based on rondo, often employed in Baroque-period concertos. The A
sections are tuttis (i.e. played by the orchestra ensemble), with the episodes being played
by the soloist. The episodes themselves are often based on the A material, and are
normally designed to showcase the soloists virtuosity.
Arch form
If we take basic ABA form and extend it by bracketing it with an additional idea, we get
what is referred to as arch form, represented symbolically as ABCBA.
Binary form
Binary form was often used in the Baroque period in the movements of dance suites. It
can be represented as AB, and thus amounts to ABA without the repetition. However,
binary form features an essential characteristic that holds it togetherthe A subject
modulates away from the opening key. This device creates a feeling of unease in the
listener, because the new key gives the music an air of uncertainty, a feeling that
something needs to be resolved. And indeed that resolution is provided by the B section,
which takes the music back to the tonic key.
Note that the modulation of the A section towards the B section implicitly involves
elements of variation.
Designs for larger-scale works
The basic building blocks outlined above may be employed for individual movements of
larger works. In addition, these building blocks form the basis of more-complex designs.
Sonata form
Sonata form is most commonly employed as the template for the first movement of
symphonies, concertos, and (of course) sonatas.
At its simplest, sonata form consists of three elements, which themselves form an ABA
structure. The first A, referred to at the exposition, normally features two themes, or
subjects, with the second subject being in a different key (often the dominant) from the
first. The second A, is referred to as the recapitulation, and as you might expect is in
principle a restatement of the exposition. However, the second subject of the
recapitulation usually stays in the same key as the first subject. Alert readers will
recognize this device as being consistent with the Binary form described above. It is
common for the recapitulation to vary the themes somewhat, and the recapitulation is
usually shorter than the exposition, which itself is often repeated in its entirety.

Between the exposition and recapitulation is placed the development, in which the
composer takes the themes from the exposition and creates a free fantasia with variations
on those themes, involving much modulation, often to remote keys.
To complete the picture, it is common for the exposition to be preceded by an
introduction, and for the movement to be brought to a tidy conclusion by a coda.
To summarize, we may represent sonata form with the following map.
(Introduction)
Exposition
First subject
Second subject
(Repeat of exposition)
Development
Recapitulation
First subject
Second subject
(Coda)
Sonata Rondo form
As the name suggests, sonata rondo form blends the elements of sonata and rondo form.
In its pure form, sonata-rondo form is sonata form with a Development section consisting
of the first subject followed by new material (rather than variations on the exposition
themes) in a different key. In practice, movements based on both sonata and rondo
elements are usually much more free in structure than the theory books would lead you to
believe. Sonata-rondo form is often encountered as the underlying design for the final
movement of a symphony.
Theme and Variations
Theme and variations is perhaps one of the most easily recognizable musical forms, in
which an entire work is based on the variation idea described above.
A theme (i.e. a tune) is stated, usually at the beginning of the work, and the remainder of
the work consists of variations on that theme. In general, multiple of the various variation
devices may be in play simultaneously, taking the music quite far away from its thematic
origins.
The concept of variation is fundamental in classical music. Although the theme-andvariations form employs the concept at its purest, variation is the foundation of many
structural elements of a symphonic work. For example, the development section of a
sonata- form movement typically consists of variations on themes from the exposition, as
does a coda. On a smaller scale, the bridge passages that link together the major
statements of the work are themselves normally fashioned from variations on alreadyheard thematic material.

It is this reworking and restatement of a relatively small amount of thematic material that
integrates a substantial symphonic work and gives it intellectual manageability. Each
repeated element reinforces listeners familiarity and thereby consolidates their
understand ing.
Scherzo and Trio
Scherzo (or minuet) and Trio is a particular form of ABA, and merits a mention in its
own right because of its frequent appearance as the second or third movement of a
symphony. A minuet is a rather sedate and stately dance in triple time. A scherzo is also
in triple time, but is much more lively (its literally the Italian word for joke).
The trio 5 section typically provides a contrast to the scherzo. While the scherzo is
usually lively and rhythmic, the trio tends to be more lyr ical and relaxed.
The Symphony
Symphonies of the Classical and Romantic periods usually have four movements. The
following design is typical:
First movement: Sonata form
Second Movement: Slow movement
Third Movement: Scherzo (or Minuet) and Trio
Fourth Movement: Sonata form (or sonata-rondo, or rondo)
The order of the slow movement and the scherzo may be reversed.
Serenade
The term serenade has been employed at least since Mozarts time to describe a work
of symphonic structure but much shorter duration than a symphony, and usually for a
smaller ensemble, such as a string orchestra. However, its a somewhat confusing
designation, and there is overlap of works recognized as symphonies with those
recognized as serenades. For example, Mozarts Eine Kleine Nachtmusk, written
originally for string quartet plus bass (and now generally performed by chamber-sized
string orchestra) is regarded as a serenade, and indeed described as such by the
composer. It runs to 18 minutes and is of symphonic construction. Yet Mozarts own
Symphony No. 32 runs for only 10 minutes.
Concerto, Sonata
A concerto normally involves a solo instrument and a symphony orchestra, often
reduced in size so as not to overwhelm the soloist. Sometimes more than one soloist is
involved, leading to such terms as double concerto and triple concerto.
A sonata may be for solo piano or for a solo instrument accompanied by piano.
5
The trio sections curious name derives from early Baroque-period suites that featured minuet-and-trio
movements. It was common at the time for the trio section to be played by just three instruments, with the
minuet being played by the full ensemble.
Concertos and sonatas of the classical period are similar in construction to symphonies,
except they usually consist of three movements, with the symphonys scherzo-and-trio
movement being omitted. Concertos of the Romantic period tend to be freer in design,
while those of the Baroque period (which predated the maturation of sonata form) are
usually simpler in design, often employing the Ritornello form.
Suite
A Suite is, as its name implies, a collection of movements that are more or less related
in some way. The movements may be, for example, a selection of pieces from a larger
collection (for example Griegs Peer Gynt Suite), a collection of dances (for example
Malcolm Arnolds English Dance Suite and Cornish Dance Suite), or a selection of
scenes from a ballet. Or the movements may be specifically written for performance as a
suite, with no ulterior ancestry, as for example Gustav Holsts Moorside Suite.
A Suite is distinguished from a Symphony by being freer in format. There are usually
three or more movements, which are generally much shorter than the movements of a
symphony. Being shorter, their structure can be simpler (often simply ABA) without
running the risk of losing the listener.
Overture
The purpose of an overtureoriginally at leastis to warm up the audience with some
previews of the themes they are to hear in the opera proper. With that aim, the structure
of an overture was quite free, and composers often knitted together their themes with
creative variations.
Overtures are inherently constrained in length. After all, how long can you expect an
eager audience to sit still? Theyre keenly awaiting the performance, and its hard enough
to get them to stop talking as it is.
As early as the baroque period, overtures from operas gained retrospective recognition as
fine free-standing concert pieces. They proved to be effective and popular opening works
for orchestral concerts, so much so that the overture rather quickly attained the status of a
legitimate form (or should that be pseudo- form?) in its own right, quite dissociated
from an opera or other larger work. Such free-standing works are some times labeled
concert overtures or comedy6 overtures.
Tone Poem
The term tone poem designates not a form as such, but rather a work intended to tell a
story, describe a scene, or evoke a mood. I mention it here for completeness, because the
term tone poem appears to have acquired pejorative connotations, apparently having
become synonymous with long, boring, miserable piece of music in many peoples
minds. Perhaps because of these connotations, composers have taken to attaching
alternative labels to their tone poems. Thus, Elgar calls his Cockaigne an overture;
Delius give the collective label Two Pieces for Small Orchestra to On Hearing the First
6
As far as I can tell, comedy is a simple synonym for concert in this context. There is no connotation
that the work is supposed to be funny.
Cuckoo in Spring and Summer Night on the River, and Bantock calls Prometheus
Unbound a symphonic prelude.
Edward Elgar (1857-1934) (England) Enigma Variations
Symphony orchestra (Modern Period)
Elgars Enigma Variations is perhaps the best-known set of variations in the entire
orchestral repertoire. Its first performance, conducted 7 by Hans Richter in London in
1899, brought Elgar immediate success and the recognition that had up to then largely
eluded him.
Elgar had left his native Worcestershire in 1889 to make a career in London, but after two
years of frustration and disappointment he returned home. Continuing to compose
primarily for local music festivalshis reputation steadily grew. It was the Enigma
Variations that propelled him at last to national prominence.
The work, like so many of the good things in life, was the result of serendipity. One day,
Elgar, returning home from giving violin lessons, sat down to unwind at the piano and
began improvising. His wife commented favorably on the tune that emerged and Elgar
responded by suggesting how certain of their friends might play it. That spontaneous
exchange was the seed from which the Enigma Variations germinated.
The work is dedicated to My friends pictured within, and each variation is annotated
with the initials or nickname of the friend portrayed. Elgar eventually cleared up any
mystery8 as to their true identities in a note written for issue with pianola rolls.
The title Enigma was said by Elgar to refer to another well-known tune, which does not
itself appear in the variations but of which the theme is the counterpoint. Basil Maine,
Elgars biographer, colorfully referred to the enigma as the themes silent companion.
7
But who was Richter conducting? No-one seems to know. Ive searched high and low, and nowhere can I
discover the identity of the orchestra. http://members.cox.net/datimp/simco.html says it was the Halle, but
the Halles own site (http://www.halle.co.uk/publishedsite/cd-hll-7501.asp) refutes that notion.
8
With the very likely exception of Variation 13 (is that number mere coincidence?)
10
It is of course possible that this was one of Elgar's 'japes' and that the enigma tune does
not exist. If so, it has become a spectacularly successful jape, taken to great lengths and
sparking a feverish debate that continues unabated. Auld Lang Syne is the most frequently
touted candidate but excerpts from a range of works by composers Elgar admired,
notably Mozart, have been found to show strong musical similarities with the theme,
while a 1975 correspondent to the Elgar Society Journal put together a convincing
argument in favor of Rule Britannia as the solution.
Elgar never explained this mystery, and it is commonly thought to remain unsolved to
this day. However, a 1988 article in The Economist claims that, according to Richters
daughter, Richters diary records that Elgar told him that the answer to the enigma was
indeed that no such tune existed 9 . Elgar mentioned that he finished the variations on April
1st , so he invented the non-existent theme as an April Fools joke.
Elgar claimed no more ambitious aim for the work beyond that each variation should
illustrate some little characteristic of a friend. To his editor (August Jaeger) at publisher
Novello he remarked that in the Variations he has written what I think they would have
writtenif they were asses enough to compose.
Map of the work, with notes
Numbers in brackets are the rehearsal numbers given in the Novello score. The notations
+n and -n indicate the number of bars beyond or ahead of a rehearsal figure. Thus
[15+6] indicates 6 bars beyond figure 15. Note that [15+0] (not [15+1]) 10 would indicate
[15] itself, but in that case Id omit the 0. In addition, the timing relative to the start of
the variation in the LPO/Barenboim recording (Sony SK 92763) is appended after a
dash. Thus [16+10:36] indicates 1 bar after rehearsal number 16, 0:36 into the
variation.
It may or may not be significant that the Economist article appeared on April 2nd . Furthermore, the article
states that Richter's diary recounts how Elgar told him that there was no thematic link to the variations,
an assertion that is plainly false on its face. But when we consider that we are reading an article recounting
an interview by an obscure author (Erich Merkwrdigliebe) with Richters daughter about what Richter had
written in his diary about what Elgar had told him, we clearly see four levels of indirection through which
whisper-down-the-lane distortions could have been introduced. It may also be significant that the very
active Elgar Society does not even acknowledge the existence of the Economist article (in spite of my
specific inquiry to them), preferring to maintain on its Web site that the enigma has never been solved.
10
Hey, Im a computer science graduate. We count from 0, not 1.
11
Theme chart
Main theme, A
Main theme, B
`
Nimrod
Calm Sea
Theme C
Theme D
[0] The theme is individual enough to be easily recognized in its various transformations.
It falls into three short sectionsa simple ABA formula which is also preserved in many
of the variations. Other features worth noting are the characteristic falling sevenths in the
third and fourth bars, and the fact that while it begins in G minor, the middle part is in the
major mode, as is its final chord.

12
Variation 1 (C.A.E.)
CAE is Caroline Alice Elgar, the composers wife. The music is an eloquent testimony to
a life which was to her husband a romantic and delicate inspiration. It is so
transparently based on the theme that it barely sounds like a variation.
Variation 2 (H.D.S-P.)
Hew David Steuart-Powell was an amateur pianist with whom Elgar played in chamber
ensembles. Elgar himself was a violin player who early in life aspired to becoming a
virtuoso. However, this aspiration did not form quite early enough, and his late start on
the violin (having begun with the piano) effectively closed out that path.
A relentless sixteenth-note figure pervades the entire variation, representing SteurtPowells mastery of the piano. [60:14] Several bars in, basses and cellos underscore the
busy figure with the A figure of the theme.
Variation 3 (R.B.T.)
Richard Baxter Townshend was a an amateur actor. The quick changes of mood in this
woodwind variation are a tribute to his caricature of an old man, in which he ranged from
deep bass to high falsetto.
The variation begins with, and is chiefly based on, a cheeky-sounding variant of the A
part of the theme, contrasted against [90:11] a figure that you could just about persuade
yourself is a chromaticized variant of the B part of the theme.
Variation 4 (W.M.B)
Variation 4 is a vigorous affair, following the theme closely, but with dramatic
transposition of the rhythmic accents, William Meath Baker is depicted as an energetic
country squire, reading out the arrangements for the day and leaving with an inadvertent
bang of the door.
Variation 5 (R.P.A.)
Gravity tempered by wit was the distinguishing trait of Richard Penrose Arnold (the son
of poet Matthew Arnold), perfectly captured in this C minor variation.
[150:00] The theme (A) appears first in the bass, against a counter theme (itself derived
from that same theme) on the violins. After the [16+10:37] quirky middle section the
[170:52] two melodies switch places, with the original theme riding high on flutes and
oboes. The variation concludes with a [181:33] brief coda consisting of restatement of
the quirky figure followed by the opening idea.
Variation 6 (Ysobel)
Ysobel Fitton was a student of Elgars. Her instrument, the viola, fittingly 11 takes the lead
(largely solo) in this delicately pensive reverie, which begins with an exercise that Elgar
wrote for her. Ms. Fitton was an unusua lly tall woman, a trait that Elgar japishly
portrayed with the large intervals.
11
Ha!

13
Variation 7 (Troyte)
A choleric figure in timpani and bass strings, based on the A of the theme but
impetuously overdriving its rhythm, introduces Arthur Troyte Griffith, a Malvern
architect of radical views. The [23+40:03] phrase that follows is based on the middle
section of the theme, and is later [250:18] given out by the brass. Brilliant runs on the
strings add to the general picture of boisterous bonhomie.
Variation 8 (W.N.)
Elgar now adopts the key of G major for a gently appealing portraitfor this it seems to
be, rather than a depiction of some idiosyncrasyof Winifred Norbury, whom Elgar
knew through her association with the Worcestershire Philharmonic Society. The
variation captures both her laugh (via the [310:28] oboe trills) and the atmosphere of her
eighteenth-century house.
Variation 9 (Nimrod)
As the long-held tonic note (G) of the preceding variation is softly joined by the lower
strings in the key of E flat major, there is a feeling that the music has been elevated to
another plane. The pages that follow are truly among the most sublime in Western music.
Nimrod, the Old Testament hunter, was the nickname of August Jaeger, with whom
Elgar developed a close friendship, and who did much to keep Elgar going during the
period when he was struggling to secure a lasting reputation. The variation represents a
summer evening spent with Jaeger during which Jaeger discoursed on the slow
movements of Beethoven. The falling sevenths of the theme are much in evidence, while
for a brief contrast [351:32] the rising phrase of the middle part is inverted (horns and
lower strings). The music reaches an [37-22:51] awe- inspiring climaxduring which
the dramatic appearance of the note C flat indicates a very brief excursion into E flat
minorbefore subsiding in a last lingering E flat major chord.
Variation 10 (Dorabella)
Borrowed from Cosi fan tutte, the pseudonym refers to Dora Penny, daughter of the
Rector of Wolverhampton, whose winsome mannercoupled with characteristic
hesitation in speechis charmingly caught.
I must confess to having some difficulty finding a connection to the theme from this
variation. The lyrical solo viola melodys [390:18] relationship to the A of the theme is
the best I can come up with. Here, the falling sevenths are replaced by rising seconds (i.e.
the note fallen onto is raised an octave).
Variation 11 (G.R.S.)
George R. Sinclair, one-time organist of Hereford Cathedral, owned a bulldog who fell
into the river Wye. Set that down in music, said Sinclair. I did, and here it is,
explained Elgar later. The variation portrays the initial splash, the desperate swim
accompanied by intermittent barking, and the final joyful bark upon regaining dry land.

14
Variation 12 (B.G.N.)
Basil G. Nevinson was an amateur cellist who completed the chamber-music trio with
Elgar and Hew Steuart-Powell. The variation begins appropriately with [52] solo cello
singing a variation on the A of the theme (and retaining its original mood), followed by
tutti cellos carrying the tune. Later, [53+31:03] a beautiful melody on violas and cellos
is discreetly accompanied by a fairly straightforward version of the B of the theme played
by woodwinds and second violins.
Variation 13 (***)
This variation is cryptically subtitled Romanza. And what are those asterisks about? This
strange label seems to be another of the enigmas associated with this work. Most scholars
attribute this variation to Lady Mary Lygon, a local noblewoma n who sailed for Australia
at about the time Elgar wrote the variation, which quotes [56+30:31] from
Mendelssohn's Calm Sea and Prosperous Voyage 12 . However, the mysterious asterisks in
place of initialsnot to mention the Romanza subtitlehave invited speculation that
they conceal the identity not of Lady Lygon, but of Helen Weaver, Elgar's fiance for
eighteen months in 1883-84 before she emigrated to New Zealand.
Variation 14 (E.D.U.)
E.D.U. are pseudo rather than real initials, and represent Edoo, his wifes pet name for
Elgar himself. However, there is no implication that the variation represents a selfportrait. Rather, it portrays a vigorous assertion of optimism for the future, and harks
back to the grandiose mood of the Pomp and Circumstance marches. This concluding
variation unifies the entire work by incorporating much material from the first and ninth
variations. Significantly, those variations depict Elgars wife and his publisher friend
August Jaeger (Nimrod), the two most important influences in his life.
The variation begins with a busy figure based on the theme. The busyness develops to
optimism and confidence [620:23] and introduces a very brief but very forceful new
idea (lets call it C) (derived from the A of the theme), which plays a substantial
subsequent role in this variation. The music eventually subsides to a somewhat pensive
passage [650:57] that combines another new idea (lets call it D) (again derived from
the A of the theme) with the B of the theme. Gradually regaining its confident optimism
(by [681:32]), we hear a forceful brass rendition of Nimrod as the music moves towards
a climax [691:48]. After a brief reprise of the introduction [701:59], we hear [732:31]
a reprise of variation 1 in its original mood. The mood continues as theme D now returns
[742:56], again over B. Again the music builds to a climax [76+43:28] with the
organ13 joining in for the first time, adding rich substance to the orchestral texture. The
12
Notice the timpani effect here, imitating the ships engines. The score directs the timpani be played with
snare-drum sticks, but the creative timpanist on the first performance employed coins(!) instead, and most
timpanists today follow that tradition. The recording were listening to certainly sounds as if its adhering
to the coin tradition.
13
The score marks the organ part as ad lib, presumably in deference to practical logistics. The recording
were hearing (Daniel Barenboim conducting the London Philharmonic) indeed includes the organ. I went
and bought this recording when I realized that the recording I had (Andre Previn conducting the Royal
Philharmonic) ad-libbed it out.
15
triumphant and optimistic mood continues in full force to the end, the material being
largely based on Nimrod and idea C.
In Elgars original submission this final variation was shorter, but on Richters suggestion
Elgar revised and extended it, so as to make for a more satisfying conclusion.
Edward Elgar (1857-1934) (England) Serenade for string orchestra
String orchestra (Modern Period)
This is one of Elgars earlier works, and dates from 1892, having been in gestation for
some four years. It is the first of Elgars compositions to satisfy the composer himself. He
associated it with the happiness of his engagement and marriage.
The serenade is in three movements, and we may regard it as a suite. Its construction is
disarmingly simple. The first movement is based on two themes, the first of unhurried yet
purposeful energy, the second more expansive and lyrical. The first theme is repeated,
giving the movement a straightforward ABA form.
The second movement is the traditional slow movement, and this movement is indeed
very slow. After a lengthy (in comparison with the movement as a whole) introduction,
Elgar crafts his first themea dreamy melodywith infinite care and patience. A second
theme follows, still in the same mood as the first. The opening melody then returns, this
time with a new accompaniment, much busier than before, still calm and soothing until
the theme itself builds to a rather forceful climax, before subsiding to a brief reprise of
the introduction that gives the movement a satisfying symmetry. The movement thus has
the shape of ABCBA.
The third movement is of nearly identical tempo and rhythmic design to the first. It opens
with a new theme, but Elgar nicely integrates the entire work by then bringing back key
features of the first movement. We hear its second theme in its entirety, underpinned by
several bars quoting the figure that fills the very first two bars of the piece. Somewhat
oddly, the work ends here, with no reprise of the third movements own theme.

16
Wolfgang Amadeus Mozart (1756-1791) (Austria) Horn Concerto No. 3

Concerto (Classical Period, Symphony Orchestra)
Mozart wrote four concertos for his friend Ignaz Leutbeg (or Leitbeg), a very capable
horn player who was nevertheless obliged to hold onto his day job as a cheesemonger.
Friends from their home town of Salzburg, both made new homes in the more culturally
rich magnet of Vienna.
Here is a map 14 of the sonata- form first movement of Concerto No. 3:
1
2
3
4
5
6
7
8
9
10
11
Exposition
First theme (violins)
Second theme (violins)
First theme (horn)
Second theme (horn)
Development
Recapitulation
First theme (violins)
First theme (horn)
Second theme (violins)
Second theme (horn)
Coda
Cadenza
The second movement, the traditional slow movement, is a rather uncomplicated rondo
thats rounded off with a coda.
The third movement reverts to the tempo of the first movement, but with a 6/8 rhythm. It
too is an uncomplicated rondo rounded off with a coda, which again excuses me from the
need to draw a map.
14
Wot, no bar numbers? No, the Kalmus score doesnt have them, so even if I counted them myself they
wouldnt be much use to anyone else.
17

18

Session 2 notes
27-Feb-2007
Tonights agenda
Form and Structure (continued)
Haydn, Symphony No.102 [sonata form]
Plainsong (Gregorian chant) [Medieval period]
Holborne, The Fairy Round [Renaissance period]
Bach, Brandenburg Concerto No. 2 [Baroque period]
Boyce, Concerto Grosso in B flat [Baroque period]
JC Bach, Symphony Op 18 No 2 [music on the Baroque/Classical cusp]
Berlioz, Les Francs Juges [Romantic period] 1
Josef Haydn (1732-1809) (Austria) Symphony No. 102

Symphony (Classical Period, Symphony Orchestra)
Haydn was very famous and successful in his day, and was employed by Prince
Esterhazy in his native Austria. When the prince died in 1790, Haydn became a free
agent, and was swiftly invited to London by the impresario Johann Salomon. Haydn
made two visits to the English capital, each lasting a year and a half. He produced six
symphonies on each visit, to be played at Salomons concerts. No. 102 dates from
Haydns second London visit in 1795. So well received was this symphony that its firstperformance audience applauded until the finale movement was replayed.
Yes, this one is out of chronological sequence. Its to accommodate the clock and the schedule.

The first movement follows a straightforward sonata form:

bar time2
1 0:00
23
57
23
111
2:08
2:42
3:38
5:09
227 7:07
243 7:22
287 8:10
slow introduction
exposition
first subject
second subject
repeat of exposition
development
recapitulation
first subject
second subject
coda
The slow second movement is constructed as a miniature sonata form. The first theme
(in the dominant key of F major) and second theme are stated and then repeated. Then
comes a miniature development, beginning with the first theme in Ab major. After a mere
12 bars we enter a very compressed recapitulation with the return of the first theme in F
major. A brief but surprisingly bold and loud coda concludes the movement.
Interestingly, Haydn originally wrote this movement as a movement for piano trio.
Second movement map:
bar time
1
9
17
33
0:00
0:43
1:23
2:46
45 3:49
54 4:39
exposition
first subject
second subject
exposition repeats
development
recapitulation
first subject
coda (based on second subject)
The third movement is in straightforward minuet-and-trio form. Straightforward

perhaps, but involving a great deal of repetition. Every section is heard at least twice,
with the bulk of the movement being repeated three times. The plan of the movement
looks like this:
A1 A1 A2 A2 B1 B1 B2 B2 A1 A2
Timings are relative to the recording by Antal Dorati with the Philharmonia Hungarica, on Decca 452
259-2 1
In the fourth movement, Haydn is at his jocular best. The movement is essentially a
rondo, but with some sonata- form elements such as a brief development section (bar 166
2:41), which takes us through some swift modulations before we arrive at an equally
brief recapitulation. A short coda (bar 261 3:54) concludes the work.
-1450 Medieval
The music we know about from this period emerged from

religious roots. Musical notation was developed during this
periodmusic that emerged before notation did not generally
survive. Earliest music consisted of unison voices
(plainsong or Gregorian chant. Basic harmonies (4th , 5th ,
octave) appeared, and more complex music with interacting
multiple parts (polyphony) became possible with the
development of notations for indicating rhythm.
We know little about instrumental music from this period. No

such written music survives, and very few actual instruments
of the period survived. We are left with pictures, drawings,
and written descriptions. The fiddle and harp were apparently
the most respectable instruments, being played by the
troubadours and associated with courtly love. Other
instruments of the time included shawms (double-reed
ancestors of the oboe and bassoon), natural trumpet, lute,
bagpipe, hurdy-gurdy. The professional musicians of the day
were the minstrels. Whereas troubadours were usually of
noble birth and were primarily concerned with song and
poem, the minstrels were artisan secular professional
musicians, many of whom were, of necessity, itinerant.
1450-1600 Renaissance Instruments of course continued to develop towards their
present-day descendants, but new keyboard instrumentsthe
harpsichord and clavichordemerged (the organ appeared
long before).
The increasing use of polyphony and instrumentation
characterize the transition to the Renaissance era. Ideas on
harmony evolved, with the 3rd and 6th becoming the accepted
basic concord.
1600-1750 Baroque
Notation became widely adopted, allowing the preservation

for posterity of the music of the day.
The characteristics that distinguish the Renaissance from the
Baroque are rather technical and esoteric. Indeed, it was not
until 1919 that musicologists drew the demarcation line and

1730-1820 Classical
1815-1910 Romantic
1900-
Modern,
20th
Century
put a name on the Baroque period. Generally, the Baroque

period moves more towards an integrated harmonic structure,
as opposed to the Renaissance periods emphasis on
polyphony, its harmony being an almost accidental byproduct. Baroque music is also more technically challenging,
and characterized by ornamentation, which the musicians
sometimes improvised. During the baroque period keyboard
instruments took on a more prominent role, and the
predecessors of modern orchestral instrumentsparticularly
the violin familywere by now beginning to look much
more like their eventual descendants.
The term Classical music has both a general and a morespecific meaning. This class is about classical music in its
broader sense (my definition: classical music is what you
think it is.) However, classical in the narrower sense refers
the period following the Baroque, in which more-complex
musical designs (forms) began to crystallize.
Perhaps the best known of these design is the sonata form. It
was Joseph Haydn who drew together earlier ideas and
formalized the sonata form (also known as first- movement
form), earning for himself the moniker father of the
symphony. Sonata form lent an intellectual manageability to
symphonies of more substantial duration than the works of
the Baroque period. Haydns symphonies asked the audience
to follow a dramatic trajectory over a broader time span than
was previously required, and the roadmap that sonata form
provided helped listeners keep their bearings.
The traits that distinguish Romantic music from the Classical
era are the subject of ongoing debate. As far as structure is
concerned, the Romantic era generally employs the same
basic templates as the Classical, although those forms tend to
be extended, sometimes considerably. In addition, harmonies
and harmonic structure break new ground, with much more
use of chromatic devices and freer modulation to distant keys.
Although it is true that much Romantic-era music is
programmatic (i.e. tells a story, or frankly evokes mood or
picture etc.), this descriptive quality is not generally regarded
as an essential quality of music claiming Romantic heritage.
However, opinions vary, and this variety is what keeps the
debate alive.
Modern music. 20th Century music. Not very descriptive
labels, are they? Recall that it took the musicology world
until 1919 before it could label and characterize the Baroque

period that ended 150 years earlier. We cant really see the
field while were standing in it. We need the passage of time
to give us the perspective we need to appreciate the music in
its total historical context.
Music written since 1910 runs the gamut, from the neoclassical, through Romantic-style symphonies, through such
inflection points as Debussys Lapres midi dun faune,
Stravinskys Rite of Spring, to Schoenberg, Berg and
Weberns 12- note compositions.
It has to be recognized that most people find new music
discordant, devoid of tunes, and generally unpalatable. We
should, however, try to keep an open mind and remember
that, as WRTI likes to remind us, all music was once new.
To pursue this topic further, a good place to start is
http://en.wikipedia.org/wiki/European_classical_music
Gregorian Chant
We hear two short pieces. Both are sung in unison (i.e. with no harmony). The first,
Hodie Christus resurrexit (Christ is risen today) has a solemn mood and is consistent with
the image many of us have of Gregorian Chant from our casual acquaintance with it
through such media as films. In contrast, the second, Aeterne rerum Conditor (Eternal
maker of things) is rather energetic and optimistic sounding.
Anthony Holborne (c.1548-1602) (England) The Fairy Round
Renaissance period
This piece is typical of the Renaissance period, in that it portrays a single mood (in
contrast, for example, to the third movement of the Holst suite we heard earlier). The
melody on this recording is played on a recorder, with accompaniment by hammer
dulcimer and guitar. The recorder of today, being a very simple instrument, is very
similar to its modern-day equivalent recorder. Likewise, todays guitar is easily
recognizable in its Renaissance-era counterpart, the lute. Most other instruments of the
period (particularly the brass family) have seen very significant evolution through the
ages, and much renaissance music is still performed today on modern instruments that
give far superior tone and tuning.

Johann Sebastian Bach (1685-1750) (Germany) Brandenburg Concerto No. 2

Baroque period
The six Brandenburg Concertos have a very interesting history3 . All of
them are assembled and reworked from material Bach had composed
earlier. His purpose in putting together this set was to apply for a job!
Unhappy at his current position, he approached the Margrave of
Brandenburg by sending him the carefully copied manuscripts of these
six concertos. The Margrave, however, was apparently unimpressed,
and neither acknowledged Bachs gift nor had the concertos
performed. Indeed, the manuscripts lay undiscovered until the Margraves death some
thirteen years later. And it was another 150 years before the name Brandenburg was
applied to the works, after their rediscovery in the Bach library.
All of the concertos feature multiple soloists. In the case of No. 2, the soloists are
trumpet, recorder (nowadays this part is almost always played on flute), oboe, and violin.
The music is quite difficult to play, which may explain why the Margraves orchestra
never tackled it. The trumpet part in particular is of prodigious difficulty, even on todays
modern instruments4 . It boggles the mind that a trumpet player of Bachs time could even
attempt the piece on the instruments of the day, which had no valves.
http://inkpot.com/classical/bachbrandenburg.html and
http://www.npr.org/programs/specials/milestones/991214.motm.brandenburg.html will tell you more, if
youre interested.
4
Trivia item: The Selmer Bach (no relation) company makes a piccolo trumpet in G for the specific
purpose of performing this concerto. As Dave Barry would say, I am not making this up.
William Boyce (1711-1779) (England) Concerto Grosso in B flat major

Baroque period
Boyce was an admirer of Handel, some 25 years his senior, and there is some evidence of
Handels influence in this concerto. The suffix grosso is customarily used to indicate
that more than one soloist is involved. In this case the solo instruments are violin and
cello. There is also a prominent but lesser role for the viola.
This piece is rather typical of the Baroque era, its differences from Haydn-style classicalera symphonies being quite apparent. Its almost in the style of a Baroque dance suite,
except that only one of the movments (the last) is an actual dance. The brevity of the
movements makes for ready accessibility.
The date of composition of Boyces concerti grossi (three of them) is unclear, for the
manuscripts did not come to light until after his death. He may have been intending to
complete a set of six, following Handels example.
Here is an outline of the five- movement piece.
I
Marked Moderato Maestoso, this is more in the character of a slow introduction than
a proper movement. It is only 19 bars long.
II This movement, marked Allegro, is the most musically complex of the piece. I dont
normally analyze modulations (key changes) in depth, but this movement is so
straightforward in designbeing built from a single melodic ideathat its not going
to tax our brains from a structural angle, so just for fun lets try to follow its tonal
wanderings:
bar
1
13
39
51
time 5
1:36
1:55
2:33
2:51
starts in the home key of B flat major

F major
C minor
a tonally ambiguous section as we work towards G minor via D
The timings are relative to Chandos recording CHAN 6665, by Cantilena directed by Adrian Shepherd.
All five movements are recorded as a single track.
69
3:16
74
94
97
107
3:24
3:53
3:58
4:11
major
okay, we landed firmly on G minor, but take off immediately
into E flat major on the way back home to B flat
B flatwere baaaack
a very brief burst of F
...and back to B flat
F makes its last very brief appearance, and we come straight
back to B flat to finish off
III [4:28] Heres another movementmarked Adagiothats so short (12 bars) it

doesnt really have legitimate claim on that status. I regard this section more as an
interlude.
IV [5:25] Heres an Allegro fugue, and quite entertaining. Tonally, it stays close to its B
flat home, but makes occasio nal forays into G minor, the relative minor.
V [8:26] And heres a tasteful dessert to finish off. Its a Gavotte, a gentle dance in 4/4
time. Its constructed with two trio- like sections, giving it the character of a rondo.
The anchor subject is in the ho me key of B flat, with the first trio in F (the
dominant) [at 9:14] and the second [at 10:02] in G minor, the relative minor.
Johann Christian Bach (1735-1782) (Germany) Symphony Op. 18 No. 2
Baroque/Classical period
Historical context
Johann Christian, the youngest son of Johannes Sebastian and his second wife Anna
Magdelena, was actually more than three years younger than Joseph Haydn, the giant of
the classical era, yet the youngest Bachs music is firmly rooted in the Baroque tradition.
The Baroque is clearly evident in this symphony, which appeared in 1776, well into the
classical era on the chronological scale
After studying with his father and older brother Carl Phillipp Emanuel, JC went to Italy
to further his studies, where he composed a number of sacred works. He was, however,
soon drawn to the theatre, composing a number of operas that rapidly earned him
international fame. In May 1862 he was appointed composer to the Kings Theatre in
London, where he consolidated his reputation and enjoyed a prosperous life style. With
the benefit of royal patronage, he composed prolifically in all the principal instrumental
genres of the time: keyboard sonatas, chamber works, concertos, and symphonies.
His first love, however, continued to be opera, and he visited Mannheim, Milan, and
Paris for premieres of his work. His opera Lucio Silla was premiered in Mannheim in
1776, but the opera was not a great success. However, as so often was the case with failed
operas, the overture was salvaged to enjoy an independent life of its own. That overture
became the Symphony Op. 18 No. 2.
The Music
In the Baroque era, the term symphony came into use as a synonym for overture. The
large-scale works of the day were operas, with suites and concertos being the largest
scale purely instrumental works. Overtures, as their name suggests, were originally
opening pieces to operas, being wholly instrumental and designed to present a taste of the
themes to come in the opera itself. However, the term overture crept up in scale and
became an alternative label for keyboard or orchestral suites or symphonies.
The structure of this symphony is very straightforward, and displays more of the
characteristics of an overture, being an uncomplicated presentation of themes with a
minimum of development. Contrast its plain structure with, for example, that of Haydns
Symphony No. 102, which appeared 19 years later.
Another Baroque trait evident in this symphony is the one-dimensional nature of its
movements. Each movement maintains the same mood and feel throughout, there being
no attempt to introduce contrasting sections (like, for example, the trio section of a
scherzo-and-trio movement, or even a slow introduction preceding an allegro movement)
such as we would expect in a classical or romantic symphony.
First Movement
bar
1
20
43
50
64
75
time
0:00
0:30
1:09
1:21
1:44
2:01
structure
theme A
B
C1
C2
A
B
98
105
118
2:38
2:50
3:11
C1
C2
coda
remarks
B flat major
unison C introduces F maj
B flat major
B flat major
unison G introduces C minor,
moving to E flat major
E flat moving to B flat

Second Movement
Rondo form
bar
1
17
35
52
65
time
0:00
0:45
1:40
2:30
3:09
structure
theme A
B
A
C
A
remarks
E flat major
B flat major
E flat
C minor
E flat
structure
theme A
B
A
C
A
remarks
B flat major
F major
B flat
B flat major/G minor
B flat
Third Movement
Rondo form
bar
1
17
48
64
116
time
0:00
0:20
0:42
0:52
1:28

10
Hector Berlioz (1803-1869) (France) Les Francs Juges

Overture (Romantic Period; Symphony Orchestra)
Berlioz overture Les Francs Juges 6 is indeed a proper overture, in the sense that it was
composed to introduce an opera. However, history has been kinder to the overture than to
the opera, and it is only the overture that now survives. But what a very fine overture it is.
To make better sense of my narrative below, here is a chart of the major themes of the
overture.
A
For reasons I have been unable to discover, Les Francs Juges is always translated as The Judges of the
Secret Court. But my French sources tell me that juge = judge, and franc=frank, as in candid. I have to
guess that the intrigue described by the opera, which indeed involves a secret court, somehow in this
context ascribes this much richer meaning to the word franc.
11
The overture begins slowly, mysteriously, and very quietly with a fragmented kind of
theme (A), which is [1] brusquely interrupted by unison brass announcing a new theme
(B) in stentorian fashion. Together, these themes form a short introduction to the allegro
that follows and takes us the rest of the way through the overture. The allegro begins with
a busy the me (C) in violins. Then comes [4]+3 7 a more relaxed and very pretty theme (D)
(marked dolce e legato (sweet and smooth)) that is to form the basis of much of the
material that follows. [5] Berlioz then cleverly combines the two themes (C) (violins) and
(D) (woodwinds). Next comes one of the most hauntingly beautiful passages of music
ever written8 [5]. Flutes and clarinets play a very extended and very sustained variation
(marked dolce espressivo (sweet and expressive)) on theme (D), while violins play an
aggressive and fragmented variation of theme (C). Berlioz gives very explicit directions
on how this passage is to be played, and I think youll find it fascinating. I quote:
The Orchestra takes a double character here. The stringed instruments must, without covering
the Flutes, play with a rude and wild accent, the Flutes and Clarinets however with a soft and
melancholic expression.
The haunting flute-and-clarinet theme is scored very creatively as a triple duet involving
only four instruments. Its a due t in the sense that there are two parts. And there are two
additional duets going on, because each of those parts is played by one flute and one
clarinet. Their combined sound is quite beautiful.
At length, theme (D) reappears in its original guise [10]+7 as Berlioz takes us off on a
free fantasia on themes (C) and (D). There is a brief recapitulation [16] as most of the
orchestra delivers theme (D) with second violins and violas desperately trying to make an
impression with a frantic accompaniment derived from theme (C).
The overture concludes with a powerful coda [17] thats built on some new material but
also sees the first and only return of theme (B). You can also hear fragments of theme (A)
in there too if you apply a vivid enough imagination.
The notation [1] denotes a rehearsal number in the score. +n or -n indicates a number of bars beyond or
before it.
8
In my humble opinion, of course.
12

Session 3 notes
27-Feb-2007
Tonights agenda
Mozart Piano Concerto No. 21 [Classical period]
Schubert Symphony No 8 [Romantic period]
Bartok, Concerto for Orchestra, 2nd movement1 [orchestral instruments]
Holst, St Paul's Suite [string orchestra]
Holst, Suite in F [wind band]
Vaughan Williams, Variations for Brass Band [brass band]
Wolfgang Amadeus Mozart (1756-1791) (Austria) Piano Concerto No. 21
Concerto (Classical Period, Symphony Orchestra)
Historical Context
Mozart was a child prodigy, a capable performer on harpsichord and violin as a very
young child. His older sister was similarly talented on the harpsichord. By age five,
Mozart was composing by improvising minuets, which his father notated. By age 9 he
had completed his first symphony.
Mozarts father was a musician and composer in the employ of the Archbishop of
Salzburg, but as his childrens talents grew he gave their careers higher priority, not least
because he saw the opportunity to make more money from their efforts than his own.
Accordingly, the Mozart family undertook much travel throughout Europethey went on
tour, just like present-day bands and orchestras. Included in their wanderings were Italy,
1
That thing I said about playing only complete works: heres an exception, but its the only one.

Mannheim, Munich, Paris, and London, where they stayed for over a year. It was here, in
1764-65, that Mozart met and was befriended by JC (The London) Bach2 . (If you do
some quick arithmetic, youll realize that Mozart was aged only 8-9 during his time in
London, Bach being 29-30.). This meeting and friendship explains the influence of Bach
that can clearly be heard in Mozarts music.
By 1777, the Mozarts realized that the hugely gifted Wolfgang was too big for Salzburg,
and the focus of the touring became to secure an appropriate paid position. After initial
promise in Paris, prospects began to look less rosy. Worse, Mozarts mother, who was
accompanying him on the tour, died. Leopold quickly ordered Wolfgang home to
Salzburg, where a post had been hastily arranged for him at the court of the archbishop.
It seems that Mozarts mother had died of an inadequately treated infection. Leopold
whod had to remain at his post in Salzburg in order to put bread on the tableblamed
Wolfgang for neglecting his mother, and the resulting rift between father and son was
never fully healed.
Now aged 21, Mozart took his time over the return journey, traveling slowly and alone.
He spent the years 1779-80 in Salzburg in the employ of Archbishop Colloredo of
Salzburg, playing in the cathedral and at court, composing sacred works, symphonies,
concertos, serenades and dramatic music.
In 1781, Archbishop Colloredo and his court were in residence in Vienna on the
accession of a new emperor. The Archbishopwhom Mozart characterized as an
arrogant and conceited clericsummoned Mozart to Vienna. The Archbishop showed
little or no interest in Mozarts achievements, and treated him badly, making him report
to the head chef. After things came to a head and a heated argument ensued, the chef had
Mozart thrown out of the door with a kick in the arsequite literally, by all accounts.
Newly jobless, Mozart chose to remain in Vienna, where he made a living from teaching
(piano chiefly, but also composition), and commissions for compositions. During the
years 1782-1785 Mozart put on a series of concerts in which he appeared as both soloist
and conductor in his piano concertos. These concerts were financially successful. It was
this period that produced the Piano Concerto No. 21.
It seems to have become firmly lodged in folklore that Mozart died a pauper and is buried
in a paupers grave. The truth is that Mozart made a decent amount of money from his
music, but he managed his affairs badly, always spending more than he earned. He was
given a simple funeral and burialnot a paupersin accordance with the law. When
he died at the age of 35, faced with the prospect of raising their two children (another 3
had died in infancy) alone, his widow was essentially broke. In tackling that challenge,
she skillfully and successfully negotiated the publication of Mozarts music with
Breitkopf and Hartel3 to secure the income she needed.
2
Johann Christian, the youngest of JS Bachs sons.

This company is still in existence, still publishing music to this day. I wonder if they would be if Mrs
Mozart hadnt been so broke?
3

The Music
Theme Chart
First Movement
First theme
invitation to soloist
Second theme
Third theme
Fourth theme
Fifth theme
Second Movement
Principal theme
Third Movement
Principal theme
First Movement
Allegro Maestoso
Sonata (loosely speaking) form
Mozart takes a quite free approach with his design for this movement. However, it maps
quite well onto sonata form, and so well analyze it in those terms.
Compared with more straightforward sonata-form movements, this first movement has
very extended codettas and bridge passages that are almost development sections in their
own right. Also, the development section proper develops only the first theme, and very
tangentially at that. The recapitulation continues in the same spirit by reprising a very
small sample of the expositions thematic material.

bar time4
1 0:00
68 2:02
84
91
109
128
2:34
2:47
3:18
3:51
structure
exposition
first theme (C maj)
invitation
remarks
a march- like mood
woodwinds invite the piano to take up his
solo
145 4:17
second theme (C maj)

third theme (C maj)
fourth theme (G min)
fifth theme (G maj)
codetta
first theme returns (G maj)
222 6:40
development
274 8:13
recapitulation
first theme (C maj)
278 8:20
313 9:22
328 9:49
second theme (C maj)

fifth theme (C maj)
codetta
396 11:55 coda
the return of the first theme introduces a

very extended codetta that rounds out the
exposition
the development begins with the piano
playing a fragment of the first theme. The
entire development is very free form, and
seems to be derived from the first theme.
the return of the first theme, in its
original form and in the home key,
announces the beginning of the
recapitulation
a very swift return of the second theme
the return of the first theme announces
the codetta that closes out the
recapitulation
the piano cadenza announces the
beginning of the coda proper.
We can persuade ourselves that the movement adheres more closely to sonata form if we
consider themes 1-3 as the components of the First Subject, and themes 4-5 as the
components of the Second Subject. The key sequences are then correct, with the
second subject being in the dominant major/minor in the exposition and in the tonic key
in the recapitulation.
Second Movement
Andante
Free fantasia
So familiar has this movement become that it almost qualifies as pop music. First
propelled to prominence through its appearance in the 1967 film Elvira Madigan, it turns
4
Timings are relative to the Quintessence recording CDQ 2047, Angela Giulini, piano, with the Mozart
Festival Orchestra conducted by Alfred Scholz.

up again and again as background music, classical pops recordings, and even
advertisements.
Its design is very free, though its duration (less than 6 minutes) and simplicity make it
instantly accessible without any need for analysis.
Third Movement
Allegro vivace assai
Non-strict rondo with elements of sonata form
The third movement has elements of rondo and sonata form about it, although it doesnt
conform to the standard layout of sonata rondo. The principal theme, which reappears
often (which youll recall is the definitive feature of a rondo) forms the basis for the
lengthy development, as well as for several of the episodes. As in the first movement, a
piano cadenza announces the coda that concludes the work.
Im not going to present a more detailed analysis because my judgment is that, for a
movement a mere 7 minutes long, more detail wouldnt add much value in listening to
what is a readily accessible piece right out of the box5 .
Franz Schubert (1797-1828) (Austria) Symphony No. 8 (The Unfinished)
Symphony orchestra; Classical/Romantic periods
Historical context
Schubert was the son of a school assistant. He learned to play piano and violin from his
father and brothers, and at the age of 11 won a choral scholarship to a religious seminary.
Here his musical talents blossomed, and it seems that he was inspired to compose from
this early age. He became qualified as a teacher, and taught in his fathers school in order
to support himself. But his passion was composing, and his output was considerable,
given the brevity of his lifespan.
Schubert composed the two movements of his eighth symphony in October 1822 and sent
the score the following year to the Styrian Music Society in Graz in acknowledgement of
his having been elected an honorary member. Anselm Httenbrenner, to whom the score
was entrusted, failed to turn it over to the Society, and instead kept it locked away in a
chest in his house. It was not found until 1865, some 37 years after Schubert's death, and
5
Besides, as Im writing this its late and Im tired.

was given its premiere in Vienna on December 17 of that year under the direction of
Johann Herbeck.
The fact that Schubert released the music in this way strongly suggests that he himself
considered it finished. Yet there are other indications that he had originally intended to
add material to it. Why he never did so remains something of a mystery, and the subject
of a great deal of conjecture that continues unabated to this day.
One plausible explanation for the symphonys unfinished condition is that these two
movements are already lengthy by the standards of the day, and that Schubert was afraid
that the work, when completed with two movements of matching scale, would be too
large an undertaking for performers and audience alike.
But the line of conjecture that I personally find most appealing is that Schubert, with
these two movements, was composing out of his skin and realized as much. To follow
music of such genius with anything would run the serious risk of anticlimax. This
supposition is supported by the fact that Schubert left sketches for the third- movement
scherzo, and even completed the orchestration for its first nine bars. Furthermore,
although he left no additional sketches, some scholars have surmised that the
incongruously substantial entracte for the incidental music for Rosamunde, which
appeared in 1823, was repurposed work originally intended for the symp honys final
movement.
The Music
Ive presented here a high- level overview of the structure of the symphony. Schuberts
design is much freer than that of a symphony from the classical period. There is much
modulation within the expositions and recapitulations, and to call them all out would
result in a pretty complex chart that wouldin my judgment, in the context of this
classbe more confusing than enlightening.
The Norton Company publishes what they call a critical score, which in addition to the
score itself contains a wealth of information on the historical background to the piece,
detailed fine-grain analysis of its structure, and critical appraisals, including some words
from such luminaries as Igor Stravinsky and Aaron Copland.

Theme Chart
First
Movement
First subject
Second subject
Second
Movement
First subject
Second subject
First Movement
Sonata form
bar time6
1 0:00
44 1:29
structure
exposition
first theme (B min)
second theme (G maj)
110 3:47
exposition repeats
110 7:32 development
218 11:02 recapitulation
first theme (B min)
258 12.20
second theme (D maj)
328 14:47 coda
remarks
subdominant of the relative majora

two-hop key
relative major
Second Movement
Abridged sonata form
Calling the second moveme nt sonata form is a bit of stretch, because Schubert has
modified the design considerably. There is no development section as such. Rather, the
exposition itself digresses into somewhat distant keys as a development section would,
particularly during the second subject. At the same time, the degree of variation on the
6
Times are relative to the recording by Giuseppe Sinopoli with the Philharmonia Orchestra, DG 445 514-2.

thematic material is less than wed expect in a full-blown development passage. The
recapitulation continues the pattern of free modulations with minimal thematic diversion.
bar time
1 0:00
64 2:34
144 5:26
205 8:00
structure
exposition
first subject (E maj)
second subject/development
recapitulation
first subject (E major)
second subject (D major)
268 10:18 coda
remarks
the first subject makes brief tonal
excursions: G maj, B maj, C sharp
min
Schubert cleverly combines a second
subject and development in one
packagethere is no tangible
dividing line between them.
Modulations include C sharp min, D
flat maj, G maj, C maj.
the first subjects modulation this
second time around are into G maj, F
sharp min, and A maj
the second subject/development is
slightly abridged this second time
round, and the modulations are to a
different palette of keys
a gentle and very quiet coda closes
out the movement

See the Appendix for some illustrations of some of the less familiar instruments.
Symphony Orchestra
(Further reading: http://en.wikipedia.org/wiki/Symphony_orchestra )
Woodwinds
[piccolo {normally played by 3rd flute player}]
flutes (2)
oboes (2)
[English horn (cor anglais) {3rd oboe}]
clarinets (2)
[bass clarinet {3 rd clarinet}]
bassoons (2)
[contra-bassoon {3 rd bassoon}]
Brass
horns (French horn) (4)
trumpets (2)
[cornets {3 rd and 4th trumpets}]
tenor trombones (2)
bass trombone
tuba
Percussion
tympani
snare drum
cymbals
xylophone
etc. etc.
[Harp]
Strings
first violins (c. 16)
second violins (c. 14)
violas (c. 12) {fifth lower than violin)
cellos (c. 12) {octave lower than viola)
double basses (c. 9) {minor 6th below cello)
This list approximately represents a core symphony orchestra. Instruments listed
without brackets can reasonably expect to have a part to play in most of the orchestral
repertoire from the 19th century onwards. However, composers do not usually feel
constrained by this framework. They sometimes introduce nonstandard instruments,
and often augment the number of parts for brass and woodwind instruments. It is quite
common, for instance, to write 3 or even 4 trumpet parts. Some of the more extreme
examples of this kind of orchestra augmentation are:
o tenor banjo: William Grant Still, Symphony No. 1
o 6 (yes sixthats not a typo) harps: Granville Bantock, Celtic Symphony
o 4 Wagner tubas: Bruckner, Symphony No. 8
o 8 horns, post- horn, 4 trumpets, 4 trombones, 4 each of flutes, oboes, and
bassoons; contrabassoon: Mahler, Symphony No. 3. A huge orchestra for a huge
work: it runs to 95 minutes.
o 3 saxophones, flugel horn: Vaughan Williams, Symphony No. 9
o 9 trumpets: Janacek, Sinfonietta
String Orchestra
The string orchestra is, as its name implies, the string section of a symphony orchestra. It
is worth mentioning as an ensemble type in its own right because of the rather large
repertoire it has acquired.
Without the heavy brass to compete against, works for string orchestra are often
performed by chamber-sized string ensembles.
Brass Band
(Further reading: http://en.wikipedia.org/wiki/Brass_band )
The brass band instrumentation is very standardized, consisting of 25 players. This
standardization emerged in Britain in the late 19th century.

soprano cornet (Eb)

Bb cornets (94, 1, 2, 2)
flugel horn
Eb tenor horns (3) [known as tenor horns by tradition, but actually an alto instrument]
Bb baritone horns (2) [known as baritones by tradition, but actually a tenor instrument]
note: tenor horns and baritone horns are saxhorns, not French horns.
euphoniums (2)
tenor trombones (2)
bass trombone
Eb basses (tub as) (2)
Bb basses (tubas) (2)
percussion
Though traditionally a British institution, the brass band movement started to spread
across Europe in the 1950s, and is now a significant presence on the continent. The brass
band movement in the US reached critical mass in the early 1980s with the formation of
the North American Brass Band Association (NABBA). In 1983 NABBA held its first
competition, with five bands competing. In 1984 nine bands participated, the event being
held at (drum roll please) West Chester University. Many more bands
have been formed since; there are at least three within a 50 mile radius of West Chester.
Brass bands are, through tradition and economic reality, largely amateur endeavors. Yet
the standard of musicianship and technical ability of the better bands is on a par with
world-class orchestras. A wealth of recorded material is available.
Concert Band (Wind Band)
(Further reading: http://en.wikipedia.org/wiki/Symp hony_orchestra
http://en.wikipedia.org/wiki/Concert_band )
The concert band as we know it today crystallized in the early 1950s, largely due to
Frederick Fennell and his Eastman Wind Ensemble. Earlier similar ensembles emerged in
the military, and were very popular in their day, so much so that the breakaway John
Philip Sousa was able to sustain his band as a successful commercial venture. Today, the
Dallas Wind Symphony is one of the very few (if not the only) professional bands in the
entire US not supported either by the military or by an educational institution.
Supplementing these professional organizations, many community bands exist (including
two in West Chester and several more in the greater Delaware Valley).

10
Like the symphony orchestra, the concert band instrumentation consists of a core
which composers freely add to or subtract from. This core is as follows:
Flutes 1,2,3
Piccolo
(Alto Flute, Bass Flute)
Oboes 1,2
English Horn
Bassoons 1,2
Contrabassoon
Clarinets 1,2,3 in B flat
E flat Clarinet, Alto Clarinet, Bass Clarinet
(Contra-Alto Clarinet, Contrabass Clarinet)
Saxophone: Altos 1,2, Tenor, Baritone
Soprano Saxophone
Trumpets/Cornets 1,2,3,(4)
(Flugelhorn)
Horns (French horns) 1,2,3,4
Trombones 1,2,3
Bass Trombone
Euphonium
Tuba
Percussion
Timpani
String Bass [yes, in a wind band. Ive never figured this one out.]
Chorus, choir
The human voice was of course the first musical instrument, and features prominently in
several of the classical music genres, notably opera and oratorio. Choral passages and
solo voice have also been used to add an extra dimension to otherwise standard orchestral
works. Beethovens Ninth Symphony is perhaps the most well known of these.
The song, the standard unit of music in the popular- music world, also has its counterpart
in classical music. Franz Schubert, for example, wrote many songs in addition to his
orchestral and chamber-ensemble works, songs that indeed were the popular music of his
day.
Heres a thought to ponder: are Schuberts songs truly classical music? Or just very old
popular music? It was consideration of this dilemma that led me to choose not to include
short songswhether by choir or solo voicein this class.

11
String quartet
(Further reading: http://en.wikipedia.org/wiki/Symphony_orchestra
http://en.wikipedia.org/wiki/String_quartet )
The string quartet consists of 2 violins, viola, cello. It is a long-established combination,
and has been endowed with an extensive repertoire by many well-regarded composers.
Wind quintet
(Further reading: http://en.wikipedia.org/wiki/Wind_quintet )
The wind quintet consists of flute, oboe, clarinet, bassoon, and horn. The format was
established in the early 19th century by the composers Antoine Reicha, who wrote 24
wind quintets, and Franz Danzi, who wrote nine. (Ironically, neither of these composers
is remembered for anything else). The wind quintet pretty well died out in the latter part
of the 19th century, and we would not be talking about them today if not for the renewal
of interest by 20th century composers, including West Chesters own Samuel Barber.
Brass quintet
Philip Jones formed his Philip Jones Brass Ensemble (PJBE) as a quartet in 1951. Adding
a fifth member in 1961, Jones is generally credited with inventing the brass quintet
format. (PJBE also augmented its forces to 10 players for larger halls and works.)
Inventing a new musical ensemble involves much more than having the idea and then
getting 5 friends together and playing musictheres the slight inconvenience of hmm,
whatre we gonna play? Philip Jones and his associates commissioned works and
arrangements from leading practitioners of the day, as well as creating their own
arrangements of music originally written for other ensemble types, and thus gave the
format the momentum it needed to take hold and become established.
Other high-profile quintets include the Canadian Brass (formed in 1970) and the Empire
Brass (1970s), both of which are still performing. The PJBE became the London Brass
when Philip Jones retired in 1986.
The standard brass quintet consists of 2 trumpets, horn, trombone, tuba (or bass
trombone)
Bela Bartok (1881-1945) (Hungary) Concerto for Orchestra
Well hear the second movement, Presentation of the pairs to remind

ourselves of the sound of the various instruments.
The movement begins with a series of duets. Following a brief chorale-like
section for heavy brass, the duets are reprised with additional
embellishment.
12
Here is a map of the movement:

duets, round 1; string accompaniment
1. bassoons
2. oboes
3. clarinets
4. flutes
5. trumpets (muted)
chorale passage
6. heavy brass choir (trumpets, trombones, tuba) (with solo snare drum
(snares off))
7. horn duetvery brief, with solo tuba accompaniment
duet reprise, string accompaniment again, but with additional instruments helping
out this time around)
8. bassoons
9. oboes
10. clarinets
11. flutes
12. trumpets (again muted)
Gustav Holst (1874-1934) (England) St. Pauls Suite
In 1905, Holst was appointed Director of Music at St. Pauls Girls School in
Hammersmith, London, and retained that position until his death in 1934. This suite was
written for his school orchestra. Given the implied limited technical capabilities he was
working with, Holst produced a work of outstanding musical merit.
First Movement: Jig
The opening movement is a lively jig. It is based a single thematic idea, which is stated in
full at the beginning, and then transformed in various ways as the movement progresses.
Second Movement: Ostinato
With an opening dance-based movement, we might be lulled into expecting a dance suite
in the mould of the baroque era, but the second movement swiftly dispels that notion. It is
13
labeled Ostinato, a musical term with the same root as obstinate, and with a similar
meaningit means a phrase or melody obstinately repeated over and over. In this
movement the second violins are the obstinate ones, stubbornly repeating a fast and busy
four-note figure throughout the movement. (Actually, they somehow talk the first violins
into taking over for a six-bar spell. This is the high-register bit, and one wonders whether
Holst would have made the same accommodation had the piece been intended for
professional musicians.) While the second violins busily repeat their four-note figure, the
first violins try several times to dislodge them with a lyrical the me of their own. They
eventually succeed when the second violins abruptly quit four bars before the end.
Third Movement: Intermezzo
An intermezzo is a short musical interlude between two acts or sections of a longer work,
such as an opera or balletor in this case, a suite. This intermezzo initially fools us into
thinking were going to listen to the traditional slow movement that usually occurs in a
symphony or concerto, but Holst quickly surprises us and wakes us up with a Vivace
passage, which increases in energy as it brings us to a triple- forte (very loud) reprise of
the opening melody. The mood and volume once again subside as the solo violin returns,
but Holst alternates these two ideas several more times before the movement closes.
The solo violin part demands a high degree of musicianship, as well as technical skill for
the high-register part. We may infer that Holst had an exceptionally talented solo violinist
under his wing.
Fourth Movement: Finale
This movement is almost a note- for-note transcription of the fourth movement of the
Second Suite in F, for wind band. (Holst reworked only a few bars in one of the
transitional passages.) Although not labeled as such, this movement is another ostinato.
The Dargason theme introduces the movement, and continues without a break of any kind
until the final seven bars of the movement. Unlike the second- movement ostinato, the
Dargason is passed around all the instrumentsno one claims ownership in quite the
same compulsive way that the second violins did of their four-note figure in the earlier
movement. While the Dargason pursues its relentless repetition, the rest of the orchestra
spares us from madness by providing other interest, chiefly the expansive theme
Greensleeves 7 .
By now youre probably wondering, Whats this Dargason thing he keeps talking
about? Relax, Ill tell youits an English country dance. If your curiosity is
sufficiently piqued, you can find instructions on how to perform the dance at
http://www.pbm.com/~lindahl/del/sections/english_country_dance9.html. You might be
amused to learn that the author (collector?) of these instructions regards the Dargason as
a very silly dance, though not quite as silly as the Cruciform Double Dargason
(whatever that is). The mind boggles.
Greensleeves is a popular traditional tune in England, where it has absolutely nothing to do with
Christmas.
14
Gustav Holst (1874-1934) (England) Second Suite in F

Wind Band (Modern Period)
Holst wrote several pieces to enrich the wind-band repertoire, compositions that came
about by a quirk of fateHolsts misfortune was the wind-band communitys gain. A
physical disability had robbed him of the manual dexterity required to perform on his
preferred instruments, piano and organ, so Holst responded by taking up the trombone.
Aside from percussion, it is perhaps the only instrument that can be competently played
in spite of limited finger mobility.
Holst plied his instrumental prowess in wind bands in addition to orchestras. (Any
trombone player will tell you that orchestral trombone parts involve a great deal of
counting of bars rest, and precious little playing time.) It was through this experience
that he realized how impoverished was the wind-band repertoire. At the time, that
repertoire consisted chiefly of transcriptions and arrangements from orchestral works,
very few original pieces of any merit having been written expressly for the medium.
Holsts Suite in F takes its thematic material from folk tunes. Here is a map of the fourmovement work.
March
The march features two march themes, one energetic, one expansive and lyrical. Forming
a trio section, we then hear a Morris dance tune in 6/8 time, before the two march
themes are reprised.
Song without words
This is the traditional slow movement, using the folk song Ill love my love. Ho lst adds
interest with a flowing accompaniment when the theme is repeated.
Song of the blacksmith
This movement paints a sonic picture of the blacksmith working away at his craft. We
hear him whistling happily as he works, accompanied by irregular rhythmic and
percussive sounds that portray his hammering.
Fantasy on the Dargason
Yes, weve heard this one beforeits the final movement of the St. Pauls Suite. Here it
is in its original setting.

15
Ralph Vaughan Williams (1872-1958) (England) Variations for Brass Band
Historical Context
Vaughan Williams began to compose at the age of six, and continued until the day of his
death (from a heart attack in 1958). His last 22 years produced no less than five of his
nine symphonies. The Variations for brass band was commissioned as the test piece for
the 1957 National Brass Band Championship of Great Britain.
A Personal Perspective
This music has intensely personal significance for me, which some inner voice urges me
to share with you.
I was present at the competition in 1957, where at the tender age of nine I heard most of
the 21 competing bands play this piece, one after the other. My father and I took but one
break, when our hunger overcame our desire to listen to a couple of the less wellregarded bands. Condensed score in hand, we followed the composers notation along
with the music. After the bands had finished playing, while the judges were deliberating
on the results, Ralph Vaughan Williams himself came halfway down the staircase
adjacent to the stage and acknowledged the crowds applause.
Its hard to explain the effect the music had on me. The magnificent sound quality
produced by the bands, their huge dynamic range, their nimble and stunningly accurate
articulation, the grandeur of Londons Royal Albert Hallit was all awe- inspiring. It was
the most magnificent musicthe most magnificent sound of any kindI had ever heard.
It still is.
In 1957 this piece instantly became my favorite piece of music. But that's too trite a
descriptionit's hard to find adequate words. It's more a deep-down feeling that the piece
has assimilated itself into the core of my being. Yeah, I know that sounds pretentious and
corny, but it's the best I can do to convey in words what the piece means to me. Given the
16
awe- inspiring situation of my first hearings of it, no piece of music will ever, in my
regard, eclipse this one.
In 1995 I learned that the work was to be used as the test-piece for the upcoming US
National Championships. Despite several years of playing in first-class British bands, I
had never had the opportunity to play the piece. Now, perhaps, there was a chance. I
contacted the Atlantic Brass in Glassboro (New Jersey) to see whether I might insert
myself for the contest. Bad news: the band was not going to enter the contest. Good
news: they were rehearsing the piece anyway to include in an upcoming concert series.
Even better news: the flugel player was looking to get off flugel back onto cornet. They
needed a replacement. There was my spot.
I got to play the piece at last. Even though by then my best playing days were well behind
me (having peaked at age 17), the experience was still sublime. I stayed with the band for
a year or so, but the commitment became too much and I dropped by the wayside. But Id
experienced my revered VW Variations from the input end of my beloved flugel, and I
was well satisfied.
The Music
Im sure you will not be surprised to learn that I still have the program from the 1957
championship. This fact is significant because the program contains illuminating program
notes by Frank Wright.
Whos Frank Wright? Frank Wright was a gifted orchestrator of brass band music.
Though he wrote surprisingly little original work, his contribution to the brass-band
repertoire was nevertheless immense. For example, his transcriptions of Berlioz overtures
are stunning in their effect and tone color, and sound to my (very biased) ears even better
than the originals.
Okay, why am I rambling on so about Frank Wright when were
supposed to be talking about Vaughan Williams? Heres the
situation. The brass band movement has had some quite
significant successes in persuading serious composers to write
original works for brass band. Edward Elgar, Vaughan Williams,
Edmund Rubbra, Gustav Holst, Arthur Bliss the list is a long
one. Now, the brass band instrumentation is quite unfamiliar to
most of these composers. They needed varying amounts of help in
scoring their works. This is where people like Frank Wright (and
Henry Geehl before him) came in. These orchestrators often
scored the entire work from the composers piano-score sketches,
Frank Wright
effectively doing most of the work. The tradition of the times
dictated that such ghost-writing be kept a closely guarded secret. It was a sore point with
some of these orchestrators that they received not a smidgen of recognition for their
contributions, and not much in the way of monetary compensation either. Based on a
printed outburst I read by Henry Geehl, I got the impression that he was the guy who

17
scored, and generally did the most work on, Elgars Severn Suite, though Geehl was far
too much of a gentleman to name names.
The secret ghost-writing thing was eventually overcome, and Frank Wright was openly
given credit for orchestrating Edmund Rubbras Variations on the Shining River (1960),
and Arthur Bliss Belmont Variations (1963).
The significance of all this orchestrator talk is that, based on the evidence Ive been able
to piece together, my speculation is that Frank Wright was Vaughan Williams
orchestration coach, an undertaking that nevertheless stopped well short of doing the job
for him. One clue here is that in 1957the year that produced the VariationsVaughan
Williams also produced his Ninth Symphony. Most unusually, this work features a part
for flugel horn, a very prominent one at that. Now, in brass band orchestration, the flugel
horn was a criminally neglected instrument before Frank Wright came along. He singlehandedly brought the instrument out into the spotlight. I cant imagine that Vaughan
Williams would have discovered the flugel if not for Wrights guiding hand.
Given my speculation that Frank Wright played a significant role in the creation of this
work 8 , Im going to defer to Wrights notes for the core of the analysis of the piece. The
notes that follow are hisverbatim 9 from the 1957 program, augmented by my own
annotations set off in brackets or footnotes. Timings are relative to the recording by the
Black Dyke Mills Band, conducted by Geoffrey Brand, on Chandos CHAN 4510.
PROGRAMME NOTE BY FRANK WRIGHT
Today we reach a new landmark in the history of contestingperhaps the most
significant in the whole history of brass bands. R. Vaughan Williams, O.M., Englands
greatest composer since Purcell 10 , has contributed an original work, specially written as a
test piece for the Daily Herald National Championship Final.
Variations for Brass Band is unique 11 in brass band music. In form it is simple
enougha theme followed by eleven variations. [00:00] 12 The theme, in three sections
[the first four-bar section is played by mellow-toned instruments onlyno cornets or
tromboneswith horns (i.e. alto saxhorns) and flugel horn playing the high voice], is
Indeed, my speculation was verified almost immediately after writing this paragraph, when I opened the
score to begin work on annotating Wrights program notes. In a box beneath the title are the words I wish
to thank Mr. Frank Wright for examining and revising this score. R. Vaughan Williams, August 1957
9
Well, not quite verbatim. I fixed the curious occurrence (twice) of orientation in place of ornamentation. Im guessing that the typist misread Wrights longhand, and no-one caught the error in time.
10
Really? Most observers, myself included, would place VW well behind Elgar. Interestingly, Elgar also
contributed an original work to the brass-band repertoire (The Severn Suite) written, like VW s Variations,
in the composers twilight years. However, by popular consensus, the Severn Suite falls well short of
Elgars best in the artistic-merit department.
11
I hadnt realized it until I wrote these notes, but Vaughan Williams Variations was probably the first
major work written for brass band in the theme-and-variations form. Many composers since have followed
Vaughan Williams lead.
12
The bold bracketed notations denote a reference number followed by a time.
18
modal13 and majestic in character, a fanfare- like passage [0.10:12] (marked quasi
trumpetsno vibrato) [in which bright-toned cornets and trombones dominate] forming
the middle section. The variations follow one another without pause and are rich in
expressive contrasts.
[10:40] In the first variation the theme is announced by horns, with some rhythmic
ornamentation by cornets and baritone. After the [1.10:51] fanfare, played in triplet
figuration by all the cornets against a rolling quaver14 passage in the euphoniums and
baritones, the [1.20:59] theme is heard in the basses [and bass trombone].
[21:20] The second begins as a kind of dialogue, with euphonium and baritone
answering the solo cornetthere are interventions here and there and support from the
soprano and flugeleach voice deriving from the theme.
[32:00] Trombones, loud and commanding, are up and away with the tune in variation
three, the triplet fanfare passage by cornets against the legato quaver bass adding to the
rhythmic interest.
[42:16] The fourth is joyous music. Canonical in style, it has a splendid energy and
festival- like character.
[52:46] A sombre atmosphere prevails in variation five, which begins as a quartet for
flugel, horn, baritone and euphonium. [5.12:59] Muted trombones and stealthy bass
steps seem to cast a mysterious shadow, soon, however, to be dispelled as the music
moves through [5.23:10] six bars marked crescendo to reach [5.33:20] a majestic
climax.
[63:30] In variation six, cornet and flugel sing their way quietly through a tune that at
once catches the earthe theme in waltz time. But soon the music takes on an urgency
and suddenly [6.13:46] erupts over four bars. After an abrupt and unexpected stop
[6.23:51] the composer has indicated a short breathing space herethe quiet song is
resumed, this time by soprano, flugel and horn. Two melodic bars [6.33:57] by flugel
and horn, in octaves with a pizzicato- like bass and with a florid, muted cornet passage in
the background, lead to the next section.
[73:59] Variation VII (Arabesque). This is one of the most ingenious parts of the work.
By overlapping phrases, a continuous line of gracious ornamentation, derived from the
theme and marked pp, is maintained by the solo cornet and flugel. The theme, in a new
guise and played by euphonium, enters at the second bar, so that we have the tune and a
derivative of it both going at the same time. Temporarily [7.14:18] the ornamentation
is passed to baritones, to be resumed [7.24:29] by cornet and flugel over the fanfare
13
Modal in the sense that Vaughan Williams uses a note palette different from the usual major or minor
keys. The first two bars are a straightforward unison pentatonic scale, but thereafter the scheme becomes
more complex. As many times as I have heard this piece, I cannot accurately whistle even the theme,
because of its modal complexity.
14
quaver is English terminology for eighth note.
19
played by muted trombones and lower cornets quasi trumpets. The last phrases [7.3
4:49] of the variation are given to soprano, who alone leads in to the eighth variation.
[84:59] In the form of a Polacca, the music here is at once assertive and powerful.
Following a discourse on the fanfare we hear [8.15:09] the first phrase of the theme
sweeping downwards instead of upwards, and being invested with a rhythmic interest in
the process. Then, after some by-play between the upper and lower sections of the band,
they all get together [8.25:20] in three rollicking bars of semiquavers 15 . Suddenly
[8.35:32] the music quietens and an entirely new, but easily recognisable, version of
the theme is heard from trombones and cornets. A crescendo molto leads us for a brief
period to [8.4 5:47] the key of E- major. With this burst into a radiant fortissimo,
sunshine prevails until the final bars. Here animation ceases. There is a sudden haze.
[96:38] The soft, sustained octave with which variation nine opens allows us to pause
for reflection. It is like standing on the seashore, and looking eastward into a morning
mist. Quietly [9.17:00] the theme rises somewhere from the depths. There is hidden
strengthand mystery. The solemnity is unmistakable. As the voices reach upwards the
music takes on an ethereal quality. (Did the composer have in mind some enigmatic
association here?) The last bars leave us in a less pensive mood.
[108:53] In variation ten we meet again the sustained trombone octave, this time
played mf. It provides an excellent starting point for the first entry of the Fugato. Clothed
in a new rhythmic garb, the themenow so familiar that the least sensitive ear would
recognise it is startling in its vigour. Were ever two consecutive movements more
strongly contrasted than this and number nine?. Steadinesscrotchet16 =88does not
detract from its splendid vitality. Its life comes from the very nature of the music itself,
not the speed.
[119:49] In the final variation (No. 11Chorale), three muted cornets form a high
semi-chorus, heard as from a distance. The rest of the choir sing their hymn, pp. All the
material is thematic. After some fourteen bars [11.110:25] the ensemble, now united,
hushes itself to ppp. A crescendo leads to mf, where three fragments of the theme are
most skillfully interlocked. Here the basses are given a short respite. Their entry two bars
later is a most impressive one. [11.211:27] Four majestic chords, following a passage
of bare, rugged octaveshow the theme echoes through these!bring the work to a
mighty end.
15
16
A semiquaver is a sixteenth note.

A crotchet is a quarter note.

20
Appendix: What do those instruments look like?

Note: Although I have tried to adjust the sizes of these images to be vaguely sensible, they
are not presented in anything approaching accurate scale.
Symphony Orchestra
flute
French horn
trumpet

21
harp

22
oboe
english
horn
clarinet
bass clarinet

bassoon
contra-bassoon
23
I assume everyone knows what the stringed instruments look like, so I havent included
pictures of those.
Brass Band
soprano cornet (Eb)
Bb cornet
flugel horn
trombone (tenor/bass)

24
Chester County Night School, Fall 2006
bass trombone
Similar to tenor/bass, but usually has larger bore and bell. May have an additional trigger
to extend low range.
Eb tenor horn
Bb baritone (horn)
euphonium
basses
Very similar in overall shape to euphonium, but proportionately larger, with longer
overall tube length.
This picture of a brass band illustrates the relative dimensions of the various instruments.
Front row, left to right: Bb bass, Eb bass, euphonium

2nd row: 3 trombones, 2 baritones, 3 tenor horns, flugel horn
other two rows are cornets (with three percussionists ghosting in at the sides)

25
Chester County Night School, Fall 2006
Specialty instruments
piccolo trumpet

26

Session 4 notes
27-Feb-2007
Tonights agenda
Beethoven, Symphony No 6 [music on the Classical/Romantic cusp]
Berlioz, Symphonie Fantastique [Romantic period]
Vaughan Williams, Toward the Unknown Region [chorus and orchestra]
Ludwig van Beethoven (1770-1827) (Germany) Symphony No. 6 (Pastoral)

Classical period (or Romantic?)
Historical context
At the age of 22 Beethoven had left Bonn, his home town, for Vienna in order to study
with Joseph Haydn. By 1800 his career as concert pianist and composer had blossomed,
and he had completed the six string quartets of op. 18 as well as the first symphony. It
was around this time that the onset of deafnessthe result of a bout with diphtheria
around 1797became a problem. Becoming increasingly desperate in his search for a
cure, he spent six months in the quiet village of Heiligenstadt. It seems that during this
time he had come to terms with his lot in life, resolving anew to devote himself to his art
while allowing fate to take its course.
And devote himself to his art he didwith a vengeance. The period 1802 to 1810 was the
most productive of Beethovens composing career. It was from this period that the sixth
symphony, the Pastoral, emerged. The symphony is dedicated to two of Beethovens
wealthy patrons, Prince Lobkowitz and Count Andreas Rasoumowsky. It was given its
first performance, in Vienna, on December 22, 1808, with Beethoven conducting.
The music
It appears that Beethoven may have borrowed the programmatic ideas for this symphony
from one Justin Heinrich Knecht, a now-forgotten composer who wrote a five- movement
symphony he called A Musical Portrait of Nature. It is probably not a coincidence that an

advertisement for this work appeared on the same page of a newspaper as an
advertisement for some of Beethovens own works. Not only does Beethovens 6th have
five movements (a most unusualfor the timedeviation from the usual four), but his
movements titles are eerily similar to those of Knecht. Be that as it may, the key to
successful plagiarism is to be more famous than your source, and Beethoven was
apparently never questioned. In any event, the music itself is pure Beethoven, even if he
did pilfer the idea for the framework.
The Pastoral symphony evokes the countryside. Such explicit evocation of stories,
scenes, and moods is commonly found in Romantic-period music. Such external
motivation behind the music is regarded by some as an essential qualification for
classification as Romantic.
The titles Beethoven (or Knecht, as the case may be) gave to the five movements are:
1.
2.
3.
4.
5.
Awakening of joyous feelings upon arrival in the country

By the brook
Happy gathering of country folk
Thunderstorm
Shepherd's song; cheerful and thankful feelings after the storm.
The argument over whether Beethoven belongs in the Classical period or the Romantic
will probably go on forever. Most people, however, are content to regard him as a bridge
between the two periods.
Here is a map of the symphony. Timings relate to the recording by Andre Previn with the
Royal Philharmonic Orchestra, 7747-2-RC.
Theme chart
First Movement
First subject
Second subject
Second Movement
First subject A
1st idea A1
2nd idea A2
Second subject B
1st idea B1
2nd idea B2
Coda
Bird calls
(Nightingale
Quail
Cuckoo)
Fourth Movement
first theme
second theme
third theme
Fifth Movement
A

First movementAllegro non troppo

Awakening of joyous feelings upon arrival in the country
Sonata Form
bar time
1 0:00
67
138
139
151
1:20
2:44
5:20
5:38
279 8:01
structure
exposition
first theme (F maj)
second theme (C major)
exposition repeats
development
remarks
notice the triplets in the bass against

the duplets in the treble
the three-against-two idea from the
development continues into the
recapitulation
recapitulation
first theme (F maj)
346 9:17
second theme (F major)
414 10:37 coda
Second movementAndante molto mosso
By the brook
Sonata Form
1 0:00
exposition
A first subject
1st idea A1 (B flat maj)
13 1:12
21 2:03
30 2:51
2nd idea A2 (B flat maj)

A1
B second subject
1st idea B1 (F major)
2nd idea B2 (F major)
codetta: A2 (F major)
development
recapitulation:
A1 (B flat major)
B1 (B flat major)
B2 (B flat major)
codetta: A2 (B flat major)
coda
bird calls
33
47
54
91
3:09
4:32
5:12
8:46
102
105
119
124
129
9:50
10:08
11:29
12:00
12:31
notice the gently moving accompaniment,

suggesting the flow of the brook. After four
bars, the accompaniment doubles in pace,
and maintains that pace in an almost
constant underpinning of the rest of the
movement
The flute imitates the nightingale, the oboe

the quail, and the clarinet the cuckoo.

Third MovementAllegro
Happy gathering of country folk
Scherzo and Trio
The third movement is a scherzo and trio. The pace and mood of the trio is similar to that
of the scherzo, but is differentiated through rhythm, being in duple time against the
scherzos triple. Beethoven deviates from established convention by repeating the trio as
well as the scherzo. To round things off, he presents a coda constructed from a very
abbreviated version of the scherzo, further compressed by the furious presto that takes
flight 30 bars into the coda..
bar time
1 0:00
165 1:49
204
205
235
264
2:26
4:54
5:15
5:32
scherzo. The key is ambiguous. The music starts in F major but skips
around D major, D minor, and F
trio (very short). The trio begins in B flat, and is in duple time, in contrast
to the triple time of the scherzo. It works its way to end on a C major
chord in preparation for the scherzo repeat.
scherzo and trio repeat
codaback to triple time
presto
without a break we go straight into
Fourth MovementAllegro
Thunderstorm
Some commentators have remarked that the fourth movement isnt really a movement at
all, being more of an extended introduction to the final movement. Its a view that I can
endorse, for I cannot construct a meaningful analysis beyond its a mood piece that
freely develops three discernible themes. And I havent been able to find an analysis by
anyone else that (to me anyway) adds any additional useful insight.
The music begins in D flat major, but the key quickly becomes ambiguous as the music
spends most of the movement in continuous modulation. I find it at least plausible that
Beethoven was deliberately using this tonal instability to portray the meteorological
instability of the thunderstorm.
bar time
1 0:00
21 0:26
35
78
107
118
0:49
1:47
2:28
2:46
After some ominous rumbling from the bass strings, the violins play a
busy first theme suggesting anxiety.
The rumbling in cellos and basses becomes much more menacing,
suggesting thunder.
The second theme makes its first appearance.
The third theme arrives.
The storm reaches its climax
The storm begins to subside

154 3:42
155 3:45
The flute announces the end of the storm and the transition to new
tranquility.
Again we go straight into the next movement without a break
Fifth MovementAllegro
Shepherd's song; cheerful and thankful feelings after the storm
Sonata-rondo form
bar time
1 0:00
9 0:17
32 1:07
54 1:58
64 2:22
80 2:59
85 3:34
117 4:23
140 5:12
162 6:01
177 6:36
252 10:07
introduction, giving strong hints of the main theme to come

exposition
A violins sing the beautiful sunny main theme (F major)
B cellos and violas introduce the second subject. It begins in F major
but modulates to C major, with even a snatch of G major
codetta theme (A) returns, arriving from theme (B) in C major, quickly
working its way back to F major and thus forming a bridge to
development
A theme, which returns in the home key to kick off the development
C episode begins in B flat major, modulating into
...theme (A) in D flat major, quickly modulating to C major, where the
development spends most of the rest of its life before modulating
back to
recapitulation
A .F major for the reappearance of theme (A) in the home key.
Theme (A) appears here in variation as flowing 16th notes instead of
in its original straightforward lyrical melody.
B theme returns, in F major, and this time around it stays there.
codetta based on theme A, wraps up the recapitulation
coda
here begins a very extended coda, built entirely from theme (A).
Beginning in the home key of F major, it wanders briefly into C major
and G major, but mainly stays close to home.
After a delicate 4 bars over which the horn sings the (A) theme one last
time, the symphony ends with what sounds almost like a sigh of
satisfaction.

Hector Berlioz (1803-1869) (France) Symphonie Fantastique

Romantic period
Historical context
At age 17, Berlioz, the son of a doctor, left his home town of La Cte-St-Andr for Paris
to pursue a medical career. However, he found music and literature much more
interesting than medicine, which he quickly abandoned. In pursuit of a career as a
composer, he attended the Paris Conservatoire from 1826 to 1830. Supporting himself at
first by giving guitar lessons and singing in a theatre chorus, he later graduated to
journalism and conducting. Highly regarded as a music critic, Berlioz derived the bulk of
his income from journalism, though ironically he declared a profound distaste for that
line of work.
Berlioz became enamored of opera, especially the French tradition in the mould of Gluck
and Spontini 1 . He was also introduced to Shakespeares plays. After Gluck, Berlioz
discovered Weber and Beethoven. All of these interests and passions influenced the
development of his music. His first substantial composition was a Mass (1824), which he
later disowned. It was rediscovered in 1992 and found to foreshadow sections of his
mature works2 . The Mass was followed by the opera Les Francs Juges, which although
unsuccessful, largely lost, and almost forgotten as an actual opera, is survived by its very
fine overture.
Berlioz composed the Fantastic Symphony in 1830. His admiration for Beethovens 6th
symphony, the Pastoral, was one of the influences behind this symphony, principally
through its frank programmatic underpinnings, but also evident in its 5- movement design.
The Fantastic Symphony as a whole is transparently autobiographical, and was motivated
by Berlioz infatuation with the Irish Shakespearean actress Harriett (Henrietta)
Neither of whom were themselves French. Go figure.

In other words, Berlioz recycled and repurposed good musical ideas, in common with many other
composers.
2

Smithson, whom Berlioz had seen perform in 1827. Smithson rebuffed Berlioz
advances, plunging him into despair 3 .
Leaving nothing to the imagination, Berlioz provided an explicit program for this
symphony, which he instructed be distributed to the audience whenever it was performed.
Here it is 4 :
A young musician of extraordinary sensibility and overflowing imagination in a
paroxysm of despair caused by unhappy love has poisoned himself with opium.
The drug is too feeble to kill him, but plunges him into a heavy sleep
accompanied by the weirdest visions. His sensations, emotions and memories,
as they pass through his diseased brain, are transformed into musical images and
ideas. The beloved one herself becomes to him a melody, a recurrent theme
(ide fixe) which haunts him everywhere.
(1.)REVERIES, PASSIONS: First he remembers that weariness of the soul,
that indefinable longing, that somber melancholia and those objectless joys
which he experienced before meeting his beloved. Then, the volcanic love with
which she at once inspired him, his delirious suffering, his return to tenderness,
his religious consolations,
(2.)A Ball: At a ball, in the midst of a noisy, brilliant fete, he finds the loved
one again.
(3.)IN THE COUNTRY: On a summers evening in the country he hears two
herders who call each other with their shepherds melodies. The pastoral duet in
such surroundings, the gentle rustle of the trees softly swayed by the wind, some
reasons for hope that had lately come to his knowledge, all unite to fill his heart
with a long- missed tranquility, and lend brighter colors to his fancies. But SHE
appears anew, spasms contract his heart, dark premonitions appear to him.
What, if she proved faithless. One of the shepherds resumes his rustic tune, the
other does not follow. The sun setsfar away there is rumbling thunder,
solitude,silence.
(4.)March to the SCAFFOLD: He dreams he has killed his loved one, that he
is condemned to death and led to the execution. A march, now gloomy and
ferocious, now solemn and brilliant accompanies the procession. Noisy
outbursts are followed without pause by the heavy sound of measured footsteps.
Finally, the ide fixe, like a last thought of love appears for a moment, to be cut
off by the fall of the axe.
3
There was a somewhat happyyet at the same time very sadending to the BerliozSmithson
relationship, which we wont go into here. Complementary coverage (nobody tells it all, and some of the
accounts are contradictory) is at http://en.wikipedia.org/wiki/Hector_Berlioz,
http://members.aol.com/fausttiger/fantastique.html, and http://library.thinkquest.org/22673/berlioz.html,
and no doubt many other places.
4
I cant resist pointing out that the idiosyncratic capitalization and punctuation are those of Berlioz (or the
translator) and not (intentionally, anyway) mine.
(5.)Dream of a WITCHES SABBATH: He sees himself at a witches sabbath,

in the midst of a hideous gathering of spectres, sorcerers and monsters of every
kind who have come together for his funeral. Strange sounds, groans, outbursts
of laughter; distant shouts which seem to be answered by more shouts. The
beloved melody appears once more, but has now lost its noble and shy
character; it is now no more than a vulgar dance tune, trivial and grotesque: it is
she who is coming to the sabbath Roar of delight at her arrival She joins
the diabolical orgy The funeral knell tolls, burlesque parody of the Dies
Irae,** the dance of the witches. The dance of the witches combined with the
Dies Irae.
**A hymn sung in funeral ceremonies in the Catholic Church. [HB5 ]
The music
Ide fixe theme
Timings are with reference to the EMI recording D 154244, Ricardo Muti conducting the
Philadelphia Orchestra.
HB is of course Hector Berlioz. So this footnote (the one you are reading now) is a footnote that explains
a footnote. Are you sufficiently confused?
First Movement
Reveries, Passions
Sonata form (loosely speaking)
ref no
[start]
time
0:00
[5]+4
5:33
[5]+4
[8]+18
[11]
7:00
8:26
9:22
structure
introduction
remarks
a slow and lengthy introduction,
beginning in C minor. Very slow for the
most part, but briefly punctuated by a
frenzied accelerating passage.
exposition
first (and only!) theme (C
maj)
exposition repeats
development
recapitulation
first theme (G maj)
[15]
10:55
codetta
[16]
11:44
coda
[end]-23
14:22
the first eight bars of the

ide fixe themein home
key, no less

Thematic material introduced in this

prelude appears to play no further role in
the symphony.
this theme is the ide fixe that well hear
over and over, in various different guises,
throughout the symphony
this developme nt section is very brief
the recapitulation abandons sonata- form
convention and presents the theme (in its
entirety) in the dominant key.
In this recapitulation, Berlioz directs
poco stringendo (a little gradual
acceleration), which gives the theme a
feeling of anxiety, in contrast to the
serene mood of the exposition.
a slower section closes out the
recapitulation section
here appears to be the beginning of a very
extended coda (more of Beethovens
influence?). An alternative view of this
passage would be as an additional
development section, but from here to the
end the music sounds very much like its
trying to reach a conclusion. A true
development section, by contrast, leads
the listener to expect not closure but a
restatement of themes.
well, what do you know? We got a
vestigial recapitulation after all, right at
the tail end of the movement.
10
Second Movement
A Ball
The second movements structure is quite simple. Well give it some shape by mapping it
onto ABA form, which it fits fairly well.
ref no
[start]
[22]+3
time
0:00
0:36
structure
introduction
A the dance theme (A maj)
[26]+5
2:01
B the ide fixe (F maj)
[27]
2:41
bridge
[28]+2
[31]
[35]
2:58
3:56
5:03
A dance theme (A maj)

coda
B (A min)

remarks
what dance? Must be a Viennese Waltz,
and a fast one at that. This recording
faithfully follows Berlioz metronome
marking of 60 bars per minute.
in an outrageously distant key, and
appropriately modified to fit the tempo
and mood of the dance. Accompanied by
figures closely derived from the dance
theme.
a link back to A major and the dance
theme
based mostly on the dance theme, but
interrupted one more time by the
appearance of the loved one. The key is a
little closer to home this time.
11
Third Movement
In the Country
This movement owes a lot to Beethovens 6th . It has close similarities to that symphonys
By the brook movement, and also depicts a storm in a way similar to the Pastorals fourth
movement. It is constructed on a very free design that frankly defies attempts to
pigeonhole it into any of the standard patterns.
ref no
[start]
time
0:00
structure
introduction
[37]
1:57
[38]+4
4:10
A the main theme of this

movement (F maj)
bridge
[39]+5
[40]+2
[41]
5:39
6:20
6:56
A a reprise in C major
bridge
B (B flat major)
[41]+3
7:09
[42]+10
8:39
[44]
9:59
SHE appears, and stays

around for quite a few
bars
C A somewhat new idea that
combines variations on
the main theme (A)
accompaniment becomes
busy and somewhat
anxious
[47]
[47]
11:36
11:36
[47]+10
[49]
12:27
13:47
[49]+2
13:57
coda
SHE appears again,
accompanied by theme A
here SHE is again
a shepherd calls again,
reprising the introduction.
timpani imitate the roll of
distant thunder

remarks
the music frankly evokes the countryside
as two shepherds (oboe and English horn)
call to each other. Note the similarity of
this figure with that of the bird calls at
the end of Beethovens 6th s second
movement.
Berlioz reworked this theme from his
abandoned Mass of 1824
provides some contrast and moves to C
major for a reprise of the theme
this time in the bass instruments
to take us to
an ominous theme depicting the dark
premonitions that Berlioz talks about in
his notes
the ide fixe theme again, played by
flutes and oboes
the mood of rustic calm returns briefly
although the calm mood quickly

becomes agitated by the busy
accompaniment, itself a variation on the
main theme
but this time no-one calls back
12
Fourth Movement
March to the Scaffold
Berlioz constructed this movement, as he did the preceding one, from repurposed earlier
work. This time the failed opera Les Francs Juges was the donor. This movement is
constructed loosely along the ABA pattern, with much repetition of the thematic material
in minimally altered form.
ref no
[start]
time
0:00
structure
introduction
remarks
ominous-sounding timpani dominate
the introduction
[50]+2
[52]
0:25
1:17
A the first theme (G minor)

bassoon countertheme
above inverted A
[53]
1:38
B the second theme (B flat

major)
[53]+15
2:01
repeat from the beginning
[53]+16
4:03
[54]
4:20
[55]
4:43
[56]+9
5:11
[57]
5:22
[59]+1
6:10
[59]+6
6:19
a brief (11 bar) interlude

provides some contrast
before
B comes again, this time
with almost everyone
contributing with full force
another interlude, starting as
the first but with an extension,
leading back again to
A which will be theme As
final flourish. We hear only a
four-bar snatch, followed by
coda, which kicks off,
appropriately enough, with a
four-bar inversion of A
the ide fixe briefly appears
for the first and last time in
this movement, depicting
our heros last thoughts of
his love
a brutal G minor chord
represents the fall of the
guillotine;
then the gory portrayal, by

all 4 bassoons weigh in with the

countermelody. It stands out well
against pizzicato strings
key has moved to the relative major.
Woodwinds and brass deliver this
theme in strident fashion while the
strings take a rest
this recording takes the repeat, though
many conductors (and even some
editions of the score) opt to leave it out
(for shame!)
the coda is constructed chiefly from

atomic ideas of the B theme
13
[59]+7
6:23
two pizzicato notes from

strings, of our heros head
falling to the floor
now that our hero is dead,
the key changes abruptly to
the more-optimistic G
major.
How sick is that? These last 8 bars of

solid G-major chord seem to portray
the jubilant celebration of the crowd at
our heros death. (Yeah, okay, he did
kill his beloved, but still)
Fifth Movement
Dream of a Witches Sabbath
Even more so than the third movement, the fifth movement is very free in form and
conforms to no recognized design pattern.
ref no
[start]
time
0:00
structure
introduction
[62]+4
1:31
[62]+12
1:40
the ide fixe, grotesquely

transformed (clarinet)
a frantic full-orchestra outburst
[63]
1:51
[63]+7
1:58
[65]+1
2:39
[65]+19
[65]+25
3:02
3:08
[66]-6
[66]+6
3:17
3:29
[70]+2
5:20
[77]
6:59
an extended grotesque version

of the ide fixe as SHE joins in
with the ugly revelry (E flat
clarinet, piccolo)
the mob cackles with laughter
(bassoons)
strings drop the first hint of an
important theme to come
the funeral bell tolls
violas continue hinting at the
theme to come
..as does the oboe
Dies Irae theme, forcefully
stated by all 4 bassoons and
both tubas
Witches Round Dance
remarks
ominous and menacing, this rather
lengthy introduction sets the mood for
this macabre last movement
SHE arrives at this hideous gathering
the unsavory mob celebrates the
beloveds arrival
the theme hinted at earlier now appears

in its full form, and forms the basis of a
fugue. Berlioz is said to have admitted
privately that this fugue represents a
giant orgy.
by now the dance (orgy, or

whatever) has dissipated much

14
[80]
7:44
[81]
7:55
[81]+7
8:01
[84]+12
8:58
of its energy, but now it starts

rebuilding in intensity until
...it reaches a thunderous
climax, with the entire
orchestra playing the same
sustained syncopated rhythm
for 4 solid bars, until some of
the brass launch a concerted
counteroffensive for another 4
solid bars.
Witches Round Dance
returns
Dies Irae reappears from the
newly rested winds, while the
strings continue the
competition with the witches
dance
coda

strings are all playing the same rhythm

while the winds take a rest
fast, loud, furiousin other words,

totally in keeping with the mood of the
movement. Perhaps unexpectedly for
so ghoulish a concluding movement,
the work ends conventionally on a
plain vanilla C major chord, the key of
the first movements first theme.
15
Ralph Vaughan Williams (1872-1958) (England) Toward the Unknown

Region
Chorus and orchestra (Modern period)
Vaughan Williams was a great admirer of Walt Whitman, and this work is a setting of
Whitmans poem Darest Thou Now O Soul from the collection Leaves of Grass. Vaughan
Williams took his title from the poems second line.
Here is the poem in full.
Darest thou now O soul,
Walk out with me toward the unknown region,
Where neither ground is for the feet nor any path to follow?
No map there, nor guide,
Nor voice sounding, nor touch of human hand,
Nor face with blooming flesh, nor lips, nor eyes, are in that land.
I know it not O soul,
Nor dost thou, all is a blank before us,
All waits undream'd of in that region, that inaccessible land.
Till when the ties loosen,
All but the ties eternal, Time and Space,
Nor darkness, gravitation, sense, nor any bounds bounding us.
Then we burst forth, we float,
In Time and Space O soul, prepared for them,
Equal, equipt at last, (O joy! O fruit of all!) them to fulfil O soul.

16

Session 5 notes
27-Feb-2007
Tonights agenda
Shostakovich, Symphony No. 5 [Modern period]
Golland: Meiso [Modern period; brass band]
Debussy, La Mer [Modern period]
Barber, Summer Music [wind quintet]
Henry VIII, Rose without a Thorn [brass quintet]
Dmitri Shostakovich (1906-1975) Symphony No. 5
Modern period
Historical context
The fifth symphony is very much a product of the time and political climate in which
Shostakovich lived. The composer had enjoyed great success and fame since the
publication, at age 19, of his first symphony. However, his continuous development as a
composer put him on a collision course with the Stalin regime. The inevitable meltdown
occurred in January of 1936, when Shostakovich was 29. Joseph Stalin attended a
performance of Shostakovichs opera Lady Macbeth, and conspicuously walked out in
anger after the third act. There was plenty to upset himsuch as sexual explicitness,
police portrayed as buffoons, dissonant musicbut we can only guess at what exactly
pushed him over the edge. On Stalins instigation, Lady Macbeth was denounced in
Pravda, and coinciding with the beginning of the Great Terror, Shostakovich was
declared an enemy of the people.
Shostakovich had largely mastered Soviet doublethink and doublespeak, and he
pretended to reform with the 1937 fifth symphony. (We know it was a pretense from
letters discovered since his death.) He labeled the symphony A Soviet artists response
to just criticism. Yet much later, in 1973 and near death, he wrote this of the symphony:
I think that it is clear to everyone what happens in the Fifth. The rejoicing is forced, created
under threat, as in Boris Godunov. Its as if someone were beating you with a stick and
saying, Your business is rejoicing, your business is rejoicing, and you rise, shaky, and go
marching off, muttering, Our business is rejoicing, our business is rejoicing. What kind of
apotheosis is that? You have to be a complete oaf not to hear that.
Despite the conflicted thoughts and emotions behind it, the music of the symphony is of
high artistic merit while being readily accessible, a combination that sustains the work as
by far the most popular of Shostakovichs entire output.
For more extensive insight into Shostakovichs life and work,
http://www.therestisnoise.com/2004/05/shostakovich.html is an excellent but fairly brief
article by Alex Ross, music critic for The New Yorker.
The Music
Theme chart
First movement
A1
A2
A2 (inverted)
Second Movement
middle theme

Fourth movement
A
First movement
Well outline the first movement in terms of sonata form, but the form is very free
compared with a classical-era sonata-form movement. Shostakovich writes very extended
themes that blur the tidy boundaries of the sonata-form template.
Russian musicians regard this movement as a ballad form, in which narrative sections
alternate with lyrical and dramatic episodes. In light of what we have come to know
about the composer, it is hardly unreasonable to interpret these episodes, with their strong
contrasts, as representing a conflict between spontaneous impulse and external pressures.
ref
[start]
time
0:00
[1]
[9]
[17]
[32]
0:29
theme A2
4:25
theme B
7:40 development
10:31 recapitulation
A1
[36]
11:12
[39]+1 12:37
[44]
14:38
[44]+1 14:43
[47]
15:59
structure
exposition
theme A1
remarks
this theme permeates the entire movement,
forming the basis of much of the
accompaniment to later material
more lyrical in character
a very extended reprise of theme A1 , beginning

in a different key from the exposition, and
modulating as freely as a developme nt section.
10 bars of forceful drama, announced in unison
by most of the orchestra, punctuated by some
equally forceful chords from the onlookers.
flute starts, and is echoed by horn in canon
the basic rhythm of theme A1 underpins the coda
throughout
a huge climax
B
coda
A2 (inverted)
notice the beautiful sound from the celesta on

the rising chromatic runs
Second movement
Allegretto
[0:00] The second movement is basically in the form of a scherzo, although Shostakovich
firmly eschews the constraints of the classical-era design by omitting the trio section if
favor of a middle theme that retains much of the character of the opening. And even as
the middle theme tries to take over [57 1:45], the opening theme keeps butting in and
arguing with it.
When the opening theme regains control [65 3:17], the bassoon and contra-bassoon take
ownership for an extended display that rattles the rafters with the contra-bassoons
extremely low notes.
The oboe gives us a brief four-bar reprise of the middle theme [73+4 5:04] as we head
into the short coda.
Third movement
Largo
Musically and emotionally, the slow movement is the nucleus of the work. Shostakovich
himself was especially pleased with this movement. It is in large part elegiac and
suggests itself as a night piece. Reflective lyricism expands into urgency and intensity,
and eventually the character of a threnody, building to anguished protest and then,
drained of passion, subsiding on a note of resignation.
The movement is built on just two thematic ideas, the first very extended as is typical of
Shostakovich. Interestingly, the composer takes the unusual step of dividing the string
section in an unconventional way: the violins are divided into three parts (two is usual);
the violas into two (vs. the usual one), the cellos into two (vs. the usual one).
The following table calls out some highlights.
ref
[75]
[79]
[81]+2
time
0:00
2:33
3:32
remarks
long flute solo/duet, accompanied only by harp

up to now everything has been calm and quiet. Now we
embark on a gradual crescendo of surprising length and
intensity that builds to a climax and then subsides.
[84]+1 5:10 the music has regained its earlier calm, and solo oboe
announces a new theme
[87]
7:52 a surprisingly dark passage appears, with two clarinets (in
their low register), bassoon and contra-bassoon the only
participants. Low strings eventually join in, preserving the
dark mood
[88]+6 8:43 but soon the violins get involved, adding a feeling of
urgency and seriousness, as again we crescendo to
[89]
9:05 ...a big climax, that will be sustained for many a bar
[93]
11:25 calm has returned once more
[96]+1 13:25 a beautiful sound from unison harp and celesta

Fourth movement
Allegro non troppo
At the symphonys premiere, Shostakovich described this movement as the optimistic
resolution of the tragically tense moments of the first movement. And indeed we can tell
ourselves it sounds triumphant and rejoicing, but what are we to make of it in light of
Shostakovichs later (1973) explanation? Also consider that Shostakovichs great friend
Mstislav Rostropovich said of this movement The end is irreparable tragedy. Stretched
on the rack of the inquisition the victim still ties to smile in his pain. Anybody who thinks
the finale is glorification is an idiot.
The structure of the movement is again rather free, but well map it in terms of sonata
form, ill- fitting though that label is.
ref
[97]
time
0:00
[108}
[113]
2:22
4:08
[121]
7:09
[131]
9:25
structure
exposition
A
B
development
remarks
announced by unison trumpets, trombones, and tuba

announced by solo trumpet
a very long developmentone of the reasons why
its such a stretch to stick the sonata-form label on
this movement
recapitulation/coda this is a very lengthy coda-cum-recapitulation, the
longest section of the movement. It is based on
theme Awe hear nary a peep of theme Bbut the
whole thing sounds as if its driving all the while
towards the conclusion, rather than being a normal
kind of recapitulation.
codetta
this is the coda of the coda. Its immediately clear to
the listener that weve turned onto the home stretch
here. After climbing up to the high A, the strings (in
unison) will repeat that note 252 1 times, while the
brass forcefully deliver the tune, which is an
elongated variation on theme A.
No, I didnt count them, but someone did, so I thought it would be nice to reward that effort by reusing its
results here.
John Golland (1942-1993) (England) Meiso

Brass band (Modern Period)
John Golland made his living primarily as a teacher in his home town in greater
Manchester, but spent a sizeable period out of teaching, during which he concentrated on
composing and conducting brass bands. In his early twenties he took up the euphonium
and joined a local brass band, having learned piano, violin, and recorder in his childhood
through teen years.
Meiso was the result of a commission from the Black Dyke Mills band for their highly
successful Japanese tour of 1990. Meisowhich means "contemplation"takes the
unusual and original form of a duet for tenor horn (which you'll recall is actually,
anatomically speaking, an alto saxhorn) and baritone (that's a baritone 2 saxhorn, not a
singer). Dedicated to the two soloists featured on the recording we'll hear3 , it is cast in an
aptly meditative mood by a composer whose music speaks with conviction and passion.
The opening is based on two ideas: the upper instruments depict the bells of the Shinto
temple calling its followers to gather for Meiso, and the lower instruments play out a
Shinto chant which was introduced to Golland by a Japanese friend, Masaru Kawasaki.
The work features long intertwined melodic lines from the soloists, which has them
beautifully showing off the full range of their instruments. The band provides soft,
sustained and infinitely sympathetic accompaniment throughout.
Just as a "tenor" horn is actually an alto instrument, the baritone (oddly, never referred to as a "baritone
horn") is actually a tenor instrument. How confusing.
3
Sandy Smith, tenor horn; Peter Christian, baritone, with the Black Dyke Mills Band conducted by David
King.
Claude Debussy (1862-1918) (France) La Mer

Modern period
Historical context
Debussy was strongly influenced by the Impressionist movement in the art world, his
circle of friends being Impressionist artists and poets as well as musicians. He had
revolutionized classical music with his 1894 composition Prelude a lApres Midi dun
Faune. In 1905 with La Mer, which he described as three symphonic sketches, he did it
again. Pushing past classical tonality, harmony, and rhythm to new heights of fluidity, he
brought ambiguity and freedom to keys, harmonies, and even bar- lines. Yet at the same
time, Debussys work is still unmistakably music. It stirs the soul on a visceral level.
There is none of the blatant dissonance and raucousness that we expect to hear in socalled modern music. However, that said, we must acknowledge that the listeners of the
time, especially the critics (why does it always take critics so much longer to catch on
than regular people?) received the work much less favorablysome with outright
hostilitythan their present-day counterparts.
It seems that Debussy had ambitions to compose a symphony, but La Mer is the closest
he came. He had earlier (1880) made a two-piano sketch for a more conventional
symphony, but that effort never saw the light of day in its originally intended form.
Debussy composed La Mer between 1903 and 1905. He wrote to his friend Andr
Messager (himself a composer) in 1903 that he was at work on the three symphonic
movements, and spoke of his lifelong fascination with the sea:
I have always retained a passionate love for her [the sea]. You will say that
the ocean does not exactly wash the Burgundian hillsidesand my seascapes
might be studio landscapes; but I have an endless store of memories and, to
my mind, they are worth more than the reality, whose beauty often deadens
thought.
It seems Debussy was alluding to his limited actual contact with the sea, that being
confined to a couple of channel crossings and some seaside vacations.
After beginning the sketching of the work in Burgundy, Debussy completed it in Jersey
(um, thats the Channel Island Jersey, not the state of New Jersey) and Eastbourne (on
the south coast of England), where he had ample opportunity to study his subject in all its
moods. The work was premiered shortly after its completion, in October 1905, in Paris.
The music
Viewed as a whole, La Mer is built on a distinctly symphonic pattern. The turbulent outer
movements display the force and direction of large-scale symphonic sections, while the
middle movement is scherzo-like by contrast. The melodic shapes that seem gradually to
come into focus in the dim light of the first movement recur in the third movement,
giving the work a feeling of satisfying integration.
At least one observer has offered the view that the entire work can be considered as a
single sonata- form design, with the middle movement being the development section. Its
an interesting complementary way to view the piece, not without merit, although the
middle movements thematic material is original, rather than derived from the first
movement.
Debussy gave each of the movements descriptive subtitles, which evolved somewhat
during the gestation of the piece. As is so common with program and mood music, the
composer warns us not to take these titles too literally, and that they do not refer to
explicitly pictorial events, rather to the overall impression and mood. Debussys friend,
the composer Erik Satie 4 , joked in response that, of the first movement (From dawn until
noon on the sea), he liked the whole thing, but especially the part from 10:30 to 10:45.
I wonder if Saties name shares the same root as satire. Unlikely of course, but its fun to speculate.

Theme Chart
First movement
A1
(motto)
A2

Second movement
A
Third movement
A
Map
The notation [n] denotes a rehearsal number in the score. [n]+i or [n]-i indicate a number
of bars before or after the rehearsal number. Timings are relative to Telarc recording CD80071, the Saint Louis Symphony Orchestra conducted by Leonard Slatkin.

10
First movement
From dawn until noon on the sea
ref
[start]
time
0:00
structure
introduction
[start]+5
[1]
[3]-2
[3]
[9]-2
0:24
0:39
1:33
1:40
4:32
A1
B
C
D
new section,
based on E
[12]
6:06
[13]+3
7:00
[14]-4
7:30
[15]-1
8:17
A2
remarks
in spite of Debussys warning not to take his subtitles
too literally, the opening passage up to [3] comes
across as a beautiful sound picture of the unfolding
dawn.
introduced by oboe. This is the motto theme. 5
introduced by English horn and muted trumpet
flutes and clarinets
horns
interestingly the first eight bars of this section are
carried by the cellos, divided into four parts, and
Debusssy is particular in pointing out that there had
better be 16 of them (which is more than most
orchestras normally carry these days)
This new section is introduced by a derivative of
theme A1 . A new tune (of sorts) emerges, based on the
rhythm illustrated in theme E. This rhythm pervades
this middle section either as melody or
accompaniment.
were starting to wind down now, as we hear theme B
from English horn and muted trumpet, just like at the
beginning. But theres still time for
another new tune, introduced by English horn and 2
cellos
listen to the flutes here. It sounds like theyre off the
beat, but Debussy has them playing 4 beats in the bar
against the melodys 6.
this variation on A1 aptly anticipates a closing, in
contrast to the expectant flavor of A1 itself
Second movement
Play of the waves
The bulk of this movement is constructed from melodic fragments rather than
recognizable whistleable melodies, illustrating the ever-changing play of light on the
changing face of the sea, and the choppy nature of the waves. In spite of the fragmentary
nature of the melodic material, Debussy expertly crafts a movement with overall unity
and sense of direction.
A motto theme is one that appears in all movements, giving the work a feeling of unity.

11
ref
[start]
[19]
time
0:00
0:51
structure
remarks
[21]+2
1:27
[22]+4
[26]+2
[27]+6
[32]
1:44
2:47
3:08
4:04
[33]
4:17
[33]+8
[38]
4:27
5:16
C
1A (motto)
heres the first group of notes Id be prepared to call a

melody, though it would be a tough one to whistle
the English horn gives us 6 bars of a melody we can
actually whistle, picked up by horns and strings, but soon..
...were back to illustrative sounds rather than melody
from cellos this time
but just as quickly back to the melodic fragment pattern
finally, heres the motto theme, stripped down to bare
essentials, as befits the style of this movement
from flutes this time around, taken over by oboes after 4
bars
second violins and cellos
a very small but loud hint at the motto them from horns
and trumpets
B
1A (motto)

12
Third movement
Dialogue of the wind and sea
This movement binds the work together, recalling and elaborating on themes from the
first movement.
Ill use the notation 1A, 1B, etc. to denote those themes in the following outline.
ref
[start]
[43]
time
0:00
0:14
[44]
[45]+2
[46]
[47]
0:48
1:08
1:25
1:51
[47]
[49]+6
1:51
2:26
[52]+8
3:16
[62]+4
8:02
structure
remarks
a choppy figure in bass strings suggests waves
A
a sustained fragment from oboes, suggesting the wind
over the choppy sea. This fragment is derived from
the more expansive melody that well hear later,
which Ive labeled as theme A
1B
muted trumpet
1A (motto)
horns
A
the expanded theme A from oboe and bassoon
development
this movement is a far cry from sonata form, but this
section is very much in the character of a sonata- form
development, and I think it helps our understanding
of the piece to label it as such
1A
flute and cellos
1B
bassoons and cellos give us a whole-tone-scale 6
variant of theme 1B
recapitulation/ this very extended section is like a free- format
coda
recapitulation, liberally recalling themes 1A, 1B, and
A. It gradually takes on the character of a coda
without there being a clear delineation.
as the piece draws to a close the brass do their best to
be heard with the (1A) motto theme, but theres a lot
of competition
Samuel Barber (1910-1981) (born West Chester, PA; died New York, NY)
Summer Music
Wind quintet (Modern period)
Barber wrote Summer Music in 1955-6 in response to a commission

from Detroit, where the work was first performed, though he had
worked fairly closely with the New York Woodwind Quintet over its
composition. (Timings refer to the recording by the Galliard Ensemble,
on BBC MM243)
6
A whole-tone scale has only 6 notes (versus 7 for the usual major and minor scales), the space between
each note being a . well, you can guess.
13
1 0:00
2 0:47
3 2:03
4 2:42
5 3:16
6 5:25
7 6:45
8 8:23
9 8:44
10 8:56
11 9:42
the opening features flowing liquid runs from flute, then clarinet, and finally
bassoon.
the oboe sings a long-breathed melody, whose first rocking notes are taken up
by the accompaniment
the tempo increases and the music is now staccato and disjointed
an abrupt break is followed by an even faster passage in irregular bar lengths.
Notice also that the tonality has changed from minor to major.
Barber now embarks on a kind of miniature fantasia, in which he combines
and develops the preceding three ideas.
the opening material returns, accompanied by some commentary from clarinet
that sounds almost ad lib, with which other instruments eventually join.
another fast section begins with a new melody for oboe, cheeky-sounding and
syncopated, which is passed to flute
and eventually to bassoon.
another brief appearance of the opening material
the flute introduces a passage marked joyous and flowing
we reach a kind of subdued climax, which gradually subsides into what we
may regard as a coda, with fragments of earlier themes reappearing in gentle
understatement. Finally, the piece rather abruptly evaporates into thin air.
Henry VIII (1491-1547) (England) Rose without a Thorn

Brass quintet (Medieval period)
Yes, this is the Henry VIII were talking about, king of England, who was a very
accomplished musician and poet. This work was not constructed in this form (and
certainly not for this instrumentation) by King Henry himself; rather Philip Jones
(founder of the Philip Jones Brass Ensemble) assembled a number of Henrys
compositions. The name Jones chose for the suite, Rose without a Thorn, was how Henry
described his favorite wife, Anne Boleyn.

14

Session 6 notes
27-Feb-2007
Tonights agenda
Beethoven, String Quartet Op 18 No 6 [string quartet]
The Grand Finale
Dvorak, Symphony No. 9
Rimsky-Korsakov, Scheherazade
Ludwig van Beethoven (1770-1827) (Germany) String Quartet Op. 18 No. 6
String quartet (Classical Period)
Historical context
Beethoven was born in Bonn, into a musical family, although none of his forebears was a
composer. Beethoven studied piano and music theory with his father and later with Christian
Neefe, to whom Beethoven was appointed deputy when Neefe was appointed court organist to the
Prince-Elector in 1782. In that same year, Beethoven published his first composition, the Dressler
Variations. Encouraged by Neefes prophetic remark that Beethoven would surely become a
second Mozart were he to continue as he has begun, Beethoven produced several more works
some showing distinct originalityover the next several years.
In 1792 Beethoven had the opportunity to meet Haydn (38 years his senior), who was passing
through Bonn on his way back to Vienna from London. After Beethoven had shown Haydn some
of his compositions, Haydn agreed to take on Beethoven as a student, and Beethoven left soon
after for Vienna, never to return to Bonn.
In Vienna, Beethovens career blossomed, both as a concert pianist and as a composer. His
compositions were much in demand, thus providing income from members of the nobility paying
for commissions and dedications as well as income from publication.
The six string quartets of opus 18 are regarded as the finest chamber works of Beethovens output
up to their publication in 1801. Beethoven himself was justly proud of his accomplishment, as
revealed in an 1801 letter to his friend Karl Ferdinand Amenda, who had been the recipient of a
first draft of one of the quartets. The letter said Do not part with your quartet, as I have altered it
completely, having just mastered the art of quartet writing, as you will see when you receive
them1 .
1
them of course being the six quartets of opus 18.

The music
First movementsonata formAllegro con brio
bar
1
45
1
93
175
218
265
time 2
0:00
0:41
1:26
2:51
4:11
4:50
5:36
exposition: first theme (B flat major)

second theme (dominant (F))
exposition repeats
development
recapitulation: first theme (B flat major)
second theme (tonic (B flat major))
repeat of development and recapitulationor not, as the case may be. (The
score indicates it, but this recording does not take it.)
Second movementABA formAdagio ma non troppo

This slow movement is in rather straightforward ABA form, rounded off by a rather adventurous
coda.
1
17
45
61
69
70
79
0:00
1:26
3:45
5:07
5:48
5:56
6:40
A theme (E flat major)

B theme (B flat minor (dominant minor))
A theme (E flat major)
coda
a bar and half in the very distant key of C major
followed by a bar and a half that gets us all the way back to E flat
a very gentle end
Third movementScherzoAllegro
This movement is constructed as an uncomplicated scherzo and trio, with the repeated scherzo
forming the familiar ABA pattern. The scherzo theme itself is Beethoven at his adventurous best,
syncopated and punctuated by obstinately dislocated off-beat accents.
The trio contrasts with the scherzo only by rhythm, which is altogether more orderly than that of
the scherzo. However, the pace and mood of the trio is consistent with the scherzo.
Fourth movementLa MalinconiaAdagio, Allegretto quasi Allegro
La malinconia (melancholy) is Beethoven's heading for the slow opening page. And perhaps
La bipolar disorder would have been an apt title for the movement as a whole, because
Beethoven twice interrupts the lively country dance that follows with short bouts of melancholia.
Be that as it may, this movement is perhaps the most strikingly original passage in the entire
series of Op. 18 quartets. The predominant dynamic marking is pianissimo and Beethoven
exhorts the players to treat the music with the utmost delicacy; yet at the point in the opening
melancholia where the music begins to venture so startlingly into distant keys, the innocent turnlike figure of its opening bars assumes an alarmingly menacing tone. Then comes the extreme
2
Timings are relative to the BBC recording BBC MM95 by the Jerusalem Quartet.

contrast of the country dance, whose off-beat accents lend it a curious limp. After the two short
episodes of depression, the movement finally pushes melancholia aside and ends with a
dazzlingly optimistic prestissimo. 3
Antonin Dvorak (1841-1904) (Bohemia (now Czech Republic))

Symphony No. 9 in E minor (From the New World)
Romantic Period; Symphony Orchestra
Dvorak had come to New York in 1892 to take up the highly paid post of head of the National
Conservatory of Music by its founder, Jeanette Thurber. Dvorak set out to write a work of
unmistakable American influences, and the New World symphony, as it is colloquially known,
was the result. Dvoraks explanations of this, his final symphony, were captured for posterity
through an interview he gave for the New York Herald on the day before its first performance in
1893. Having immersed himself in American Indian and African-American music, he set out to
capture this spirit in his symphony. I have not actually used any of the melodies 4 ; he said, I
have simply written original themes embodying the peculiarities of the Indian music and, using
these themes as subjects, have developed them with all the resources of modern rhythms,
harmony, counterpoint and orchestral color.
Dvorak was particularly taken with the Hiawatha legend, and had attempted to write an opera
around it. That opera was never completed, but Dvorak acknowledged that the middle two
movements of the New World were inspired by Longfellows poem The Song of Hiawatha, and
we can make an educated guess that Dvorak likely repurposed some of the sketches from his
now-abandoned opera.
As fast as possible.
Although those with over-active imaginations will insist they can hear Swing Low Sweet Chariot in the
First Movements Third Theme.
4

Chart of themes
First Movement
First Theme
(Motto Theme)
Second Theme
Third Theme
Second Movement
First Section
Second Section
First Theme
Second Theme
Third Movement
Scherzo
First Theme
Second Theme
Trio
First Theme
Second Theme
Fourth Movement
First Theme
Second Theme
Third Theme
Fourth Theme

Map of the symphony

Timings are with reference to the 1987 recording by Neeme Jrvi with the Scottish National
Orchestra on Chandos CHAN 8510.
bar
24
First Movement
0:00
Introduction
1:28
Exposition
2:04
First Theme
90
3:12
Second Theme
148
4:15
Third Theme
24
4:52
1
16
176
272
311
time
Exposition
repeats
7:35
Development
Recapitulation
9:12
First Theme
9:53
Second Theme
369
10:58
Third Theme
395
11:30 Coda
remarks
slow introduction, fast body in sonata form
(horns) motto theme 5 first appearance
(horns) an expansion of the motto theme, in home key of
E minor
(flute, oboe) begins in G minor, moves to G major
(relative major of home key)
(flute) continues in G major; close relative of First
Theme
fantasia on thematic material from exposition

much abbreviated, relative to exposition
(horn) again in E minor
(flute) in G# minor this time (semitone higher than
exposition) Note new horn counter melody from 9th bar
(flute) in Ab major (again, a semitone higher than
exposition)
very brief, built on the 3rd theme and motto theme
A motto theme recurs through each movement of a symphony, and thus reinforces its integrity.

bar
time
0:00
Second Movement
Introduction
0:44
First Section (A)

Second Section(B)
46
5:06
B(a)
54
5:42
B(b)
64
6:33
B(a)
90
8:45
Bridge
96
9:13
101
9:41
120
11:59
bar
time
Third Section (A)

Coda
1
13
Third Movement
Scherzo
0:00
Introduction
0:09
First Theme (A)
68
1:35
Second Theme
(B)
remarks
slow throughout. ABA form.
tuba player picks up his horn for the first time, plays four
bars, then puts it down again. These are four bars of rich
harmonic contentthe first chord is E major, but by the
end of four bars weve been prepared for the arrival of
the new key of Db major in the fifth bar.
(English horn) begins with beautiful melody (in Db
major)
notice how the second sectionthe B of the second
movementis itself crafted as an ABA
(flute, oboe) a new, slightly faster triplet-based melody
with more overall movement; key is C# minor (the tonic
minor of First Section)
(clarinets) mood changes again with slow dreamy melody
over active pizzicato bass; music stays in C# minor
(violins) triplet melody returns, with flutes and oboes
playing a self-derived counter melody; were still in C#
minor
(woodwinds) busy contrasting section to lead into the
Third Section; were back to the movements home key
of Db major, here notated as C# major
(trombones) just 2 bars of motto theme, played twice for
good measure. Its only appearance in this movement
a reprise of the material of the First Section, in the
original key
an extended reprise of the introduction. Tuba player picks
up his horn for only the second time and plays another
four bars. Now hes done for the night. And all along he
was merely doubling bass trombone anyway.
remarks
Scherzo and Trio
the Scherzo is itself constructed in ABA form
(woodwinds) energetic, in home key of E minor; notice
canon
(flute, oboe) flowing and contrasting; note its derivation
from English horn melody of Second Movement. Weve
modulated to E major
First Theme (A)

99
119
2:11
2:26
123
142
2:30
2:45
Bridge
(violins) a modulation passage to get us back to E minor.

motto theme makes a stealth 4-bar reappearance in low
register (horns, bassoons, cellos, basses). Its easy to miss
in this unfamiliar triple -rhythm guise, and amid muddy
orchestration to boot
(violins) first theme reappears in home key
a short modulation passage to move into the trios key of
C major

154
2:54
166
3:04
176
3:12
192
3:39
223
1
4:04
5:04
Scherzo repeats
248/
389
411
7:05
Coda
417
7:31
427
7:36
bar
time
Trio
7:20
Fourth Movement
1
0:00
Introduction
Exposition
First Theme
10
0:17
44
1:17
Second Theme
67
1:55
Third Theme
92
2:54
Fourth Theme
106
3:19
157
4:46
Development
cellos give us 4 bars of motto theme, which starts in E

minor but immediately modulates
violas give us 4 bars of motto theme. By this time weve
reached Ab minor, and were still modulating on the way
to
(woodwinds, horns) a contrasting section, beginning in C
major
(violins) Trios second theme; starts in G major and soon
finds its way back to E minor. Were well over halfway
through the symphony, andvery unusuallythis is the
first time that any of the strings have had first crack at a
new theme.
Trios two themes repeat
however, Scherzos own repeat is not taken 2nd time
around
horns play motto theme twice (first in E minor, then in F
minor), but cant get anyone else interested
on the horns third try with the motto theme, up another
half step to F# minor, the woodwinds finally join in
trumpet chimes in with the opening snippet of the 1st
movements 3rd theme, as the music transitions through E
major on its way back to the home key
phew! We made it back to E minor with just 14 bars to
spare
remarks
a fine finale that pulls the whole symphony together.
Basically sonata form, but with some applied freedom
typical of the Romantic period.
trumpets and horns announce the E minor theme in

declamatory fashion, and repeat it with a higher octave
for good measure. Trumpet players live for bits like this:
loud, high, and fast.
(violins) a busy triplet-based construction, still in E
minor
(clarinet solo) a contrasting lyrical section, starting in G
major (the home keys relative major) then moving to F
minor
flutes and violins introduce yet another theme, this one
again in G major. Note points of similarity with the
English horn melody of 2nd movement.
a creative fantasia. There is new material here, but the
bulk of the development is about the First Theme, the
Motto Theme, and the First Theme of the 2nd movement.
We also hear a longish snatch of the Second Theme, and
the merest hints at the Scherzo theme from the 3rd
movement.
(flutes) notice the reappearance of the English horn

190
5:44
196
5:55
198
5:59
Recapitulation
208
6:16
227
251
7:04
7:59
267
8:35
Bridge
275
8:49
Coda
279
281
8:57
9:00
290
299
9:13
9:30
313
9:54
327
10:22
melody from the 2nd movement

heres the motto theme at last, in horns, bassoons, and
low strings
I dont really know why, but these 2 bars make my spine
tingle. The SNO trombones are just awesome.
horns maintain the excitement as they play the first theme
in G minor, then lead the modulation back to E minor,
the home key
recapitulation is extremely brief, even omitting the 2nd
theme altogether
(trombones) the start of the recapitulation grows
seamlesslyyet boldlyout of the Development as the
1st theme finds its way back to E minor
(strings) the 3rd theme, in E major
(flutes, clarinets) a dreamy recasting of the 4th theme,
also in E major
solo horn sings the motto theme, then the rest of the
horns join in with a frenetic figure leading in to the Coda
(basses, cellos, bassoons) a rumbling eruption of the
motto theme
(trombones) heres the 1st theme
(strings) and heres the recently neglected 2nd theme right
on top of it
(trombones) the motto theme again
what this? Why, its none other than the opening from the
2nd movement, now very loud and forceful. Why ever did
we send the tuba player home? We really could have
used him here.
this coda is a masterpiece of integration, isnt it? Now
heres a snippet (clarinet) of the English horn melody
from the 2nd movement, punctuated by a delicate reprise
of the Scherzo theme (strings), which continues until the
2nd movement theme gives way to the 4th movements 1st
theme (horns).
built by a huge crescendo, the 1st theme holds the floor in
a loud and furious finish, during which the trombones
manage a final couple of plugs for the motto theme.
Notice the unusual treatment of the final noteeveryone
but the woodwinds, horns, and trumpets drops out,
leaving these few instruments to diminuendo to almost
nothing.

Nikolai Rimsky-Korsakov (1844-1908) (Russia) Scheherazade 6

Romantic Period; Symphony Orchestra
Rimsky-Korsakov labels Scheherazade a symphonic suite. Although based on Arabian tales,

the work is still firmly Russian in its flavor of oriental sound. Rimsky-Korsakov himself wrote
that the piece was not meant to be an exact depiction of Scheherazades stories, the movements
titles being meant to direct but slightly the hearers fancy on the path my own fancy traveled.
The tales of the Arabian Nights themselves were passed down through the centuries by word of
mouth; the oldest tales date to the 10th century. They were brought to Europe in 1704 by Anotine
Galland, who published several collections of the stories. These included the now well-known
sagas of Sinbad the Sailor, Ali Baba and the 40 Thieves, and Aladdin and his magic lamp.
The story of Scheherazade provides the narrative thread between the tales, and runs as follows:
Scheherazade was the daughter of the grand vizier7 to Sultan Shahriyar. The sultans first wife
had betrayed him, and in anger and grief he not only executed her but vowed to marry a woman
each night and kill her the next morning. The sultans cruel order was obeyed for three years,
until Scheherazade conceived a plan to stop him and convinced her father to offer her as the
sultans next wife.
The clever girl talked the sultan into letting her sister spend the night with them in the bridal
chamber, and in the morning, as planned, Scheherazades sister begged her to tell a story.
Scheherazade began one of the exciting tales but stopped before the story ended, causing the
sultan, who had listened as well, to put off killing her until she could finish her story the next
evening. Scheherazade, of course, never finished her tales, but kept her husband enthralled with
story after story for 1,001 nights. By that time the pair had produced three sons and the sultan,
convinced of his wifes fidelity and wisdom, revoked his death sentence.
Scheherazade consists of four movements, which Rimsky-Korsakov originally labeled with the
titles (in bold type) you see in the narrative that follows8 . I say originally because Rimsky later
removed these titles, not wishing listeners to read too much into the pictorial, descriptive
elements of the score9 . However, Rimskys attempt to remove the titles proved futile, because
they stuck fast and are well known to todays audiences.
6
With permission, I based these notes on Barbara Heningers compilation of program notes (originally
written for the Redwood Symphony) at
http://www.barbwired.com/barbweb/programs/rimskykorsakov_scheherazade.html
7
A minister under a Muslim prince. This is a civil office, not a religious one.
8
Yes, there are three kinds of people in the world: those who can count and those who cant. Although
there are five labels for the movements, the final movement covers both the Baghdad festival and the
shipwreck.
9
The retrospective suppression of a works programmatic inspiration is a common thread in Romantic era
music. For example, Tchaikovsky had a program in mind when he composed his 5th symphony, yet he
The movements are linked by a kind of motto theme, which we may suppose represents
Scheherazade herself.
The work begins with a very brief introduction based on the primary theme of the first movement.
We then hear the Scheherazade theme from solo violin [1], leading into the first movement
proper, The Sea and Sinbads Ship. In this movement, the Sinbad theme and the Scheherazade
theme ebb and flow over a third rocking melody like the oceans waves.
After another appearance of the Scheherazade theme [2], we have the second movement [3]
The Story of the Kalendar Prince a royal prince who disguised himself as a member of a tribe
of wandering dervishes10 called Kalendarsfeatures an oriental melody played in turn by both
the full orchestra and different solo instruments, including bassoon, oboe, flute, and horn. The
theme is offset by a brisk martial tune introduced by the brass, which in turn is interrupted by a
clarinet solo that whirls like the dervishes of the title.
[4] The lyric sweep of The Young Prince and the Young Princess is colored by a rising and
falling counterpoint from woodwinds, harp, or upper strings against lower. Romantic melodies
weave in and out, and the movement ends with a series of rapid, quiet figures that seem to dance
into the distance.
[5] The solo violin of Scheherazade introduces the final movement, which bursts into a vigorous
dance accented by cymbal and tambourine, The Festival in Baghdad [6]. The dance becomes
wilder, punctuated by snare and bass drum. Eventually, a furious rendition of the festival theme
by the brass leads to a return of the Sindbad theme [7]. The music rises and falls with the swell of
the ocean until Sinbads ship meets with the Shipwreck on the Rock with the Bronze Warrior.
Thereafter, the music subsides as if the Sultan has been mollified. Scheherazades violin ends the
tale on a series of harmonics over a broad, sustained chord.
managed to prevent its escape to the outside world until long after his death (see my program note in the
handout for an earlier class). Similarly, Debussy and Bantock warned their listeners against too literal an
interpretation, against their stated programs, of their respective works Prelude laprs midi dun faune
and Prometheus Unbound.
10
According to my dictionary, the original non-figurative meaning of dervish is A member of any of
various Moslem ascetic orders, some of which perform whirling dances and vigorous chanting as acts of
ecstatic devotion.
10

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Classical Music AppreciationIntroductory

Italics indicate music well listen to.

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