Transcript The Musical Museum and the return of the Symphony

The Musical Museum and the
Return of the Symphony
New Halls and New Orchestras
• The Leipzig Gewandhaus (1781), new hall built
in 1884
• Vienna, Musikverein (Music Society) “Golden
Hall” (1870)
• Dresden, Gewerbehaussaal (1870)
• America, New York’s Music Hall (Carnegie Hall)
(1891)
New Halls and New Orchestras
• Vienna Philharmonic (founded 1842)
• Dresden Hofkapelle
• Paris, Société des Concerts du Conservatoire
(1828); Société des Jeunes Artistes du
Conservatoire (1853)
• Russia, first professional orchestra in St.
Petersburg (1859)
• New York Philharmonic (1842)
• Boston Symphony Orchestra (1881)
The Triumph of Museum Culture
• “Viennese Classics”
• The concert hall as museum
• Orchestral repertoire as “complete and
finished”
New Paths:
Johannes Brahms
• Brahms (1833–1897)
• Brahms, Joseph Joachim, and Schumann
• Schumann, “Neue Bahnen” (New Paths)
(1853)
Johannes Brahms
• Symphonic Attempts
– Sonata in D Minor for Piano Duet (1854)
• adapted into the First Piano Concerto and Requiem
– The Serenade No. 1 in D Major, Op. 11 (1859)
Johannes Brahms
• Chamber Music and “Developing Variation”
– Piano Quartet in G Minor, Op. 25 (1861)
[Anthology 2-59]
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Expansive first movement
Intermezzo
Andante con moto
Rondo alla Zingarese (“the Hungarian style”)
– sophisticated motivic elaborations and
transformations (“developing variation”)
Johannes Brahms
• Choral Fame
– A German Requiem (1869)
– Triumphlied (“Song of Victory,” 1871)
Inventing Tradition
• The German past
• Variations for Orchestra on a Theme by Joseph
Haydn
– also inspired by Spitta’s biography of Bach
• First Symphony in C minor (1876)
– the key of Beethoven’s Fifth Symphony
– allusions to Schumann’s Manfred, Wagner’s
Tristan un Isolde, Beethoven’s Fifth and Ninth
Symphonies
Victory Through Critique
• Brahms, First Symphony, movement 4
[Anthology 2-60]
– Goal-oriented toward fourth movement
– alphorn theme
– chorale theme, resemblance to Beethoven’s “Ode
to Joy” theme
Reconciliation and Backlash
• Hans von Bülow, “the Tenth Symphony”
“Bach, Beethoven, and Brahms” (“the three
B’s”)
• Wagner, “On Poetry and Composition”
– “guise of a highly respectable symphony dressed
up as Number Ten.”
The Symphony as Sacrament
• Anton Bruckner (1824–1896)
– trained as organist and church choirmaster
– worked in Linz and Vienna
– organist for the Imperial Court Chapel in Vienna
The Symphony as Sacrament
• Anton Bruckner (1824–1896)
– Masses
• D minor, E minor, and F minor masses
– Symphonies
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style influenced by his experience as an organist
influence of Wagner
“study” symphony in F minor (1863)
8 symphonies and an unfinished 9th
many revisions
cyclicism
Antonín Dvořák
(1841–1904)
• Categorized as a Czech composer though he
never used authentic Czech melodies
• Piano Quintet in A Major, Op. 81
[Anthology 2-61]
• Piano Concerto (1876)
• Violin Concerto (1879)
• Cello Concerto (1894–95)
• 9 symphonies
Dvořák in the New World
• Lived in the United States (1892–95)
• Symphony in E Minor Z nového světa (From
the New World) [Anthology 2-62]
– Ninth Symphony
– first performance: 16 December 1893 in Carnegie
Hall with New York Philharmonic
– African American Spirituals
An American Response
• Edward MacDowell (1860–1908)
– born in New York
– studied in Germany
– Character pieces for piano
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Sea Pieces
Fireside Tales
New England Idyls
Woodland Sketches
– “To a Wild Rose”
An American Response
• “Boston School” or “Second New England
School”
– MacDowell
– John Knowles Paine (1839–1906)
• Harvard
– George Whitefield Chadwick (1854–1931)
• New England Conservatory
– Horatio Parker (1863–1919)
• Yale
An American Response
• Amy Marcy Beach (1867–1944)
– First Symphony (1894)
– “Irish-Gaelic” folk songs
– premiered by the Boston Symphony Orchestra in
1896
War Brings Symphonies to France
• Société Nationale de Musique (National
Musical Society)
– Camille Saint-Saëns (1835–1921)
• Symphony No. 3 in C Minor “Organ” (1886)
– César Franck (1822–1890)
• Symphony in D Minor (1889)
• cyclic form
• students
– Vincent d’Indy (1851–1931)
– Ernest Chausson (1855–1899)