Chapter 19 晚期浪漫派

1. Chapter 19晚期浪漫派

2. 晚期德奧浪漫派

3. 19世紀晚期音樂的多樣化 • 新與舊 Old versus new music • 19世紀以前, 教堂外之音樂大多是當代或近世的音樂 living memory. • 1850 前, 基本的經典曲目已形成. • 以研究歷史音樂之音樂學產生. • 作曲家如 Bach, Handel, Mozart, Beethoven, Schubert, Chopin 之全集出版. • 從事這些學術研究的大多日爾曼人, 日爾曼作曲家自然是其主要對象. • 鮮為人知的文藝復興, 巴洛克作品也以主要曲集的方式出版 . • 因此, 表演者與聽眾皆可同時接觸到新與舊的音樂.

4. B. Brahms 對應 Wagner • Brahms 尋求在傳統古典型式下創作. • Wagner 與 Liszt 則認為 Beethoven傳奇, 指向新的樂種與新的音樂處理方式. • 由以上分歧的觀念兩極化了 Brahms 與 Wagner. • 作曲家爭論兩者相對的價值: • 絕對Absolute and 標題program music • 傳統與創新 • 古典曲種形式與新的曲種 5. 兩造皆以 Beethoven為源頭. 6. 皆為所謂古典(經典)音樂, 因其作曲企圖是與古來之經典曲目並駕齊驅

5. C. 民族主義 versus 國際主義 • 不分國界的經典曲目普遍與歐美演出. • Many composers turned to nationalism, not to break with traditions but to add a distinctive new flavor. • 美俄等國, 作家遂有國際主義與民族主義之別 .

6. D. 古典與流行 • 器樂曲, 歌曲, 合唱曲中,古典與流行音樂的區隔越來越明顯. • 早期作曲家, 如 Beethoven, 能寫嚴肅與輕鬆的音樂. • 19世紀晚期, 兩者的作曲家開始有了區隔. • Johann Strauss the younger, the “Waltz King,” 是流行舞曲音樂的大師. • 嚴肅的交響曲與流行歌曲的曲別遠較 Mozart的時代來的大.

7. Johannes Brahms (1833-1897)

8. Brahms 結合古典主義 (Classicism) 與浪漫派的感性 (Romantic sensibility). • Brahms 作曲成熟期正值經典曲目當道之時. • He composed in Classical traditions but added new elements in order to 吸引當代聽眾. • He studied the music from the Renaissance and Baroque, and incorporated elements from these traditions into his works. • He wrote in virtually all of the musical languages of his time

9. 生於Hamburg, 自幼學習多種樂器. • 年輕時靠在酒店, 餐廳演奏維生, 因而熟悉並喜愛上匈牙利吉普賽音樂. • Brahms 以鋼琴演奏為業並執掌舉多音樂組織. • He 編輯大量 Baroque, Classic, and Romantic 作家的作品. • Clara Schumann. • In 1853, 他結識Schumann 夫婦與小提琴家 Joseph Joachim, 日後都是Brahms最堅定的支持者. • Brahms 在Schumann 過世後, 幫忙照料其家庭 使Clara得以繼續其演奏事業. • Brahms 愛慕Clara, 一生未娶. • Clara 過世後不到一年, Brahms也相繼過世.

10. Brahms 的交響曲 • 以Beethoven交響曲為價值典範, Brahms 遲至40歲才完成寫下第一首交響曲, 且耗時20年之久. • Symphony No. 1 in C Minor, Op. 68 (1876) . • Symphony No. 2 in D Major, Op. 73 (1877) • Symphony No. 3 in F Major, Op. 90 (1883) • Symphony No. 4 in E Minor, Op. 98 (1885)

11. Symphony No. 1 雖受惠於Beethoven的影響, 但也與過往傳統分道揚鑣的開始. • 標準四樂章模式, 但第三樂章是個抒情的間奏而非詼諧曲. • 如 Beethoven的第五, 以C minor 開始 以得勝的 C major結束. • The overall key scheme often moves through the circle of thirds. • 首尾兩樂章慢板導奏的素材皆用於之後的快板, 類似 Schumann 的 Symphony No. 4. • 最後一樂章如聖詩的主題類似Beethoven的 Symphony No. 9的氣氛.

12. Symphony No. 3 • 起初的幾小節點出了Brahms音樂的風格特質. • 旋律的音域甚大 • 大小調的互換關係 • 二拍子與三拍子的重疊: 拍子的模糊 • The second theme of the final movement contains a metric conflict between duple and triple meter

13. Symphony No. 4, finale • 終曲是巴洛克形式 chaconne or passacaglia, 乃是基於一反覆低音所寫的三拍子變奏曲. • E minor 的調性令人聯想起 Buxtehude 的 Ciaccona in E Minor for organ. • The idea of recurring thematic material may be derived from a work by Francois Couperin that Brahms edited for the Couperin complete works. • He may have adapted the bass from an ostinato in the final chorus of a Bach cantata .

14. Another model may have been Bach's chaconne finale from Partita No. 2 in D Minor for Solo Violin, which Brahms transcribed as a left-hand exercise for piano. • The use of variations as a finale and the treatment of the theme also recall Beethoven's Eroica Symphony. • The movement has thirty-one variations on an eight-measure theme and ends with a substantial coda.

15. 其他作品 by Brahms • 協奏曲Concertos • Piano Concerto No. 1 in D Minor (1861) 是其第一部管絃樂曲. • Piano Concerto No. 2 in B-flat Major, Op. 83 (1881), 4樂章類似其交響曲. • Violin Concerto in D Major, Op. 77 (1878) 與Beethoven同調小提琴協奏曲齊名.

16. 室內樂 Chamber music • Brahms 在室內樂上是 Beethoven真正的繼承者. • He 24首室內樂, 至少6首是傑作. • As in his orchestral works, Brahms 結合古典傳統與個人風格. • Seven chamber works feature piano and strings, including three piano trios and three piano quartets. • The first movement of the Quintet for Piano and Strings in F Minor. Op. 34 (1864), 顯現其 “發展性的變奏” developing variation的技巧

17. Piano music • Brahms developed a highly individual musical style. • 飽滿的音響 Full sonority • Broken-chord figuration • Frequent doubling of the melody in octaves, thirds, or sixths • Multiple chordlike appoggiaturas • Frequent use of 複節奏cross-rhythms • 簡單的觀念發展出創新的織體 • Brahms 年輕時寫下3首奏鳴曲 (1852-53). • 依循Beethoven的傳統. • 並結合 Chopin, Liszt半音化的和聲與Schumann歌曲般的旋律風格.

18. 20來歲時, Brahms集中於變奏曲. • The variations appear as strings of short character pieces based on the formal and harmonic plan of the theme. • Variations and Fugue on a Theme of Handel, Op. 24 (1861) 包括 Chopin, Mozart與其他多種風格, 高潮是 Beethoven風的複格. • Variations on a Theme of Paganini, Op. 35 (1863) has etudelike qualities. • 最後20年, Brahms 出版了六冊 intermezzos, rhapsodies, 及其他小品的曲集. • 被視為其墜偉大的作品. • 大多是 ABA‘ forms 且有歌般的旋律.

19. 歌曲 Songs • Schubert 是 Brahms寫作歌曲的模範. • 聲樂主導. • The piano supports with figuration. • Brahms composed 260 Lieder, many of which are strophic or modified strophic. • Some songs incorporate characteristics of folk songs. • The texts often suggest emotional restraint or an introspective, elegiac mood. • Many of Brahms's qualities can be seen in the first strophe of Wie Melodien zieht es mir

20. 聲譽 • Brahms 雖常被視為保守, 但其實是個開拓者. • 第一個集古今作曲原則用於創作的作曲家, 如此的過程是許多20世紀的作曲家才漸漸有的觀念.

21. Franz Liszt 李斯特 • 新日爾曼樂派The New German School • “New German School” 一詞於1859年被提出. • 視 Wagner, Liszt, and Berlioz為其領導者. • 雖後二者並非日爾曼人, 但 Beethoven 為其模範. • 如此分類加強極化了 Liszt and Wagner 的支持者Brahms的支持者, 如樂評 Eduard Hanslick. • Bruckner, Wolf, and Richard Strauss 等作曲家也靠近 Wagner and Liszt 陣營.

22. Liszt 停止演奏家的生涯於1848年. • 成為Weimar宮廷音樂總監並專注於作曲. • 超脫了巧技展現的風格. • Some of his works reveal a shift towards the classical repertory.

23. Symphonic poems 交響詩 • Liszt composed twelve symphonic poems between 1848 and 1858. • 單樂章帶標題之管絃樂曲programmatic work for orchestra. • 形式卻常與古典傳統緊密相關

24. The program content came from a variety of sources: • Prometheus is from a myth and a poem by Herder. • Mazeppa is taken from a poem by Victor Hugo. • Orfeo ed Euridice pays homage to Gluck's opera and an Etruscan vase.

25. Les Préludes (前奏曲, 1854) • 是李斯特十三部交響詩中最著名的一部。交響詩的標題，是從法國詩人Alfonse-Marie de Lamartine拉馬丁的詩篇《詩的冥想》中借用的。 • 其內容是：“在死亡的一刹那，那無名的歌曲莊嚴的第一個音，我們的一生不就是它的一系列前奏曲嗎？……” • 樂曲與原詩存在著內容上的聯繫，有著類似的情緒轉變過程, 但李斯特和拉馬丁的作品在思想方面有著原則上的區別。李斯特肯定了人生，在交響詩中所表現的是對生活的熱愛，對美好未來的探求。經過風暴、艱辛、鬥爭、悲傷後，進一步肯定了人的力量的偉大，肯定了光明的前景。 • Liszt 以主題變形的手法統合整首樂曲

26. Anton Bruckner (布魯克納1824-1896)

27. Anton Bruckner (1824-1896) (see HWM Figure 28.5) • Trained in counterpoint, Bruckner served as organist of the cathedral at Linz and as organist in Vienna from 1867 to his death. • 他將 Wagner風格與精神特質帶入其交響曲與合唱曲. • 交響曲 Symphonies • Bruckner composed nine numbered symphonies and two unnumbered ones. • Most underwent extensive revisions. • Influences of Beethoven

28. 19世紀晚期其他流派

29. German Traditions and Nationalism • German and Austrian composers in the late nineteenth century drew upon their national heritage, as observed in HWM Chapter 28. • In other regions, composers debated how to deal with the Germanic traditions. • French composers argued about whether to assimilate Bach, Beethoven, and Wagner or to create a new idiom. • Nationalist schools in instrumental music appeared in Russia, Bohemia, and Scandinavia (see nationalism discussion in HWM Chapter 27). • Composers in Britain and the Americas avoided overt nationalism.

30. 法國 • 一般趨向 • Paris 一向是音樂會與歌劇中心. • 音樂會以德奧傳統交響曲與法國作曲家作品. • 音樂會與音樂風格常與政治關聯. • 新音樂院成立, 但仍以國家音樂院Conservatoire 為主 • 在印象派impressionism之前, 法國的兩大趨勢. • A cosmopolitan tradition transmitted through César Franck • A French tradition, embodied in the music of Gabriel Fauré

31. César Franck (法蘭克1822-1890)

32. 生於 Belgium, Franck 於音樂院 the Conservatoire 學習並成為該院管風琴教授 1871. • 音樂特徵 characteristics • 古典樂種, 形式, 複音對位織體 • Thematic transformation and cyclic unity • Wagner似的和聲 • Franck‘s Prelude, Chorale, and Fugue (1884) for piano 混合巴洛克形式與Wagner的主題和聲處理法則. • 管風琴音樂 • He often combined original melodies in chorale style with richly developed fantasias and full chordal finales, as in Three Chorales (1890).

33. Franck 被視為現代法國室內樂的創始者. • All three of his major chamber works are cyclic and incorporate thematic transformation. • Piano Quintet in F Minor (1879) • String Quartet in D Major (1889) • Violin Sonata in A Major (1886)

34. Gabriel Fauré (佛瑞, 1845-1924) (see HWM Figure 29.2) • 法國傳統The French tradition 利用 Couperin 到 Gounod作品. • 音樂處理較以音響因素而非情感表現考量. • 秩序與節制為其基礎. • Music 較抒情或類似舞曲而非史詩或戲劇性的.

35. His large works include the Requiem (1887) and two operas. • He primarily composed smaller works, including songs, short piano works, and chamber music. • Fauré developed a new style in which melodic lines are fragmented and harmony is less directional. • Avant que tu ne t'en ailles (Before you depart) from the song cycle La bonne chanson (The Good Song, 1892) (see HWM Example 29.1) • Fragmentary melodic phrases • Harmonic treatment dilutes the need for resolution and creates a sense of repose

36. 俄國 • Tchaikovsky柴可夫斯基 • Tchaikovsky 成功的結合古典形式與民族主義 • 他的許多作品已成為經典曲目, including: • 芭蕾Ballets • Piano concertos and a violin concerto (1878) • Symphonies, most notably his last three (Nos. 4-6) • Symphony No. 4 in F Minor (1877-78) • Tchaikovsky表示 開始的樂音代表命運. • The horn call reappears and unifies this cyclic symphony. • The keys in the first movement move within a circle of minor thirds. • The outer movements are dramatic; the second is wistful, and the third is an airy scherzo.

37. Marie Taglioni

38. Symphony No. 6 in B Minor, 悲愴 the Pathétique (1893) • The scherzo is replaced by a 5/4 waltz. • The dance movement is second, followed by a vivacious rondo. • The symphony ends with a despairing slow movement

39. 民族主義-The Mighty Handful 五人樂派 Mili Balakiref (1837 - 1910). Cesar Cui (1835 - 1918) Alexander Borodin (1833 - 1887), Modest Mussorgsky, Rimsky Korsakof

40. Musorgsky 穆索斯基 • 主要非歌劇作品 • Night on Bald Mountain (荒山之夜1867), 管絃樂曲 • Pictures at an Exhibition for piano Song cycles: The Nursery (1872), Sunless (1874), and Songs and Dances of Death (1875) • Pictures at an Exhibition展覽會之畫 • This set of ten pieces was inspired by an exhibition of sketches, paintings, and designs by Viktor Hartmann. • Several of the images are rendered in character pieces that are joined by a theme that represents the viewer walking. • The image of a commemorative gate to be built at Kiev was set as a grand processional hymn with Western and Russian elements

41. Bohemia 波西米亞 • Smetana 史麥塔納 • The String Quartet No. 1, From My Life (1876) uses a nationalist style. • Má vlast (我的祖國, ca. 1872-79) 6首交響詩組成. • The Moldau, the best-known work of the set, depicts the river that moves through the Czech countryside to Prague. • Tábor, the most stirring of the set, employs a traditional chorale as a symbol of Czech resistance to oppression.

42. Dvorák • Dvorák's nonoperatic works include: • 9首交響曲 • 4首協奏曲, 包括 Cello Concerto in B Minor • Numerous dances for orchestra • 其他如室內樂, 鋼琴曲, 歌曲與合唱曲 • Dvorák 兼具國際與民族風格. • Symphony No. 6 , D Major (1880) 乃國際風格. • 民族風格包括 Slavonic Dances and the Dumky Piano Trio. • Dvorák於紐約擔任國家音樂院藝術總監. • 目的在幫助美國創造出民族樂風. • 視美國原住民與黑人音樂為美國風的來源之一 • 以此寫下第 9交響曲(From the New World), 與他最知名作品 String Quartet 12號(American)

43. Edvard Grieg (1843-1907) • Grieg created a distinctive nationalist style in Norway with a series of songs, short piano pieces, and orchestral suites. • Norwegian elements • Modal melodies and harmonies • Dance rhythms • The nationalist style can best be seen in: • Songs on Norwegian texts • Peer Gynt Suite (1875) • Slatter, a collection of Norwegian peasant dances arranged for piano • His piano style has some similarities to Chopin's, but folk elements predominate. • Some of Grieg's works were international in character, including the popular Piano Concerto in A Minor (1868, revised 1907).

44. Edward Elgar (1857-1934) • Elgar was the first English composer to gain international recognition in over two hundred years. • He did not adopt a distinctive national style, and he drew upon the styles of both Brahms and Wagner. • The Dream of Gerontius (1900), an oratorio, is influenced by Wagner's Parsifal. • His orchestral works include the Enigma Variations (1899) and two symphonies.

45. Edward Elgar (1857-1934) • Elgar was the first English composer to gain international recognition in over two hundred years. • He did not adopt a distinctive national style, and he drew upon the styles of both Brahms and Wagner. • The Dream of Gerontius (1900), an oratorio, is influenced by Wagner's Parsifal. • His orchestral works include the Enigma Variations (1899) and two symphonies.

46. The United States • Diverse musical styles • Ethnic diversity complicated the creation of a national identity. • Immigrants from various regions brought their own musical traditions. • Three principal types of music emerged, although with some overlapping. • Classical, which centered on the composer and required complex notation • Popular, which was notated and sold but centered on the performer • Folk, which was passed on through oral tradition

47. The classical tradition • A large number of Germans immigrated to the United States in the middle of the nineteenth century. • German musicians had a strong commitment to their national traditions. • German immigrants filled American orchestras and taught music at all levels. • German tastes and style dominated American music in the classical tradition until World War I.

48. Bands in America • The earliest American bands were in the military, but local bands emerged in the nineteenth century. • The invention of valves for brass instruments allowed them to play melodies in any register, and brass instruments became the backbone of the band. • Bands played a large role during the Civil War, and they continued to proliferate afterwards. • Professional bands enjoyed a heyday between the Civil War and World War I.

49. John Philip Sousa (1854-92) • Sousa was inspired by the success of Gilmore. • He conducted the United States Marine Band. • He also organized his own internationally recognized band in 1892 (see HWM Figure 29.5). • Band music • Concerts mixed arrangements of classic works with lighter works, such as dances and popular melodies. • The march was the staple of the band repe

50. The Stars and Stripes Forever (永遠的星條旗1897) • The work begins with a four-measure unison introduction in E-flat. • The march has two repeated sixteen-bar strains of a contrasting nature. • The lyrical trio, also thirty-two bars, is set in A-flat, a fourth higher. • Intended for concert performances rather than parades, the work builds to a climactic finish. • The chromatic break strain creates a dramatic contrast. • Countermelodies are added to the repetition of the trio. • Sousa often performed the work with varied settings.