Chapter 17浪漫主義在古典形式中 -管絃樂 , 室內樂 , 合唱

時代 - 除了之前所談到家庭音樂的風潮 , 19 世紀也是大眾音樂會風起雲湧的時節 . 業餘交響樂團與合唱社團將業餘表演引入大眾的場域音樂會 , 新的職業樂團 , 巡迴演奏家 , 音樂社 , 經紀人創造出一個基於各種階層購票能力的音樂會生態 . 原來主主要是為了家庭娛樂的室內樂形式 , 陷再也常搬上音樂會舞台 .

時代 - 這樣的改變也伴隨著所謂經典曲目的出現

( musical classics 作品在作家死後許久仍繼續不斷被演奏 ). 從 1780s 到 1870s, 合唱音樂先形成經典曲目 , starting with the oratorios of Handel and Haydn, 繼而管絃樂 , 室內樂 , beginning with symphonies and string quartets of Beethoven, Haydn, and Mozart. 這些作品未如其他作品在一世代後消失退流行 , 反而在音樂生活中取得一定的地位 , 近似於古典文學或藝術 . 在世的作家自然也渴求自己的作品也有相同永恆的地位 .

十九世紀早期的音樂發展 A. 大眾音樂會的增加 1. 業餘的樂團與合唱團常進行公演 . 2. 新的職業樂團與巡迴的巧計大師 ( virtuoso) 添加音樂會的質與量 . 3. 室內樂也被視為音樂會曲目 .B. 經典音樂 Music Classics 1. 在作者死後仍繼續被演出的樂曲稱之 . 2. 經典音樂最早的例子是合唱作品 , 如 Handel and

Haydn 的神劇 . 3. 管絃樂及室內樂則是從 Haydn, Mozart, Beethoven的作品開始 . 4. 19 世紀作曲家無不渴望其作品成為經典 (classics).

C. 管絃樂 , 室內樂 , 合唱作品 1. 因為過去的作品仍被演出 , 作家較能注意到歷史的承傳 . 2. 作家將古典形式與曲種與新的風格混合 .

3. 傳統與個性展現得到平衡 .

Orchestras 與 Concerts A. Orchestras in the nineteenth century 1. 管絃樂團快速增加 . 2. 有些樂團只有業餘團員 . 3. 現今仍活躍的職業樂團成立 . a. London Philharmonic (founded 1813) b. New York Philharmonic (1842) c. Vienna Philharmonic (1842) d. 在世紀結束前歐美的大都市皆有交響樂團 .1. 樂團也在歌劇院 , 劇院 , 咖啡廳 , 舞廳出現 . 2. 樂團的團員從 40 人逐漸增到 90 人 .

樂團配器 1. wind instruments 管樂器本身的改進 . a. 木管樂器使用新的按鍵系統 , 使其能快速演奏且音準更好 . b. 短笛 piccolo, 英國管 English horn, 低音豎笛

bass clarinet, and 倍低音管有時也加入樂團 . c. 法國號 , 小號加上汽閥 , 而能吹半音階 . d. 1830s 後 , 低音管也出現在樂團中 .2. 管絃樂變得更多彩 . a. 木管與銅管與弦樂等同重要 . b. 大鼓 , 三角鐵及其他打擊樂器也出現在某些作品中 . c. 新式的半音踏板豎琴加入 .3. 職業樂師大多是男性 .

指揮 1. 18 世紀的樂團由小提琴或大鍵琴手帶領 . 2. 19 世紀樂團則由指揮 ( conductor) 負責 . 3. 用指揮棒擊拍與起始終結 . 4. 1840s 起 , 指揮如 Louis Jullien 自認為是音樂的詮釋者 ,  interpreters of

music and became stars in their own right

聽眾與音樂會 1. 新的管絃樂團的聽眾主要是中產階級 , 與家庭音樂熱衷者是同一族群 . 2. 許多管絃樂曲被改編成加情演奏的鋼琴曲 . 3. 部分是因為 Beethoven 的交響曲 , 管絃樂曲成為最受尊崇的曲種 . 4. 19 世紀音樂會曲目包羅萬象 . a. The variety of performing forces might include a

symphony, choral ensemble, and a chamber group. b. Genres could include solo vocal, choral, and

orchestral works. c. Concerts of music in a single medium, like the

recitals of Liszt, did not become the rule until late in the century.

The classical repertoire impacted concerts. 1. By 1879, nearly three-quarters of the repertoire

was from earlier generations. 2. Reasons for this change a. Haydn and Beethoven, achieved such popularity

during their life that their music continued to be performed.

b. Earlier music was cheaper to publish and more readily available.

c. Critics used music of the past to measure contemporary music.

d. Many performers established themselves as interpreters of past music.

1. The shadow of Beethoven's orchestral masterpieces touched almost all later composers.

I. Franz Schubert 與新浪漫風格 A. Schubert maintained the outward

form of a symphony, but infused it with the new Romantic style.

1. 如歌的旋律 Tuneful melodies 2. 大膽的和聲 Adventurous harmonies 3. 多彩的配器 Colorful instrumentation 4. 強烈的對比 Strong contrasts 5. 情感的強調 Heightened emotions 6. 對一浪漫主義者 , 主題是樂曲型式最重要的元素

A. Unfinished Symphony (1822) was Schubert's first large-scale symphony.

1. Schubert completed only two of the planned four movements.

2. The two principal melodies are songlike melodies (see HWM Example 25.1).

3. The development and coda sections focus on the introductory subject.

A. Symphony No. 9 in C Major Schubert blends Romantic lyricism and Beethovenian drama within an expanded Classic form.

a. The theme is repeated several times as a set of variations.

b. The section serves as a slow introduction to a sonata-allegro form.

c. Portions of the theme will reappear in the exposition.

1. The sonata form has a three-key exposition: C major, E minor, G major.

2. The sonata-form themes are easily fragmented, as one would find in works of Haydn and Beethoven.

3. Like the Unfinished Symphony, this work was not performed in Schubert's lifetime.

Hector Berlioz (1803-1869)白遼士

I. 生平 1. 生於南法 , 十幾歲時自學和聲與作曲 . 2. 演奏長笛與吉他但不會鋼琴 . 3. 1830年 , 贏得羅馬大獎 Prix de Rome 隨即在羅馬居住並工作了許多年 . 4. Harriet Smithson a. Berlioz 對愛爾蘭女演員 Harriet Smithson 一見鍾情 , 並以她為幻想交響曲的主題 . b. They later married and seperated. 1. 最有文學素養的作曲家 , 常以文學名著為題材寫曲 . 2. Berlioz 之後轉以音樂評論為主業 . 3. Berlioz 推展自己的音樂會 , 最終開創了指揮的事業 .

A. Symphonie fantastique幻想交響曲 (1830) 1. 靈感來自 Smithson 的五樂章交響曲 , 內容是關於女人所激起的熱情 . 2. Berlioz 使用反覆出現的旋律 , 他自己稱之為

idée fixe (固定樂念 ) a. 此旋律再每一樂章出現時代表男主角的愛人 . b. 主題本身會因故事的氣氛與狀態不同而改變 . c. 在第一樂章出現時是以樂章的第一主題呈示 . 3. Berlioz 的副標題為 " 一個藝術家生活的幾段插曲 " 並寫下有關樂曲的文字故事 . a. 此故事的功能相當於戲劇的旁白文字而非對話 .

b. 文體乃是熱情的散文 , 明顯受到許多文學作品的影響 .

4. 第一樂章標題為“夢與熱情 " a. 慢板導奏接著類似奏鳴曲式的快板 . b. 發展部被中途插進的主題而 The

development section is interrupted by the main theme in the dominant.

5. 第二樂章以圓舞曲取代小步舞曲 ,　重現一舞會的景象 . 6. The slow third movement is a

pastorale with dialogues between piping shepherds.

7. 第四樂章 , 赴刑場的進行曲 , 男主角夢到自己被處決 .

1. 第五樂章為描述巫婆的安息日 . a. 喧鬧的開始 , 象徵著鬼魅 , 巫婆的群魔亂舞 . b. 單簧管上扭曲變形的固定樂念 , 愛人的放蕩瘋狂 . c. E-flat單簧管以嘲弄的方式演奏著固定樂念 . d. 鐘聲響著圓舞曲的片段 . e. 接著引用安魂曲中 , 震怒之日的旋律反覆三次 . f. 圓舞曲主題以複格的方式呈現 . g. The round dance and the Dies irae are

played together.

1. Symphonie fantastique 的原創性a. 以交響曲敘述故事 b. 以反覆出現的主題與主題的變形連結全曲 c. 使用前所未有令人訝異 of an

astonishing array of instrumental colors

Orchestration 管絃樂法 a. Muted strings suggest dreaming. b. Harps are heard at the ball. c. The English horn and an offstage oboe

imitate shepherds' pipes. d. A snare drum and cymbals are heard

in the march to the scaffold. e. Tubular bells represent church bells. f. The violins play with the wood of the

bow during the witches' dance.

A. Harold en Italie (Harold in Italy, 1832) 1. This symphony draws its title from Lord

Byron's poem Childe Harold. 2. The substance is drawn from Berlioz's

recollections of Italy. 3. The work features a solo viola, which is not

as prominent as in a concerto. 4. A recurring theme in the viola appears in

each movement and is combined contrapuntally with other themes.

5. Romeo et Juliette (1839, revised ca. 1847) is a dramatic symphony with a chorus and soloists.

6. The Grande symphonie funèbre et triomphale (1840), for military band with optional strings and chorus.

A. Berlioz's achievement 1. Symphonie fantastique and other works

made him the leader of the radicals in the Romantic era.

2. All subsequent composers of program music were indebted to him.

3. He enriched orchestral music with new harmonies, color, expression, and form.

4. The idée fixe inspired other cyclical symphonies in the century.

5. His orchestration initiated an era in which instrumental color rivaled harmony and melody as expressive tools for composers.

6. He wrote the first book on orchestration: Treatise on Instrumentation and Orchestration (1843

I. Felix Mendelssohn and Classical Romanticism

A. Mendelssohn's works have a more Classic sound than those of Berlioz.

1. He was trained in Classic forms in his youth, composing thirteen string symphonies with Classical forms and procedures.

2. His mature symphonies blend Classic models with elements of Romanticism.

A. Symphonies1. Symphony No. 5 (Reformation, 1830) concludes

with a movement based on Luther's chorale Ein' feste Burg.

2. Symphony No. 2, titled Lobgesang (Song of Praise, 1840), includes solo voices, chorus, and organ.

3. Symphony No. 3 (Scottish, 1842) was based on impressions from a trip to the British Isles.

4. Symphony No. 4 (Italian, 1833) is based on impressions from a trip to Italy

5. This work projects the energy of the sunny, vibrant south.

a. The slow movement suggests a procession of chanting pilgrims.

b. The finale presents a spirited saltarello, a lively Italian dance.

A. Overtures 1. Several overtures painted musical

landscapes a. The Hebrides (or Fingal's Cave, 1832)

is based on his Scottish travels.b. Midsummer Night‘s Dream Overture

(1826)靈感來自 Shakespeare 的喜劇

a. This masterwork 寫作於作者 17 歲 . b. 成為之後音樂會序曲的標準 . c. The perpetual motion of the opening

suggests dancing fairies. d. A clear sonata form underlies an

imaginative use of musical figuration and orchestral color.

e. The overture projects various images, ranging from fairy dust to the braying of a donkey.

f. Mendelssohn would later write additional music for the play, including the famous Wedding March.

A. Concertos 1. Mendelssohn 強調音樂內涵而不空洞的炫技 . 2. Four piano concertos, 3. The Violin Concerto in E Minor (1844) 為其友 violinist Ferdinand David 而寫 . 4. The violin concerto 三樂章無間斷 . a. A transition leads from the first

movement to the lyrical andante. b. The transition to the finale alludes to

the opening theme of the first movement.

I. Robert Schumann A. Schumann 視交響曲為最崇高的曲種 , 沿用

Schubert 晚期交響曲與 Mendelssohn 的模式 . B. 4 major symphonies. 1. Symphony No. 1 in B-flat Major ( 春 , 1841) 清新而自然 . 2. Symphony No. 4 in D Minor, from 1842, 有明顯的循環主題 (cyclic qualities). a. 四樂章全無間斷 . b. 如同 Beethoven Symphony No. 5 以和聲及過門連結直接進入終曲c. 各樂章皆引用了導奏的主題群 . d. 交響幻想曲涵蓋了四樂章之交響曲

1. Schumann's symphonic themes typically dwell on one rhythmic figure (see HWM Example 25.5).

2. He creates variety by constantly changing the presentation of the theme, 反映出浪漫時期作家喜好在不放棄傳統形式下 , 創造些新穎獨特的作品 .

室內樂 A. Past masterpieces greatly influenced

the composition of chamber music. 1. Chamber music was still played at

home, but performances were increasingly found in concerts by professional ensembles .

2. Genres associated with Haydn, Mozart, and Beethoven, such as the string quartet, violin sonata, and piano trio, were treated seriously.

3. Composers increasingly aspired to match the individuality of Beethoven's middle and late quartets.

Schubert 1. Schubert composed several string quartets

for home performance in his youth. 2. The Trout Quintet (1819) is for piano,

violin, viola, cello, and bass. a. The work has five movements. b. The fourth movement presents variations

on his song Die Forelle (The Trout). 1. Schubert's most important chamber music

are dramatic concert pieces. a. String Quartet in A Minor (1824) b. String Quartet in D Minor (Death and the

Maiden, 1824) c. String Quartet in G Major (1826) d. String Quintet in C Major (1828)

Choral Music A. Background 1. Amateur choirs became more common than

professional ones. a. Church choirs were increasingly made up

of amateurs. b. Outside of the church, most choirs were for

the enjoyment of the singers. c. Because of the association with amateurs,

choral music has been seen as less prestigious than orchestral music and opera.

1. Choral music was one of the first repertoires to be dominated by past music.

1. Newly composed music retained traditional genres and formats, but not necessarily traditional style.

2. Types of choral music in the nineteenth century

a. Oratorios b. Short choral works on secular texts c. Liturgical works 1. Choral music was a lucrative field for

publishers. 2. Choral societies were amateur choirs

in which singers paid dues to pay for the conductor and concert expenses.

Oratorios and other large works 1. Oratorios by Handel and Haydn were

the core of the repertoire for large choruses.

2. The Handel and Haydn Society, founded in Boston in 1815, is the oldest music organization in the United States that is still active.

1. The Bach revival a. In 1829, Mendelssohn conducted the

first performance of the St. Matthew Passion since Bach's death.

b. Revivals of Bach's St. John Passion and Mass in B Minor followed.

c. Bach's choral music, which was intended for performance by eight to twelve singers and a small orchestra, was transformed into concert works for large chorus and orchestra.

Oratorios by Mendelssohn 1. Mendelssohn composed two oratorios

that became standards of choral repertoire.

a. St. Paul (1836) b. Elijah (1846) 1. Common features a. Composed for choral festivals b. Treated biblical subjects

1. Elijah is rooted in Baroque traditions, but also has new features.

a. Chorales mark structural divisions, as in Bach's Passions.

b. Mendelssohn employs a wide variety of styles and textures, like Handel.

c. Unifying motives and links between movements integrate the work into a cohesive whole.

1. The final chorus of Elijah is Handelian in spirit.

a. The work opens with a powerful homorhythmic statement.

b. A vigorous fugue culminates in a chordal statement of the theme.

c. An imitative "Amen" closes the work. d. Contrasts of minor, major, and

chromaticism suggest more recent musical styles.

Johannes Brahms

Ein deutsches Reqiem (1857)德文安魂曲

A. Partsongs 1. The partsong became the staple of small

choirs. 2. Parallel to the Lied or parlor song,

partsongs were composed by most major vocal composers.

3. The subjects were patriotic, sentimental, and convivial; nature was a particular favorite.All Among the Barley (1849) was one of the most popular English partsongs .

a. The music is attractive to amateur singers. 1. The partsong declined after the nineteenth

century, and no permanent repertoire of classics developed.

I. Church Music A. Catholic 1. Catholic churches tended not to use

amateurs, but clerics and choirboys instead; women generally did not perform in church.

2. A number of Catholic composers still created concert liturgical music.

a. Schubert created two exemplary masses, in A-flat and E-flat major.

b. Rossini 的聖母悼歌將當時歌劇風格帶入教堂 .

1. A revival of the sixteenth-century choral style of Palestrina began in the second quarter of the century.

a. In the nineteenth century, the term a cappella came to mean "unaccompanied."

b. By midcentury, the Church promoted composition in the unaccompanied style of Palestrina.

c. The Cecilian movement, which encouraged a cappella performances of old and new music, centered in German-speaking areas.

A. Protestant 1. Protestant churches also built on their musical

heritage. a. The Berlin Singakaemie performed Bach's

Passions. b. New music was composed using Bach as a

model, such as the psalm-settings of Mendelssohn.

c. Other works from the past were recovered, including the anthems of Samuel Sebastian Wesley.

1. Women began to sing in churches and serve as professional organists.

2. The Oxford Movement, beginning in 1842, sought to restore all-male choirs and revive sixteenth-century unaccompanied polyphony.