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chapter314e.ppt*
Insert CD 2 and click to Contents. Click on Bartok’s Concerto for Orchestra (CD 2, 23), and then minimize it. You will then be able to toggle (Alt+Tab) between the PowerPoint and the CD. If you have the Active Listening Guides loaded on the computer’s hard drive, you will be able to toggle between them and the PowerPoint lectures.
Remove CD 2 and insert CD 6. Bring up contents and click on Villa-Lobos, Aria from Bachianas Brasileiras No. 5 (CD 6, 1).
Remove CD 6 and insert CD 2. Bring up contents and click on Britten’s Dies irae from War Requiem (CD 2, 26).
Begins on page 270
Chapter 31
The Mainstream
Mainstream Composers
- Extended many nineteenth-century practices
- Not experimental
- But not traditional either
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Twentieth-century music has a number of branches. Some are quite experimental and different, whereas others represent an interest in a particular type of music. Although these particular types are important, a sizable group of composers remains, probably a majority, who do not fall into any distinct classification. The word “mainstream” seems to be the best designation for them.
Bartók: Concerto for Orchestra,
Fourth Movement
- Rondo form: A theme
- Pentatonic scale
- Repeats one note (A sharp) many times
- Mixed meters
Copyright © 2010 by Schirmer Cengage Learning
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The first theme of this movement (CD 2, 23), which is in rondo form, presents several features of twentieth-century music. One is the way in which the notes of the first theme (based on the five-note pentatonic scale) are used. The every few notes they return to A #. It’s almost like the theme can’t get away from that note.
Even more typical is the mixing of meters. They begin in 2/4 but alternate almost every measure with 5/8.
Bartók: Concerto for Orchestra,
Fourth Movement
- B theme
- Almost waltz-like in character
- More mixed meters
- Not pentatonic; different keys
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The B theme is somewhat different in character. It is smooth and waltz-like, but because of its changing meters, it never seems to quite become a waltz.
The theme is not pentatonic in character. Rather, it is in major, but the tonal center shifts moves often.
Bartók: Concerto for Orchestra,
Fourth Movement
- C theme
- Satirical character
- Blatant sounds
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The C theme Bartok adapted from Shostakovitch’s Seventh Symphony. In this portion of the movement, Bartok wanted to express his revulsion with the Nazi Germans who had occupied his homeland of Hungary. The blatant noises seem to represent the “rough, booted men,” as he referred to them.
Villa-Lobos: Bachianas Brasileiras No. 5, “Aria”
- Fondness for Brazilian folk music
- Combined with admiration of J.S. Bach
- Eight cellos and soprano
- Vocalise for A parts of the work
- B part more like popular song
Copyright © 2010 by Schirmer Cengage Learning
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Although Villa-Lobos did not use actual Brazilian folk songs in Bachianas Brasileiras No. 5, “Aria,” the qualities of that music can be clearly heard in it (CD 6, 1). But he also admired the music of J.S. Bach, and that feeling is also evident in the work. It is a fascinating combination of styles.
Certainly the use of eight cellos to accompany a singer is unusual. The “Aria” is made even more interesting by the fact that the singer sings no words in the A portions of the work. The first part is vocalized on “ah,” and when the A theme returns, it is hummed. The middle section is free sounding and contains frequent changes of tempo. The words describe the beauties of moonlight night.
Britten: War Requiem, “Dies irae”
- Part of larger work for choral groups, soloists, and orchestra
- Same Latin text as traditional Requiem, but music is very different
- English text describes “the pity of War”
Copyright © 2010 by Schirmer Cengage Learning
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Britten’s War Requiem (CD 2, 26) is a monumental work requiring about one hour and twenty minutes to perform. It is also a monumental work in terms of the resources used: mixed chorus, boy choir, three soloists, and orchestra.
The Latin text is the same as used in the Requiem of the Roman Catholic Church, but the music is not based on the traditional chant. Britten’s music is entirely different. In fact, it contains many sections in English using the poems of an English soldier, Wilfred Own, who was killed in the final days of World War I.
Britten dedicated his War Requiem to four friends who died in World War II. The parts in English speak of the tragedy of war, “the pity of War,” to quote Owen’s poem. Some composers before Britten had made the “Dies irae” sections of their Requiems sound heroic. Britten gives his “Dies irae” a limping, distorted quality.
Britten: War Requiem, “Dies irae”
- Asymmetrical 7/4 meter
- Four parts with interludes between them:
- Only men; very soft
- Only women; moderately soft
- Entire chorus; loud
- Entire chorus; soft and fades away
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Part of the limping quality of the “Dies irae” is due to its asymmetrical 7/4 meter. The orchestral interludes feature brasses and timpani. The four lines of text are set off by the interludes. The choral sections are louder with each appearance, except for the fourth appearance, which is soft and seems to fade away.
Other Twentieth-Century
Mainstream Composers
- Russia
- Dimitri Shostakovitch
- Sergei Prokofiev
- England
- Ralph Vaughan Williams
- Edward Elgar
- William Walton
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Other mainstream composers include the Russian composers Dimitri Shostakovitch and Sergei Prokofiev. Shostakovitch composed several outstanding symphonies. Prokofiev is one the giants of twentieth-century music who was highly successful in writing piano works, symphonies, concertos, and stage works. He is covered more completely in Chapter 33.
Vaughan Williams and Elgar were mentioned in Chapter 28 in conjunction of nationalistic music. Walton composed several works for orchestra and an oratorio Belshazaar’s Feast.
Other Twentieth-Century
Mainstream Composers
- France
- Eric Satie
- Darius Milhaud
- Arthur Honeggar
- Francis Poulenc
- Lili Boulanger
- Nadia Boulanger
- Latin and South America
- Carlos Chavez
- Alberto Ginastera
LILI BOULANGER
NADIA BOULANGER
Copyright © 2010 by Schirmer Cengage Learning
Copyright © 2010 by Schirmer Cengage Learning
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Following World War I there was a strong anti-Romantic attitude in France. This was especially evident in the music by Satie, who composed works that were deliberately not to be taken seriously.
A more positive attitude prevailed among a group of composers that included Milhaud, Honeggar, and Poulenc. Milhaud lived for a while in Brazil and became acquainted with its music. He also visited New York’s Harlem area and became attracted to jazz.
Honeggar was more traditionally oriented and composed symphonies and an oratorio.
Poulenc was more closely aligned with Satie’s outlook toward music. Most of his works were for small groups, but he did compose a couple of operas.
Chavez is Mexico’s most recognized composer. His Toccata for Percussion and Symphonia India are performed quite often.
Ginastera was an Argentina composer who composed many instrumental and vocal works.
Summary
- Mainstream composers
- Bartók: Concerto for Orchestra, fourth movement
- Villa-Lobos: Bachianas Brasileiras No. 5, “Aria”
- Britten: War Requiem, “Dies irae”
- Other twentieth-century mainstream composers
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Potential material for examinations.
Term: Folkloric
Mainstream
Concerto
Vocalise
Information: Principle of concerto as found in Bartok’s Concerto for Orchestra
Use of rhythm, melody, and harmony in the mainstream music of Bartok, Villa-Lobos, and Britten.
Other twentieth-century mainstream composers
Who Bela Bartok was
Who Heitor Villa-Lobos was
