I just revised the assignment I posted yesterday, so if you have looked at it already, please go back to it, as it is narrowed and has more focus now.
I have heard from several of you that it is more convenient to put the listening on E-reserve, because you can download it (whereas the other sites do not allow this). So I will put all required listening on E-reserve from now on.
Have a good weekend.
LB
Friday, August 31, 2007
Thursday, August 30, 2007
Revised assignment coming...
Hello folks,
I am in the process of fine tuning the assignment, discovering new resources all the time (like the Naxos and Classsical Music Library available through the library site). The symphonies I would like you to listen to (Haydn, Symphonies 6 and 45) are on line at both sites.
Go to: http://www.uky.edu/Libraries/lib.php?lib_id=7
Click "music" (on right side), then "Electronic Resources"
You'll find a treasure of recordings at both sites, so I am not going to ask Daniel to put recordings on electronic reserve if they are already available (unless you have a good reason we should!).
Scores and articles will be up tomorrow after Daniel gets in and can scan them. Refined version of assignment coming tonight or in morning.
Thanks for your patience as I navigate through this brave new world. (Suggestions and help always welcome!).
Cheers,
LB
I am in the process of fine tuning the assignment, discovering new resources all the time (like the Naxos and Classsical Music Library available through the library site). The symphonies I would like you to listen to (Haydn, Symphonies 6 and 45) are on line at both sites.
Go to: http://www.uky.edu/Libraries/lib.php?lib_id=7
Click "music" (on right side), then "Electronic Resources"
You'll find a treasure of recordings at both sites, so I am not going to ask Daniel to put recordings on electronic reserve if they are already available (unless you have a good reason we should!).
Scores and articles will be up tomorrow after Daniel gets in and can scan them. Refined version of assignment coming tonight or in morning.
Thanks for your patience as I navigate through this brave new world. (Suggestions and help always welcome!).
Cheers,
LB
Assignment for Tuesday, 4 September
Here is an ambitious assignment [REVISED 8/31, 12 noon]. Focus first on listening, then do what readings you can. We can talk about this in class.
MUS 622: Assignment sheet #2
For Tuesday, September 4
1) Read George B. Stauffer, “The Modern Orchestra: A Creation of the Late 18th Century,” in Peyser, The Orchestra, pp. 41-72.
2) Read through the essays in The New Grove 7, on “Stamitz” [on-line or Vol. 24, pp. 264-67], and “Mannheim,” section 2, “1743-1800, v. 15, pp. 771-74. Also see “Mannheim Style,” pp. 776-77.
3) Listen to and study Haydn’s Symphony No. 6 (which is one of a trilogy of his symphonies from 1761). [Score, first three movements only, and recording on E-reserve, Friday afternoon, 8/31]. Make up a profile of these three movements (P. Stedman, The Symphony, provides some guidance, pp. 34-36, on E-reserve). How does this symphony reflect Baroque and Classic techniques? What influences of other genres can be felt?
4) Consult the sections on these symphonies in H.C. Robbins-Landon’s Haydn Chronicles, Vol. 1 [reserve, ML 410 .H4 L26] (Brief excerpt on E-reserve.)
5) Listen to Haydn, Symphony No. 45 and for each movement make up profiles of form and salient features. Why is this symphony called “Farewell”? How are these dated and catalogued? (See New Grove work list in article on Haydn; check Hoboken catalog). Can you distinguish features that might be labeled Sturm und Drang? James Webster has a whole book on this Symphony and the Classical Ideal (will be on reserve after the weekend).
I mentioned doing program notes for 15 or 16 works during the semester. In a cursory check of the web, I notice that Wikipedia already has program notes for most of the Haydn Symphonies and I am sure there are lots of things to mine on the web. [That for Symphony 45 is at the following link: http://en.wikipedia.org/wiki/Symphony_No._45_(Haydn)]. But let's not take things so passively. Such simple descriptions could be a spring board or starting point. Go deeper--and have a good time and a nice weekend!
MUS 622: Assignment sheet #2
For Tuesday, September 4
1) Read George B. Stauffer, “The Modern Orchestra: A Creation of the Late 18th Century,” in Peyser, The Orchestra, pp. 41-72.
2) Read through the essays in The New Grove 7, on “Stamitz” [on-line or Vol. 24, pp. 264-67], and “Mannheim,” section 2, “1743-1800, v. 15, pp. 771-74. Also see “Mannheim Style,” pp. 776-77.
3) Listen to and study Haydn’s Symphony No. 6 (which is one of a trilogy of his symphonies from 1761). [Score, first three movements only, and recording on E-reserve, Friday afternoon, 8/31]. Make up a profile of these three movements (P. Stedman, The Symphony, provides some guidance, pp. 34-36, on E-reserve). How does this symphony reflect Baroque and Classic techniques? What influences of other genres can be felt?
4) Consult the sections on these symphonies in H.C. Robbins-Landon’s Haydn Chronicles, Vol. 1 [reserve, ML 410 .H4 L26] (Brief excerpt on E-reserve.)
5) Listen to Haydn, Symphony No. 45 and for each movement make up profiles of form and salient features. Why is this symphony called “Farewell”? How are these dated and catalogued? (See New Grove work list in article on Haydn; check Hoboken catalog). Can you distinguish features that might be labeled Sturm und Drang? James Webster has a whole book on this Symphony and the Classical Ideal (will be on reserve after the weekend).
I mentioned doing program notes for 15 or 16 works during the semester. In a cursory check of the web, I notice that Wikipedia already has program notes for most of the Haydn Symphonies and I am sure there are lots of things to mine on the web. [That for Symphony 45 is at the following link: http://en.wikipedia.org/wiki/Symphony_No._45_(Haydn)]. But let's not take things so passively. Such simple descriptions could be a spring board or starting point. Go deeper--and have a good time and a nice weekend!
Notes on Sammartini
Sammartini and the Italian sinfonia
I. Contemporary meanings of symphony, sinfonia, etc.; use of sinfonia in 20th-c. texts in English to designate overture (opera symphony)
II. Importance of designations: church, chamber, theater
III. Different national styles; significance of Italian style in developing Classic style
3 major national styles of 18th c. -- Italian was the leader - the language of opera; Italians invented many figures, textures, phrase structures assoc. with Classic music:
Italian style
described as pleasant, singing, brilliant, varied, expressive
suppleness of melody; contour of graceful descent and rise; chains of figures
articulation into 2-meas. phrases
use of 3rds and 6ths bet. Sop. And bass
use of appoggiaturas
clarity of period structure
slow and regular chord changes
clarity of texture (thin): maintaining of rhythmic pulse without interfering with predominance of melody -repeated notes, punctuating bass; Alberti bass
III. Sammartini (c. 1700-75)
Biography
A. Work in Milan (his father, Fr. oboist, settled there in early 1690's); suggestion that S. may have also played oboe; became leading church composer - organist and maestro di cappella; his music perf. for religious and state occasions, for noblemen in diff. settings
B. Admired by Quantz on a visit to Milan; may have taught Gluck; Boccherini played under him; Mozart knew him through visits to Milan, 1770-73; JC Bach acquainted w/ him in Milan (1757-62)
C. Music known in Vienna (Milan under Austrian rule)
Symphonies: mostly 3-movement (only one 4-mvt. extant; one 2-mvt.; one-mvt. sinfonia)
A. 67 authentic symphonies out of 135 attributed to him (Churgin)
Early: late 1720s to c. 1740 (18 symph.)
Strings (a 3 or a 4): some “trio symphonies”
Hybrid Baroque-Classic style, Classic elements predominating (Churgin)
Most mvts. bipartite
most in sonata form (often ident. by others as binary or rounded binary) - predominance of what she calls “full” sonata form, with primary theme beg. dev. and recap
most mvts. Polythematic; some elements of Classic thematic develop.
Late Baroque infl. strongest in slow mvts.
sequential treatment
Middle: c. 1740 - 1758 (37 symph.)
Strings plus paired horns or trumpets (J-C 30 ind. oboe & horn pts.); also strings
Fully early Classic
Most end with 3/4 minuet, some with trios; non-minuet finales in 7 symphonies
Late: 1759-1774 (12 symph.)
Features of later Classic
C. Interchangeability as music with opera (JC-38/I and J-C 66a/I used in his opera Memet of 1732)
Individual works:
J-C 7 in C Major: most Baroque; son. Form with incomplete recap - prob. Later 1720s/1730s
triple meter 1st mvt. - rare later; sounds like Bar. concerto mvt.- terraced dynamics, imitative counterpoint bet. Violins, crossing violins; sequences, falling fifth, frequent seventh chords, chromatic progs., frequent leaps in melody, repeated bass figures and motives; steady bass motion
Classic elements - many mm. Of simple I-V; organized harmonic rhythm
concerto infls. In slow mvt.; tonic minor contrast in slow mvt. (Early Classic pref.); 12/8 of slow mvt. Suggests siciliano
J-C 62 in A major
two versions: one (6 sources) with “well-developed finale” (IIIa); other is minuet finale (IIIb)
1st mvt. - “motoric” rhythm of S’s middle symphonies - steady 8th note bass - background to rhy. Reps. & contrasts, phrase asymmetries; irregular phrase lengths
brilliant violin figuration
move from I to V
metrical shifts
I. Contemporary meanings of symphony, sinfonia, etc.; use of sinfonia in 20th-c. texts in English to designate overture (opera symphony)
II. Importance of designations: church, chamber, theater
III. Different national styles; significance of Italian style in developing Classic style
3 major national styles of 18th c. -- Italian was the leader - the language of opera; Italians invented many figures, textures, phrase structures assoc. with Classic music:
Italian style
described as pleasant, singing, brilliant, varied, expressive
suppleness of melody; contour of graceful descent and rise; chains of figures
articulation into 2-meas. phrases
use of 3rds and 6ths bet. Sop. And bass
use of appoggiaturas
clarity of period structure
slow and regular chord changes
clarity of texture (thin): maintaining of rhythmic pulse without interfering with predominance of melody -repeated notes, punctuating bass; Alberti bass
III. Sammartini (c. 1700-75)
Biography
A. Work in Milan (his father, Fr. oboist, settled there in early 1690's); suggestion that S. may have also played oboe; became leading church composer - organist and maestro di cappella; his music perf. for religious and state occasions, for noblemen in diff. settings
B. Admired by Quantz on a visit to Milan; may have taught Gluck; Boccherini played under him; Mozart knew him through visits to Milan, 1770-73; JC Bach acquainted w/ him in Milan (1757-62)
C. Music known in Vienna (Milan under Austrian rule)
Symphonies: mostly 3-movement (only one 4-mvt. extant; one 2-mvt.; one-mvt. sinfonia)
A. 67 authentic symphonies out of 135 attributed to him (Churgin)
Early: late 1720s to c. 1740 (18 symph.)
Strings (a 3 or a 4): some “trio symphonies”
Hybrid Baroque-Classic style, Classic elements predominating (Churgin)
Most mvts. bipartite
most in sonata form (often ident. by others as binary or rounded binary) - predominance of what she calls “full” sonata form, with primary theme beg. dev. and recap
most mvts. Polythematic; some elements of Classic thematic develop.
Late Baroque infl. strongest in slow mvts.
sequential treatment
Middle: c. 1740 - 1758 (37 symph.)
Strings plus paired horns or trumpets (J-C 30 ind. oboe & horn pts.); also strings
Fully early Classic
Most end with 3/4 minuet, some with trios; non-minuet finales in 7 symphonies
Late: 1759-1774 (12 symph.)
Features of later Classic
C. Interchangeability as music with opera (JC-38/I and J-C 66a/I used in his opera Memet of 1732)
Individual works:
J-C 7 in C Major: most Baroque; son. Form with incomplete recap - prob. Later 1720s/1730s
triple meter 1st mvt. - rare later; sounds like Bar. concerto mvt.- terraced dynamics, imitative counterpoint bet. Violins, crossing violins; sequences, falling fifth, frequent seventh chords, chromatic progs., frequent leaps in melody, repeated bass figures and motives; steady bass motion
Classic elements - many mm. Of simple I-V; organized harmonic rhythm
concerto infls. In slow mvt.; tonic minor contrast in slow mvt. (Early Classic pref.); 12/8 of slow mvt. Suggests siciliano
J-C 62 in A major
two versions: one (6 sources) with “well-developed finale” (IIIa); other is minuet finale (IIIb)
1st mvt. - “motoric” rhythm of S’s middle symphonies - steady 8th note bass - background to rhy. Reps. & contrasts, phrase asymmetries; irregular phrase lengths
brilliant violin figuration
move from I to V
metrical shifts
18th-Century Definitions of the Symphony
18th-c. descriptions of Sinfonie (Germ.), sinfonia (It.), symphony (Eng.), symphonie (Fr.)
Johann Mattheson, Das neu-eröffnete Orchestre (Hamburg, 1713), trans. by Zaslaw, Mozart's Symphonies (Oxford, 1989), 71-72.
Symphony [Sinfonie], Sinfonia ... signifies such compositions as are performed solely on instruments .... The Italians make use of these symphonies before their operas and other dramatic works, as well as before church pieces; before the former instead of overtures, but before the latter instead of [church] sonatas. Symphonies (especially those belonging to secular pieces) commonly begin with a majestic movement, wherein the top part usually dominates (this is divided into two sections in the same meter, each of which may have its own repeats); and after this conclude with a merry, minuet-like movement (likewise admitting of two or more repeated sections), which in church, however, is never found. There is otherwise nothing typical or indisputable to report of symphonies, because each [composer] follows his fancy in the matter.
Mattheson, Der vollkommene Capellmeister (Hamburg, 1739), trans. by Zaslaw, 72.
The sinfonia (symphony)
da chiesa (in the church),
da camera (in the chamber),
del drama (in the opera),
is a more moderate-sized genre [than the concerto grosso]. The symphony, although it also requires a suitable instrumentation of both strings and winds, may nevertheless not be so fanciful and luxuriant as the concerto grosso. Irrespective of the fact that symphonies serve to open the most elegant musical plays and as introductions to the most humble, they have no such voluptuous manner about them. In churches they must be even more moderately contrived than in theatres and halls. Their principal characteristic consists in creating in their brief preface a little sketch of what will follow. And one can easily infer from this that the expression of emotion in such a symphony must be ruled by the same passions that are prominent in the work iself.
Johann Adolf Scheibe, Der critische Musicus (Hamburg, 1738-40), trans. by Zaslaw, 73.
Ever since Italian opera reached its full maturity, we have been familiar with a genre of instrumental pieces that were performed in front of the theatre curtain in order to prepare the audience in a commodious and ingenious manner. These pieces came to be called "symphonies." It was not long before such pieces were introduced here in Germany, and it was here, I might almost say, that they attained fullest perfection ....
Symphonies comprise a three-fold genre: to wit, those used for church pieces, those for theatrical and other [secular] vocal pieces, and finally also those intended as purely instrumental works, without connection to any vocal music .... Thus we have sacred theatrical, and chamber symphonies. All symphonies that are to be used with vocal compositions should be in agreement with the vocal compositions of which they form a part. It then follows that both must be composed in the same style. Symphonies not compsed with this intention have, as a result, a different character.
[Also see Sulzer (1771-74) and Koch (1793) definitions.]
Jean-Jacques Rousseau, "Ouverture," Dictionnaire de musique (Paris, 1768), trans. by Zaslaw, 183.
The Italians ... begin by a striking, lively movement in duple or common time; then they offer sotto voce an andante in which they aim at displaying all the ornaments of beautiful melody; and they conclude with a brilliant allegro, generally in triple time.
The reason they give for this arrangement is that in a large audience, where the spectators make a great deal of noise, it is necessary first to bring them to silence and capture their attention by means of a glittering, striking beginning. The Italians say that the grave section of our ouvertures is neither heard nor listened to by anyone; and that our premier coup d'archet--of which we boast with such great emphasis, even though it is less noisy than, and confounded with, the tuning of instruments that precedes it--is more suitable for preparing the audience for boredom than for alertness. They add that, once the spectator is made attentive by less noise, his interest should be engaged by an agreeable and flattering melody, which disposes him to the tenderness with which he is to be inspired [during the opera]; and lastly, to conclude the overture with a movement of a different character which , contrasting with the beginning of the drama, marks by its loud ending the silence that the actor, on his entrance to the stage, requires of the spectator.
Johann Mattheson, Das neu-eröffnete Orchestre (Hamburg, 1713), trans. by Zaslaw, Mozart's Symphonies (Oxford, 1989), 71-72.
Symphony [Sinfonie], Sinfonia ... signifies such compositions as are performed solely on instruments .... The Italians make use of these symphonies before their operas and other dramatic works, as well as before church pieces; before the former instead of overtures, but before the latter instead of [church] sonatas. Symphonies (especially those belonging to secular pieces) commonly begin with a majestic movement, wherein the top part usually dominates (this is divided into two sections in the same meter, each of which may have its own repeats); and after this conclude with a merry, minuet-like movement (likewise admitting of two or more repeated sections), which in church, however, is never found. There is otherwise nothing typical or indisputable to report of symphonies, because each [composer] follows his fancy in the matter.
Mattheson, Der vollkommene Capellmeister (Hamburg, 1739), trans. by Zaslaw, 72.
The sinfonia (symphony)
da chiesa (in the church),
da camera (in the chamber),
del drama (in the opera),
is a more moderate-sized genre [than the concerto grosso]. The symphony, although it also requires a suitable instrumentation of both strings and winds, may nevertheless not be so fanciful and luxuriant as the concerto grosso. Irrespective of the fact that symphonies serve to open the most elegant musical plays and as introductions to the most humble, they have no such voluptuous manner about them. In churches they must be even more moderately contrived than in theatres and halls. Their principal characteristic consists in creating in their brief preface a little sketch of what will follow. And one can easily infer from this that the expression of emotion in such a symphony must be ruled by the same passions that are prominent in the work iself.
Johann Adolf Scheibe, Der critische Musicus (Hamburg, 1738-40), trans. by Zaslaw, 73.
Ever since Italian opera reached its full maturity, we have been familiar with a genre of instrumental pieces that were performed in front of the theatre curtain in order to prepare the audience in a commodious and ingenious manner. These pieces came to be called "symphonies." It was not long before such pieces were introduced here in Germany, and it was here, I might almost say, that they attained fullest perfection ....
Symphonies comprise a three-fold genre: to wit, those used for church pieces, those for theatrical and other [secular] vocal pieces, and finally also those intended as purely instrumental works, without connection to any vocal music .... Thus we have sacred theatrical, and chamber symphonies. All symphonies that are to be used with vocal compositions should be in agreement with the vocal compositions of which they form a part. It then follows that both must be composed in the same style. Symphonies not compsed with this intention have, as a result, a different character.
[Also see Sulzer (1771-74) and Koch (1793) definitions.]
Jean-Jacques Rousseau, "Ouverture," Dictionnaire de musique (Paris, 1768), trans. by Zaslaw, 183.
The Italians ... begin by a striking, lively movement in duple or common time; then they offer sotto voce an andante in which they aim at displaying all the ornaments of beautiful melody; and they conclude with a brilliant allegro, generally in triple time.
The reason they give for this arrangement is that in a large audience, where the spectators make a great deal of noise, it is necessary first to bring them to silence and capture their attention by means of a glittering, striking beginning. The Italians say that the grave section of our ouvertures is neither heard nor listened to by anyone; and that our premier coup d'archet--of which we boast with such great emphasis, even though it is less noisy than, and confounded with, the tuning of instruments that precedes it--is more suitable for preparing the audience for boredom than for alertness. They add that, once the spectator is made attentive by less noise, his interest should be engaged by an agreeable and flattering melody, which disposes him to the tenderness with which he is to be inspired [during the opera]; and lastly, to conclude the overture with a movement of a different character which , contrasting with the beginning of the drama, marks by its loud ending the silence that the actor, on his entrance to the stage, requires of the spectator.
Tuesday, August 28, 2007
Copy of class e-mail, 8/28/07
Just in case you did not get this e-mail, here it is. Please let me know if you did not receive this also as an e-mail message:
Greetings,
I have the e-mail list finally, although not the complete assignment, but wanted to send this out. I will have an early symphony or two for you to listen to by this evening for first thing in the morning.
The following article should be on eReserve by this afternoon:
Robert L. Weaver’s essay in Peyser, The Orchestra, “The Consolidation of the Main Elements of the Orchestra: 1470-1768,” pp. 7-40.
Also you can look at the beginnings of the articles (on 18th-century) “Orchestra,” and “Symphony,” The New Grove Dictionary of Music (7th Edition), which is accessible on-line through the UK Libraries sites.
LISTENING:
Sammartini, Symphony in F, No. 32 (first movement) (with score as PDF file)
Stamitz, Sinfonia in E-flat (La Melodia Germanica No. 3) first movement (with score electronically posted)
These are from the Grout anthology, Volume 2, if you still have that from your music history sequence.
If you have any problems, please let me know.
I will post this on the blog, just in case I have your e-mail wrong.
So, more coming a little later this afternoon.
Thanks. Very good class discussion today.
LB
Greetings,
I have the e-mail list finally, although not the complete assignment, but wanted to send this out. I will have an early symphony or two for you to listen to by this evening for first thing in the morning.
The following article should be on eReserve by this afternoon:
Robert L. Weaver’s essay in Peyser, The Orchestra, “The Consolidation of the Main Elements of the Orchestra: 1470-1768,” pp. 7-40.
Also you can look at the beginnings of the articles (on 18th-century) “Orchestra,” and “Symphony,” The New Grove Dictionary of Music (7th Edition), which is accessible on-line through the UK Libraries sites.
LISTENING:
Sammartini, Symphony in F, No. 32 (first movement) (with score as PDF file)
Stamitz, Sinfonia in E-flat (La Melodia Germanica No. 3) first movement (with score electronically posted)
These are from the Grout anthology, Volume 2, if you still have that from your music history sequence.
If you have any problems, please let me know.
I will post this on the blog, just in case I have your e-mail wrong.
So, more coming a little later this afternoon.
Thanks. Very good class discussion today.
LB
Monday, August 27, 2007
Welcome to our own MUS 622 Blog!
Greetings,
This is our blog! I am new to this world, but I can already see how it can serve to bring us together into a coherent learning community around our topic: symphonic literature. It should be easy to use, and I am very open to suggestions about ways we can use this forum creatively to learn individually and as a group. So welcome and enjoy!
I wanted to also let you know about our Ereserves materials from the Fine Arts Library, which you access through the InfoKat link at UK Libraries. To get access to mus622 Ereserves (articles, scores and recordings) you need the username: mus622001 (lower case "mus"), and password: Brunner2007
And there you are! Feel free to add to this blog as you see fit. We'll work out some guidelines in class.
Cheers,
LB
This is our blog! I am new to this world, but I can already see how it can serve to bring us together into a coherent learning community around our topic: symphonic literature. It should be easy to use, and I am very open to suggestions about ways we can use this forum creatively to learn individually and as a group. So welcome and enjoy!
I wanted to also let you know about our Ereserves materials from the Fine Arts Library, which you access through the InfoKat link at UK Libraries. To get access to mus622 Ereserves (articles, scores and recordings) you need the username: mus622001 (lower case "mus"), and password: Brunner2007
And there you are! Feel free to add to this blog as you see fit. We'll work out some guidelines in class.
Cheers,
LB
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