The New German School Progressive ideas and styles after 1850 The music of the future a teleological view of the composers role in music history Freedom from convention harmonic exploration ID: 330440
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Slide1
The Second Half of the Nineteenth CenturySlide2
The New German School
Progressive
ideas and styles after 1850
“The
music of the future”
—
a teleological view of the composer’s role in music history
Freedom
from convention
harmonic exploration
unconventional form
programmaticism
Composers
Liszt, Berlioz (by adoption), WagnerSlide3
Wagner’s music dramas
— theories and style
The Artwork of the Future
Gesamtkunstwerk
—
combines multiple art forms in
multimedia
“counterpoint”
Based
in folklore and mythology
—
represents values of the culture
Libretto
built on Germanic tradition
—
Stabreim
Symphonic
treatment of
themes (leitmotiv)
free motion of harmony
developmental textureSlide4
After Wagner
— representative late Romantic composers and genres
Vienna
Johannes Brahms (
1833–1896
)
—
symphony, chamber music, song
Anton Bruckner (
1824–1896
)
—
symphony, sacred music
France
Charles
Gounod (
1818–1893
)
—
lyric opera
César Franck (
1822–1890
)
—
symphony, organ music, chamber music
Italian opera
VerdiSlide5
After Wagner
— post–Romantic
composers and genres
Hugo Wolf (
1860–1903
)
—
song specialist
Gustav Mahler (
1860–1911
)
—
song, symphony,
vocal-orchestral
cycle
Richard Strauss (
1864–1949
)
—
tone poem, opera, songSlide6
Post–romantic
opera
—
realism and verismo
Characteristics
plots set among
oppressed-class
characters
violent endings
powerful, intense scorings
extreme demands on voice
Some
representative works
Georges Bizet,
Carmen
(
1873–1874
)
Pietro Mascagni,
Cavalleria rusticana
(1890)
Ruggero Leoncavallo,
I pagliacci
(1892)
Giacomo Puccini,
Il tabarro
from
Il trittico
(1918)Slide7
Exoticism
Attempt
to reinvigorate music in the context of
fin-de-siècle
Europe
Draws
on style features from distant
music cultures —
e.g.,
Eastern Europe
—
Gypsy culture
the Middle East
East Asia
Spain
the Americas
Problems
of
orientalism
colonial appropriation
misrepresentation
of “other” musiculturesSlide8
Late
nineteenth–century nationalism
Patriotic
expression by composers from suppressed cultures on the European periphery
Bohemia
Russia
Scandinavia
Spain
the Americas
National
materials
literary and folkloric sources
folk tunes or
folk melody
styles
dance rhythms
harmonic colorations
—
modal scalesSlide9
Questions for discussion
Wagner’s musical theories and works generated
wide-ranging
interest outside strictly musical circles. How can we explain this phenomenon?
How did musical developments in France and Italy after 1850 reflect special situations and/or characteristic interests of those countries?
How did the rise of national styles in the late nineteenth century resemble or differ from the rise of nationally distinct styles in the sixteenth and eighteenth centuries?
Would it be appropriate to refer to some developments in music of the late nineteenth century as mannerist? Why or why not?