The Composition Rhapsody in Blue - Essay Example

Composing American The late 19th century experienced a boom in innovation as they competed with each other to do away with the traditional and usher in an era of modernity. In lieu of such a situation, American composers in the 1920’s sought to create music that was distinctly different from the compositions of their European counterparts. In the spirit of modernism, American composers succeeded in finding a voice that contrasted sharply with accepted standards. Their music evolved to reflect the condition of the United States during a time when the experimentation of the age was “often unsettling to spectators” (Oja 648). The United States had recently entered into world political theater and literally revolutionized the outcome of WWI. America was no longer a small colonial settlement that once broke away from its European control; it was a nation in its own right that was now as powerful, if not more so, than the traditional Western powers. As a result, the distinct attributes of the nation spilled over into the arts and the American composers of the ‘roaring’ 1920’s ushered in an era that revolutionized the existing pattern to a more modern phase. One of the manifestations of this phenomenon was George Gershwin’s Rhapsody in Blue in 1924 which revealed the break away from the traditional composition and demonstrated the influence of a new era. Alternating between the traditional and the Modern, Gershwin introduced himself as a peer amongst the American composers of his time (Oja 646). As a self-proclaimed “man without traditions,” a statement on which Copland later agreed, Gershwin’s work established a symphonic jazz masterpiece that endures far beyond the mixed perspective of critics of the time (649). The creation of a distinct profile while still connected to Western Europe expansion was a deviation from the norm that was too much for standard critical acclaim (648). Though not entirely negative, the response was one that spawned much debate and elevated Gershwin to a level of prolific discussion, both good and bad, amongst the composing communities of the world. Contrary to what some of the critics thought, Rhapsody in Blue became an instant success and enjoyed a degree of fame that eluded other aspiring modernists. Rhapsody in Blue became so popular that it was performed with the Whiteman’s Orchestra eighty four times in the first year “and sales of the disc totaled some one million copies.” (Deena Rosenberg, 1991) It was the most opportune time or period when Rhapsody in Blue was published because prior to that period there was no one "of no great, outstanding musical genius, but rather of feverish activity and ruthless experimentation.” (Critic, Henrietta Straus, 1922) The opening lines of Rhapsody in Blue puts the listener in a bit of suspense as it unfurls with a lot of trills. With the luxury of hindsight, a modern listener of Rhapsody in Blue can see the obvious patterns that make this symphonic jazz piece modern and a uniquely successful American creation. On track 3 of Rhapsody in Blue at the 20-21 second mark, the interactions between the piano and clarinet give the piece a definite jazz feel, especially when the piano generates loud singular, staccato notes that lend a feeling of aggression quite familiar within Jazz circles. In addition, on track 6 at the 1:12 mark, there is a second or third repetition of a very distinct, syncopated rhythm over a steady bass. At 1.20secs. after the orchestral block chords, the piano dominates the piece exploring the entire range of the instrument on the lines of an Etude. If there was no repetition of the pattern, it could have become lost within the larger context of the piece. On the other hand, its current state takes on a mood-altering context that brings the listener to a rhythmical pattern traditionally not found in jazz music. The mood at 4 mins is joyous and triumphant reflecting the Post Shostakovich and Stockhausen era. Though some critics have doubted its validity as a composition, “its performance challenges, appear comparable to those of many other notated works with complex histories” (Pollack, Gershwin 315). Gershwin is holistically successful in providing a modern listener with a classic piece of American symphonic jazz with an orchestral rendering that utilizes distinct jazz methodologies. Although George Gershwin and Aaron Copland have become synonymous with the American symphonic jazz movement of the 1920’s, there is still a great deal of controversy surrounding which one was more successful in composing music that was distinctly American and distinctly modern jazz influenced. Such an argument is generally best considered unresolved in order to avoid controversy. However, if it were necessary to choose only one as an example of this phenomenon, Aaron Copland, in my opinion, would be perhaps the more agreeable choice. Copland’s Music for the Theatre is a compelling example of why he is perhaps better than Gershwin in demonstrating the foundation of American modern jazz. Music for the Theatre’s “move away from Rimbaud to jazz and burlesque was momentous – a turn from European symbolism toward an American vernacular” (Pollack, Copland 131). At the 3:05 mark on track 7 of Music for the Theatre, the musical lull and quite mood quickly changes to something more loud and raucous. The lower dynamics of the work are quickly contrasted with high-pitched wind, booming drum sounds and crashing percussion. Any semblance of European distinctions occurring in the middle portion of the work is quickly altered as the piece moves into a modern jazz explosion. The composition culminates using the distinct technique of strong syncopated notes of the clarinet and brass throughout the entire composition, though this is not the only place in this piece where this strategy is used. To illustrate this point further, we could take another example of Copland, titled Concerto for Clarinet (1947) This musical piece is poetical and is broadly based on adagio. The orchestra provides a sort of an ambient backdrop accentuating the atonal mode of the clarinet. At 3. 09 secs. the clarinet plays a sharp syncopated jazz theme called A. Though at this point the composition does not explode into the loud raucous jazz modality as in the previous example, the subtle build up accomplishes a similar modern dynamic. By the 3:12 mark, though modern sounding, theme C seems somewhat jagged and angular while theme D which is more Caribbean influenced feels more spaced out, relaxed and well syncopated. At 7.32 there are a few challenging solo lines for the clarinet that exposes the virtuosity of its player. In addition, the rhymes demonstrated by the clarinet, which is the focal instrument, provide jazz based melodies throughout the work in terms of the feeling that is projected through the composer’s note selection and rhythm patterns. The Copland examples, and arguably the examples of Gershwin, are not a complete departure from everything that Europe encompasses in terms of musical symbolism. On the other hand, they are truly a modern and American interpretation of composition that can be accurately categorized as a voice unto its own. Similar to the United States developing into a world superpower, the art of the 1920’s reflected the new level of consciousness and distinctness of the American experience. The symphonic jazz composers were successful in taking elements of European composition and turning them into something that was noticeably American and modern. Although not always met with critical acclaim, there are many strong examples of compositions that demonstrate the uniqueness of America’s talent during this era. Works Cited Copland, Aaron. "Concerto for Clarinet." Rec. 1947. ---. "Music for the Theatre." Rec. 1925. Gershwin, George. "Rhapsody in Blue." Rec. 1924. Information about the number of performances made and recordings sold comes from Deena Rosenberg, Fascinating Rhythm: The Collaboration of George and Ira Gershwin (New York: Dutton, 1991), 61-62. Oja, Carol. "Gershwin and American Modernists." The Musical Quarterly 78 (1994): 646+. Pollack, Howard. Aaron Copeland: the Life and Work of an Uncommon Man. New York: University of Illinois P, 2000. ---. George Gershwin: His Life and Work. New York: University of California P, 2007. Read More