Classical and Romantic Era styles in music - Essay Example

Classical and Romantic Era styles in music Introduction Music at the beginning of the 20th century began to change rapidly with experimentation and the breaking of musical theories. Various composers began to represent not only new music theories but also various innovations which could be used with music. This came as a set of avant – garde ideals which represented a break from the strict Classical and Romantic Era styles. The composers of Les Six were some of the individuals who began to represent new theories and ways of constructing pieces outside of the traditional theories. The various elements which began to be incorporated into this style worked with new sounds and methodologies of the works while adding in a sense of innovation that broke from the musical traditions of the past. French Music in the 1920s The importance of Les Six in the 1920s of France was important not only because of the changes in classical music. There were also attempts to express the political and social changes that were occurring within France and at a global level. France was currently experiencing the political movements of revolution and war, specifically which began to emerge in the late 1800s. The time period which led to more experimentation was after World War I. The general ideology of those that were in France during this time was based on finding a sense of freedom from the past of politics with an understanding of the complexities from the suffering of war as well as the new philosophies based on freedom. This led to the exploratory nature of the music and the new expressions which showed the modern complexity of the time. The war, as well as the corruptions in politics was then able to guide in new philosophies and ideologies into a sense of modernism1. With the changes in politics, were also alterations in identity among the French culture. This was based on the ideas of nationalism, specifically which expressed a new ideology by understanding that France needed to regain an identity outside of the wars that were being fought. The ideal of patriotism of France, as well as the identity of changing the cultural aspects that were associated with France became the main objectives. This was combined with the concept of modernity, specifically which came from the growth of the industrial era. France created an ideology of identity based on moving into innovation and modernity, as well as placing this around the pride for the country. The reflection in the music was then based on the ideals of innovation and experimentation that could represent the new French style2. Background of Les Six Les Six began to develop in 1917, with the leader of the group, Jean Cocteau. This French composer took the names from the Russian and German movements which were also interested in experimentation and innovation. However, the ideals moved against the other experimentation aspects, such as from Richard Wagner. The individuals who made this group included Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc and Germaine Taillefaire. It was noted that the importance of this group was based not only on the ideal of composition with a rebellion of other types of music. More important, there was a creation of commercial advertising and an understanding that the music made would be French and for those interested in creating a specialized type of music that represented the nation3. The basics of Les Six not only were based on the six individuals who held specific relationships to the music and what was occurring. There was also a direct association with the outside influences, which the group began to accept or reject as a part of their works. The first way in which this was done was through the outside influences and theories that began to enter Paris as it became a world – renowned place for travel. The World fair of 1894 as well as the fluctuation of individuals visiting the region from around the world began to move those interested in music into new theories. American, Russian and German influences were three of the strongest areas which began to make the new theories and ideals of the group come to life. For instance, there are many passages in the work of the Les Six that is related to the concepts of jazz, specifically because of the chord structure and harmonies that are associated with this. The masterpieces created by the group were able to follow experimentation and innovation, specifically because of the philosophy of taking other musical concepts and theories and integrating into a new sound that was purely French4. The philosophies and influences of outside musical theories with Les Six continued not only with the acceptance of the exotic and the outside into a new French style. There were also other areas which were rejected, specifically because of the belief that it was not in the avant-garde style or didn’t represent the French ideal. This began with the rejection of several musical theories, such as the Classical and Romantic harmonies and melodic structures. Wagner and other contemporary, Romantic writers were also rejected because of the lack of innovation in the music. The influence from other regions of the world continued to form this belief, specifically because of the noticed difference in melody, harmony and structure of the various pieces. This was followed by the belief that some of the current styles, such as impressionism, didn’t represent the realities of post – war France. The group of six began to move through these various philosophies, specifically to find ways in which the music could be integrated or rejected into new forms. The outside influences then became a component which either accepted or rejected the works of the other movements at the time5. Les Six as a Representation of Innovation The acceptance and rejection of ideals in France from outside influences allowed Les six to become innovators into new avant-garde styles which represented the patriotic sound of France. The main ideal was to place a sense of distance between the concepts, such as serialism, in the works that were created. At the same time, there was an attachment to finding new and relevant theories while showing how there could be new innovations included in the works of music. Orchestration and harmony were the two main aspects of innovation which the group was known to move into, while the rejection of the anti – melodic schemes and other musical concepts were displayed. By continuing to work with the concept of acceptance or rejection of new ideals, Les Six was able to create a specific genre which could be recognized within France6. There are several works which show how this concept worked as well as what the main influences were with the Les Six group. An example of this can be seen in Les mariés de la Tour Eiffel. This was collaboration with the group of six in 1921 and was used specifically to grow the ideal of being in France and the national identity which the group was known for during the time. The opening is heard with the French style drums that are playing similar to a march. The rhythm throughout the entire opera remains one of the most important parts, specifically with the rhythms becoming representative of the characters that are in the opera. When listening to the trumpets and brass, the rhythmic structure remains the most important. The harmony which is placed has several close intervals that make the tension rise, while the rhythm becomes most important because of the harmonic structure. There are also melodies placed on top of sub – melodies, both which are important to the overall work. The rhythm is able to distinguish between the melodies placed. For instance, the opening, the trumpets are playing the main melody, while the trombones are playing a counter-melody. Both have the close harmonies. This is distinguished because the trombones move down a scale at a faster pace while the trumpet is playing the opening call often heard in the military. These two distinct rhythms then create the most importance within the work. The importance of this work is based on the ideal of creating innovation that was a representative of Paris. The overall idea of the French setting and the relationship to a comedic structure was immediately able to grab the attention of those interested in the patriotic representation of France. This was associated with the ability to combine the past theories of France with harmony, structure, the ballet form and the melodic lines that were patriotic in nature. When listening to the piece, there are several areas that have newer melodic lines or folk like tunes that represent France. However, this is not what drives the ballet forward. Instead, the strong rhythms and the tight harmonies create the overall feel of the piece while allowing the listeners to relate to a more innovative style of the music well – known in France during this time. The innovation, while keeping some of the structures and musical ideologies of the past, also incorporated new methods and interpretations of theories that carried an innovative and avant-garde style7. The influence that was heard in this ballet then related directly to individual works that carried the same ideologies. A representation of this was Sonate pour Violoncelle et Piano, which was written by Poulenc with specific reference to the second movement. The harmonies of the piano show the same close intervals with the chords, sounding closer to jazz chords than the traditional style of France. These are heard as block chords in the beginning, then moves into the melody of the violincello. The cello begins in the upper tone, also which is an innovative way to begin the piece. There is then melodic interchanges between the piano and violincello, allowing both of the instruments to have an equal part in the music, as opposed to creating an accompaniment and harmony between the two pieces. This moves into the counter-melody and melody being heard with both instruments for a different effect. This goes into the second theme, which contains the same ideal of the close intervals in the piano and the melodic structure in the violincello. However, the melodic line isn’t one that is based on the regular, song like intervals. Instead, there are several sharps and flats added as notes in between the main melody. There is also a lack of resolution as the melody continues, which was more innovative for the time, such as moving to a sharp instead of resolving the melodic line. The piano follows this with the strong rhythmic structure and the close interval forms as a musical coloring for the violincello. The coloring was a newer technique used in France and which Poulenc emphasized in this piece. The melody and harmony then alter from the cello to the piano to create a balance between instruments and contrast. The harmony being played by the violincello requires strong rhythms to work and innovative measures for the solo instrument to work in contrast with the piano for balance. This is similar to the trading fours in jazz with the different harmonic structure and melodies driving forward the piece. These elements are examples of how innovation was used in this piece to change the music into more contemporary aspects. The ideal of innovation that Poulenc was known for in these pieces broke several boundaries with music while creating elements which were specific to Les Six. The first was the contrast with the cello and piano as both become as significant and equal in the melodic line. The switch between harmonies and melodies, as well as the use of rhythm to represent this, creates a different type of sound to the music. The jazz like changes with the melody show how this innovation works with the classical music that Poulenc was interested in. The influences continue with the chords that are heard throughout the piece, most which are representative of the close intervals and the structures that combine together to create a different approach to the sounds and harmonies. This component of the sonata is one which was not used in France during the time and came from influences of both jazz and the musical theories of contemporary classical musicians. The several elements that are tied into this particular piece show a new level of innovation and create an avant-garde approach that rejects the classical elements of harmony, melody and the display of accompaniment and solo instruments8. A different example of the works that were changing during this time is Scaramouche by Milhaud. This particular work was written for two pianos. It is first distinguished by the fast changing themes that are heard throughout the piece. This is heard with two bars as more rhythmic, which moves to fast moving scales and melodies. The second section slows down but keeps the same distinguished melody of 2/4 and the movement between melodies every two to four bars. Even though there is a dance like feel, Milhaud takes this at several different paces and creates contrast by changing the melody and melodic lines without expanding on them, but instead by shortening the length into smaller segments. While the melody and the rhythms can be recognized, they quickly fade out of the piece into a different piece. The other elements that Milhaud uses combine the jazz influences as well as the particular style that Les Six was renowned for. This includes the tightly knitted chords with close intervals, specifically which is heard in the rhythmic sections of both pianos. This is combined with the melodic lines which are known throughout France; however, these are altered with the breaks in the music or the harmonic structures which change throughout the piece. These specific approaches push forward the ideals of music while creating a different way of hearing the melodic lines, dances and other interpretations of the music which was known to France. The approaches which Milhaud used combined the Romantic ideals of the prodigy player that were known throughout France with the innovations that were associated with the time frame. The fast moving scales, structures of the rhythms and the movement between the two pianos all dictated the prodigy style which came to light in the Romantic period. However, Milhaud changes the tonality and the harmonic structure throughout each of his pieces to show a different representation of the works and to create a contrast that was noted within the music. This was combined with the idea of creating a call and response system between the two pianos, similar to the jazz influences which most noted in the works. The experimentation that Milhaud used was combined with the traditional influence of Romanticism and the national French style, specifically to increase the popularity of the works while adding in the mannerisms, styles and forms which were already present in the music9. With these works, as well as the others, there are noticed applications which combined the elements of innovation with the traditional styles known throughout the Romantic era. The idea of creating a new music was the main definition that was a part of the group. It can also be seen that the cultivation of the new was the main push for the group, specifically because it was able to alter the options of growth into the avant-garde after a given time frame. The group worked not as individual composers, but redefined the expressions by what was agreed upon and what worked best. The call and response, close interval chords, fast paced rhythms, countermelodies and the changes in the harmonies and tones are combined in all the music analyzed. These were used to create a sense of identity among the group and to show a nationalistic ideal that was able to create the contemporary France with the symbolism of the new which could be used by Les Six. The composers influences and similarity in musical styles was then able to move into a stronger representation of modernism after World War I in France10. Conclusion Changes which were occurring in the 1920s in France developed from the changes in politics and movement into the modernist style in terms of culture and social orientation. This led into global influences as well as regions throughout Europe that began to express the musical styles differently. The influences which began to occur during this time led to the Les Six. The musical theories used by all members and the similar components represented the ideas of innovation, as well as the French nationalism as the main style among the group. While the individual composers noted some differences, the main influences and acceptance, as well as rejection, of musical theories is what led the group into the series of compositions which influenced innovation for the time frame. References Berger, Melvin. Guide to Sonatas: Music for One or Two Instruments. (New York: Anchor Books, 1991). Brody, Elaine. Paris: The Musical Kaleidoscope: 1870-1925. (Minnesota: University of Minnesota, 1987). Cocteau, Jean, Rollo Myers. A Call to Order. (New York: Haskell House, 1974) Dutilleux, Henri, Claude Glayman. Henri Dutilleux : Music – Mystery and Memory. (New York: Ashgate Publishing, 2003) Fulcher, Jane. French Cultural Politics and Music (New York: Oxford University Press, 1999) Gottlieb, LM. “Images, Technology, and Music: The Ballets Suedois and Les Maries de la Tour Eiffel.” The Musical Quarterly 52 (5), Kelly, Barbara. French Music, Culture, and National Identity,1870-1939. (New York: University of Rochester Press, 2008). Kelly, Barbara. Tradition and Style in the Works of Darius Milhaud. (New York: Ashgate Publishing, 2003). Nichols, Roger. The Harlequin Years: Music in Paris, 1917-1929. (California: University of California Press, 2002). Pasler, Jann. “New Music as Confrontation: the Musical Sources of Jean Cocteau’s Identity.” (The Musical Quarterly 75 (3)) Read More