Romantic Era and 20th-Century Symphonies - Essay Example

A Comparison of Romantic Era and 20th Century Symphonies Both romantic era and 20th century symphonies were some the greatest symphonies of all times. Composed at a period when great attention was paid to musical tonality, these compositions employed the use of varying themes that were carefully developed and harmonized. This analysis will therefore assess the works of Franz Peter Schubert and Carl August Nielsen. The pieces to be analyzed are Symphony No.9 in C Major "the Great" D944 by Franz Peter Schubert (Romantic Era) and other pieces by Carl August Nielsen (20th Century) like symphony number 4. Symphony No.9 in C Major "the Great" D944 by Franz Peter Schubert (1797-1828) Franz Peter Schubert was born in the year 1797. He grew up in Vienna in a family of fourteen kids, him being the twelfth born. His interest and skills in music became apparent as early as when he was eleven years of age. Because of this extraordinary gift, Franz was allowed to join Chapel Royal Choir. During his early life, he received his education at the Imperial Seminary, gaining vast experience in practical music. His liking for music saw him achieve great strides by completing six symphonies by the time he was 22 years. Other achievements that he made were twelve piano sonatas, eleven string quartets, and the Trout Quintet. In general, Franz grew up to compose an estimated six hundred and forty songs. Most of his symphony pieces are in C major. Like other orchestral pieces, his works were also overwhelming with what was perceived to be technical difficulties (Clive, 9). 1st Movement: Andante - Allegro Ma Non Troppo The pieces are introduced with an unaccompanied unison theme that proceeds all the way to the 8th bar. It is a predominantly horn theme. Its purpose is that it acts to unify other subsequent themes and harmonize them at later stages to complement one another. This actually what brings forth the real feeling and function of the symphony. Later in the 8th bar, we find that the strings enter with a moving rhythmic triplet figure. This rhythm represents the feature of the first movement. From here, the next rhythm we progress to is a straight away lyrical episode, which takes in to consideration the initial 8 bars. These first bars are sustained with a solo woodwind. From here, the symphony then proceeds with some variants at fist. Staccato strings come in here to bring up the theme. Some scholars have interpreted the early use of staccato here to be a pace setter for a later melancholic mood given these variants. The next thing is that the theme then moves to lower strings as the Andante carries on. The purpose of having adante here is to explore the themes as well as the assembled rhythmic material. Drawing towards the end, one can notice a hint of a theme, which is to become the Allegros first theme. The Andante is brought to a stimulating and full orchestral close in a captivating style while the Allegro continues without a break. At this juncture, strings, trumpets and timpani bring in the Allegros first theme in what appears to be a full blast. As the theme rises, well-chorded triplets from the woodwind beautifully link it. The Allegro is now on the 17th bar but Franz is already introducing another theme. This is the second theme marked with dotted crotchet-quaver - rising and falling. There is a blend of support from woodwind and horns with a triplet configuration. There is no change in this new pattern with the full orchestra climbing up to a C major climax. In the next 2 bars, Franz modulates the symphony to E minor. Oboes and bassoons introduce the movement’s third theme. Violin arpeggios deftly accompany these and are then extensively developed rhythmically. It appears that there is a musical rhythmic contest since duple and triple rhythms proceed to contend with one another. Staccato and legato is also employed. The mood is now more speculative, with what appears to be a touch of melancholy. Using the three trombones artistically harmonize the additionally modulations. Besides, they bring in the sum total of solo passages to the movements fabric. As it closes, it uses rhythmic patterns like in the 1st and 2nd themes. To sum it up, Franz makes use of an extensive play between the 1st and 2nd themes. He endeavors successfully to enrich the themes harmonically. Franz moulds whole theme into a slowly forming a crescendo, before a shift in an A major phrase. The opening is string instruments ruling the first theme. Franz presents all the major themes without musical acceleration though with a lot of energy and vigor. This is highly seen or can be interpreted as a Coda. It is marked “Piu Moto” to indicate more or increased movement. It is rhythmically brought in by the 2nd theme in the strings. One finds that the accompanying triplet figures serve the purpose of improving the pulse. Finally, the music falls to a piano after a play glorious play of full orchestra. Carl August Nielsen’s Fourth Symphony Carl August Nielsen was born in 1865 on the island of Funen. He was the 7th born in a family of twelve. He ailed from an economically challenged background. His father happened to be just a destitute painter but with great passions in music. He was actually a country fiddler. Nielsen did not let his poor background cloud his mind. He accepted that status as he grew up but was more determined to make this better in the future. He describes this is an emotional memoir, My Childhood (1927), a classic. Nielsen was introduced to music at a tender age. He did not have good training during this time. Nevertheless, he managed to be taken into military band at the age fourteen years. His enthusiasm in music and composition saw him earn a scholarship to pursue learning at the Copenhagen Conservatory for two years. Nielsen started to write his famous work, Det Uudslukkelige (Grimley, 121), from 1 915. He progressed and managed to have it ready just before a major performance. This was going to be his first performance. The performance took place in Copenhagen on the first day of the second month 1916. In terms of instruments, Nielsen made planned the performance to be heralded by triple winds and full brass. As he progressed with his career in composition, Nielsen’s symphony number three, the Espansiva, was probably the piece that set him on stage as an accomplished composer of his time. Motivated by these achievements, he proceeded to compose the 4th symphony. This was also one of his greatest successes in composition. In fact, it is said that it became Nielsens equivalent of Beethovens Eroica (Brown, 96). With the First World War also on the brink of shaping history, preceding pieces were greatly affected by the happenings of the season (Reynolds, 78). His themes therefore attempted to depict the real picture of the conflicts present then. Some observers have noticed that Nielsen’s symphonies that he composed after the First World War were practically reflections of horrors of the war. His compositions were probably the first ones where music was used mirror the society in general and the ways of life of people in the 20th century. Movement In Nielsen’s Symphony 4 And A Comparison To Schubert’s Symphony 9 An analysis of Nielsen’s symphonies reveals that he preferred, in many cases, to write all the movements with very little attention to pauses. Research on his compositions show that he wrote most movements to be played without pause. This is unlike the works of Franz Peter Schubert where each theme is introduced after a pause. Nielsen’s works tend to begin with a tussle of the keys of scales C major and D minor. Nevertheless, Nielsens bases his 4th symphony on the E major in the 2nd theme of his opening Allegro. Like Franz Peter Schubert, he introduces it in sweet-sounding thirds. He starts with a pair of clarinets, which are then replaced by flutes, horns, and strings just before the vocal main theme goes back to the violent mood that depicts battle. Like in Franz Peter Schubert’s symphony number 9, this does not take place during development of the theme but during the recapitulation. Poco allegretto in scale G takes place of a scherzo writing for winds that is so unlike the style adopted by Franz Peter Schubert. Schubert’s allegros come in in style after lively staccatos. Nielsen’s Poco allegretto’s major aim is to derive from the motto theme. However, Nielsen prefers a brief hold on the following Poco adagio quasi andante. Again, unlike Franz Peter Schubert, he adopts a style that sustains the theme by increasing the already created tension. His movement climaxes in E major with what appears to be a duel between themes. Then all of a sudden the strings begin a horrific race that climbs down into a terminal Allegro whose confidence is the main theme in E major. Towards the end, Nielsen, unlike Franz, concludes with two sets of timpani that compete till E major finally asserts itself and holds. Then triumphantly, the motto theme invites the two timpanists to conclude the victory. Works Cited Grimley, Daniel. Carl Nielsen and the Idea of Modernism. New York: Boydell Press, 2011. Reynolds, Anne-Marrie. Carl Nielsens Voice: His Songs in Context. Copenhagen: Museum Tusculanum Press, 2010. Brown, Peter. The Symphonic Repertoire, Vol. 2: The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert. Indianapolis: Indiana University Press, 2002. Clive, Peter. Schubert and His World: A Biographical Dictionary. London: Oxford University Press, 1997. http://www.rhapsody.com/#playlist/mp.159102838. Read More