The History of Program Music and its Composers - Essay Example

Programme Music: Its History and Significant Composers Since the ancient times, music has been used to mimic the sounds of life and nature, real or imagined (Hoffman para. 2). As musicians wanted to build a bridge between literature and music, various sounds from animals and nature like tweets, cuckoos, toots, shrieks, cries, horns blowing, hiccups, roars, rain pouring, wind blowing and the like are being used to form a coherent musical composition that conveys a story or a plot. This form of music has been existent since the ancient times, yet it was the Hungarian composer Franz Liszt who actually coined the term "programme music" in the mid 19th century, a time when Romantic music was very pravalent (Tiscali Reference para. 1). For the purpose of discussion, programme music may be defined as instrumental music that attempts to convey a story or arouse mental images without the use of words (Tiscali Reference para.1). Liszt calls composers of programme music as "poetizing symphonsts" (F. Niecks 278). Furthermore, he also strived to be able to distinguish the programme and its object. He claims that "the programme has no other object than to indicate preparatively the spiritual moments which impelled the composer to create his work, the thoughts which he endeavoured to incorporate in it. It would be childishly idle, indeed in most cases a mistake, subsequently to devise programmes and wish to explain the emotional content of an instrumental poem, as then the word must destroy the charm, desecrate the feelings, and tear the finest webs of the soul, which assumed just this form because it could not be put into words, pictures, and ideas." (qtd. from F. Niecks 279). As programme music is described as music that tells a story or portrays a scene, it is distinct from the abstract classical music composition in the sense that the music was chosen to suit the programme, story, poem, or scene (Schmidt-Jones para. 18). Another element in programme music that which adds to its vagueness in essence is the fact that some composers may simply add a title to set a mood or scene (Tiscali Reference para. 2). In addition to this, the actual idea behind the term programme music as intended by Liszt was for the composer to let the programme decide the form of the piece (Hoffman para. 3). To further stress this point, the great Frederick Niecks, however, remarked that programme music has always been regarded controversially as its definition is vague and narrow (1). In this context, Niecks wrote (referring to musicians) in the preface of his book entitled Programme Music in the Last Four Centuries: A Contribution to the History of Musical Expression, that "they should embrace all possible kinds, degrees, and characters: the outward and the inward, the simple and the complex, the general and the particular, the lyrical, epic, dramatic, melodramatic, descriptive, symbolical, etc. They should embrace also music with the programme merely indicated by a title, and music the programme of which is unrevealed. The absence of programme and title does not prove the music to be absolute (iii)." Despite having been the one to come up with the phrase "programme music", Frnza Liszt was not its inventor. Programme music has been in existence and practice ever since the 16th century, or probably even before then (Hoffman para. 3). To be able to trace its history, Frederick Niecks outlined six periods while citing the significant composers or musicians during its time. The first period was during the 16th century, a time when allusions were usually made to descriptive vocal compositions that were often inadequate and incorrect (F. Niecks 7). During the second and third quarter of this century, the descriptive vocal pieces of Clement Jannequin emerged. These were La Guerre or La Bataille (War), La Chasse du Livre (The Chase), Le Chant des Oiseaux (the Imitation of Animal Voices), and L'Alouette (Bird Voices) (F. Niecks 7). Battle pieces became the primary favorite then. A lot of works of this Genre may be named for Jannequin, as he was then described as the liveliest and brightest of the composers who in the 16th century attempted to compose for this genre (F. Niecks 8). In this period, a counterpart to Jannequin's La Bataille was Tomas Cimello's Battaglia in 1545 and Matthias Fiamengo's La Battaglia Taliana in 1551 (F. Niecks 9). On the other hand, Johannes Eccard's et Magnifico in 1589 depicted a scene of life in St. Mark's Square in Venice (F. Niecks 10). In this piece, five voices are heard that are simultaneously singing four various sets of words in four divergent melodies, that which is unsuccessful in portraying a coherent image (F. Niecks 10). During this early time, it is difficult to actually clearly state that the compositions may be recognized as programme music in its very essence. Frederick Niecks even noted that those may be programme music of the lowest kind in that there was merely mimicry of tones and noises instead of actual interpretation of moods and emotions (10). The second period, on the other hand, had instrumental music as its subject (F. Niecks 14). This period began, as outlined by Niecks, from the latter part of the 16th century to the start of the 18th century. Here, two musicians are held significant: John Mundy and William Byrd (F. Nieck 15). John Mundy's Fantasia portrays the following images in this order: Fair weather, Lightning, Thunder, Calm weather, Lightning, Thunder, Fair weather, Lightning, Thunder, Fair weather, Lightning, Thunder, and a clear day (F. Niecks 15). This piece has a primitive and childlike character, yet the images are hardly recognizable upon hearing it (F. Niecks 15). Meanwhile, William Byrd's battle piece entitled My Lady Nevells Booke depicts the following scenes: the march before the battle; the soldiers' summons; the march of footmen; the march of horsemen; then the trumpets; the Irish march; the bagpipe and the drone; the flute and the drum; the march to the fight; here the battle be joined; the retreat; then a galliard for the victory (F. Niecks 16). This piece was more remarkable and more interesting than Mundy's as the battle and the other images were more clearly recognizable (F. Niecks 16). The tones used were also very striking and outstanding than that of Mundy's. During the early 17th century, the dramatic genre of programme music also flourished, with credit to Claudio Monteverdi, its originator (F. Niecks 16). His Orfeo, performed in 1607 and published in 1609 holds a very important place in the history of programme music as the orchestral pieces, instrumental accompaniments, and interludes of the vocal pieces were very remarkable and striking in its composition (F. Nieck 16). In addition to this, the Italian musician Alessandro Poglietti's Capriccio on cock-crowing and hen-cackling gave an brilliant and exceptional imitation of animal voices (F. Niecks 21). This being, these early works, again, were noted as a low form of programme music. To proceed to the third period that which overlaps with the second period as it began in the 17th century and progresses to the mid 18th century, it is important to note how French musicians made use of vague titles (F. Niecks 31). These compositions, especially those of the French Harpsichord School of the 17th and 18th centuries, were often described as "pretty trifles, and that the titles are for the most part fancy titles" that are not serious types of programme music (F. Niecks 31). However, the works of Francois Couperin were considered masterpieces in that it was successful in tone-painting with very slight forms and light textures (F. Niecks 31). Couperin aspired to express a pleasing combination of sounds and tones, and this he was most notable for (F. Niecks 38). Despite the fact that Couperin, along with many notable composers in this period produced miniature pieces, their strife for sweet, playful, and dainty tones are very remarkable in the history and development of programme music (F. Niecks 40). The fourth period, however, was a time when programme music was being taken more seriously by musicians, composers, and listeners alike. The complexity of programme music during this period was as well being explored, with portrait-painting and expressiveness on a more ambitious note (F. Niecks 46). Most recognized during this period as a proponent of programme music was Antonio Vivaldi, whose Four Seasons in the 1720s became most popular, with its four violin concertos that were preceded by a 'program' in verse (Hoffman para. 3). This composition includes four sonnets with very distinct declarations of their content: La Primavera (Spring); L'Estate (Summer); L'Autunno (Autumn); and L'Inverno (Winter) (F. Niecks 61). Here, he makes use of characteristic accents and figures in his effort at external and internal tone-painting, where he emerges relatively successful compared to other composers of his time (F. Niecks 62). After Vivaldi was Francesco Geminiani who strived to represent an imagery on the thirteenth canto of Tasso "Jerusalem," which includes imageries on the arts of Ismeno, a pagan magician, and an enchanted forest, with each tree communicating with a living spirit to prevent its being cut down for the purpose of making battering-rams and other engines for carrying on the siege of Jerusalem (F. Niecks 63). These are only a few works that mark the third period. The fourth period was a complicated period that was marked by musicians like Bach, Mozart, and Haydn, among others (F. Niecks 65). Johann Sebastian Bach has been described as "the forerunner, the prophet that foresaw our epoch and our tastes." (qtd. in Hale 1). He focused himself on specific expression and did not settle for mediocrity or conventionalism (F. Niecks 55). In addition to this, his instrumental music was very intense in emotion and characterization, and wealthy in artistic expression that his works are seriously considered as invaluable in the history of programme music (F. Niecks 56). A perfect example of this would be his intricately painted description using instrumental accompaniment in the third part of his symphony entitled The Passion according to St. Matthew wherein the intolerance of the sheperds to witness for themselves what transpired in Bethlehem is very well-depicted (F. Niecks 57). The tone-painting of Joseph Haydn, however, was as well successful with its depiction of grand pictures, slight sketches, and descriptive touches that is most noticeable in his compositions The Creation and The Seasons (F. Niecks 73). The Creation begins with a portrayal of chaose, while The Seasons consists of depictions of transition from winter to spring, dawn, the peasants' joyous feelings at the rich harvest, and the thick mist with which winter begins (F. Niecks 74). Haydn has often been criticized as child-like and indulgent in his painting of scenes, emotions, and tones; however, his works still emerge as "genuinely artistic and sufficiently suggestive" (F. Niecks 74). Wolfgang Amadeus Mozart, on the other hand, used programme music in the overtures to his operas, in the entrances to his drama Thamos, Konig in Egypten, and some pieces from his opera Zaide (F. Niecks 78). It was, as a matter of fact, Mozart who gave the Overture its true meaning in that he was able to express the details of the actual plot (F. Niecks 79). His works may be observed as inspired by a serious of definite thoughts and impressions (F. Niecks 80). Richard Wagner further noted that "Without toiling to express what music neither can nor should express, the details and entanglements of the plot itself-which the earlier Prologue had endeavoured to set forth--he grasped the leading thought of the drama with the eye of a veritable poet, stripped it of all the inessential and accidental of the factual occurrence, and reproduced it in the transfiguring light of music as a passion personified in tones, a counterpart both justifying that thought and intelligibly explaining the dramatic action to the hearer's feeling." (qtd. from F. Niecks 79). The fifth period marked the emergence of early romanticists such as Carl Maria Von Weber, Franz Peter Schubert,and Loius Spohr, despite being noted as less important than the first two mentioned (F. Niecks 148). Carl Maria Von Weber plays a more significant part in the history and development in programme music than what he is actually credited for (F. Niecks 138). His Aufferderung zum Tanz (invitation to the dance) was spectacular and made quite an audience among both musicians and the public during its time (F. Niecks 139). Quite obvious in this piece is the story of courtship and love, along with youthful bliss - without any doubt romantic (F. Niecks 138). Franz Peter Schubert, despite being described as a man who did not have very much interest in literature, arts, and politics, was a great contributor to the development of programme music as well (Hale 261). Two of his works have hues of programme music such that of his Tragic Symphony (fourth symphony) and his Lebenssturme (Sotrms of life) (F. Niecks 145). Before the beginning of the popularization of romanticism, the musicians Boieldieu, Auber, Rossini, Kalkbrenner, Moscheles, Lowe, and Meyerbeer must be given credit to. The genius of Felix Mendelssohn canot be ignored in the history and development of programme music. As he was mostly regarded as a composer of absolute music, it was surprising how his contribution to programme music legitimated its existence as a genre (F. Niecks 164). His four concert overtures are proof to this. It contains the First Walpurgis Night, the Scotch, and the Italian Symphonies (F. Niecks 169). In addition to this, The Hebrides Overture was known to be his masterpiece in the genre pf programme music. Niecks further commented that "Wonderful imagination and delicate feeling are here presented with consummate art." (169) The three pianist composers Chopin, Henselt, and Heller are also recognized programme music creators during this fifth period. The sixth period, however, marks the emergence of modern and romantic programme music in the compositions of Liszt and Beethoven. Liszt's Faust symphony in three character pictures included (1) Faust, (2) Gretchen, and (3) Mephistopheles and the second part of Gretchen was then described as the most beautiful and most expressive in conveying the remorse and sadness of Gretchen (Hale 175). Liszt claimed that the idea of this symphony surfaced while he was in Paris and also due to inspiration from Berlioz's Damnation of Faust (Hale 175). As Liszt has been already discussed as the proponent for the term programme music and its most important contributor, it is now important to discuss the contributions of Beethoven, as they were many. Beethoven's Sixth Symphony in 1808 entitled The Pastoral is frequently regarded as the first great modern programmatic work (Hoffman para. 6). This pastoral symphony was many times cited and compared by Niecks to other composers both before and after his time. For instance, it has been said that the storm in the Pastoral Symphony is without hesitation more powerful, more developed, more interesting, and even more musical in composition than the other attempts at programme music (F. Niecks 356). In this piece, Beethoven himself made sure to stress that he aimed for "more expression of feeling rather than painting." (qtd. from Hoffman para. 6). Among other programme music compositions of Beethoven were Leonore, Egmont, and Coriolan Overtures (P. Niecks 232). Hector Berlioz, in addition to Beethoven, offered an intricate programme in his piece Symphony Fantastique in 1829 (Hoffman para. 6). In a nutshell, this composition involved a young musician who poisons himself because of his obssession with love (Hoffman para. 6). Other musicians and composers may be held significant in the history and development in programme music. For the purpose of mentioning their names and recognizing them as important contributors, they are: Robert Schumann, Bedrich Smetana, Camille Saint-Saens, Antonin Dvorak, Modest Musorgsky, Peter Tchaikovsky, Nikolay Rimsky-KoraskovIsaac albeniz, Claude Debussy, Richard Strauss, Paul Dukas, Alexander Scriabin, Sergei Rachmaninoff, and Manuel de Falla (Hoffman para. 5). Given the examples of the above mentioned composers and their works, it is hence apparent how experimentation in the genre of programme music was important. It was indeed a risk for these composers to hence pattern the form of their composition to a certain programme they have pictured in their minds. In addition to this, programme music, not matter how specific the title or distinctive the sounds, are always interpreted differently by various audiences. In this same context, composers may interpret the concept of programme music differently from each other (Hoffman para. 8). As Professor Niecks mentioned in his article: "in program music, things are possible both in regard to matter and form, which in absolute music, would be inadmissible." (232) Works Cited Hale, Philip. Philip Hale's Boston Symphony Programme Notes: Historical, Critical, and Descriptive Comment. Garden City NY: Doubleday Doran, 1935. Hoffman, Miles. Discover Classical Music. 1997. Chicago Symphony Orchestra. 29 April 2008. < http://www.cso.org/main.tafp=1,1,4,14>. Niecks, Frederick. Programme Music in the Last Four Centuries: A Contribution to the History of Musical Expression. London: Novello, 1907. Niecks, Professor. "Programme Music." The Musical Times 45.734 (1904): 232-234. Schmidt-Jones, Catherine. The Music of the Romantic Era. 2007. Connexions. 1 May 2008. < http://cnx.org/content/m11606/latest/>. Tiscali Reference. 2008. Helicon Publishing. 1 May 2008. . Read More