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Late Romantic Era Homework- Due May 9, 2021 Read the Late Romantic Reading Assignment

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Late Romantic Era Homework- Due May 9, 2021 Read the Late Romantic Reading Assignment. View the power points for both Smetana and Dvorak. Watch the Video on Dvorak. Answer ALL questions: 1. Write a short essay on why you think the 2 composers we have learned about this week felt so strongly about expressing Nationalism in their compositions “My Country” and “From the New World”. 2. What are the elements of Nationalism demonstrated in each piece? 3. Do you think this was politically risky? If so, why? 4. Look up the term “Exoticism” in the glossary. Some would argue that Dvorak was really engaged in musical “Exoticism” and not “Nationalism” when he wrote the Symphony No. 9. Why would they say this?? Wasn’t he just trying to compose the great American symphony? 5. Why do you think Dvorak chose to quote Native-American and African-American folk melodies in the Symphony No. 9 to teach Americans how to find their own Nationalistic sound? Incidentally, do you know what kind of music IS a purely American invention?? Its Jazz! ANTONIN DVO?ÁK 1841-1904 BOHEMIA • BOTH COMPOSERS SMETANA AND DVORAK COME FROM BOHEMIA. • IN FACT, WHEN SMETANA WAS THE DIRECTOR OF PRAGUE’S PROVISIONAL THEATER IN 1866, THE PRINCIPAL VIOLINIST THERE WAS NONE OTHER THAN ANTONIN DVORAK! DVORAK • DVORAK WAS TRAINED AS A CHURCH ORGANIST AT THE PRAGUE ORGAN SCHOOL AND BEGAN TO SHOW TALENT AS A COMPOSER IN THE LATER 1860’S. • HE DID NOT RECEIVE ATTENTION UNTIL HE WON THE AUSTRIAN STATE STIPENDIUM IN 1874. • • HE TRAVELED THROUGH ENGLAND AND RUSSIA. FROM 1892-1895 HE TRAVELED TO THE UNITED STATES. NATIONALISM • DVORAK AND SMETANA BOTH WERE COMPOSERS OF NATIONALISM. • DVORAK COMPOSED MANY SLAVONIC DANCES THAT USED THE FOLK MUSIC OF HIS NATIVE COUNTRY AND SURROUNDING REGIONS. • HE COMPOSED IN ALMOST EVERY MAJOR GENRE OF THE TIME INCLUDING ORATORIOS AND OPERA. COMING TO AMERICA • MOST OF HIS MOST WELL-KNOWN WORKS WERE COMPOSED DURING THE 3-YEAR PERIOD WHEN HE LIVED IN NEW YORK AS THE DIRECTOR OF THE NEW NATIONAL CONSERVATORY OF MUSIC IN NEW YORK CITY. • THE MOST FAMOUS WAS THE SYMPHONY NO. 9 IN E MINOR, OP. 95. • THIS WAS ALSO CALLED “FROM THE NEW WORLD” BUT IT WAS NOT NAMED THAT BY THE COMPOSER. SYMPHONY NO. 9 • THIS IS A CLASSICAL-STYLE SYMPHONY THAT FOLLOWS THE TYPICAL MOVEMENTS OF THE CLASSIC SYMPHONY. • • • • 1. ADAGIO 2. LARGO 3. SCHERZO 4. ALLEGRO MOVEMENT 1 • • • MOVEMENT 1 – ALLEGRO • MANY CRITICS SAW THIS MUSIC AS BEING INFLUENCED BY HIS AMERICAN SURROUNDINGS. • DVORAK SAID HIMSELF, “THOSE WITH SENSITIVE NOSES WILL DETECT THE INFLUENCE OF AMERICA.” THIS MOVEMENT IS IN SONATA-FORM IT CONTAINS FRAGMENTS OF A NEGRO SPIRITUAL “SWING LOW SWEET CHARIOT” IN IT. USING THE “FOLK” MUSIC OF AMERICANS • DVORAK EDUCATED HIMSELF WITH AMERICAN MUSIC WHILE WRITING THIS MUSIC. • HE LISTENED WITH GREAT INTEREST TO THE AFRICAN-AMERICAN SINGER HARRY BURLEIGH • IN ONE OF HIS SUMMER VISITS TO SPILLVILLE, IOWA (WHICH HAD A LARGE COMMUNITY OF CZECHS) HE ARRANGED TO OBSERVE THE SINGING AND DANCING OF LOCAL NATIVE AMERICAN INDIANS. MOVEMENT 1 Exposition • • • • • Slow Intro Theme 1-(upward notes) Bridge Theme 2-(Native American dance tune) Theme 3-(Swing Low) DEVELOPMENT Development • Theme 3- Swing Low • Theme 1- Upward notes RECAPITULATION AND CODA Recapitulation • Theme 1 • Theme 2 • Theme 3 Coda • Theme 3 MOVEMENT 1 Expo • • • • • Intro Theme 1 Bridge Theme 2 Theme 3 Develop • Theme 3 • Theme 1 Recap • Theme 1 • Theme 2 • Theme 3 Coda • Theme 3 AMERICAN INDIANIST MOVEMENT • NOW THAT YOU HAVE MUSICAL LISTENING EXPERIENCE WITH THE CLASSIC ERA AND SPOTTING THEMES IN THE SONATA FORM, I HOPE YOU HAVE EQUAL EASE IN SPOTTING THE THEMES HERE. • ARE YOU ABLE TO RECOGNIZE THE SWING LOW SWEET CHARIOT THEME? • DOES THEME 2 SOUND AS IF IT HAS A “NATIVE AMERICAN FLARE” TO IT? • REMEMBER THAT IN BOSTON, THE “INDIANIST” MOVEMENT IN MUSIC BECAME EXTREMELY POPULAR AND MANY PIECES WERE SUDDENLY COMPOSED IN A STEREOTYPICAL MANNER. CONSIDER THIS… • • LISTEN TO ALL THE MOVEMENTS OF THIS SYMPHONY! • THE 3RD MOVEMENT OPENS LIKE THE 2ND MOVEMENT OF BEETHOVEN’S 9TH SYMPHONY! • THE 4TH MOVEMENT OPENS LIKE THE SOUNDTRACK FROM THE MOVIE “JAWS”. (REMEMBER THAT ONE?) YOU WILL HEAR ANOTHER HARRY BURLEIGH SONG “GOING HOME” HIGHLIGHTED IN THE 2ND MOVEMENT. COMBINING ERAS DVORAK SUCCESSFULLY COMBINED 3 ERAS INTO ONE PIECE OF MUSIC! • • • CLASSIC ERA FORM (SONATA-FORM) ROMANTIC ERA NATIONALISM 20TH-CENTURY USE OF FOLK MUSIC IN A HIGH ART GENRE. (THE 20TH CENTURY WILL POPULARIZE THIS TYPE OF COMPOSITION) DVORAK END OF POWER POINT BED?ICH SMETANA 1824-1884 LOW ART/HIGH ART • Smetana is from the Kingdom of Bohemia (now part of the Czech Republic). • He was the first composer to use folk song as a basis for high art compositions. • At the age of 5 he was good enough to take part in a Haydn string quartet. By age 8 he was composing. • He 19 before he actually received any formal training in music. A SAD END • He was intrigued by the idea of writing music as an instrument of patriotism. • Toward the end of his life, like Beethoven, he went deaf, but also lost his sanity and became mad. • He lost his memory and speech and was put in an asylum where he died on May 12, 1884. 6 SYMPHONIC POEMS • This set of 6 symphonic poems is the most significant of Smetanta’s orchestral works. • Ma Vlast (My fatherland) • 1. Vyšehrad • 2. The Moldeau ? • 3. Šarka • 4. From Bohemia’s Woods and Fields • 5. Tabor • 6. Blanik SYMPHONIC POEM A symphonic poem can also be called Tone Poem. • Symphonic Poem- programmatic composition for orchestra in one movement, which may have a traditional form (such as sonata-allegro, or rondo) or an original irregular form. SYMPHONIC POEM We will listen to the 2nd symphonic poem from the set of 6 known as “the Fatherland” (MaVlast) This piece can be heard independently of the others. This piece is a one movement symphony titled “The Moldeau” • Smetana describes this piece in a writing The composition describes the course of the Vltava, starting from the two small springs, the Cold and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer’s wedding is celebrated, the round dance of the mermaids in the night’s moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John’s Rapids; then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Labe (or Elbe, in German). • He describes 9 scenes in which the music will depict. SCENES IN THE MOLDEAU • 1. Two Springs • 2. The River Moldeau • 3. Forest Hunt • 4. Peasant Wedding (personal fav) • 5. Moonlight dance of the water nymphs • 6. The River Moldeau • 7. The Rive Rapids • 8. The River Rapids at their wildest point • 9. Vyšehrad (Arrival at The Castle ) TIME STAMPS • 1. Two Springs 0:00-1:11 • 2. The River Moldeau (Main Theme) 1:12-3:14 • 3. Forest Hunt 3:15-4:10 • 4. Peasant Wedding 4:11-5:48 • 5. Moonlight dance of the water nymphs 5:49-9:05 • 6. The River Moldeau 9:06-10:04 • 7. The Rive Rapids 10:05-11:40 • 8. The River Rapids at their wildest point 11:20-11:40 • 9. Vyšehrad (Arrival at The Castle) 11:40-end “LISTEN” TO THE SCENES • As you listen, follow the listening guide in your text. • Make a note of your favorite “Scene”. SUMMER VACATION • This piece can easily be described as a music video without the video. • If you can imagine being on a boat, travelling down the river (As Smetana was), you can imagine the scenes you might see on shore and down the waterway of the river. • This is what the composer is doing… setting up a You-Tube of his summer vacation. IMAGINE… • He gave you the images and the soundtrack, now you only have to imagine what it might have looked like as you listen to the piece. • The composer has written a slight pause in between “scenes” in order to allow the listen to shift their focus to the next scene. THE MOLDEAU • End of power point