Music part II. a) Sonata form in the 1770s–80s (the Viennese Classical era) Outline of sonata form Introduction Exposition Development Recapitulation.

Music part II

a) Sonata form in the 1770s–80s (the Viennese Classical era)

Outline of sonata form

• Introduction

• Exposition

• Development

• Recapitulation

• Coda

b) Composers in Vienna and Paris and the concept of a “common

language”

• 9. LISTENING SELECTION: JOSEPH HAYDN, SYMPHONY NO. 85, “LA REINE DE FRANCE,” FIRST MOVEMENT

Haydn’s Paris symphoniesa) Dynamic interplay of

personalities,

“Sturm und Drang”

• the conventional translation is "Storm and Stress"

• individual subjectivity and, in particular, extremes of emotion were given free expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and associated esthetic movements.

the “galant”

• In music, Galant was a term referring to a style, principally occurring in the third quarter of the 18th century, which featured a return to classical simplicity after the complexity of the late Baroque era. This meant (in some implementations) simpler music, with less ornamentation, decreased use of polyphony (with increased importance on the melody), musical phrases of regular length, a reduced harmonic vocabulary (principally emphasizing tonic and dominant), and a less important bass line. It was, in many ways, a reaction against the showy Baroque style

• "It is indicative that Haydn, even in his old age, is reported to have said, 'If you want to know whether a melody is really beautiful, sing it without accompaniment.'" (Blume 1970 p. 19)

After the Bastille

1. LISTENING SELECTION: ROUGET DE LISLE, “

LA MARSEILLAISE” (ARR. BERLIOZ), VERSES 1–2

The Reign of Terror The trial and execution

of the king3.

LISTENING SELECTION: ROUGET DE LISLE, “CHANT DU NEUF THERMIDOR

” (ARR. BERLIOZ)

Counter-Reaction and War with

Other European Powers

ÉTIENNE MÉHUL, “LE CHANT DU DÉPART

”

http://www.youtube.com/watch?v=uahH3DAxTpE

The Chant du Départ (French for "Song of the Departure")

• is a revolutionary and war song written by Étienne Nicolas Méhul (music) and Marie-Joseph Chénier (words) in 1794. It was the official anthem of the First Empire.[1]

• The song was nicknamed "the brother of the Marseillaise" by Republican soldiers.

• It was presented to Maximilien Robespierre, who called it "magnificent and republican poetry way beyond anything ever made by the Girondin Chénier Its original title was Anthem to Liberty; it was changed to its present title by Robespierre.

The song is a musical tableau

Each of the seven stanzas is sung by a different character or group of characters:

The first stanza is the discourse of a deputy cheering his soldiers and encouraging them for the

fight for the Republic• Un député du Peuple

A deputy of the PeopleLa victoire en chantantNous ouvre la barrière.La Liberté guide nos pas.Et du Nord au MidiLa trompette guerrièreA sonné l'heure des combats.Tremblez ennemis de la FranceRois ivres de sang et d'orgueil.Le Peuple souverain s'avance,Tyrans descendez au cercueil.

La République nous appelleSachons vaincre ou sachons périrUn Français doit vivre pour ellePour elle un Français doit mourir.

Victory singingOpens for us the gatesLiberty guides our stepsAnd from the North to the SouthThe war trumpetSignals the hour of the fightTremble, enemies of FranceKings drunk on blood and prideThe sovereign People comes forthTyrants go down to your graves

The Republic is calling usLet us prevail or let us perishA Frenchman must live for herFor her a Frenchman must die

Chorus

• Chant des guerriers (Refrain)Song of the Warriors (Chorus)

• La République nous appelleSachons vaincre ou sachons périrUn Français doit vivre pour ellePour elle un Français doit mourir.

• The Republic is calling usLet us prevail or let us perishA Frenchman must live for herFor her a Frenchman must die

The second stanza is the song of a mother offering the life of her son to the fatherland.

• Une mère de familleA mother of a familyDe nos yeux maternels ne craignez pas les larmes :Loin de nous de lâches douleurs !Nous devons triompher quand vous prenez les armes :C'est aux rois à verser des pleurs.Nous vous avons donné la vie,Guerriers, elle n'est plus à vous ;Tous vos jours sont à la patrie :Elle est votre mère avant nous.(Refrain)

• Do not fear that our motherly eyes should weepFrom us begone, cowardly grief!We must triumph when you bear armsIt is kings who have to weepWe gave you lifeWarriors, it is no longer yoursAll your days belong to the MotherlandIt is your mother above all(Chorus)

Two old men • Deux vieillardsTwo old menQue le fer paternel arme la main des braves ;

Songez à nous au champ de Mars ;Consacrez dans le sang des rois et des esclavesLe fer béni par vos vieillards ;Et, rapportant sous la chaumièreDes blessures et des vertus,Venez fermer notre paupièreQuand les tyrans ne seront plus.(Refrain)

• May the fatherly iron arm, the hand of the bravesThink of us on the Field of Mars (battlefield)Bless with the blood of the kings and of the slavesthe arms blessed by your elderAnd bringing back homewounds and virtuescome and close our lidswhen tyrants are no more(Chorus)

The fourth stanza is sung by children exalting Joseph Bara and , children aged 12 and 13,

respectively, who had died for France: • Un enfantA childDe Barra, de Viala le sort nous fait envie ;

Ils sont morts, mais ils ont vaincu.Le lâche accablé d'ans n'a point connu la vie :Qui meurt pour le peuple a vécu.Vous êtes vaillants, nous le sommes :Guidez-nous contre les tyrans ;Les républicains sont des hommes,Les esclaves sont des enfants.(Refrain)

• The fates of Barra and Viala fill us with envyThey died, but they prevailedThe coward plagued with years never experienced lifeHe who dies for the People has livedYou are brave, we are tooGuide us against TyrantsRepublicans are men slaves are children(Chorus)

– Surrounded by Vendeans, Bara was ordered to shout "Long live Louis XVII"; he shouted "Long live the Republic" instead and was executed on the spot.

– Viala was killed by a bullet as he was trying to sabotage an enemy bridge. His last words were "I die, but I die for the Republic."

The boy's death was seized as a propaganda opportunity by Robespierre, who praised him at the Convention's tribune saying that "only the French have thirteen-year-old heroes" and had his remains transferred to the Panthéon. This version of the history of Joseph Bara is disputed and considered as a "republican myth" by some/many historians.

A Wife

• Une épouse A wife Partez, vaillants époux ; les combats sont vos fêtes ;Partez, modèles des guerriers ;Nous cueillerons des fleurs pour en ceindre vos têtes :Nos mains tresserons vos lauriers.Et, si le temple de mémoireS'ouvrait à vos mânes vainqueurs,Nos voix chanterons votre gloire,Nos flancs porteront vos vengeurs.(Refrain)

• Leave, valiant husbands! Battles are your feastsLeave, models for warriorsWe shall pick flowers to crown your headsOur hands shall braid laurelsAnd if the temple of memory (death)Should open for your victorious manesOur voices shall sing your gloryOur wombs shall bear your avengers(Chorus)

A Young Girl• Une jeune filleA young girlEt nous, sœurs des héros, nous qui de

l'hyménéeIgnorons les aimables nœuds ;Si, pour s'unir un jour à notre destinée,Les citoyens forment des vœux,Qu'ils reviennent dans nos muraillesBeaux de gloire et de liberté,Et que leur sang, dans les batailles,Ait coulé pour l'égalité.(Refrain)

• And we, sister of the heroes, we who of Hymenaiosignore the loveable knotsif, for uniting themselves some day with our destinya citizen would express the wishlet them come back in our wallsembellished with glory and libertyand that their blood, in battleswould have been spilled for equality(Chorus)

Three warriors• Trois guerriers Three warriors Sur le fer devant Dieu, nous jurons à nos

pères,À nos épouses, à nos sœurs,À nos représentants, à nos fils, à nos mères,D'anéantir les oppresseurs :En tous lieux, dans la nuit profonde,Plongeant l'infâme royauté,Les Français donneront au mondeEt la paix et la liberté.(Refrain)

• On the iron, before God, we swear to our fathersto our wives, to our sistersto our representatives, to our sons, to our mothersthat we shall annihilate oppressorsEverywhere, into the deep nightby sinking the infamous royaltythe French shall give to the worldpeace and liberty(Chorus)

Luigi Cherubini: Lodoïska; political prisoners, and the “rescue opera”

2. LISTENING SELECTION: FRANÇOIS JOSEPH GOSSEC, “HYMNE A LA STATUE DE LA LIBERTÉ

”

• From Enlightenment to Romanticism– 1. Philosophical differences

• a) The Romantic (anti-)hero: Goethe's Faust, Shelley's Frankenstein

• b) E. T. A. Hoffmann: the power of psychosis and the importance of Beethoven

– 2. Napoleon and the power of culture

– 3. LISTENING SELECTION: GASPARE SPONTINI: LA VESTALE, “MARCH OF THE PRIESTS” AND“THUNDERSTORM”/p>

• Gaspare Spontini - Born in Maiolati, spent most of his career in Paris and Berlin,

• During the first two decades of the 19th century, Spontini was an important figure in French opera.

• In his more than twenty operas, Spontini strove to adapt Gluck's classical tragédie lyrique to the contemporary taste for melodrama, for grander spectacle (in Fernand Cortez for example), for enriched orchestral timbre, and for melodic invention allied to idiomatic expressiveness of words.

• His single great masterpiece and success was La Vestale.[1]

• La vestale takes place in Rome about 269 BC.

– Beethoven and Napoleon: the Third Symphony, From “Napoleon” to “Eroica”

– 2. LISTENING SELECTION: BEETHOVEN, THIRD SYMPHONY (“EROICA”), SECOND MOVEMENT (OPENING)

– There are a lot of syncopations (stresses at unexpected times) and dissonances (unstable tone combinations), and wider pitch (highness or lowness of sounds) ranges and dynamics (loudness or softness in sounds) and heavier uses of accents (emphases on notes), to name a few deviations from the Classical era's typical way of writing a symphony.

Napoleon and Beethoven

• Originally the work was to be titled the “Bonaparte Symphony” (New Groves), as a tribute to Napoleon Bonaparte, the French Consul who had begun to radically reform Europe after conducting sweeping military campaigns across the continent. In 1804, Napoleon crowned himself emperor, a move which angered Beethoven. As legend has it, the composer ripped through the title page and later renamed the symphony the Eroica because he refused to dedicate one of his pieces to the man he now considered a “tyrant”. Nevertheless, he still allowed the published manuscript to carry the inscription, “composed to celebrate the memory of a great man,” despite dedicating the work to Lobkowitz. This has led historians and biographers to speculate on Beethoven’s feelings towards Napoleon ever since.

– 3. Beethoven and the French Revolution: Fidelio: the rescue opera updated

– 4. LISTENING SELECTION: BEETHOVEN, FIDELIO, ACT II, “GOTT! WELCH’ DUNKEL HIER!”

– http://www.youtube.com/watch?v=9wim0Fx0J4U

• Fidelio (Op. 72) is a German opera in two acts by Ludwig van Beethoven. It is Beethoven's only opera. The German libretto is by from the French of Jean-Nicolas Bouilly which had been used for the 1798 opera Léonore, ou L’amour conjugal by Pierre Gaveaux.

• The opera tells how Leonore, disguised as a prison guard named "Fidelio", rescues her husband Florestan from death in a political prison

• LISTENING SELECTION: BERLIOZ, SYMPHONIE FANTASTIQUE, 4TH MOVEMENT (“MARCH TO THE SCAFFOLD”)

• based on a novella Die Letzte am Schafott (The Last on the Scaffold), by Gertrud von Le Fort. Von Le Fort's story was based in turn on historical events which took place at a Carmelite monastery in Compiègne during the French Revolution On 17 July, 1794, in the closing days of the Reign of Terror led by Robespierre, sixteen Carmelite nuns of the Catholic Church were guillotined at the Barrière de Vincennes (nowadays Place de la Nation) in Paris

3. LISTENING SELECTION: POULENC, DIALOGUES OF THE CARMELITES, FINAL SCENE (“SALVE REGINA”)

Bibliography

• Mostly from Wikipedia