Music 271: 2/6/07 II: The establishment in the US of European Art Music at the top of a musical hierarchy: “The sacralization of European Art Music: (Crawford Ch. 15) A: Four Major developments between the end of the Civil War and the beginning of WWI: • Establishment of conservatories of music (Modeled after Central European schools) 1. Oberlin Conservatory (1865) 2. New England Conservatory, Cincinnati, Chicago Academy of Music (1867) 3. Peabody Conservatory (1868) 4. New York College of Music (1878) 5. National Conservatory of Music (1885) 6. Institute of Musical Art (1905) - merges into Julliard School of Music (1926) • Concert halls and theatres 1. 1857: Academy of Music, Philadelphia 2. 1878: Cincinnati’s Music Hall 3. 1882: The Metropolitan Opera House 4. 1889: Chicago’s Auditorium 5. 1891: Carnegie Hall 6. 1900: Symphony Hall in Boston • Formation of professional orchestras 1. 1881: Boston Symphony Orchestra 2. 1891: Chicago Symphony Orchestra 3. 1895: Cincinnati Symphony 4. 1900: Philadelphia Orchestra 5. 1918: Cleveland Symphony 6. 1923: New York Philharmonic • Academic programs of music B: The role of John Sullivan Dwight of Boston: Dwight’s Journal of Music:

Music 271: 2/23/07 II: Richard Wagner (1813-1883): his philosophy concerning operatic expression: • Had visions of a new music drama • Based upon the clarified elements of opera as he saw them III: Wagner’s conception of the Gesamtkuunstwerk* and the role of the orchestra: (GB p.59) (Bonds p. 474) • Orchestral material must focus the attention on the characters of the opera and their dramatic situation • Orchestra must also suggest to the audience the character’s emotions even when the character has not expressed them yet A: The purposes of the Leitmotif (Plural: Leitmotiven) (Leit = to lead) • Small musical but recognizable melodic/harmonic unit with a distinct rhythm • Can be sung or played B: Representative Leitmotiven in Tristan und Isolde • The love potion leitmotif - first seen in mm. 1-40 of the prelude • Act I, Scene 5: The motiv is defined by the text: Isolde: “Ich trink zu dir” • Act II, Scene 1: Implications of the love potion’s effect on Isolde: the motiv as accompaniment *Gesamut = Complete or Total Kunst = Art Werk = Work IV: The establishment in the United States of European Art Music at the top of a musical hierarchy: “The Sacralization of European Art Music”: A: Crawford’s Discussions (Ch. 8 & 15) (Ch. 18-19) • Lowell Mason (1792-1872) • Andrew Law argued that European music was superior to the American psalmody (p. 98) B: Four major developments between the end of the Civil War and the start of WWI • The intense cultivation of European art music in America: • Establishment of conservatories of music modeled on the European style • Construction of theatres and concert halls • Formation of permanent professional orchestras (1842) (1881-1932) • Formation of academic programs in music (Music departments) (Bonds p. 389)

Music 271: 2/23/07 II: Richard Wagner (1813-1883): his philosophy concerning operatic expression: • Had visions of a new music drama • Based upon the clarified elements of opera as he saw them III: Wagner’s conception of the Gesamtkuunstwerk* and the role of the orchestra: (GB p.59) (Bonds p. 474) • Orchestral material must focus the attention on the characters of the opera and their dramatic situation • Orchestra must also suggest to the audience the character’s emotions even when the character has not expressed them yet A: The purposes of the Leitmotif (Plural: Leitmotiven) (Leit = to lead) • Small musical but recognizable melodic/harmonic unit with a distinct rhythm • Can be sung or played B: Representative Leitmotiven in Tristan und Isolde • The love potion leitmotif - first seen in mm. 1-40 of the prelude • Act I, Scene 5: The motiv is defined by the text: Isolde: “Ich trink zu dir” • Act II, Scene 1: Implications of the love potion’s effect on Isolde: the motiv as accompaniment *Gesamut = Complete or Total Kunst = Art Werk = Work IV: The establishment in the United States of European Art Music at the top of a musical hierarchy: “The Sacralization of European Art Music”: A: Crawford’s Discussions (Ch. 8 & 15) (Ch. 18-19) • Lowell Mason (1792-1872) • Andrew Law argued that European music was superior to the American psalmody (p. 98) B: Four major developments between the end of the Civil War and the start of WWI • The intense cultivation of European art music in America: • Establishment of conservatories of music modeled on the European style • Construction of theatres and concert halls • Formation of permanent professional orchestras (1842) (1881-1932) • Formation of academic programs in music (Music departments) (Bonds p. 389)

Music 271: 2/21/07 II: German Opera: (Bonds p. 469) A: From Mozart to Weber • Early German operas had Italian texts (Mozart and Haydn) • Mozart composed 2 Germanic operas (Abduction from the Seraglio (1782) & The Magic flute (1791)) • Beethoven’s Fidelio (1814) B: Karl Maria von Weber: Biographical Sketch • Born in 1786 and died in 1826 • Composed 3 Operas (Euryanthe (1823) & Oberon (1826)) • Known for instrumental music as well • Was primarily a conductor in Prague and Dresden C: Der Freischütz: The First German Romantic Opera • Completed in 1820, 1st performed in 1821 1. Romantic Elements (GB p. 58) • Conflict between good and evil - Good prevails • Role of Nature • Supernatural elements • Redemption of the hero by the heroine’s prayers and self-sacrifice 2. Sources of Unity • How to transform the opera into something more • For the first time, his overture was based around the themes of the 2 main characters • Use of orchestration to portray symbols (Horns = hunting) • CM = Good Cm = Evil • Post WWII Hollywood scores used the German Romantic opera sound III: Richard Wagner - Part I: (Bonds p. 482-82) • Born 1813 • Wagner’s operatic influence was greatest • He was a primarily an opera composers • Wrote a treatise concerning opera and it flaws, as well as his list of reforms • Post-Romantic period 1850-WWI (1914) • “Instrumental music cannot paint pictures” • Believed that he was superior to all of humanity • Also believed that operas before him never attained a sense of unity “The elements of Wagnerian Music Drama” (Bonds p. 469-481) • The idea of the Gesamtkunstwerk • Drama as “Deeds of Music Made Visible” • The Leitmotiv • The relationship of voice and orchestra • The Structure of the Dramatic Text • Endless Melody

Music 271: 2/19/07 II: Concerning European Opera: A: Two separate discussions to be synthesized: Bonds and Crawford: (Bonds p. 459-481) (Crawford p. • Opera was imported to America • Jenny Lynn (sp?) “Swedish Nightingale” influenced the role of women in music in America B: Three National approaches: • Italians and Germans were most influential, France as much C: Italian Opera in the 19th Century: 1. Four “generations” of composers • Gioacchino Rossini (1792-1868) • Gaetano Donizetti (1797-1848) & Vincenzo Bellini (1801-1835) • Guiseppe Verdi (1813-1901) • Giocomo Puccini (1858-1924) 2. The Italian opera libretto (script of the opera) of the first half of the 19th-century: two levels of conflict • Dramas in the Early half of the 19th Century displayed the conflict • Love triangles between people • Political conflict based on the desire of Italians for a unified nation • Bellini’s Norma (1831) - Love between a Druid priestess and a Roman officer set during the Roman occupation of Gaul, mirrors the conflict in Italy under the rule of various larger empires • Italy unified in 1871 3. The changing map of Europe: an indicator of political content of the Italian opera: (Bonds pp. 307, 385) D: Two musical traits of Italian opera: • Recitative and Aria served similar functions as in previous operas • Notion that the Recitative should be accompanied by the full orchestra instead of just a harpsichord • Harpsichord fell into obscurity

Music 271 2/16/07 II: The emerging role of women composers in the 19th Century: Fanny Mendelssohn Hensel (1805-1847): All central European Romantic composers born within a decade of each other • Composed over 400 compositions at best guess • Primarily songs and piano works, as well as choral and other orchestral music • Organized and presided over concerts in Berlin (began in 1831) • Was principal pianist and conductor at these concerts (Sunday afternoons) Mendelssohns were wealthiest Jewish family in Berlin Mendelssohns owned a concert hall on their estate that sat 100 people • Her husband (Wilhelm Hensel) encouraged her to publish her own music III: Louis Moreau Gottschalk: • Born 1829 • Wrote primarily keyboard character pieces • Lived in New Orleans (spoke French and Spanish) • Began to play piano at age 3, and sent to study music in Paris at 13 and was performing in public by 16 • Returned to New York in 1856 Early works showed the influence of Chopin, but later works showed influence of New Orleans culture • Went to the Place Congo to absorb the African musical sound • 1851 - Berlioz commented on Gottschalk’s music • Compositions include Bomboula, and The Banjo

Music 271 2/16/07 II: The emerging role of women composers in the 19th Century: Fanny Mendelssohn Hensel (1805-1847): All central European Romantic composers born within a decade of each other • Composed over 400 compositions at best guess • Primarily songs and piano works, as well as choral and other orchestral music • Organized and presided over concerts in Berlin (began in 1831) • Was principal pianist and conductor at these concerts (Sunday afternoons) Mendelssohns were wealthiest Jewish family in Berlin Mendelssohns owned a concert hall on their estate that sat 100 people • Her husband (Wilhelm Hensel) encouraged her to publish her own music III: Louis Moreau Gottschalk: • Born 1829 • Wrote primarily keyboard character pieces • Lived in New Orleans (spoke French and Spanish) • Began to play piano at age 3, and sent to study music in Paris at 13 and was performing in public by 16 • Returned to New York in 1856 Early works showed the influence of Chopin, but later works showed influence of New Orleans culture • Went to the Place Congo to absorb the African musical sound • 1851 - Berlioz commented on Gottschalk’s music • Compositions include Bomboula, and The Banjo

Music 271: 2/14/07 II: Piano literature of the Romantic Period: A. The 18th Century Perspective: Kenner und Liebhaber: the professional and the amateur performer: • The amateur was often a woman • Virtually no difference between the abilities of the professional and the amateur B. The social customs of amateur music-making in the 19th Century: • Works were never written for amateurs that they couldn’t play C. “House Music” (Ger. Hausmusik) vs. “Concert Music”: • Women were expected to cook, sew, and play the piano for their home • More music was heard and performed at home than in public • Hausmusik included to chamber music, the art song, and the keyboard character piece *The Keyboard Character piece (GB p. 52-53) (Bonds p. 439) Usually 1 movement Form is derived from the minuet, and is in ABA (and variations) Music for the amateur to perform, as well as the professional Beethoven: Bagatelles Op. 125 is an example (Bagatelle is French for small jewel) Thousands of these were composed

Music 271: 2/12/07 II: Mark Bonds on the Art Song and Hausmusik: Ch. 16 (p.432) 2 new genres for expression of Romantic values, of which art song was one Rise of domestic music making - art song and piano character piece were primary compositions Amateur music makers were mostly women of the middle class in the 19th century III: Robert Schumann (1810-1856), Piano Music and Art Song: Money was in the piano parlor music 23 opera (publications) of keyboard music Switched to song after winning the court case against his father in-law 1840-1841 - “Liederjhar” Year of song More definite expression of ides found in poems was perhaps a reason for this switch IV: Dichterliebe: Schumann’s Opus 48: p.435 Poet of the settings was Heinrich Heine May 12, 1840 - began setting the 20 poems Finished setting on May 21, 1840 Eventually dropped 4 of the settings Falling 3rds in the 2nd setting is the nightingale iii-V-I (f#-A-D) - 1st three settings' tonality