Music And Visual Art

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Modest Mussorgsky (1839-1881)

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Russian composer

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Modest Mussorgsky (1839-1881)

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Born into a wealthy family and studied piano and composition throughout his adolescence

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Modest Mussorgsky (1839-1881)

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Spent his career balancing his family’s declining estate with work asa composer

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Modest Mussorgsky (1839-1881)

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Wrote in many genres, operas, songs,choral works, piano pieces, and orchestral works

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Victor Hartmann (1843-1873)

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Russian artist

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Victor Hartmann (1843-1873)

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Raised by his aunt who’s husband was an architect in St. Petersburgh

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Victor Hartmann (1843-1873)

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Artist, architect, and set designer

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Victor Hartmann (1843-1873)

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Died of an aneurism at age 39.

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Victor Hartmann (1843-1873)

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His early death inspired an exhibition of 400+ works at The Academy of Fine Arts in St. Petersburgh in February, 1874.

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Impressionism & Symbolism

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Movement started in Paris in the late 1800’s

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Impressionism

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was a movement in visual art that concentrated on exploring colors and shapes, and not exact realistic depictions of scenes

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Symbolism

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was the parallel movement in literature. Instead of describing something or someone exactly, the writer used images of suggestion.

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Claude Monet, Auguste Renoir, Edgar Degas

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Impressionist Painters

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Impressionism

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movement became about moving away from pieces that were securely in a major or a minor mode. Music is more about subtlety and ambiguity. They also experimented with mixing non-western sounds into their compositions.

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Claude Debussy (1862-1918)

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French composer

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Claude Debussy (1862-1918)

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Studied at the Paris Conservatory (began at age 11

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Claude Debussy (1862-1918)

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Used new harmonic techniques in his works. Dissonance became a normal occurrence.

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Claude Debussy (1862-1918)

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Often used pentatonic scales

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Claude Debussy (1862-1918)

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Remembered as one of the most famous French composers of the early 20th century, but his output of music was comparatively small.

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Prelude to ‘The Afternoon of a Faun,’ 1894

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Orchestral work inspired by a pastoral poem by Stéphane Mallarmé

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Prelude to ‘The Afternoon of a Faun,’ 1894

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The story is of a faun (half man, halfgoat) and his actions in the spring time cavorting around theforest alone or with nymphs

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Prelude to ‘The Afternoon of a Faun,’ 1894

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Uses chromatic scale, extended chords, and new ‘colors’ of dissonance

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Prelude to ‘The Afternoon of a Faun,’ 1894

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The piece is a sonic representation of the marriage of Impressionism with Symbolism

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Vaslav Nijinsky (1889-1950)

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was a dancer and choreographer with the Ballet Russe (remember Rite of Spring?)

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Vaslav Nijinsky (1889-1950)

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suggestive choreographycaused the first of many scandals with Parisian audiences

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Rudolph Nureyev (1938-1993)

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was born and trained in Russia, but defected to the West in 1961

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Rudolph Nureyev (1938-1993)

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Recreated Nijinsky’s original production in the 80’s

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Expressionism

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A movement in art that began in Germany around 1905 and lasted until about 1920

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Expressionism

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Eventually extended to include music, dance, architecture, and theater

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Expressionism

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Was an exploration of the human psyche and communication of human spiritual life

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Expressionism

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It also dealt with the new relationship of trust between man and the world

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Expressionism

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Instead of producing art based on visible things, artist Paul Klee described Expressionism as the movement to ‘make things visible.

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Expressionism

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Art from this movement is often assertive and distorted with symbolic colors and shapes

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The Emancipation of Dissonance

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Expressionist composers considered their work to be the next natural step in the progression of music because of this concept

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The Emancipation of Dissonance

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Dissonance (tension) became as normal to use as consonance (rest) with this

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The Emancipation of Dissonance

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Dissonances could even be used to end phrases or pieces as long as the ending was less dissonant that what came before it.

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The Emancipation of Dissonance

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Composers soon discovered that there was even more freedom for dissonance if they dispensed with the major/minor tonality system dealt with

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Atonality

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the absence of a tonal framework (no key)

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Arnold Schoenberg (1874-1951)

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Austrian composer

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Arnold Schoenberg (1874-1951)

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Trained by composer Alexander von Zemlinsky who saw Wagner’s music as the ultimate culmination of music and drama

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Arnold Schoenberg (1874-1951)

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Became a teacher himself and taught Alban Berg and Anton Webern. All three composers are considered the leaders of 20th century atonal style

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Arnold Schoenberg (1874-1951)

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Output falls into three categories

– Early works: Post-Wagnerian Romanticisim (still used key signatures)

– Middle Period: Atonal Expressionism (no key signatures)

– Later Works: Serialism (a very specific method of atonal composition)

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Pierrot lunaire, 1912

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Song Cycle of 21 songs in 3 parts (7 songs per part)

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Pierrot lunaire, 1912

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Based on collection of poems by Albert Giraud, although Schoenberg used a German translation of the poems

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Pierrot lunaire, 1912

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Written for female voice and chamber ensemble–Piano

–Flute and piccolo

–Clarinet and bass clarinet

–Violin and viola

–cello

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Pierrot lunaire, 1912

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Atonal composition

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Pierrot lunaire, 1912

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Inspired by the changeability of the traditional improvised character of Pierrot

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Sprechstimme

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speech-like melody used in vocal part developed by Schoenberg and Albertine Zehme

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Klangfarbenmelodie

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literally ‘tone color melody’ Schoenberg's own word for placing each note of the melody in a different instrument to depict the shifting of light from the moon

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Part I of Pierrot

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Pierrot, a sad clown figure, is obsessed with the moon, having drunk moonwine; his loves, fantasies, and frenzies are exposed.

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Part II of Pierrot

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Pierrot becomes ridden with guilt and wants to make atonement.

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Part III of Pierrot

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Pierrot climbs from the depths of depression to a more playful mood, but with fleeting thoughts of guilt; then he becomes sober.

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Pierrot Lunaire Part III, no. 18 ‘The Moonfleck’

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Each song is in rondeau form. The opening line from each poem returns in the middle, then again at the end of each song

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Pierrot Lunaire Part III, no. 18 ‘The Moonfleck’

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Pierrot is trying to remove a white spot of light from his dark black jacket

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Pierrot Lunaire Part III, no. 18 ‘The Moonfleck’

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The instruments create a 3-voiced fugue that is passed around through the instruments, sometimes played in smaller subdivisions or backwards from it’s original form

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Alban Berg (1885-1935)

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Born in Vienna

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Anton Webern

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Student of Arnold Schoenberg with Alban Berg

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Alban Berg (1885-1935)

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Studied with Schoenberg at 19

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Alban Berg (1885-1935)

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Was a tireless advocate of Schoenberg’s methods and became a teacher himself in addition tocomposing

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Alban Berg (1885-1935)

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Served in the military during WWI

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Alban Berg (1885-1935)

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Died of complications originating from an insect bite

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Albertine Zehme

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- helped develop Sprechstimme

- the vocalist/actress who commissioned and premiered the work of Pierrot

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Albert Giraud

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Pierrot lunaire, 1912 was based on poems by this person

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Stéphane Mallarmé

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Prelude to ‘The Afternoon of a Faun,’ 1894 was an orchestral work inspired by a pastoral poem by:

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Lyrics to Pierrot

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With a fleck of white

from the bright moon on the back of his black jacket.

Pierrot strolls about on the

mild evening seeking his fortune and adventure.

Suddenly something strikes

him as wrong, he checks his

clothes and sure enough he finds a fleck of white from the bright moon on the back of his black jacket.Damn! He thinks: that’s aspot of plaster! Wipes and wipes, but – he can’t get it off. and so goes on his way,his pleasure poisoned, rubs and rubs till the early morning—a fleck of moonlight from the bright moon

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1889 Worlds Fair

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- the French composer Claude Debussy first heard Javanese gamelan music, performed by an ensemble from Java. This influenced some of his later compositions.

- Was held in Paris

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Prelude to "The Afternoon Faun" Composer

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Claude Debussy

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Prelude to "The Afternoon Faun" Time Period

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Romantic

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Prelude to "The Afternoon Faun" Genre

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Symphonic Poem

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Prelude to "The Afternoon Faun" Texture

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Homophonic

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Prelude to "The Afternoon Faun" Form

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Free Ternary (A-B-A)

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Pierrot lunaire, No. 18. Der Mondfleck ("The Moonflect") Composer

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Arnold Schoenberg

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Pierrot lunaire, No. 18. Der Mondfleck ("The Moonflect") Time Period

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Modern

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Pierrot lunaire, No. 18. Der Mondfleck ("The Moonflect") Genre

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Song Cycle

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Pierrot lunaire, No. 18. Der Mondfleck ("The Moonflect") Texture

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Contrapuntal (Two or More Melodic Lines)

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Pierrot lunaire, No. 18. Der Mondfleck ("The Moonflect") Form

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Poetic (Rondeau: -A refrain is repeated three times

- At beginning, middle, end