Structure in Western Classical

8/10/2019 Structure in Western Classical

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Area of Study 1:

Structure in

Western Classical

music 16001899This first Area of Study takes in just under three hundred years ofmusic history during which time musical styles and conventionschanged radically.

In the course of this period, the invention and evolution of instrumentstook place along with the formation of standard musical ensemblessuch as the orchestra, string quartet and so on. Large scale musicalstructures became standard too, such as the orchestral symphony, thesolo sonata, concerto for soloist and orchestra, as well as several largescale vocal forms of opera, oratorio and cantata all became standard.

Set-worksThe three set works you will explore in this Area of Study are indifferent musical forms, each one drawn from one of the threeprincipal musical periods:

The Baroque Era (c.1600-1730)Set work 1: Chorus And the Glory of the Lord from the oratorioMessiah by G .F .Handel (1685-1750)

The Classical Era (c.1750-1830)Set work- Symphony no. 40 in G minor (1st movement) byW. A. Mozart (1756-1791)

The Romantic Era (c.1800-1900)Set work- Piano prelude Raindrop Prelude in Db major by F. Chopin (1810-1849)


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The Baroque eraThe Baroque era (c.1600-1730) witnessed a new exploration of ideas andinnovations in the arts, literature and philosophy. Italy was at the hub of newculture and led the way when it came to exploring new ideas and fashions.

The word baroque comes from the Portuguese for pearl and was used inreference to the ornate architecture and elaborate gilded paintings, frescoesand designs that covered the interior walls and ceilings of German andItalian churches of the period. One particular aspect of this style that madeits way into the music was the emphasis on an ornamented or decorativemelody line.

The most well-known composers of the baroque period were JohannSebastian Bach (1685-1750), George Frederic Handel (1685-1759), Henry

Purcell (c.1659-1695) and Antonio Vivaldi (1678-1741). There were manyothers too, but the set work that you will be tested on in the exam focuseson a work by George Frideric Handel.

a of Study 1: Western Classical Music 1600-1899

In the study of this set work you will learn about:

the Baroque period and the main hallmarks of the style

some background to the life and works of G.F. Handel

how the chorus And the Glory of the Lord from Messiah.isconstructed through an analysis of the music.

Chorus: And the Glory of the Lordfrom the oratorio Messiah (1742)

Handel was born in Germany in 1685 and from the age of 18devoted his life to music. In 1707 Handels first serious opera Rodrigo - was performed. Success followed and in 1710 hereturned to Hanover to be appointed Kapellmeister to theElector. As part of this role, he was given permission to takeup a years leave in London, England. He spent the rest of hislife in this country and it was during this time that he wrotesome of his finest instrumental works, especially the overturesand concerti grossi. When his employer, the Elector of Hanover,succeeded the childless Queen Anne and became George Iof England, Handel became his Royal Composer. He wrotethe Water Music (1717) to accompany the Kings triumphantprocession up the River Thames. Towards the end of his lifehis sight failed him and he died in 1759 and was buried in

Westminster Abbey.

George Frideric Handel (1685-1759)

George Frideric Handel (1685-1759)


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This chorus, like most of the other choruses in Messiah, is built up on a series of musicalideas each relating to a separate line of the text. Handels practice was to state each idea asa single line then to develop the idea in various ways. In this chorus, we can identify fourideas.

1 Listen to the music and follow the four ideas as follows.

1 And the glory of the Lord

This short theme has two characteristic features, namely the first three notes outline atriad (A major) and the second feature is a stepwise scale ending. The setting of the wordsis syllabic (one note per syllable).

2 Shall be revealed

This is built up using two one bar descending sequences and is a melismatic (severalnotes to a syllable) setting of the word revealed.

3 And all flesh shall see it together

This is a repetitive idea consisting of three statements of the descending fourth idea.Because it is repeated like this, it gives the impression of a firm statement!

4 For the mouth of the Lord has spoken it

The fourth idea is characterised by long (dotted minims) repeated notes. They have atheatrical feel, hammering home the conviction that the Lord has spoken it. To achievethe strength of the statement, Handel doubles the part with tenors and basses!

All four of these short ideas are contrasted, so that when Handel combines them together,each melody with its own character and shape can be clearly heard.

2 Now follow the close analysis of this piece on pages 5-9 of the student book beforetackling the listening and appraising questions that follow on page 10.

Set work 1: And the Glory of the Lord

Listening: four ideas in And the Glory of the Lord

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Barnumbers

Musical features Keys used

1-11 Orchestral introduction in which the first two melodic ideas are stated.The lively triple time dance tempo gives the feeling of one-in a bar.Several features to note in the introduction:

The introduction ends with a perfect cadence in the tonic key of A

Note that, in terms of the role and function of the orchestralaccompaniment throughout the whole extract, the instruments doublethe voice parts. The music throughout the extract too is driven on

A major

in the bass part.

A major

two, one bar descending sequences on the word revealed.

A major modulating at

using chords

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At this point the first idea and the glory is combined with the second

interest and is a feature of the whole movement.

Several perfectcadences in thedominant key in this

1 Listen to the recording on the audio CD and use your Anthology to follow the analysisbelow bar-by-bar. Then answer the questions that follow on page 10.

Analysing the set work: And the Glory of the Lord


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Listening and appraising questions: And the Glory of the Lord

Now that you have listened to And the Glory of the Lord and studied the analysis onpages 5-9, answer the listening and appraising questions that follow.

1 How is the joyful mood or affection of this chorus achieved by Handel?2 Name three different types of musical texture that feature in this chorus.

3 Name the four voice parts that perform this chorus.

4 What instruments accompany the singers?

5 How many different melodies are used by Handel in the chorus?

6 Identify two ways in which the last three bars of the extracts (hath spoken it) isgiven a dramatic setting.

7 Give bar numbers where you can hear:

a One voice part b Two voice parts c Three voice parts

d All four voice parts together.

8 How are the words set to the music in the main?

9 How is the word revealed treated throughout the piece?

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PART 1: Call and response!

PART 2: Follow me!

3 one bar after player two, then player four, one bar after player 3. This should producesome simple imitation!

PART 3: Building up the texture!

keeps playing this over and over until the last player has finished playing.

PART 4: The Grand Finale!

later by players three and four.

Build up the dynamics through this final section ending fortissimo!

Try the following task in groups of four


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Watch out!

When listening and appraising pieces ofmusic, it is important to give enough detail in

your response.Typically, weak answers lack in real

musical detail. For example:

Question: Describe the texture of music.Answer: It is thin then becomes thicker.This just tells us that the texture changes. Abetter answer would be:

At the start of the extract there isonly a solo flute playing pianissimo. (creatinga monophonic texture). A few bars laterthe texture and dynamics increase as thestrings enter providing an accompanimentto the flute creating a fuller homophonictexture.

Question: Describe the use of rhythm in thisexpressionistic piece.

(3 marks)If a question has three or four marks assigned toit, then you are expected to make three or fourdifferent points.

Basic answers

Include the basic ideas:

changing Excellent answers

Develops the basic ideas above, adding moredetail and using more precise musical vocabulary to fully describe the use of rhythm.

- they are fragmented and erratic with noregular feeling of a beat.

patterns feature including sextuplets,dotted, reverse dotted and double dottedrhythms, triplets are heard against duplets,constant syncopation etc.

rhythmic ideas in the music, creating asense of unrest and lack of order or chaos.

Build Better Answers


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Further listening

In addition to this set work, try to listen to other examples of a chorus movement found in Messiahby G.F. Handel, for example:

And he shall purify For unto us a Child is bornGlory to GodSurely he hath borne our griefsHe trusted in GodHallelujah Chorus

Worthy is the LambIt would also be good to listen to other Baroque Choruses, such as those found in the music of J.S.Bach (the chorus movements from St. John Passion, St. Matthew Passion) as well as many examplesin other sacred Oratorios by Handel.

Setting words to music

In the vocal set work, we saw how Handel uses four different short melodies for eachline of text and then combines them in different ways.

1. Try setting the following poem by Cara Lockhart Smith in any style you wish (rock,pop, folk, classical) using a different melody for each line as shown.

Zebediah Zidcup tune 1Puzzles in his head tune 2Round and round and round they go tune 3

When he lies in bed tune 4

Zebediah Zidcup tune 1Looking at the moon tune 2Round and round and round it goes tune 3Likewise does the sun tune 4

Likewise do the elephants tune 4Likewise do the sheep tune 4Round and round and round they go tune 3Till they fall asleep tune 4

Write for a solo voice, duet, trio or quartet and try to show some of the techniquesthat Handel uses:

(polyphonic)

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Documents

Structure in Western Classical