Part 4

Project 1 – Debussy and Impressionism

I was asked to listen to Debussy’s piece “Prelude a l’apres-midi d’un faune “; the entry can be found in my listening log. Debussy uses a chromatic chord sequence, which can be heard in the following example:

By just looking at the notes, one might assume, that it would sound disharmonic, but every second chord seems almost like a chord is resolved. In comparison to Händel’s Dixit Dominus or Bach’s chorale harmonisation (which I worked with in the previous parts) this extract of the piece doesn’t involve a huge range of chords. I nevertheless didn’t have the impression that the sound was emptier or missing something – on the contrary, I initially had the impression, that there was a wider range of chords involved. This may be due to the fact, that the chords Debussy used involve more than just the normal triad or minor 7 (which both where mainly used in the previous epochs).

Project 2 – New harmonic fields

Debussy’s piece „ La Cathedrale Engloutie“ starts with an interesting chord progression of parallel rising 5ths. The chord G (only consisting of G and its’ 5^th D) , which is played over a whole bar in both hands underlays the chord progression G- A- E- G-A, (also all without the maj. 3), is followed by a deep echo playing the notes from the Key of G (G + D) again.

In bars 3 and 4 are the same as the previous ones, apart from the two bass notes, which have been put one tone lower. The chord sounding now involves F, C, D and G, the chords moving in parallel fifths stay the same. The echo has been put one tone lower as well – from D and G to C and F. (The following image shows two bars which are meant to be next to one another, the clefs are there due to a pagination)

Within the 5^th bar Debussy starts with the same motif again, but then continues in a different way. The chord at the beginning has again been lowered, this time by half a note, to E and B.

The next phrase is working in this scheme as well can be seen in bar 14, were the bass notes are playing C and G.

untitled — The chords seen above are at the beginnings of bar 1,3,5,14, with the bass always moving down and the right hand staying at the same place.

For the passage in between, bar 6 to 12, Debussy uses the Lydian mode, starting on E. (From my former musical education I already know that the notes of the Lydian mode can be defined by playing only white notes from F to the next F on the piano – the amount of whole and half notes then can be transferred to any other starting note. The Lydian mode staring on E would therefore look like the following:

*The parts of the score were provided by the Petrucci Music Library. Available at : http://ks.imslp.net/files/imglnks/usimg/0/0c/IMSLP521885-PMLP2394-Debussy_Claude-Pr%C3%A9ludes_1er_Livre_Durand_7687_scan.pdf [Accessed: 11.11.1019]

Exercise 4.0

Before starting this exercise, I was introduced to Arnold Schönberg’s “Serialism”, sometimes also called “Twelve-tone-technique. This kind of music is based on a more mathematical system: Every note of a twelve tone row has to be played only once, but all notes have to be used. The row can be played as retrograde (backwards), inverted (mirrored intervals) or as a retrograde inversion (backwards with mirrored intervals).

I was asked to create my own row and add the other named versions to it. Even though I didn’t have to, I tried to follow a certain pattern by always using a neutral note, a note with a sharp, another neutral note and a note with a flat. Seeing that I was able to use sharps as well as flats, I only had to be careful not to use the same enharmonic notes. The only difficulties I came across by following this scheme, was the very end, were I had only two white notes left (E and G). By using Fb instead of E, I managed to continue the pattern to the end of the phrase. I furthermore tried to avoid tri-tones as well as intervals higher than a minor 6^th.

Even though it was given in the example in my study folder, that I could transpose the inversion (and the retrograded inversion) I decided to invert around the same note, the previous part had ended with, that way it is possible to hear the same note twice in a row three times, even though it is technically not allowed.

The last bar of the normal row only happened to be a four ascending notes with small intervals by chance. They nevertheless, make all 16 bars sound more interesting and seem to give it a bit of structure. This effect can especially be notices, due to the order of the following row versions: Having the retrograde right after the normal row reflects the fourth bar right after being played, this works in a similar way in bars 9 and 10.

Research Points

Research point 4.0

Impressionism

The term impressionism describes a type of art movement, which was reflected in different subjects, but especially came to life in paintings and music around 1900.

For painters, impressionism worked against several rules, which were taught at art schools in the 19^th century: The colour of the painting was now used as the main design medium, whereas the graphic elements were more in the background. Impressionists often painted outside, and regularly tried to emphasize the reflection of light and the prismatic colours. ¹

In poetry impressionism considers primarily surroundings of the real world. Similar to paintings, colours and light differences have an important role. The poets and authors of this epoch aspired a preferably accurate representation of an impression. ²

The epoch is named after Claude Monet’s painting “Impression, soleil levant” (sunrise). The character is the same in any form of art: One tried to capture an immediate “impression” of a specific moment or mood, either with words, colours or notes. Claude Debussy (1862-1918) is the main representative of musical impressionism. Also well known for the epoch, but with a lesser extent than Debussy was Maurice Ravel (1875-1937). Debussy introduced new colours of sounds by using exotic percussion instruments, pentatonic scales, whole-note scales and Gregorian modes (church modes). The aesthetics of the musical description is often connected with natural processes. One element which was despicted especially often was water (e.g. Debussy: La mer, Reflets dans l’eau; Ravel: Jeuy d’eau). ^3,4

Symbolism

Around the same time symbolism formed as a contramotion to serialism, it was seen as the transition between impressionism and expressionism. The paintings of the symbolism normally don’t represent any action or storyline, but dream-like scenes, which often referred to Greek Mythology or the bible. One motive, which was chosen often was the connection between eroticism and death. Some main representatives were Gustav Klimt, Paul Gauguin and Gustave Moreau. ^5,6

As the name “symbolism” already indicates, that things are not described directly. Poets often tried to describe scenes by using metaphors or comparisons. The true meaning behind a piece of poetry is never described directly, but it was tried to get as close as possible, without naming it. Some well-known authors from the symbolism-ear were Friedrich Nietzsche; Stephan George and Hugo von Hofmannsthal. ^{7, 8}

Musical symbolism is slightly more complex, as it can be interpreted in many different ways. Some music from former epochs are categorised as symbolism as well. One of Hector Berloiz’ (1803-1869) pieces “Fantastic Symphony” was a story put to music. Even though the piece itself doesn’t involve any sung text, the audience gets a short summary of the plot beforehand, to know what the piece is about. He used Leitmotifs (specific motifs which is linked to a character or object), which were introduced by Richard Wagner (1813 – 1883) about 40 years before. Therefore, the plot is never described in a discreet way. ⁹

¹ Brodskskaia, N. Impressionism. New York: Parkstone Press International. pp, 7-15. [online]. Availabe at: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=5321019&ppg=1 [Accessed: 5. 11.2019]

² The Princeton Enyclopedia of Poetry and Poetics, (2014); 4^th ed. Princeton Universit Press. [online]. Available at: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=913846 [Accessed: 5.11.2019]

³ Heukäufer, N. (2014). Musik Abi-Kompaktwissen Oberstufe. 5th ed. Berlin: Cornlesen Scriptor, pp.166-168.

⁴ Kennedy M; Kennedy J; and Rutherford-Johnson, T. (2013). Oxford Dictionary of Music. 6^th ed. Oxford: Oxford University Press.

⁵Brodskaya, N. Symbolsim. New York: Parkstone Press International, pp, 102-112. [online] Available at: https://ebookcentral.proquest.com/lib/ucreative-ebooks/detail.action?docID=887067 [Accessed: 5.11.2019]

⁶ t-online.de. (2016) Symbolismus: Spiel um Erotik und Tod. [online] Available at: https://www.t-online.de/leben/familie/id_77649828/symbolismus-in-der-kunst-definition-und-ueberblick.html [5.10.2019]

⁷ Brodskaya, N. Symbolsim. New York: Parkstone Press International, pp, 25-46. [online] Available at: https://ebookcentral.proquest.com/lib/ucreative-ebooks/detail.action?docID=887067 [Accessed: 5.11.2019]

⁸ Antikoerperchen – Lyrik Datenbank. (2017) Die Epoche des lyrischen Symbolismus. [online]. Available at: https://lyrik.antikoerperchen.de/blog/lyrik/die-epoche-des-lyrischen-symbolismus/ [Accessed: 05.11.2019]

⁹ Loss, S. (2014). Symbolism in music. [Blog] Classical Music Self Defense. Available at: https://stevenloss.wordpress.com/2014/11/12/symbolism-in-music/ [Accessed: 05.11.2019]

Research point 4.1

Stephane Mallarme wrote the poem „L’ Après-Midi d’un Faun in 1878, it is seen as his most well-known piece of work. The protagonist of the poem is a faun, who awakes from his afternoon-nap and tells monologically what he had experienced and/or dreamt in the morning. He remembers, under the charm of a Syrinx (Pan flute), that he caught two nymphs and brought them to a sunny place. It is not explained, what happened there, but the nymphs managed to escape. The faun feels guilty about his behaviour and fears that the Goddess Venus could punish him. He comes back to a peaceful sleep in the evening after drinking some wine.

Having listened to the piece before and after I read the poem, I had the same impression both times: Rather than reflecting the exact plot of the poem musically, Debussy tried to create the atmosphere of the scenery around it. Therefore, I don’t see the flute theme (which can be seen after this paragraph) as the faun’s leitmotiv, but as him either dreaming, or thinking about his experiences.

As it is already mentioned in my listening log; I noticed that, the more often the theme starts, the shorter it seems to become, apart from the end of the piece, where the full theme is played again. This shortening of the theme may indicate how the faun is speculating about whether his experiences where a dream or reality. The abrupt changes from the melody to completely different harmonies could symbolise that the faun gets more doubts about his actions. The mentioned worries about a possible punishment from the goddess Venus are well reflected with some disharmonic chords.

Apparently Mallarme’s poem was seen as part of the symbolism, not addressing the subject he wanted to display directly. In that sense, Debussy probably did it in a similar way, by only describing the atmosphere, or thoughts of the faun, instead of the plot. Fitting to the, already in a previous research point mentioned, characteristics of the impressionism, Debussy didn’t focus on one key signature in particular, he moved around several, always depending on the scene he wanted to describe.

Debussy seemed to have broken several rules by creating this piece; Even though one can hear the theme of the dreaming faun several times in different keys, the piece overall doesn’t have a predictable structure.

(1,2,3,4,5)

¹ Glidden, H and Young-Bruehl, E. Stephane Mallarme – The Afternoon of a Faun. [PDF]. Available at: https://dalspace.library.dal.ca/bitstream/handle/10222/60564/dalrev_vol64_iss1_pp46_49.pdf?sequence=3 [Accessed: 8.11.2019]

² Yeyebook (2018). Stephane Mallarme – Der Nachmittag eines Fauns (egloga) DE. [online] Available at: https://www.yeyebook.com/de/stephane-mallarme-der-nachmittang-eines-fauns-egloga-de/ [Accessed: 8.11.2019]

³Scheit, J. (2017). Prélude à l’après-midi d’un Faune. [online]. Die deutschen Debussy-Seiten. Available at: http://www.jochenscheytt.de/debussy/debussywerke/faune.html [Accessed: 8.11. 2019]

⁴Classic FM. (2019). Debussy – Prélude à l’après-midi d’un faune. [online] Available at: https://www.classicfm.com/composers/debussy/music/prelude-apres-midi-dun-faune/ [Accessed: 8.11.2019]

⁵Classical-music.com. (2016). A guide to Debussy’s Prélude à l’après-midi d’un faune (1894). [online] Available at: http://www.classical-music.com/article/guide-debussys-pr-lude-l-apr-s-midi-d-un-faune-1894 [Accessed: 8.11.2019]

Research point 4.2

Greek modes

Modes developed in the Middle Ages. It was only at the beginning of the 17^th century, that composers mainly started to use the Major and Minor scales. Nevertheless, some composers of later epochs (e.g. Debussy) have written melodies which are based on modes. ¹

There are officially 6, but theoretically 7 modes which I will explain in the following paragraphs.

Ionian Mode

The intervals from this mode can be taken from the C major scale. Therefore, this counts probably as one of the most used modes, which is still mainly worked with today. Transferred to any other key – one would end up having the normal Major Key signature starting on any note. If “T” stands for Tone and “S” for “Semitone”, then the intervals of the mode can be shown as: T – T – S – T – T –T –S.

Many old folk songs can be used as an example for this mode, for example Twinkle twinkle little star, Frere Jacque, Rain Rain – Go away, Etc..

Dorian Mode

To find out the intervals for this scale, one would have to play only white notes; from D to D on the piano. They are arranged as the following: T – S – T – T – T – S – T.

The most famous example of a Dorian piece is probably the Irish folksong “Drunken Sailor”. ( https://www.youtube.com/watch?v=qGyPuey-1Jw ), another good example would be “ Scarborough Fair from Simon and Garfunkel (https://www.youtube.com/watch?v=-BakWVXHSug)

Phrygian Mode

The Phrygian mode is constructed with the intervals from E to E, only using white notes again. S – T – T – T – S – T – T.

A good example for the Phrygian mode would be Pink Floyds “Set the Controls for the heart of the sun”, which has an eastern sounding character. (https://www.youtube.com/watch?v=3zuEfmmCA5s)

Lydian Mode

White notes on the piano from F to F: T – T – T – S – T – T – S. The most well-known contemporary example of the Lydian mode is probably the opening theme of “The Simpsons”, written by Danny Elfman. (https://www.youtube.com/watch?v=Xqog63KOANc)

Mixolydian Mode

White notes on the piano from G to G: T – T – S – T – T – S – T . A good example for a mixolydian mode is “Clocks” by Coldplay (https://www.youtube.com/watch?v=d020hcWA_Wg)

Aeolian Mode

This mode, as well as the Ionian Mode is the natural (and sometimes even still now called “Aeolian”) minor scale. Even though most composers either use the harmonic or melodic minor scale, the key signature would still be for the natural minor in both cases.

The Aeolian Mode can be found by playing the white keys on the piano from A to A;

T – S – T – T – S – T – T. Any song in a natural minor could be taken as an example; e.g. Losing my Religion by R.E.M. (https://www.youtube.com/watch?v=xwtdhWltSIg)

Locrian Mode

Even though it is virtually not used, to make the round complete, theorists also invented the “Locrian Mode”, which is played from B to B. The intervals would be: S – T – T – S – T – T – T

In some books the modes are shown slightly differently: They separate them in four authentic main scales and for plagal side-scales. Therefore, the modes are only counted up to the mixolydian mode, and the following ones (from A) have the same names again, but with the prefix “hypo”. Thus, the Aeolian mode would be “Hypo-Dorian”; Locrian is the same as “Hypo – Phrygian; Ionian becomes “Hypo- Lydian; and Dorian could also be called “Hypo – Mixolydian”.

Seeing that I mainly looked for contemporary examples, I added several more pieces of former eras to my listening log.

(2), (3), (4), (5)

¹ Knapp, W and Peschl, W. (2005). Wege zur Musik – Oberstufe Band 1. Innsbruck: Helbling, p.36.

² Heukäufer, N. (2014). Musik Abi – Kompaktwissen Oberstufe. Berlin: Cornlesen Syriptor, pp. 123-125

³Hofmann, B; Liebl, R; Lindner, U and Unterberger, S. (2015) Wege zur Musik – Oberstufe Band 2. Innsbruck: Helbling, p. 289

⁴Taylor, E. (2018) [ 21st ed] The AB Guide to Music Theory – Part 2. Norwich: ABRSM, p. 237-243.

⁵ Karolyi, O. (1965) Introducing Music. London: Pelican Books, p. 40.

Research point 4.3

Debussy’s „Voiles“ was composed in 1909, it is the second piece for piano from his book “Preludes – Livre I”. A further entry about this piece can also be found in my listening log.

The composition has 64 bars, which I roughly divided into 5 parts. Seeing that the transitions are (as it was often the case in the Impressionism), more fluent, it is difficult to clearly define where one part ends and the next one starts.

A: (Bars 1 to 17): Within the first four bars, Debussy introduces with a theme played only by the right hand, which involves the notes of a whole-tone-scale. (E, D, C, Bb, Ab; played descending, with their major third above). In the following bars, Debussy adds two more voices; a low one, constantly playing staccato Bb; and a middle voice playing either single notes, octaves or full chords, which are also part of a whole tone scale. During this introduction of new voices, the first voice continues playing its’ descending theme.

A’: (Bars 18 to 21): The first motif changes from descending to ascending notes. Furthermore, the rhythm goes from 8ths and 64ths to double dotted 8ths and 32^nd The lower voices stay the same as above.

B: (Bars 22 to 41): The pace of the first and second voice increases, whilst the lowest voice becomes slower. The upper and middle section play in a contrasting way. One can notice that, the first voice comes back to the same rhythm it was playing for the first motif, with a few exceptions. The middle voice seems to be moving independently whilst the low voice is still only playing Bbs, but less frequently.

C: (Bars 42 to 47): It is indicated with a doubled bar line, that a new theme starts. Debussy switches to rapidly played ascending pentatonic scales. (E,G,A,B,D).

C’: (Bars 48 to 64): The last part seems to have passages from A and C involved. The pentatonic scale is still used, even though it alternates between starting on Ab and F#. In the meantime, a middle voice starts, which is again based on a whole-tone scale. The chords of the middle voice in part A occasionally appear as well as the “main” motif in the first voice.

The score has been provided by the Petrucci Music library: https://imslp.org/wiki/Pr%C3%A9ludes%2C_Livre_1_(Debussy%2C_Claude)

Research point 4.4

The intro of Miles Davis‘ “So what”, was inspired by Debussy’s “ Voiles” (Rp. 4.3). Similar to “Voiles” I only started noticing a rough structure of the intro, after looking at the music. There are several similarities:

The use of fourth intervals for chords. Especially for the chords in bars 8 and 9, where the piano plays the chords Db, E, F, F#, G and A in the second inversion. I couldn’t find a scale in which all of those notes are used, which might just indicate that the pianist didn’t want to stick to just one scale or mode.
Octave, Fourth and Fifth parallels, which actually weren’t allowed in the “strict” classical music rules, were used for both pieces.
The sound of harmonic progression (modal chord progressions) generally sounds similar to “Voiles”.
The use of the pedal point “A”, which, for example, alters with the melody in the bass in bar 5 is similar to the pedal point Bb in the first half of “Voiles”
In bar 9 and 10, the time signature alters between 4/4 and 2/4.

After the intro, the piece starts in D-Dorian Mode, shifts to Eb-Dorian and goes back to D-Dorian at the end.

Some more information about the piece can be found in my listening log.

Research pint 4.5 Stravinsky and Neoclassicism

The term “neo-classicism” describes a contra-motion to Schönberg’s Serialism. The movement started in the first half of the 20^th century. Probably due to the need for something more substantial than Serialism, composers came back to write music in the style of the 17^th and 18^th century. This musical style mostly had a clear harmonic structure and was therefore easier to listen to. Seeing that the music referred more often (but not exclusively) to the baroque era rather than the classical era, the term “neo- baroque” would be a more suitable description. Composers tried to reduce the harmonics of the previous Romantic era, as it was seen as too “flatulent”. Sinfonias, Sonatas and Baroque styles came back to life.

The era developed in Paris in the 1920s, having Igor Stravinsky, Jean Cocteau, and the “Group des Six*” as their main representatives.

Some historians say, that neo-classicism had its origin not only as a contrast to serialism, but also evolved through the disruption of the first world war. Therefore, the term was described as being almost a synonym for a rescue operation, for which the tonal system went through a rough conservative restructuring.

By using either the structure of movements, general forms or original compositions from the past, composers of the neo-classicism mixed (mainly) baroque music with the new sound forms of the 19^th century. Igor Stravinsky, who was one of the main representatives of this era, took pieces from different baroque composers for his ballet “Pulcinella”. He changed them to make his own composition by adding new phrases, different harmonisations and new rhythms.

The neo-classicism isn’t simply imitating the classicism; it makes vital differences with specific techniques which the literary theorist Viktor Sklovskij called “Verfemdung” (alienation). The main progress of Verfremdung is the parody, which includes deformation and mechanisation, it aims for an aggravated sensation of the music.

Nevertheless, every composer of that era used a very specific assortment of stylistic and technical elements from the modern musical vocabulary. Therefore, one can’t really define the neo-classicism as a musical style, but as more or less developed neo-classical tendencies. Every single composer has therefore created his/her own neo-classicism because the mixture of tradition and innovation always aligned differently.

Schönberg and Stravinsky didn’t support each other’s music initially. After Stravinsky’s commented on Schönbergs music, saying that he wasn’t writing the music of the future, but the music of the present, Schönberg stated, that coming back to old music wouldn’t bring the art forward. Serialism and Neo-classicism nevertheless have in common, that they reject romanticism.

Despite the tension between the two composers, Stravinsky stated that he, as well as Schönberg and his students, explored new music in the 1920s, even though they attached it to the “tradition they were so busily outgrowing a decade before”. (Taruskin, 2008)

*The “Group des Six” was a loose alliance of six French composers: Georges Auric; Louis Durey; Arthur Honegger; Darius Millhaud; Francis Poulenc and Germaine Tailleferre.

(1), (2), (3), (4), (5), (6), (7), (8)

¹Kennedy J, Kennedy M and Rutherford-Johnson, T. (2012). Serialism, serial technique, serial music. In: The Oxford Dictionary of Music. Oxford: Oxford University Press.

²Straus, J, (2008). A Revisionist History of Twelve- Tone Serialism in American Music. Journal of the Society of American Music. [online]. Vol.2, Iss 3, pp 255-395. Available at: https://search-proquest-com.ucreative.idm.oclc.org/docview/1570138?pq-origsite=summon [Accessed: 24.11.2019]

³Wheeldon, M. (2017). Anti- Debussyism and the formation of French neoclassicism. Journal of the American Musicological Society. [online]. Vol.70, Iss2. Available at: https://go-gale-com.ucreative.idm.oclc.org/ps/i.do?p=AONE&u=ucca&id=GALE|A520673942&v=2.1&it=r&sid=summon [Accessed: 25.11.2019]

⁴Heukäufer, N.(2014) Musik Abi – Kompaktwissen Oberstufe. Berlin: Cornlesen Scriptor., pp 188-189

⁵Messing, S. (1991) Polemic as History: The Case of Neoclassicism. Journal of Musicology. [online] Vol. 9. No 4. Available at: https://www-jstor-org.ucreative.idm.oclc.org/stable/763872?pq-origsite=summon&seq=1#metadata_info_tab_contents [Accessed: 25.11.2019]

⁶Das Phänomen des Neoklassizismus in der Musik [pdf]. Available at: http://www.editionargus.de/assets/own/pdf/35-2.pdf [Accessed: 25.11.2019]

⁷Thompson, W (2002). The great composers – An illustrated guide to the ives, key work and influences of over 100 renowned composers. London: Anness Publishing Limited, pp184-189 and 218.

⁸Hermann, M. Analyse von Musik des 20. Jahrhunderts. 2nd ed. [pdf].Available at: https://www.hmdk-stuttgart.de/fileadmin/downloads/Werkverzeichnis_Professoren/Analyse_Musik_des_20._Jh._2__13.09.13_.pdf [Accessed: 26.11.2019]

Listening Log

Piece: La mer

Composer: Claude Debussy
Instruments: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 cornets, 3 trombones, tuba, timpani, bass drum, cymbals, tam-tam, triangle, glockenspiel, 2 harps, strings
Date of composition: 1903-1905
Date of first performance: 1905
Performed by: Bernard Haitink, Royal Concertgebouw Orchestra
Listened to: 05.11.2019

This orchestral piece consists of three movements: De l’aube a midi sur la mer – tres lent ( From dawn to noon on the sea – Very slow), Jeux de vagues (Play of the Waves), Dialogue du vent de la mer (Dialogue of the wind and the waves)

The first movement initally has a very eastern sounding character, but sounds more theatrical after the first few bars. Suitable to the title, the second movement was more hectic. Debussy often changed the dynamics and pace. Nevertheless, it seemed as if some “warm” chords from the previous movement echo in the background. Towards the very end of the movement the music suddenly becomes very quiet and ends with a calm theme introduced by the harp. For the third movement one can hear a low pitched timpani at the beginning, indicating that a “storm” is about to come. With disharmonic chords altering between forte and piano the scene changes to a “battle” between the wind and the waves. Shortly after a calmer theme follows, similar to one from the first movement. An oboe playing a soft melody introduces a new motif, just going up and down within the range of three notes. The rest of the orchestra slowly adapts to this theme and continues. Towards the end the music suddenly becomes tense again, the pace and volume increase and a majestic sounding theme resolves the tension and leads the piece to an end.

I was rather thrilled by this piece and especially enjoyed the warm film-like theme of the first movement. I definitely was surprised to be able to recognise the first theme of the first movement, as I personally don’t listen to Debussy’s music too often.

https://imslp.org/wiki/La_mer_(Debussy%2C_Claude)

Piece: Reflets dans l’eau

Composer: Claude Debussy
Instruments: Piano
Date of composition: 1904-1905
Date of first performance: 1905
Performed by: Seong-Jin Cho
Listened to: 05.11.2019

The piece starts out with some fast paced, soft chords moving up and down giving the impression of small waves on water. (Suitable to the title). On can notice, that Debussy switches between different keys. It is barely noticeable that the mood shifts from a dreamy theme to a more chaotic one. The transitions between piano and forte are very slow. Towards the end of the piece I was surprised to hear Debussy using a major scale for a few bars. After the mentioned louder, more hectic part, the music gradually becomes slower again, reflecting the silence after a storm.

I enjoyed the calm nature of this piece and the beginning and the end. As with most of Debussy’s pieces it was difficult to not have a main motif, even though he repeated a few parts.

https://imslp.org/wiki/Images,_1ere_s%C3%A9rie_(Debussy,_Claude)

Piece: Hommage a Rameau

Composer: Claude Debussy
Instrument: piano
Date of composition: 1904-1905
Date of first performance:
Performed by: 1905
Listened to: 05.11.2019

The piece starts with an eastern sounding theme played in octaves. A deep long note after which a high pitched melody and some accompanying chords in the middle can be heard afterwards. Debussy shifts to a pentatonic scale and some more jazzy sounding chords. A further theme played in octaves follows after which several chords, deep notes and a melody are woven into one another. Furthermore, Debussy made strong use of the pedal which makes the whole atmosphere sound more dream-like. The piece continues with this scheme for a while, whereas the melody becomes more chaotic and louder. Once the piece has reached its climax, the pace and dynamics slowly descend again, and the theme from the beginning can be heard again.

https://imslp.org/wiki/Images,_1ere_s%C3%A9rie_(Debussy,_Claude)

Piece: Prelude a l’apres-midi d’un faune

Composer: Claude Debussy
Instruments: 3 flutes, 2 oboes, English horn, 2 clarinets (A), 2 bassoons
4 horns (F), 2 harps, 2 crotales, strings
Date of composition: 1891-1894
Date of first performance: 1894
Performed by: Bernard Haitink, Royal Concertgebouw Orchestra
Listened to: 06.11.2019

The piece starts with a theme played only by the flute. This theme can be heard again throughout the whole composition and functions as the faun’s Leitmotif. It is based on Stephane Mallarme’s poem “L’apres-midi d’un faune”. Debussy managed it incredibly well to describe the plot of the poem (Research point 4.1). He even went a bit further in describing the atmosphere around the plot, not only the plot itself. Due to the warm but slightly quirky character, this piece is one of my favourite ones from Debussy so far.

https://imslp.org/wiki/Pr%C3%A9lude_%C3%A0_l’apr%C3%A8s-midi_d’un_faune_(Debussy%2C_Claude)

Piece: Clair de Lune

Composer: Claude Debussy
Instruments: Piano
Date of composition: 1890-1905
Date of first performance: 1905
Performed by: Alain Planes
Listened to: 06.11.2019

One of the most well-known pieces from Debussy is probably “Clair de Lune”. A really calm piece played on the piano. I found that this piece, unlike many others from Debussy has one easily recognisable theme, which is probably the reason why it’s so popular. After the intro the mood changes from calm and quiet to a more provoking loud character. In the following part Debussy uses quickly played arpeggios to underline a varied version from the main theme. The piece generally alters often between those to moods.

As I have played the piece myself several years ago, I really enjoyed listening to it again. I especially like the fact, that the main motif from the beginning can be heard throughout the whole piece. Within the previous pieces from Debussy I’ve listened to, I always found it difficult to find a golden threat leading the piece.

https://imslp.org/wiki/Clair_de_lune_(Debussy%2C_Claude)

Piece: Miroirs

Composer: Maurice Ravel
Instruments: Piano
Date of composition: 1904-1905
Date of first performance: 1906
Performed by: Alexander Krichel
Listened to: 09.11.2019

Noctuelles: Despite a rather chaotic start a disharmonic melody can be distinguished from all the other played notes. The mood switches from this fast part in the beginning to a lighter a calmer character. After a part, which gradually puts the two themes together, the high pitched theme from the beginning can be heard again. Even though I personally wasn’t too keen on the sound of “Noctuelles” I was positively surprised by the smooth, barely noticeable transitions between the two themes.
Oiseaux tristes: I really enjoyed the beginning of this piece. Unlike, but similar to the first piece it started with a deep warm theme and then moved onto a high pitched, dissonant theme. The second half of the piece involves a short repetitive motive in the right hand accompanying the beginning theme played by the left hand. I especially enjoyed the warm beginning.
Une barque sur l’ocean: Has a tender start with a repetitive phrase. Due to the fact, that there are always several notes played either at the same time, in rapid arpeggios or both, one can’t really define a main voice. The piece has overall a very dream-like character.
Alborada del gracioso: I was rather surprised by this piece due to it having a completely different character than the previous ones. It had a jumpier, slightly quirky theme. It was fun listening to it, especially the first phrases. The left hand mostly had staccato notes to play. Towards the middle, it sounded as if it were about to end. After a general rest a quiet solo voice can be heard, much lighter than the beginning. The new theme is processed in several ways before the melody slowly comes back to an altered version of the initial jumpy theme.
La Vallee des cloches: This piece is similar to the first three pieces of “Miroirs” again; It starts very slowly with a short theme repeating itself played in octave before a second voice starts, always playing the same two notes. A third low voice starts in the bass. This piece mainly consists of chords woven into one another, played in different ways. Therefore, it is again the case, that a melody voice can hardly be found at the beginning. Nevertheless, towards the middle of the piece, I was surprised a pentatonic melody with a longing character. The piece ends “mirrored”, as the second theme is played again, but with switched voices and the first theme can be heard at the end again.

https://imslp.org/wiki/Miroirs_(Ravel%2C_Maurice)

Piece: So what

Composer: Miles Davis
Instruments: trumpet, tenor saxophone, alto saxophone, piano, bass, drums
Date of composition: 1958
Date of first performance: 1958
Performed by: Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, Jimmy Cobb
Listened to: 10.11.2019

As it is already stated in my learning log: The first 30 seconds were inspired by Claude Debussy’s “Voiles”. Before the trumpet starts playing, with a walking bass accompanying, one can hear the same two chords (V-I) repeating themselves. The mentioned walking bass lasts up to the very end of the piece. The piano as well as the drums are barely noticeable, but essential to fill the background music to all the wind-instrument-solos. I personally really enjoy any kind of Jazz and am therefore in favour of this piece, especially now that I know a bit more about the background.

https://jazzomat.hfm-weimar.de/dbformat/synopsis/solo323.html

Piece: Voiles

Composer: Claude Debussy
Instruments: Piano
Date of composition: 1909-1910
Date of first performance: 1910
Performed by: Pierre-Laurent Aimard
Listened to: 11.11.2019

The piece starts with descending notes of a whole tone scale, every note played with its’ major third above. As a second voice a bass note –Bb- enters shortly after, this note is played monotonously for several bars. A third voice fills the middle between the previous two. The mood is very relaxed and dreamy at the beginning. The descending theme from the first voice moves further down before a clear pentatonic melody can be heard. A general rest (which already seemed like the end of the piece for me) follows, before the bass note can be heard again. In contrary to the first half of the piece the other voices now sound incredibly disharmonic.

As already mentioned, in addition to listening to the piece, I also analysed it in my learning log. Even though I didn’t particularly enjoy listening to it, I found it much more interesting once I had done some research about it. In my personal opinion I think that the structure in Debussy’s pieces is highly complex, even though one might not notice it by only listening to it.

https://imslp.org/wiki/Pr%C3%A9ludes%2C_Livre_1_(Debussy%2C_Claude)

Piece: Variations for orchestra Op.31

Composer: Arnold Schönberg
Instruments: 4 flutes, 4 oboes, clarinet in Eb, 3 clarinets in Bb, Bass-clarinet, 4 bassoons, 4 horns in F, 3 trumpets in C, 4 tubas, 4 bass-tubas, timpani, drums, 2 harps, celesta, mandolin and strings.
Date of composition: 1926-1928
Date of first performance: 1928
Performed by: Günther Herbig, Berliner Symphoniker
Listened to: 12.11.2019

This piece consists of 12 short parts; An introduction; A theme; 9 variations and a finale. The main theme is presented in the impressionistic sounding introduction starting with a tritone interval. Towards the end of the first motif one can also notice a B-A-C-H motif from the tuba, which can also be heard in variations II and V and even more emphasised in the Finale. Once the basic tone-row has been introduced, the theme is also played in its retrograde-inversion. (Backwards with mirrored intervals). The colour, character as well as the metre of the sound are different in every variation. Within the first variation for example, the row is only played by the bass instruments. The most complex variation is probably the fifth, instead of just a group of instruments, all the instruments of the orchestra are working with the row. In the finale Schönberg works with parts from the previous variations, furthermore the B-A-C-H motif occurs in different versions.

As with most of Schönbergs pieces, I found it incredibly helpful to have a score to read along with. Even though I personally didn’t really enjoy the sound of it, I always find it interesting to find structures in Schönbergs pieces.

https://imslp.org/wiki/Variations_for_Orchestra%2C_Op.31_(Schoenberg%2C_Arnold)

Piece: Daphnis et Chloe Suite No.2

Composer: Maurice Ravel
Instruments: mixed chorus (SATB), Orchestra: piccolo, 2 flutes, alto flute, 2 oboes, English horn, Clarinet in Eb, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, triangle bass drum, cymbals, snare drum, field drum, castanets, glockenspiel, celesta, 2 harps, strings
Date of composition: 1913
Date of first performance: 1913
Performed by: Boston Symphony orchestra
Listened to: 13.11.2019

The ballet is based on an ancient Greek novel from the author Longos. The plot is about two children; whose parents gave them away when they were very young. They grow up among shepherds on the isle Lesbos. After being parted for a while they find one another again as well as their parents. Compared to other pieces by Ravel, this one is with a duration of about one hour one of his longest ones. I found that the style overall sounded really impressionistic; the music is very passionate. Knowing the plot, it was easy to follow and understand the music, I especially enjoyed the sound of the chorus.

https://imslp.org/wiki/Daphnis_et_Chlo%C3%A9_Suite_No.2_(Ravel%2C_Maurice)

Piece: Violin Concerto

Composer: Alban Berg
Instruments: Solo – violin; Orchestra: 2 flutes, 2 oboes, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon
Date of composition: 1935
Date of first performance: 1936
Performed by: Claudui Abbado; James Levine; Pierre Boulez
Listened to: 14.11.2019

Berg gave the concerto the name “Dem Andenken eines Engels” (To the memory of an angel). The piece is parted in two movements: 1) Andante Allegro and 2) Allegro Adagio. The composition was inspired by the death of the 18-year-old Manon Gropius, the daughter of a friend from Berg. The first movement describes Manon’s short life, the music has a soft and calm character. The second movement focuses more on Manon’s death and is therefore much darker and more dramatic.

I definitely enjoyed the first movement more than the second one, nevertheless, I found it fascinating how Berg made use of symbolism. The main row for example, consists of ascending notes, which symbolise a stairway to the sky.

https://imslp.org/wiki/Violin_Concerto_(Berg%2C_Alban)

Piece: Symphony Op.21

Composer: Anton Webern
Instruments: Orchestra; clarinet in Bb, bass clarinet in Bb, 2 horns in F, harp, strings
Date of composition: 1928
Date of first performance: 1929
Performed by: Twentieth Century Classical Ensemble, Robert Craft
Listened to: 15.11.2019

The first movement has a similar structure to a classical form of the first movement of a sonata. The second movement provides 7 variations with a coda, using the retrograde of the main row (which was introduced in the first movement). Webern used a certain symmetry for the symphony by writing the second half as the retrograde of the first half, only transposed by a tritone.

Knowing that the piece is written in 12 tone technique, I looked at the score before I listened to it, to find tonal structures beforehand. I like the fact, that Webern tried to use classical forms to structure his piece. Nevertheless, listening to the piece was rather difficult as I often find the sound of any music that was written in 12-tone-technique rather chaotic.

https://imslp.org/wiki/Symphony,_Op.21_(Webern,_Anton)

Piece: King Roger

Composer: Karol Szymanowski
Instruments: voices, orchestra
Date of composition: 1918-1924
Date of first performance: 1926
Performed by: Sir Simon Rattle, City Of Birmingham Symphony Orchestra
Listened to: 16.11.2019

King Roger is a Polish Opera about the enlightenment of a Christian King by a young shepherd, who had pagan ideals. The opera is parted into three acts. I was surprised by the strong, slightly unusual, but nonetheless comforting character. I noticed, that Szymanowski often managed it to increase the music even more after having reached a climax. As I unfortunately don’t speak nor understand Polish, I found it difficult to understand the full plot, even after reading through it. Nevertheless, as already mentioned, I enjoyed the sound of the Opera.

https://imslp.org/wiki/King_Roger,_Op.46_(Szymanowski,_Karol)

Piece: Pacific 231

Composer: Arthur Honegger
Instruments: Orchestra; piccolo flute, 2 flutes, 2 oboes, English-horn, 2 clarinets, bass clarinet, 2 bassoons, contra-bassoon, 4 horns, 3 trumpets, 3 tubas, drums, strings
Date of composition: 1923
Date of first performance: 1924
Performed by: Isao Tomita
Listened to: 17.11.2019

The piece starts with some natural sounding noises, which may be heard around a seashore and/or a trainstation. Some more high pitched unpleasing sounds can be heard before the first few more orchestral sounding instruments start playing. Rather than staying with one motif and processing it, Honegger probably tried to describe an atmosphere. Nevertheless, there seems to be a jumpy, quirky sounding theme, which only starts in the middle of the piece. This theme seems to repeat itself in different ways. As the beginning of the piece is loud and disharmonic, I initially thought, I might find it difficult to find any structure. I was positively surprised and rather entertained by the middle section.

https://imslp.org/wiki/Pacific_231%2C_H.53_(Honegger%2C_Arthur)

Piece: Ebony Concerto

Composer: Igor Stravinsky
Instruments: Solo- Clarinet in Bb; Jazz band: 2 alto saxophones, 2 tenor saxophones, baritone saxophone, 3 clarinets in Bb, horn in F, 5 trumpets in Bb, 3 trombones, piano, harp, guitar, drum set.
Date of composition: 1945
Date of first performance: 1946
Performed by: Dimitri Ashkenazy, Deutsches Symphonie-Orchester Berlin, Vladimir Ashkenazy.
Listened to: 18.11.2019

As one might already be able to see above, the piece has overall a really jazzy sounding character and was a welcome change from the previous orchestral works. The piece is parted into three movements. The first one has, a calm, relaxing character, whereas the second one is faster and jumpier. The movement begins in minor and ends in major. For the third movement, the “finale”, Stravinsky introduces a theme and processes it in form of variations.

As I am a great fan of Jazz I overall really enjoyed listening to this piece. The only part which was slightly unsettling was the second movement, it nevertheless made a welcome contrast to the first and third.

https://www.kammermusikfuehrer.de/werke/2958

Piece: Le boeuf sur le toit, Op. 58

Composer: Darius, Milhaud
Instruments: Orchestra; 2 flutes, oboe, 2 clarinets in Bb, bassoon, 2 horns in F, 2 trumpets, trombone, percussion, strings
Date of composition: 1920
Date of first performance: 1920
Performed by: Orchestre Du Theatre Des Champs Elysees
Listened to: 19.11.2019

The piece starts with a clear, majestic theme, but switches to a more eastern sounding theme shortly after. The initially introduced theme is always put in between two new ones. In the background the strings play a constant jumpy bass. The music only becomes dissonant when the two themes overlap, furthermore one can often notice a switch between major and minor within the first theme. The form seems to be similar to a rondo. The rhythm, pace and keys seem to change quite often.

I really like this piece, due to its refreshing, lively character, even though it seemed a bit chaotic at several moments.

https://imslp.org/wiki/Le_b%C5%93uf_sur_le_toit%2C_Op.58_(Milhaud%2C_Darius)

Piece: Vieille priere bouddhique

Composer: Lili Boulanger
Instruments: Voices: Tenors and mixed chorus (SATB); Orchestra: 2 flutes, 2 oboes, English horn, 2 clarinets in Bb, bass clarinet, 2 bassoons, sarrusophone, 4 horns in F, 3 trumpets, 4 trombones, tuba, timpani, cymbals, bass drum, celesta, 2 harps, strings
Date of composition: 1914
Date of first performance: 1921
Performed by: Mark Stinger
Listened to: 20.11.2019

The piece starts really calmly. The choir has a long part, accompanied by the orchestra. After a short part played only by the orchestra, a solo tenor voice starts singing. At the choral parts (beginning and end) it is often the case, that either some wind or string instruments play the exact same melody as the choir. The pace increases at the end and the music becomes louder. After a general rest, all the instruments and voices sing/play one last note before the piece ends.

It may have to do with the specific recording I listened to, but I found that the orchestra was often far too loud, especially for the solo voice. Overall I liked the calm, slightly mysterious mood of the piece.

https://imslp.org/wiki/Vieille_pri%C3%A8re_bouddhique_(Boulanger%2C_Lili)