1. European Music from the 1870s to WWI: Background and the German Tradition March 5, 2004

2. Social/Historical Context: Late 19th and Early 20th Centuries Characterized by optimism, hope overall there were peaceful relations between European nations Significant developments by 1900 European perception: Europe was the centre of the civilized world Overall there was a state of bliss in the public of Europe Some reaction to these social conditions 1900-1914 – some radical changes in the arts as people felt a need to break with conventions

3. The Arts at the Turn of the Century ART: from realism to expressionism, abstraction, to represent the inner emotions or turmoil of artists MUSIC: Radical experimentation Radical experimentation Emancipation of dissonance; downfall of tonality Emancipation of dissonance; downfall of tonality Greater variety of music Greater variety of music Tension in audiences Tension in audiences Overall aesthetic: personal expression Overall aesthetic: personal expression Much experimentation in Germany Place of transitional composers – bridge old and new Last decades of German Romanticism: Hugo Wolf (1860-1903), Gustav Mahler (1860-1911), Richard Strauss (1864-1949)

4. Hugo Wolf (1860-1903) Biographical sketch 1888 – he began to publish his Lieder, his largest contribution Composed 250+ Lieder, most between 1887-97 Composed 250+ Lieder, most between 1887-97 Published in 5 main collections Published in 5 main collections Well-defined literary tastes Well-defined literary tastes His consideration of texts Disliked folk-like melodies and strophic forms Fusion of piano and voice – neither is ‘sacrificed’ for the other e.g. NAWM Kennst du das Land? He also composed: piano pieces, choruses, symphonic works, one opera, one string quartet, etc.

5. Gustav Mahler (1860-1911) Biographical information Admired Wagner’s music Prominent conductor, various posts Composed in summer between orchestral seasons Considered the culmination of symphonic composers Main genres: symphonies and Lieder His music is recognized for its lyricism Composed 9+ symphonies 5 song cycles for solo voice plus orchestra (e.g. Das Lied von der Erde, 1908)

6. Mahler’s Orchestral Writing Scores: very detailed Inclusion of new ‘instruments’ in the orchestra Cross-references in his symphonies to his own songs His orchestral music: Extended multi-movement works – very long Extended multi-movement works – very long Formally complex Formally complex Programmatic, but not always explicitly so Programmatic, but not always explicitly so Expanded performing forces: Berlioz Expanded performing forces: Berlioz Unconventional tonal organization (moving to distant keys) Unconventional tonal organization (moving to distant keys) Motivic links between movements: Wagner, Beethoven Motivic links between movements: Wagner, Beethoven Form: episodic with tonal and motivic connections Form: episodic with tonal and motivic connections Polyphonic conception of texture Polyphonic conception of texture Lieder with Orchestra – song cycles for voice and orchestra E.g. NAWM Kindertotenlieder (1901-04), “Nun will die Sonn’ so hell aufgehen”

7. Summary of Mahler Inherited the Romantic traditions of Berlioz, Liszt and Wagner Last in a line of German symphonists that extended from Haydn Considered a restless experimenter, wide-ranging interests Musically he: Used programmatic elements in his compositions Used programmatic elements in his compositions New compositional approach – diverse materials transformed New compositional approach – diverse materials transformed Quoted own music between genres Quoted own music between genres Larger performing forces in orchestra Larger performing forces in orchestra Continued exploration of harmonic possibilities Continued exploration of harmonic possibilities Expanded musical forms (e.g. symphony, symphonic oratorio, orchestral Lied Expanded musical forms (e.g. symphony, symphonic oratorio, orchestral Lied Important transitional figure - influenced Schoenberg, Berg, Webern

8. Richard Strauss (1864-1949) Most famous German composer at the turn of the century Aligned with the progressive camp of symphonists – modeled his works after Berlioz and Liszt – wrote many symphonic tone poems Many parallels between Strauss and Mahler: Prominent conductors Prominent conductors Knowledgeable of resources of modern orchestra Knowledgeable of resources of modern orchestra Composed large, programmatic, extended symphonic works for large performing forces Composed large, programmatic, extended symphonic works for large performing forces Big difference: Mahler was Jewish in anti-Semitic climate Mahler was Jewish in anti-Semitic climate Genres for which he is most remembered: Symphonic tone poems Symphonic tone poems Operas Operas Lieder Lieder

9. Strauss’ Symphonic Tone Poems 1888-1903 – first major contributions as serious composer Launches his career as composer, matching his renown as conductor Many tone poems adhered to conventional forms but were used with innovation Inherited the idea of leitmotif from Wagner Orchestral works: recognized for his ‘virtuosic’ manipulation of the orchestra He primarily had two ‘types’ of programs for his tone poems: Philosophical (general ideas and emotions): Also Sprach Zarathustra (1896) Philosophical (general ideas and emotions): Also Sprach Zarathustra (1896) Descriptive/narrative: Don Quixote (1896-97) NAWM Descriptive/narrative: Don Quixote (1896-97) NAWM Cervantes’: Don Quixote

10. Strauss’ Operas Post 1904 he changed his compositional focus to opera Addressed “stranger” subjects, actions and emotions Characterized by complex harmony, dissonant musical idioms Use of music and text for creative depiction and characterization Salome (1905) is the opera that catapulted him into the opera scene; also Elektra (1908) Der Rosenkavalier (1910-11) Considered Strauss’ operatic masterpiece Considered Strauss’ operatic masterpiece 3 Act opera, libretto by Hugo von Hofmannsthal 3 Act opera, libretto by Hugo von Hofmannsthal Set in 18th C Vienna Set in 18th C Vienna Considered a step backwards for Strauss due to its traditional forms, etc. Considered a step backwards for Strauss due to its traditional forms, etc. Remains his most popular opera Remains his most popular opera