Love and Loss 1

7/25/2019 Love and Loss 1

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Love and Loss Examples

They danced alone from Stings ...Nothing Like The SunBernsteins West Side Story!" Sch#n$ergs "iss Saigon% &here realismand idealism are mercilessly 'uxtaposed in the context of the (nal)merican evacuation of Saigon

Sch#n$ergs use of the pentatonic scale alongside &estern rocktraits*. ) solo song might excitedly anticipate the approach of love+,Somethings coming* and a study of the interaction $et&eenparts in the context of a duet allo&s the further exploration of thenuances of the &ays in &hich music portrays deepening love inthese t&o musicals +,-ne and% -ne eart% ,Sun and "oon% ,The

Last Night of the World.* )ttentive listening to evaluate theharmonic schemes% accompanimental (gurations and melodicshaping in Sondheims song &riting +,Not a day goes $y from"errily We /oll )long% ,Sorry!0rateful from ompany* is a &orthyarea of further listening.


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The &ay in &hich instrumental performance can$e exploited in the portrayal of love and lossmay $e explored in a study of representative (lmscores. 1o!1o "as cello contri$ution to Tan 2uns(lm score rouching Tiger% idden 2ragon isespecially poignant in the (nal scenes% &hen it$ecomes clear that any hope that love might3o&er is fading fast. The delicate scoring% &ith

its carefully crafted melodic line% is steadilyoverlaid &ith 'agged ostinati and there remainsonly $leakness and desolation.


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Word setting

4n popular song

4n (lm music

4n &orld music 4n "usical

Word painting expressing love and

loss !


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ELL4-T S"4T ! Walt5 67

) gorgeously fragile mood piece set to a &alt5y 89: slo&!dancerhythm% the songs lyric seems to cross from melancholicmeditation of love lost into Smiths other stand!$y emotionaltouchpoint% defensive anger. )nd yet singing the songs (nallyric% ;4 &ish 4d never seen your face%< Smith dra&s out the

last &ord in a long note $roken $y several $reaths. Elliott Smiths often sad% sometimes lushly arranged folk9rock

songs% and ;Walt5 6 7< sho&s &hy. ) gorgeously fragile moodpiece set to a &alt5y 89: slo&!dance rhythm% the songs lyricseems to cross from melancholic meditatation of love lost into

Smiths other stand!$y emotional touchpoint% defensive anger.)nd yet singing the songs (nal lyric% ;4 &ish 4d never seenyour face%< Smith dra&s out the last &ord in a long note $roken$y several $reaths.


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Sting &rote They 2ance )lone&hen he &as in hile &hile he&as &ith The =olice and sa&that the &ives and mothers of

those &ho had disappearedput pictures of their lovedones on clothes and danced&ith them. >nfortunately% the

song &as $anned in hile.Sting said this a$out the song?


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;This &as something that 4 sa&

&hen 4 &ent to hile &ith the=olice. The mothers and &ivesof ;the disappeared< do thisama5ing thing@ they pin

photographs of their lovedones to their clothes and go outin groups and do this folkdance &ith invisi$le partners in

front of the police station. 4tsthis incredi$le gesture of griefand protestse of echo and rever$

aunting high pitched vocal lines


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Dido and Aeneas (Act I; Act III), Purcell Act I+4t is not necessary to study the -verture.*

Belinda tries to cheer 2ido up in a short% lightly!accompanied song +continuo only*.Note immediately the explicit &ord!painting in the vocal line I ,shake% ,3o&ing.Without any $reak in the musical momentum% her message is taken up $y a mainlyhomophonic chorus +no& dou$led $y the orchestra*. 4n a grander vocal style as

$e(ts her digni(ed status% 2ido expresses her anguish $ut &ithout revealing itscause. The &ord!painting here expresses feelings +,ah% ,prest &ith torment%,languish*. The four!$ar ground $ass

is inexora$le Ato &hat extent does its character contri$ute to the expression of thetextDC. The vocal line rides over the $ass% never coinciding cadentially. Thissu$stantial structure includes repetitions and t&o statements of the $ass in thedominant A&here is the climax of the ariaDC. The orchestra only enters after 2ido

has (nished% &ith t&o harmonised statements of the $ass A&hat does their musiccontri$ute to

the emotional tensionDC in a concluding ritornello &hich connects directly &ithBelindas next recitative. She exposes 2idos secret. 4n the style of 0reek drama%the chorus take up the sentiment expressed $y one of them I that politically such amarriage &ould $e desira$le. Egged on $y Belinda and the chorus


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Berlio5) Hrench romantic

composer.

ompositions re3ect his

deeply emotional natureand his passion for life andlove.


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Heatures of /omanticismEmotionalism

Self!Expression4ndividuality

Nationalism

=rogramme "usicLarge orchestra

Expanded forms% dynamic

ranges etc


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Berlio5 the composer4nnovative.Hlexi$le approach to form andstructure.)&are of possi$ilities ofdrama and expression.

) leading authority inorchestration% tone!colours andtim$re.


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The Symphony0re& out of fast!slo&!fast 4talianoverture.

Esta$lished as a :!movement form inlassical period $y composers such asaydn K "o5art.

Expanded further $y Beethoven%$ecoming dramatic K expressive.

2eveloped in the /omantic periodinto the programme symphony% often

&ith movements.


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SymphonieFantastique5 movements

ProgrammaticInnovativeEach movement titled andtelling story of Berlioz

dreams with regard to hisinfatuation with HarrietSmithson.Movements are threaded

together y the idee fxe ! a


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The =rogrammeThe story is a &indo& &hichinvites the listener into the &ork.

Be familiar &ith the imagesBerlio5 is portraying in eachmovement.Be a$le to visualise the images

in the music of movements M K :.This leads to easier examinationand analysis of the reuiredmovements.


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;revolutionaryse of diminished thchords

ontrasting high pitched melody againstrapid notes in the $ass line

0ro&ling $ass line in lo& strings

>se of diminished chords Short staccato % chords

-J $eat chords

Scene in the -elds )inal


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Scene in the -elds , )inalScene

https?99&&&.youtu$e.com9&atchDvFpsH&aBd1

Listen from 7:?8 -utro

Spot the diJerences from the ,4ntro

Movement I0 ! Marc e au
https://www.youtube.com/watch?v=psF5waVB5dYhttps://www.youtube.com/watch?v=psF5waVB5dYhttps://www.youtube.com/watch?v=psF5waVB5dYhttps://www.youtube.com/watch?v=psF5waVB5dY


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The fourth movement takes on a nightmarishcharacter? having taken opium% the youngartist dreams that he has killed his true love

and is a$out to $e executed for his crime.This movement thus depicts the artistsforced march to the scaJold.

Movement I0 Marc e auSupplice , March to the

Sca1old

Movement I0 ! Marche au


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Movement I0 Marche auSupplice , March to the

Sca1old Based on t&o very distinct and

distinctive themes

4dUe (xe appears% as it does in every

movement% $ut this time only once



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o e e a c e auSupplice , March to the

Sca1oldIntroduction :!:#2 0 minor

insistent% very controlled $eating of thedrums@ &e are &aiting for something

Evokes impending doom I lo& dou$le $asschords

There is an excited $u55 as the distant sounds

of an approaching military $and are heard. The horns repeat the (rst t&o $ars of &hat &ill

eventually $e the full march tune.



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Supplice , March to theSca1old

&heme 2 , 3escending theme M!octave span 0 minor

Hierce theme spirals relentlessly do&n&ardpulling our hero &ith it 4t is heard times here ! consider the

changes in instrumentation and treatmentof the theme in each rendition



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&heme 2 , 3escending theme7. ellos and dou$le $asses play theme

M. ounter melody in $assoons. igher cellos

8. -ctave theme no& in 7st

and Mnd

violins%stactatto counter melody in the lo&erstrings% dramatic chord at the end

:. Stacatto counter melody continues in the

strings% M octave theme again in the violins%timpani rolls and chords at the end

. [uaver idea moves to the $assons



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&heme 4 , March &heme "arch Theme :9: B$ "a'or Syncopated and strong% for&ard!moving rhythms ! The

dotted rhythm of its second and third $ars &ill supplyone of the many &ild (gures used later in the movement

very full $rass% &ood&ind and percussion sections +nostrings at this point*

Transformation of the pastoral theme from "ovement 8 Triumphant march &hich takes our hero to the scaJold This is typical of military $and music often heard

outdoors in Hrance in the nineteenth century



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5isten to section 6:" 3evelopment and *oda sectionNe& texture contri$utes to the fren5yD o& does thetreatment of the themes contri$ute to the suggesting themood of the cro&d ! and the man a$out to $e executed! isclose to $eing ,out of controlD

S&irling violins Hortissimo to pianissimo

2ramatic chords

2escending theme inverted

2escending scale Yuxtaposed chords a tritone +G semitones* apart I the

2evils intervalX



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5isten to section 6:"3evelopment and *oda section

o& does the ne& texture and the

treatment of the themes contri$ute tothe suggesting the mood of the cro&d! and the man a$out to $e executed!

is close to $eing ,out of controlD



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*odaNe& texture contri$utes to the fren5yD

S&irling violins

Hortissimo to pianissimo

2ramatic chords2escending theme inverted

4t &ill later $e the su$'ect of fragmentation% rhythmicalterations and changes of instrumentation. +o& farmight these techniues contri$ute to suggesting laterthat the mood of the cro&d I and the man a$out to $eexecuted ! is close to $eing ,out of controlD* orcontri$ute to the fren5y



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5isten to section ":47 to

Movement I0 March to the


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Movement I0 , March to theSca1old

The tumultuous treatment of the scalic theme stops a$ruptly+the cro&d is hushedD*. 4n the $rief silence% the (rst phraseonly of the idUe (xe is played +,dolce assai e appassionato I ass&eetly and passionately as possi$le* $y solo% unaccompaniedclarinet I distant and removed

The idee f&eappears only once% as a sudden reminiscence 'ust

$efore the guillotine strikes the young mans head right oJ andthe movement comes to a perversely 'oyous conclusion

The only personal note is the 3eeting image of the $elovedthat passes $efore the composers eyes at the last moment$efore the guillotine falls I a truncated version of the idUe (xe !

follo&ed $y the maca$re dull thud of falling pi55icatos. (nal +ma'or* chords triumphant re'oicing +the cheers of the

cro&dD* at the conclusion of the ritualD

"arche au Supplice


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"arche au SuppliceSummary o orm'

Introduction heme & 67escending heme heme 2 6arch heme Intro8 heme & and 2 are repeated in full. ransition combines arch 9 7escending

themes 7evelopment 5oda vibrant 9 e"citing. !ars &)/ &3'.

5ontains reference to Id$e %i"e whichappears on clarinet alone at !ar &*).ovement ends in : ma1or.

Second "ovement ! ) BallThi i l Th l i d h l i


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This movement is a &alt5. The young lover is at a dance% the ultimateevent during the 7OPPs. The $all &as al&ays the most importantevent that could $e held. The idee (xe interupts the theme of the $allt&ice to represent the young lovers fascination over his $eloved.

Third "ovement ! Scene in the HieldsThe use of English horn and o$oe give the movement a pastoral feel.The lover is in a (eld +represents Berlio5 &hen he use to visit hisgrandparents*. e hears shepards in the $ackground piping a$eautiful melody. e dreams of his $eloved. The idee (xe is heard

several times ho&ever% the pastoral feel is lost &hen the timpani$eings signifying a thunder storm. 4t starts of softly demonstratingthat the storm is far a&ay $ut the music gets louder representing thestorm moving closer and closer.

Hourth "ovement ! "arch to the ScaJold

Hifth "ovement ! Witches Sa$$athThe lover sees his o&n funeral. There are &itches% sorcerers% andtrolls. The music is much like a /euiem. the idee (xe is transformedto and sounds devilish and represents his $eloved mocking him. The2ies irae is heard in the lo& strings.


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8rchestration andidates may &ell hear some resonances of Beethoven% &hose

music Berlio5 admired greatly.

The younger mans o&n originality% ho&ever% lay very much in the(eld of orchestration% in &hich he &as extremely innovative. e

called for an extraordinarily large orchestra and scored veryprecisely to achieve exactly the eJects he &anted.

andidates are not expected to study a score themselves $ut it&ould $e helpful for them to $e told some of the composersinstructions +some have already $een indicated a$ove*.

Hor instance% at the opening of this movement he tells the horns topitch their notes $y the use of their lips% and &ith hands in the$ell% ,&ithout using valves I &hyD 4s this $ecause he &ants thenotes to $e very uiet and slightly mu\ed I distant soundingDo& &ould this re3ect the tuningD

Documents

Love and Loss 1