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Unit 6: Music and Death (Chapter 48 (Gabriel Faure (1845-1924, French,…

- - - - Died young, he was 35
      - worked on funeral mass- requiem on his death bed
        
        last large-scale piece
        
        died before finishing it
        
        completed by student, Sussmayr
      - myth's of poison but they weren't true
      - had a papuer's grave, do not know where he is buried
    - - scored for SATB soloists plus chorus and orchestra
      - orchestra included more instruments (bassoon and basset horn)
      - voices and instrument arrangement have a dramatic effect
      - used at JFK"s funeral, 9/11 commemorations
    - - was not finished
      - day of wrath for the funeral mass
      - emphasized power of divine intervention
      - choral opening then solo verse and choral finish
      - accented in duple meter
      - harsh combo of major + minor
      - homphonic, with 8 verses, word painting
  - - - form
        
        set in 8 verses, each treated with different performing forces
      - expression
        
        mood shifts from fear, to wonderment
      - texture
        
        largely homophonic
      - performing forces
        
        chorus, solo voices, orchestra
      - harmony
        
        alternation between minor and major, harsh combinations present
      - timbre
        
        trumpets and timpani prominent, bass voice/trombone duet
      - rhythm/meter
        
        forceful, accented duple meter, closing has strong dotted-rhythmic idea
      - text
        
        rhymed Latin poem with eight three-line verses, clear text declamation with some word painting
      - melody
        
        dramatic choral opening, then operatic solo verses, final verse has choral outcry
- - - - grand orchestral music and operas
      - pianists in salons and concert halls
      - art song seperate from German lied
      - sacred music
      - Faure's early career grounded in playing and composing music for Catholic church
  - - - freely edited Latin liturgical texts
      - smaller chamber orchestra
      - 7 movements
    - - reassurance briefly interrupted by the Dies Arae
  - - - Baritone solo is lyrical, wide ranging
    - - Pulsating osinato accompanies opening and closing
    - - D minor, some expressive chromaticism
    - - homophonic solo and choral writing
    - - A-B-A
    - - sensitive dynamics, serene mood
    - - Roman Catholic Mass for the dead, office for the Dead, Burial Service
    - - Baritone solo, SATB chorus, chamber orchestra
- - - - Goethe, Lord Byron, Shakespeare (specifically Romeo and Juliet and King Lear)
    - - wrote a detailed book on art of orchestration
  - - - first great proponent of musical romanticism in France
      - his music is also passionate along with intense and bold
    - - 27 when he wrote it
      - "Young musician of morbid sensibility and ardent imagination, in... lovesick despair."
    - - recurring musical thread unifying the five movements
      - varied throughout by harmony, meter, timbre, dynamics, and register
    - - Scene in the fields
      - March to the Scaffold
      - A Ball
      - Dream of a Witches' Sabbath
      - Reveries, Passions
  - - - harmony
        
        set in minor mode
      - form
        
        sonata-like, with two themes introduced,developed, then recapped
      - rhythm/meter
        
        duple-meter march
      - expression
        
        diabolical mood, sudden dynamic changes, idea of the beloved at the end as a clarinet solo, then sudden chord
      - melody
        
        two main march themes, both strongly accented
      - timbre
        
        prominent timpani, instruments in unusual ranges
- - - - no key center 0 lots major triads
      - meters shift but mostly 5/4
      - lyrical - neo romantic
      - metallic percussion - including Chinese reflex balls
    - - tone colors
      - Biographical elements
  - - - homophonic, focuses on individual lines and duets
    - - sectional, with rondo-like structure
    - - prominent use of major triads but with no strong sense of key center
    - - transcendent mood, includes several climaxes
    - - mostly in 5/4 with a veiled sense of bar lines, some shifting meters
    - - juxtaposes instrument families: metallic percussion, solo woodwinds, dark instruments, brass chorales
    - - languorous, lyrical lines, ascending ideas
    - - large orchestra with many percussion instruments
- - - - lavish spectacles
      - Monteverdi's Orfeo (1607) an example
    - - widespread entertainment
      - not mythology stories about love triangles and historical figures
    - - Except in France, they had their own tradition
  - - - popular among aristocracy
      - combined vocal and instrumental music with poetry and dance
    - - stage plays forbidden- "of the Devil"
      - plays set to music could be passed off as a "concert"
        
        tradition behind England's first operas
  - - - Opening
        
        harmony
        
        major key, chromatic foreshadowing of Lament
        
        form
        
        strophic form, with instruments, solo voice, chorus
        
        rhythm/meter
        
        sprightly tempo, in triple meter, use of scotch-snap dotted figures
        
        performing forces
        
        string orchestra, with solo voice and chorus
        
        melody
        
        jaunty, playful
      - Lament
        
        harmony
        
        based on repeated chromatic ground bass
        
        form
        
        aria in two sections (A-A-B-B)
        
        rhythm/meter
        
        free recitative, slow aria in triple meter
        
        performing forces
        
        baroque-period instruments with solo voice
        
        melody
        
        recitative with half-step movement, more lyrical aria