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Chapter 30
Chapter Outline
German Traditions and Nationalism
German and Austrian composers in the late nineteenth century drew upon their
national heritage.
In other regions, composers debated how to deal with the Germanic traditions.
French composers argued about whether to assimilate Bach, Beethoven, and
Wagner or to create a new idiom.
Nationalist schools in instrumental music appeared in Russia, Bohemia, and
Scandinavia.
Composers in Britain and the Americas avoided overt nationalism.
France
General trends
Paris was the principal center of both concert music and opera.
Concerts featured symphonic works of the German tradition and works by
French composers.
Conductor Edouard Colonne introduced explanatory program notes in a concert
series surveying the history of music (see HWM Figure 30.1).
Concerts and musical styles were often tied to politics.
A variety of music schools were established, but the Conservatoire was still the
most prestigious.
Two principal strands of music composition dominated prior to the emergence
of impressionism.
A cosmopolitan tradition transmitted through Csar Franck
A French tradition, embodied in the music of Gabriel Faur
Csar Franck (1822-1890)
Born in Belgium, Franck studied at the Conservatoire and became professor of
organ there in 1871.
Musical characteristics
Classical genres, forms, and counterpoint
Thematic transformation and cyclic unity
Wagnerian harmony
Franck's Prelude, Chorale, and Fugue (1884) for piano mixes Baroque forms
and procedures with the thematic and harmonic methods of Liszt and Wagner.
Organ music
He often combined original melodies in chorale style with richly
developed fantasias and full chordal finales, as inThree Chorales (1890).
His improvisatory style inaugurated a new type of organ music in
France.
The design of the organ in France changed to accommodate this
approach.
Franck is considered the founder of modern French chamber music.
His major chamber works are cyclic and incorporate thematic transformation.
Piano Quintet in F Minor (1879)
String Quartet in D Major (1889)
Violin Sonata in A Major (1886)
Symphony in D Minor (1888)
Perhaps the most popular French symphony after Berlioz

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Model of cyclic form

Gabriel Faur (1845-1924) (see HWM Figure 30.2)
The French tradition drew upon the works of composers from Couperin to
Gounod.

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Music was viewed more as sonorous form than as expression.

Order and restraint are fundamental.
Music is more lyric or dancelike than epic or dramatic.
Biography
Faur studied under Saint-Sans and had several posts as organist.
He was a founder of the Socit Nationale, which sought to preserve
French traditions.

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He became a professor of composition at the Paris Conservatoire in

1896 and served as director from 1905 to 1920.
His large works include the Requiem (1887) and two operas.
He primarily composed smaller works, including songs, short piano
works, and chamber music.
Faur developed a new style in which melodic lines are fragmented and
harmony is less directional.
Avant que tu ne t'en ailles (Before you depart) from the song cycle La bonne
chanson (The Good Song, 1892) (see HWM Example 30.1)
Fragmentary melodic phrases
Harmonic treatment dilutes the need for resolution and creates a sense
of repose.
Russia
Tchaikovsky
Tchaikovsky successfully combined classical forms and nationalism.
Many of his works have joined the classical repertory, including:
Ballets (see HWM Chapter 28)
Piano concertos and a violin concerto (1878)
Symphonies, most notably his last three (Nos. 4-6)
Symphony No. 4 in F Minor (1877-8)
Tchaikovsky suggested that the opening horn call represents fate.
The horn call reappears and unifies this cyclic symphony.
The keys in the first movement move within a circle of minor thirds.
The outer movements are dramatic; the second is wistful, and the third
is an airy scherzo.
Tchaikovsky, Symphony No. 6 in B Minor, the Pathtique (1893)
First movement
Somber, slow introduction
Darkly passionate character
The development quotes the Russian orthodox Requiem.
Second movement
Minuet and Trio form in D Major
Uses 5/4 meter
The B-minor trio suggests sorrow.
Third movement (NAWM 151)
Moves from light scherzo to triumphant march

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Fragments introduced near the beginning coalesce into a main theme

that reaches its definitive form near the end.
Fourth movement
Despairing slow movement with lamenting figures
The music fades away at the end.
Tchaikovsky likely conceived of the symphony as a tragic opera.
Borodin
Borodin was a devotee of chamber music and an admirer of Mendelssohn.
His melodies reflect the spirit of folk tunes.
Style
Songlike themes
Transparent orchestral texture
Modally tinged harmonies
Spinning out an entire movement from a single idea
Major works
Two string quartets (1874-9 and 1881)
Symphony No. 2 in B Minor (1869-76)
In Central Asia (1880), a symphonic sketch
Musorgsky
Major nonoperatic works
Night on Bald Mountain (1867), a symphonic fantasy
Pictures at an Exhibition for piano (1874, later orchestrated by Ravel)
Song cycles: The Nursery (1872), Sunless (1874), and Songs and
Dances of Death (1875)
Pictures at an Exhibition
This set of ten pieces was inspired by an exhibition of sketches,
paintings, and designs by Viktor Hartmann.
Several of the images are rendered in character pieces that are joined
by a theme that represents the viewer walking.
The image of a commemorative gate to be built at Kiev was set as a
grand processional hymn with Western and Russian elements (see HWM Figure 30.3 and Example
30.2).
Rimsky-Korsakov
Although he composed a variety of works, he is best known for his
programmatic orchestral pieces.
Capriccio espagnole (1887)
Sheherazade (1888), a symphonic suite
Russian Easter Overture (1888)
These works display his genius for orchestration and musical characterization.
The four movements of Sheherazade represent four stories as told to the
sultan by his wife, who is portrayed with a solo violin.
Bohemia
Smetana
The String Quartet No. 1, From My Life (1876), uses a nationalist style.
M vlast (My Country, ca. 1872-9) is a cycle of six symphonic poems.
The Moldau, the best-known work of the set, depicts the river that
moves through the Czech countryside to Prague.

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Tbor, the most stirring of the set, employs a traditional chorale as a

symbol of Czech resistance to oppression.
Dvork
Dvork's nonoperatic works include:
Nine symphonies
Four concertos, including the Cello Concerto in B Minor
Numerous dances for orchestra
Other chamber works, piano pieces, songs, and choral works
Dvork could write in both international and national styles.
Symphony No. 6 in D Major (1880) is international in style.
Nationalist works include the Slavonic Dances and the Dumky Piano
Trio.
Slavonic Dances, Op. 46 (1878; NAWM 152 and HWM Example 30.3)
Originally for piano four hands and later orchestrated
The first dance is a furiant, a dance in triple meter that begins with
hemiolas.
ABA' form with coda
He served as artistic director of the National Conservatory of Music in New York
(see HWM Figure 30.4).
Dvork was hired to help create a national style in the United States.
He looked to the music of American Indians and African Americans for
a source of an American style (see HWM Source Reading, page 758).
He applied some of these elements to the Symphony No. 9 in E Minor
(From the New World), his best-known work, and to the String Quartet No. 12 in F Major (American).
Northern Europe
Edvard Grieg (1843-1907)
Grieg created a distinctive nationalist style in Norway with a series of songs,
short piano pieces, and orchestral suites.
Norwegian elements
Modal melodies and harmonies
Dance rhythms
The nationalist style can best be seen in:
Songs on Norwegian texts
Peer Gynt Suite (1875)
Slatter, a collection of Norwegian peasant dances arranged for piano
Ten sets of Lyric Pieces for piano (1867-1901; see HWM Example
30.4)
His piano style has some similarities to Chopin's, but folk elements
predominate.
Some of Grieg's works were international in character, including the popular
Piano Concerto in A Minor (1868, revised 1907).
Edward Elgar (1857-1934)
Elgar was the first English composer to gain international recognition in over
two hundred years.
He did not adopt a distinctive national style, and he drew upon the styles of
both Brahms and Wagner.
The Dream of Gerontius (1900), an oratorio, is influenced by Wagner's Parsifal.

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His orchestral works include the Enigma Variations (1899) and two
symphonies.
The United States
Diverse musical styles
Ethnic diversity complicated the creation of a national identity.
Immigrants from various regions brought their own musical traditions.
Three principal types of music emerged, although with some overlapping.
Classical, which centered on the composer and required complex
notation
Popular, which was notated and sold but centered on the performer
Folk, which was passed on through oral tradition
The classical tradition
A large number of Germans immigrated to the United States in the middle of
the nineteenth century.
German musicians had a strong commitment to their national
traditions.
German immigrants filled American orchestras and taught music at all
levels.
German tastes and style dominated American music in the classical
tradition until World War I.
Theodore Thomas (1835-1905)
He came to the United States in 1845 and later played violin in several
orchestras.
He conducted the Brooklyn Philharmonic and then founded his own
orchestra, the Theodore Thomas Orchestra.
His ensemble was one of the best and most successful classical music
organizations in this country.
Despite this success, he still needed to perform lighter dance music
periodically.
He became the first conductor of the Chicago Symphony Orchestra.
American composers in the classic tradition
John Knowles Paine (1839-1906) became Harvard's first professor of music.
George Whitefield Chadwick (1854-1931) studied at the New England
Conservatory in Boston and became its director.
Horatio Parker (1863-1919), a student of Chadwick, taught at Yale and was the
first dean of its School of Music.
Edward MacDowell (1860-1908) was the first music professor at Columbia
University.
All of the above composers studied in Germany, and their styles were deeply
rooted in German tradition.
They had varying attitudes about nationalism.
Parker wrote in an international style that is reflected in his best-known
work, the oratorio Hora novissima(1893).
Chadwick employed pentatonic melodies and distinctive rhythms in his
Symphony No. 2 in B-flat (1883-5) andSymphonic Sketches (1895-1904).
MacDowell opposed overt nationalism, but he nevertheless wrote
several nationalist works, including his SecondIndian Suite (1891-5) based on American Indian
melodies.

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Amy Marcy Beach (1867-1944) (see HWM Figure 30.5)

Biography
Beach was a child prodigy.
Excluded from the top universities because she was a woman, she
studied privately in Boston and taught herself.
She married a wealthy physician and had time to compose.
Beach was internationally recognized and inspired many women in
later generations.
Beach composed several large-scale works.
Mass in E-flat (1890)
Gaelic Symphony (1894-6)
Piano Concerto (1899)
Piano Quintet (1907)
She also wrote about 120 songs and other piano and choral works.
Style
Some of her music has an ethnic flavor, like the Irish tunes in
the Gaelic Symphony and the American Indian melodies in the String Quartet (1929).
Most of her works follow German traditions.
Beach Piano Quintet
Relation to Brahms's Piano Quintet in F Minor
Beach performed the Brahms quintet with the Kneisel Quartet, which
inspired her to compose her own quintet.
Beach adapted a theme from Brahms's quintet in each of her three
movements.
These three versions of the theme are related through thematic
transformation.
The relationship of Beach's theme to Brahms's is most distant in the
finale (see example in the commentary toNAWM 153).
Last movement (NAWM 153)
With its rich harmony and brilliant piano writing, the musical style is
clearly rooted in the Romanticism of the late nineteenth century.
The movement is in a modified sonata form.
The development features a fugato, stirring climax, and a reprise of a
theme from the first movement.
The recapitulation begins with the second theme, and the first theme
reappears briefly near the end of the movement.
Bands in America
The earliest American bands were in the military, but local bands emerged in
the nineteenth century.
The invention of valves for brass instruments allowed them to play melodies in
any register, and brass instruments became the backbone of the band.
Bands played a large role during the Civil War, and they continued to
proliferate afterward.
Professional bands enjoyed a heyday between the Civil War and World War I.
Patrick S. Gilmore (1829-1892)
He founded his own band in 1858.
He led two mammoth festival concerts with performers numbering in
the thousands.

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He toured the United States and Europe with his band.

John Philip Sousa (1854-1932)
Sousa was inspired by the success of Gilmore.
He conducted the United States Marine Band.
He also organized his own internationally recognized band in 1892
(see HWM Figure 30.6).
Band music
Concerts mixed arrangements of classic works with lighter works, such as
dances and popular melodies.
The march was the staple of the band repertory (see HWM Figure 30.7).
The march generally opens with a brief introduction, usually four
measures.
Two strains or periods follow, each repeated.
A trio appears in a contrasting key, usually the subdominant, with an
optional introduction and two repeated strains.
A da capo repetition of the march closes the work.
Strains are typically sixteen measures.
The opening of the trio tends to be soft and lyrical.
Sousa's marches
Sousa dropped the da capo repetition in his marches and instead
alternated the lyrical trio with a more aggressive break strain.
He often added countermelodies and increased instrumentation with
each repeat of the trio.
The Stars and Stripes Forever (1897, NAWM 154)
The work begins with a four-measure unison introduction in E-flat.
The march has two repeated sixteen-bar strains of a contrasting
nature.
The lyrical trio, also thirty-two bars, is set in A-flat, a fourth higher.
Intended for concert performances rather than parades, the work
builds to a climactic finish.
The chromatic break strain creates a dramatic contrast.
Countermelodies are added to the repetition of the trio.
Sousa often performed the work with varied settings.
Popular song
In the late nineteenth century, the gulf between art songs and popular songs
widened.
Composers of popular songs sought to entertain audiences, accommodate
amateur performers, and sell as many copies as possible.
Subjects for songs ranged from love to satire.
Songs were also used to convey ideas about politics, religion, and society.
The standard form of the popular song was the verse and refrain.
The piano plays a four- or eight-measure introduction.
The verse is eight, sixteen, or thirty-two measures in length.
The refrain is similar in size to the verse.
The refrain was often sung in harmony, so that the term chorus was applied to
the refrain.
Both verse and refrain can have internal repetitions.
The key to success was a catchy phrase, sometimes called a hook.

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After the Ball (1892) by Charles K. Harris

The song has a catchy chorus above a waltz dance rhythm (see HWM
Example 30.5).

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After the Ball sold over a million copies, making the composer rich.
Tin Pan Alley, a district in New York that specialized in music publishing,
developed strategies for selling sheet music.
Music of African Americans
Brought to America as slaves, Africans found it difficult to maintain their own
ethnic culture.
Slaves were able to preserve a distinct musical style because it was shared
among a number of African societies and because music was encouraged by slaveowners.
Characteristics of African music
Call and response, the alternation of short phrases between a leader
(call) and a group (response)
Improvisation, usually on a simple formula
Syncopation
Repetition of short rhythmic or melodic patterns
Multiple layers of rhythm, including strong offbeats
Bending pitches or sliding from one pitch to another
Shouts, moans, and other vocalizations
Instruments like the banjo, based on a West African stringed
instrument
These traits are developed later in ragtime, blues, jazz, and other musical
styles in the African-American tradition.
Spirituals had the greatest impact on nineteenth-century American music.
A spiritual was a religious song of southern slaves.
The texts were based on images or stories from the Bible, sometimes
with hidden messages about freedom.
Go Down Moses was the first spiritual to be published (1861).
Published spirituals were arranged as songs with piano accompaniments.
The Fisk Jubilee Singers popularized spirituals in the 1870s through concert
tours in the United States and Europe (seeHWM Figure 30.7).
By the end of the century, spirituals were folk music, popular music, and
sources for melodic material in classic music.