Day 10 and Day 11

Okay, I got a little behind on blogging, but meanwhile we have been doing reports on different 20th century composers. We will do this for a couple more days, then run back to the end of the Renaissance and the Baroque period. Furthermore it is time to take a test on several items just to check ourselves.

So far we discussed Copland, Ravel, Stravinsky, and Sibelius. We have some more discussion on Barber, Messiaen, Bartok, and Prokofiev coming up. Our Copland moments included listening to Billy the Kid and talking about his use of polyrhythm and bitonality. Copland's emphasis on American folk songs gives his music a nationalistic spirit and made him known as the Dean of American Composers. Ballets, suites, film scores, concertos, chamber music, songs, and choral music comprise his immense and varied repertoire. Of greater interest is the "Copland sound" which includes open 5ths, 4ths, and expansive utilization of the harmonic series. In spite of the use of dissonance and hints of serialism, Copland's ability to open the textures, provides his music with an engaging and palatable mosaic still heard today.

Our brief minutes spent on Ravel revealed a composer steeped in classical forms but adopting a coloristic approach to music often called Impressionistic. Ravel's remarkable gifts found fruition in concertos, ballets, piano works, chamber pieces, songs, and orchestral showpieces. Known as one of the great orchestrators in music history, his Pictures at an Exhibition continues to be played frequently in concert halls. Perhaps the most performed Ravel piece is Bolero, a piece with 2 themes and a repetitious rhythm. Without a development section, Bolero never fails to elicit great emotional response from listeners and players.

Moving on to Sibelius, and one must wonder why a late Romantic is included in this discussion, we discussed his symphonies, concertos, and suites. Listening to Finlandia gave us an opportunity to talk about Finnish music and nationalism in general. Sibelius' use of orchestral padding, large forms, tonality, and vibrant orchestral textures tends to set his music apart from many of his contemporaries. Among the most beautiful pieces in orchestral repertoire is the Violin Concerto by Sibelius. A special piece demonstrating his use of tonality and layering of orchestral texture. His commitment to composing music in an older model in the midst of other more progressive composers is both admirable and anachronistic. Yet he composed at such a high level, he remains influential in today's eclectic world.

Many consider Stravinsky the greatest of 20th Century composers. From the 3 early ballets, through stunning neoclassicism, and finally serialism, Stravinsky epitomizes excellence in musical craft, expression, and creativity. Using bitonality, primitivism, complex rhythm, planing, and almost endless coloring, Stravinsky rocked the musical world with Rite of Spring. Following that shocking debut, he altered his style to a more conservative flavor drawing from classical music. Distinctly his own, Stravinsky's adoption of older forms never interfered with progressive creativity that tested the boundaries of tonality without abandoning the classical framework. Finally, in his mature years, he experimented with serialism, composing the deliciously complex Agon ballet.

The clarity, starkness, sophistication, and fastidiousness of Stravinsky's music continues to fascinate audiences and intrigue musical scholars. Each piece is a magical expression of his genius regardless of the language used at the time. 3 stages of composition, each stage being treated with utmost care, defines his illustrious career, a career that remains enviable for its prolific and complex output.

I would urge readers to listen to music of the composers studied and find a selection you like. What is your favorite Copland piece? Why? What is your favorite Stravinsky work? Sibelius? Ravel?