The Cambridge Companion to the Symphony

Transcription

1 The Cambridge Companion to the Symphony Few genres of the last 250 years have proved so crucial to the course of music history, or so vital to public musical experience, as the symphony. This Companion offers an accessible guide to the historical, analytical and interpretative issues surrounding this major genre of Western music, discussing an extensive variety of works from the eighteenth century to the present day. The book complements a detailed review of the symphony s history with focussed analytical essays from leading scholars on the symphonic music both of mainstream composers, including Haydn, Mozart and Beethoven, and of recent figures, such as Carter and Berio. With chapters on a comprehensive range of topics, from the symphony s origins to the politics of its reception in the twentieth century, this is an invaluable resource for anyone with an interest in the history, analysis and performance of the symphonic repertoire. JULIAN HORTON is Associate Professor and Head of the School of Music at University College Dublin. His research focusses on nineteenth-century instrumental music, with special interests in the symphonies of Anton Bruckner and the analysis of sonata forms. His publications include Bruckner s Symphonies: Analysis, Reception and Cultural Politics (2004) and chapters and articles in The Cambridge Companion to Bruckner (2004), Music Analysis, Music and Letters and Musical Quarterly.

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3 The Cambridge Companion to THE SYMPHONY EDITED BY Julian Horton University College Dublin

4 Cambridge University Press University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge.,' It furthers the University s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. Information on this title: / Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2013 Reprinted 2014 Printed in the United Kingdom by TJ International Ltd, Padstow, Cornwall A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data The Cambridge companion to the symphony / edited by Julian Horton. pages cm. (Cambridge companions to music) Includes bibliographical references and index. ISBN (hardback) ISBN (paperback) 1. Symphony. I. Horton, Julian, editor. II. Series: Cambridge companions to music. ML1255.C dc ISBN Hardback ISBN Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

5 Contents [v] List of tables and figures [page vii] List of musical examples [viii] Notes on contributors [xi] Acknowledgements [xiv] 1 Introduction: understanding the symphony Julian Horton [1] Part I Historical overview of the genre [13] 2 The Viennese symphony 1750 to 1827 John Irving [15] 3 Other classical repertories Mary Sue Morrow [29] 4 The symphony after Beethoven after Dahlhaus David Brodbeck [61] 5 The symphony since Mahler: national and international trends David Fanning [96] Part II Studies in symphonic analysis [131] 6 Six great early symphonists Michael Spitzer [133] 7 Harmonies and effects: Haydn and Mozart in parallel Simon P. Keefe [155] 8 Beethoven: structural principles and narrative strategies Mark Anson-Cartwright [174] 9 Cyclical thematic processes in the nineteenth-century symphony Julian Horton [190] 10 Tonal strategies in the nineteenth-century symphony Julian Horton [232] 11 Two-dimensional symphonic forms: Schoenberg s Chamber Symphony, before, and after Steven Vande Moortele [268]

6 vi Contents 12 Symphony/antiphony: formal strategies in the twentieth-century symphony Daniel M. Grimley [285] Part III Performance, reception and genre [311] 13 The symphony and the classical orchestra Richard Will [313] 14 Beethoven s shadow: the nineteenth century Mark Evan Bonds [329] 15 The symphony as programme music John Williamson [344] 16 Symphonies of the free spirit : the Austro-German symphony in early Soviet Russia Pauline Fairclough [358] 17 The symphony in Britain: guardianship and renewal Alain Frogley [376] 18 The symphony, the modern orchestra and the performing canon Alan Street [396] Bibliography [415] Index [438]

7 Tables and figures Tables Table 3.1 Selected immigrant composers of symphonies [page 31] Table 3.2 Examples of four-movement plans before 1760 [36] Table 9.1 Schumann, Symphony No. 2, IV, form and distribution of themes [200] Table 9.2 Schumann, Symphony No. 4, movement scheme, forms and thematic relationships [206] Table 10.1 Cyclical tonal schemes of 163 symphonies composed between 1800 and 1911 [252] Table 11.1 Schoenberg, Chamber Symphony Op. 9 [271] Table 11.2 Liszt, Les Préludes [276] Table 11.3 Strauss, Sinfonia domestica [278] Table 11.4 Sibelius, Symphony No. 7 [281] Table 11.5 Samuel Barber, Symphony No. 1 [282] Table 14.1 Nineteenth-century symphonies with choral finales [341] Table 14.2 Nineteenth-century symphonies with implicitly choral finales [341] Table 15.1 Rebecca Grotjahn s catalogue of mid-nineteenth-century generic titles [350] Figures Figure 9.1 Bruckner, Symphony No. 5, pairing of inner and outer movements by theme and key [216] Figure 12.1 Sibelius, Symphony No. 4, I, formal reading (after Antokoletz, The Musical Language of the Fourth Symphony ) [288] Figure 12.2 Carter, Symphony of Three Orchestras, form [304] [vii]

8 Musical examples [viii] Example 3.1 Johan Agrell, Symphony in C major, I, bars [page 38] Example 3.2 Georg Benda, Sinfonia No. 1 in F major, I, bars 12 15; 24 6 [40] Example 3.3a Leonardo Leo, Overture to Amor vuol sofferenza, I, bars 1 5 [41] Example 3.3b Leonardo Leo, Overture to Amor vuol sofferenza, I, bars [42] Example 3.4 C. P. E. Bach, Symphony in F major, Wq 175, I, bars 1 36 [43] Example 3.5 Johann Gottlieb Graun, Symphony in F major (Mennicke 97), I, bars [49] Example 3.6 Christian Cannabich, Symphony No. 73 in C major, I, bars [51] Example 3.7a Wenzel Pichl, Symphony in F major, Op. 1/5, I, bars 1 8 [54] Example 3.7b Wenzel Pichl, Symphony in F major, Op. 1/5, I, bars [55] Example 3.8 Antonio Rosetti, Symphony in F major (F1), I, bars [56] Example 3.9 Pasquale Anfossi, Sinfonia in B flat (B 5),I,bars25 49 [57] Example 6.1a Sammartini, Symphony No. 37, I, bars 66 9 [136] Example 6.1b Sammartini, Symphony No. 37, III, bars 1 4 [136] Example 6.2 Sammartini, Symphony No. 73, I, bars 42 7 [136] Example 6.3a Sammartini, Symphony No. 38, I, bars [137] Example 6.3b Sammartini, Symphony No. 38, I, bars 63 7 [137] Example 6.4 Stamitz, Sinfonia Op. 4, No. 6, I, bars 1 18 [139] Example 6.5a Stamitz, Sinfonia Op. 4, No. 6, II, bars 1 5 [141] Example 6.5b Stamitz, Sinfonia Op. 4, No. 6, II, bars 21 3 [141] Example 6.6a J. C. Bach, Symphony Op. 18, No. 3, II, bars 1 4 [144] Example 6.6b J. C. Bach, Symphony Op. 18, No. 3, II, bars [144] Example 6.7a C. P. E. Bach, Symphony in C, W 182 No. 3, I, bars 1 6 [145] Example 6.7b C. P. E. Bach, Symphony in C, W 182 No. 3, I, bars 124 8; II, bar 1 [145] Example 6.8a C. P. E. Bach, Symphony in C, W 182 No. 3, II, bars [146] Example 6.8b C. P. E. Bach, Symphony in C, W 182 No. 3, III, bars 1 3 [146]

9 ix List of musical examples Example 6.9 C. P. E. Bach, Symphony in C, W 182 No. 3, III, bars [146] Example 6.10a Kraus, Symphony in C minor, VB 142, I, bars 1 4 [148] Example 6.10b Kraus, Symphony in C minor, VB 142, I, bars 24 8 [148] Example 6.11a Boccherini, Symphony in E flat, Op. 35, No. 2, II, bars [150] Example 6.11b Boccherini, Symphony in E flat, Op. 35, No. 2, III, bars 1 5 [150] Example 6.12a Boccherini, Symphony in D minor, Op. 37, No. 3, I, bars 1 4 [151] Example 6.12b Boccherini, Symphony in D minor, Op. 37, No. 3, I, bars 5 6 [151] Example 6.13 Boccherini, Symphony in D minor, Op. 37, No. 3, I, bars 63 4 [152] Example 7.1 Mozart, Symphony No. 39, II, bars [163] Example 7.2 Mozart, Symphony No. 41, II, bars [165] Example 7.3 Haydn, Symphony No. 104, II, bars [167] Example 9.1 Beethoven, Symphony No. 9, I, subordinate theme and IV, Freude theme [192] Example 9.2 Berlioz, Symphonie fantastique, variantsoftheidée fixe [193] Example 9.3 Berlioz, Harold en Italie, variantsofthe Harold theme [195] Example 9.4 Schumann, Symphony No. 1, I and II, motto theme [197] Example 9.5 Schumann, Symphony No. 1, II, bars and III, bars 1 5 [197] Example 9.6 Schumann, Symphony No. 1, II, bars 25 6 and III, bars 5 8 [198] Example 9.7 Schumann, Symphony No. 2, I, bars 1 4 [198] Example 9.8a Schumann, Symphony No. 3, I, bars 1 5 [201] Example 9.8b Schumann, Symphony No. 3, I, bars [201] Example 9.8c Schumann, Symphony No. 3, V, bars [201] Example 9.9a Schumann, Symphony No. 3, II, bars [202] Example 9.9b Schumann, Symphony No. 3, IV, bars 1 8 [202] Example 9.9c Schumann, Symphony No. 3, V, bars 97 9 [202] Example 9.9d Schumann, Symphony No. 3, V, bars [203] Example 9.10 Schumann, Symphony No. 4, cyclical relationships [205] Example 9.11 Liszt, Eine Faust-Symphonie, cyclical relationships [208] Example 9.12 Tchaikovsky, Symphony No. 4, I, bars 1 6 [212] Example 9.13 Tchaikovsky, Symphony No. 4, II, III and IV, thematic connections [213] Example 9.14a e Tchaikovsky, Symphony No. 5, cyclical use of motto theme [214]

10 x List of musical examples Example 9.15 Bruckner, Symphony No. 5, mvts I and IV, first themes [216] Example 9.16 Bruckner, Symphony No. 5, IV, bars [217] Example 9.17a Bruckner, Symphony No. 5, II, bars 5 8 [218] Example 9.17b Bruckner, Symphony No. 5, III, bars 1 8 and [218] Example 9.18a Mahler, Symphony No. 1, I, bars 7 9 and IV, bars [220] Example 9.18b Mahler, Symphony No. 1, I and IV, thematic relationships [220] Example 9.18c Mahler, Symphony No. 1, I, bars and IV, bars [221] Example 9.19a Mahler, Symphony No. 2, I, bars [222] Example 9.19b Mahler, Symphony No. 2, V, bars [223] Example 9.19c Mahler, Symphony No. 2, V, bars , , 220 1, and [223] Example 9.20 Mahler, Symphony No. 2, IV, bars [224] Example 9.21 Mahler, Symphony No. 9, thematic relationships between mvts II, III and IV [226] Example 10.1 Schubert, Symphony No. 9, I, bass diagram [239] Example 10.2 Tchaikovsky, Symphony No. 4, I, bass diagram [240] Example 10.3 Franck, Symphony, I, bass diagram [241] Example 10.4 Schumann, Symphony No. 3, I, bars [242] Example 10.5 Mahler, Symphony No. 6, I, bars [244] Example 10.6 Mendelssohn, Symphony No. 2, I, bars [245] Example 10.7 Bruckner, Symphony No. 7, IV, bars 1 9 [246] Example 10.8 Bruckner, Symphony No. 7, IV, bars [246] Example 10.9 Elgar, Symphony No. 1, I, bars 50 8 [247] Example Dvořák, Symphony No. 5, IV, bass diagram [249] Example Mahler, Symphony No. 1, IV, bass diagram [250] Example Mahler, Symphony No. 3, I, bass diagram [250] Example 12.1 Sibelius, Symphony No. 4, I, bars 1 4 [289] Example 12.2 Sibelius, Symphony No. 4, I, bars 7 21 [290] Example 12.3 Sibelius, Symphony No. 4, I, bars 95 6 [291] Example 12.4 Sibelius, Symphony No. 4, II, opening [292] Example 12.5 Sibelius, Symphony No. 5, IV, swan hymn [293] Example 12.6 Stravinsky, Symphony of Psalms, III, introduction [296] Example 12.7 Stravinsky, Symphony of Psalms, hymn of praise, opening [298] Example 12.8 Berio, Sinfonia, I, opening [300] Example 12.9 Pelle Gudmundsen-Holmgreen, Symphony, Antiphony, opening [307]

11 Contributors [xi] Mark Anson-Cartwright is Assistant Professor of Music Theory at Queens College and The Graduate Center, City University of New York. His articles on the music of Bach, Haydn, Mozart, Beethoven, Wagner and Wolf have appeared in various journals, including Music Analysis, Music Theory Spectrum, Journal of Music Theory and Dutch Journal of Music Theory. He is currently doing analytical research on the vocal music of Bach. Mark Evan Bonds is the Cary C. Boshamer Distinguished Professor of Music at the University of North Carolina at Chapel Hill, where he has taught since He holds degrees from Duke University (BA), Christian-Albrechts-Universität Kiel (MA) and Harvard University (Ph.D.). His books include Wordless Rhetoric: Musical Form and the Metaphor of the Oration (1991), After Beethoven: Imperatives of Symphonic Originality (1996) and Music as Thought: Listening to the Symphony in the Age of Beethoven (2006). He has published essays on the music of Haydn and Mozart and is currently working on a history of the idea of absolute music. David Brodbeck is Professor and the Robert and Marjorie Rawlins Chair of Music at the University of California, Irvine. He has published on a wide range of topics related to Brahms and other nineteenth-century German composers. His current research focusses on the intersection of music, politics and constructions of social identity in the reception of new music in late Hapsburg Vienna. Recent publications include Dvořák s Reception in Liberal Vienna: Language Ordinances, National Property, and the Rhetoric of Deutschtum (Journal of the American Musicological Society), Hanslick s Smetana and Hanslick s Prague (Journal of the Royal Musical Association) and Ausgleichs-Abende : The First Viennese Performances of Smetana s Bartered Bride (in a special volume of Austrian Studies entitled Word and Music). Pauline Fairclough is Senior Lecturer in Music at the University of Bristol. She has published widely on Shostakovich and Soviet culture and is currently engaged on a study of Soviet concert repertoire. Books include The Cambridge Companion to Shostakovich (with David Fanning), Shostakovich Studies II and A Soviet Credo: Shostakovich s Fourth Symphony (2006). David Fanning is Professor of Music at the University of Manchester and has a varied career as scholar, pianist and critic. Author and editor of books on Nielsen and Shostakovich, his ongoing research projects include a historical survey of the symphonyinthesovietunionand(withmichelleassay)acompletionofthelateper Skans s life-and-works study of the Shostakovich disciple, Mieczysław Weinberg, his 2010 book Mieczysław Weinberg: In Search of Freedom being a concise advance version of the Weinberg study. He is also active as critic for The Gramophone and the Daily Telegraph, and as a BBC broadcaster and public speaker. As a pianist he was for twenty-five years chamber-music partner of The Lindsays, the University of

12 xii Notes on contributors Manchester s quartet-in-residence, a role he has since continued with the Brusselsbased Quatuor Danel. Alain Frogley is Professor of Music History at the University of Connecticut; he has also taught at Oxford, Lancaster and Yale, and in was a Fellow of the American Council of Learned Societies. He has written on Beethoven sketches and performance history, and published extensively on the music of the late nineteenth and twentieth centuries, including two books on Vaughan Williams; he has also contributed entries to the revised New Grove dictionary. His most recent work includes research into the reception of British music in Nazi Germany, racial Anglo-Saxonism in music, and post-colonial studies in musicology. He is currently working on a book about music and the modern metropolis, centred on Vaughan Williams s A London Symphony. He has written and presented programmes for BBC radio and lectured at Carnegie Hall and the Kennedy Center. Daniel M. Grimley is a University Lecturer in Music at Oxford University and Tutorial Fellow in Music at Merton College, having taught previously at the Universities of Nottingham and Surrey. He has published widely on Scandinavian music, Finnish music, the work of Elgar and Vaughan Williams, and music and landscape. His books include Grieg: Music, Landscape and Norwegian Identity (2006), and Carl Nielsen and the Idea of Modernism (2010), and he edited the Cambridge Companion to Sibelius (2004). In 2011, he was the Scholar-in-Residence at the Bard Festival, for which he edited the volume Jean Sibelius and his World (2012). Future projects include books on Delius and on music and landscape in Nordic music, Julian Horton is Associate Professor and Head of the School of Music at University College Dublin. He is author of Bruckner s Symphonies: Analysis, Reception and Cultural Politics (Cambridge, 2004) and a contributor to The Cambridge Companion to Bruckner (2004). He has published articles on issues in the analysis of nineteenth-century music in Music Analysis, Musical Quarterly, Music and Letters and Dutch Journal of Music Theory, and is currently completing a monograph on Brahms s Piano Concerto No. 2. John Irving is Professor of Music History and Performance Practice at Canterbury Christ Church University. He was previously Director of The Institute of Musical Research, School of Advanced Study, University of London, and has held Chairs at The University of London and The University of Bristol. He has published five books on the music of Mozart, principally on his instrumental and chamber works, and has a particular interest in performance practice. He is also a performer on the fortepiano, clavichord and harpsichord, with several CD recordings to his credit. Simon P. Keefe isjamesrossiterhoylechairofmusicandheadofdepartmentatthe University of Sheffield. He is the author of more than forty journal articles and book chapters, mostly on Mozart and late eighteenth-century music, and author or editor of eight books, including most recently The Cambridge History of Eighteenth-Century Music (2009) and the monograph Mozart s Requiem: Reception, Work, Completion (2012), both for Cambridge University Press. Professor Keefe was elected to life membership of the Academy for Mozart Research at the International Mozart

13 xiii Notes on contributors Foundation in Salzburg in 2005 and is general editor of the Royal Musical Association monographs series. Steven Vande Moortele is Assistant Professor of Music Theory at the University of Toronto. His research concentrates on theories of musical form, the analysis of instrumental music from the late eighteenth to the early twentieth century, and the music of Arnold Schoenberg. He is the author of Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky (2009). Mary Sue Morrow is Professor of Musicology at the University of Cincinnati. Her publications include Concert Life in Haydn s Vienna: Aspects of a Developing Musical and Social Institution (1989), German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music (1997) and (as co-editor with Bathia Churgin) The Symphonic Repertoire, vol. I: The Eighteenth-Century Symphony (2012). Michael Spitzer is Professor of Music at the University of Liverpool. A theorist and musicologist, he has written widely on classical and early Romantic music, and is author of Metaphor and Musical Thought and Music as Philosophy: Adorno and Beethoven s Late Style. He is presently writing a book on the history of musical emotion. Alan Street teaches at the University of Kansas. Formerly Editor of the journal Music Analysis ( ), his research interests include various aspects of the relationship between music theory and critical theory. Richard Will is Associate Professor of Music at the University of Virginia. He is author of The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge, 2002), co-editor of Engaging Haydn: Culture, Context, and Criticism (Cambridge, 2012), and a contributor to C. P. E. Bach Studies (Cambridge, 2006), The Cambridge History of Eighteenth-Century Music (2009) and other essay collections and journals. John Williamson is Emeritus Professor and former Head of Music at the University of Liverpool. He has published extensively on Mahler and such contemporaries as Busoni, Zemlinsky, d Albert and Schoenberg in symposia and journals; is the author of books on Pfitzner and Strauss; and editor of volumes on Bruckner and on words and music.

14 Acknowledgements I would like to thank Vicki Cooper and all the editorial and production team at Cambridge University Press for their most generous help, support and patience. Profound thanks are also due to my colleagues at University College Dublin for their support during the preparation of this volume: Ciarán Crilly, Melissa Devereux, Desmond Earley, Orla Flanagan, Jaime Jones, Frank Lawrence, Wolfgang Marx, Thérèse Smith and Harry White. [xiv]