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Baroque Italian Opera Scenes, Led by Ivy Walz

Baroque Italian Opera Scenes, Led by Ivy Walz
Music Phrases Through the Ages
Concert Report #3
Lauren Thaete
November 14, 2014

On November 9, 2014, at 7:30 PM, the Ithaca College Light Opera as led by Ivy Walz, performed Baroque Italian Opera Scenes in Presser Hall. The program included many famous pieces from the Baroque time period that dealt with love, lust, and betrayal such as “L’Incoronazione di Poppea, Monteverdi, Prologue” and “L’Incoronazione di Poppea, Monteverdi, Scene 6.”

The opening piece to this concert was “L’Incoronazione di Poppea, Monteverdi, Prologue,” as performed by vocalists Leanne Averill (Fortuna), Liliana Saffa (Virtu), and Ann-Marie Iacoviello (Amor). This piece was full of passionate acting and rivaling voices that would increase both dynamically and in difficulty as the song progressed. The increase in intensity was a reflection of the plot since “L”Incoronazion di Poppea, Monteverdi, Prologue” is about two goddesses disputing about who had more power over humanity. Musically, this piece contained many characteristics that were similar to the Classical music we’ve listened to in class. Many of the phrases had clear cadences that often times were Perfect Authentic cadences. Each voice had its turn to present a point and argue their point, similar to the debates that would occur in the Enlightenment Salons. One difference between this piece and Classical pieces, is that “L’Incoroanzion di Poppea, Monteverdi, Prologue” had three set levels of dynamics: piano, mezzo forte, and forte. The conscious choice to perform with terraced dynamic levels is an authentic reflection of the instruments limitation from the Baroque times, such as the Harpsichord, which only had three fixed dynamic levels. Another difference between the music at this concert and Classical music was the type of trills used. In this performance, both vocalists and pianist began trills on the upper note whereas Classical music begins the trill on the lower note. The effect of these embellishments throughout the opening act created a sense of royalty and sophistication.

After a short intermission, the performance began again with more Eros driven Opera Scenes such as “L’Incoronazione di Poppea, Monteverdi, Scene 6:” as performed by Andrew Carr (Valetto) and Magdalyn Chauby (Damigella). The scene starts off with Valetto expressively singing romantic lyrical melodic lines with thick vibrato to woe Damigella, a lady in waiting. However, Damigella’s repetitious and minor tonality responses suggested that she was not interested in Valetto. Out of all the pieces performed, this was my favorite piece because of how well the text was painted and portrayed by the vocalists. Without knowing any Italian, I was able to identify the clear emotional shifts in Damigella as reflected by the tonality and dynamic levels of the song. Even the desperation of Valetto could be heard by his unresolved open cadences. The text was then brought to life with very subtle choreography that climaxed when the two vocalists touched hands. The song was both thoroughly entertaining as well as easy to relate to making it a great piece to listen to near the end of the concert.

Overall this concert was very engaging, even though it was in a completely difference language. The vocalists did an amazing job, and the performance was very memorable. I would recommend anyone, especially those who like singing, to see shows similar to this production, since I had goose bumps and shivers running down my back. While Baroque music may not be the most modern or cutting edge music, it definitely made for pleasant performance.

Le Sacre Du Printempts (Rite of Spring) by Igor Stravinsky

Rite of Spring

Music Phrases Through the Ages

Lauren Thaete

November 13, 2014

Times: 2:49-4:11

Igor Stravinsky’s Le Sacre du Prinptemps (The Rite of Spring) Opening Scenes of the Adoration of the Earth

            The Modernism Era was a time of doubt, loss in faith, and depression throughout Europe and the United States. World War I and World War II resulted in millions of deaths that created mass devastation. Because life was unbearably agonizing, many artists ceased to create art. However, composers such as Igor Stravinsky continued to create music to fill the emotional void. In Le Sacre Du Prinptemps, Igor Stravinsky used innovative timbre, disjunct melodies, and unsettling rhythms to reflect 20^th century ascetics and emotions of modernism.

            Igor Stravinsky’s use of unorthodox timbre colors and arrangements allowed for him to express the chaos and futility of the times. Within the time frame 2:49-4:11, Stravinsky created three blocks of sound that each represent a different perspective of the 20^th century. The first block of sound color exists from 2:49-3:13 and includes a rich polyphonic texture with descending woodwind lines. Within this thick cacophony, a trumpet sounds at 2:58 above the entire ensemble that Stravinsky used to represent the unbelievably high mortality rate of the Modernist Era since a trumpet timbre is often associated with calling men to war or taps played at a funeral. The second block in this section occurs between 3:13-3:45 where the bassoon plays a solo. Stravinsky used the bassoon’s timbre in an extremely difficult range for the bassoonist to reflect the desperation felt in the 20^th century. Lastly, Stravinsky juxtaposes the thin texture created by the bassoon with the entire string section playing in rhythmic monophony at 3:45. The sound of the entire string section working in unison creates a sense of urgency and militarism that is representative of war during the Modernism times. Though timbre plays a large role in Igor Stravinsky’s ability to reflect 20^th century ideals, the disjunct melodies that occur in each sound block serves just an important of a role in creating emotional ambiguity.

            The use of fragmented melodic lines in The Rite of Spring allowed for Igor Stravinsky to express despair and visceral connections from the 20th century. The excerpt at 2:49 begins with a polyphonic dialog between the brass, strings, and woodwinds. However, each of these three sections are stratified and therefore act independent of each other. In fact, the trumpet’s call-and-response line, often times does not have a clear response because Stravinsky wanted to create a sense of alienation. Stravinsky’s ability to defy all expectations of melodic continuity between 2:49 and 3:13 convey the Modernist idea that war was a conflict between countries acting independently in their own interests. Stravinsky also expressed the increase in deaths as a result of war in the 20th century through the descending lines of the woodwinds at 2:56 for descending music often meant a descent to hell or death, whereas ascending music represented an ascent to heaven or birth. Within the second block of sound 3:13-3:45, Stravinsky used the monophonic solo texture of the bassoon to juxtapose the sporadic and stratified lines pervious to 3:13 to create a sense of imbalance or discomfort felt during times of depression and war. The melodic line of the bassoon is then contrasted by the monophonic melody of the strings at 3:45. Stravinsky’s use of the entire string section on one rhythm reflects Modernist ideals melodically because even though all of the instruments have come together to play in unison, the harsh articulations and irregular accents confirm the there will never be comfort in life, even when supported by an entire section. While the melodic lines within the Rite of Spring help Stravinsky confirm the emotional uncertainty of the times, it is Stravinsky’s innovative use of unsettling rhythms that allows for him to drive home the true alienation and dissonance of the Modernism times.

            Igor Stravinsky’s use of desultory rhythms and stratified layers in the Rite of Spring’s unsupported metric structure embodies the order-less aesthetics of the 20^th century. At 3:13-3:45, Stravinsky continued to challenge any convention for meter during the bassoon solo due to the increase in the technically difficult rhythmic lines that sound in nonmeter to confirm the sense of confusion and hopelessness of the Modernism times. To create a feeling of dissonance and self-doubt, Stravinsky purposefully assigns various instruments different heard meters at the same time between 3:45-4:11. Specially, the percussive strings at 3:45 are felt in a simple duple feel if their accents hit on the + of 5 and the + of 6. The accents continue to grow at an exponential rate away from each to build a large emotional void. However, a beat cannot be established since the trumpet’s melodic line at 4:05 is felt in an un-prescribed compound pulse. Because the layering of meters distorts the beat, Stravinsky is able to make an insecure feeling similar to the insecurity felt by people of the early 20^th century during the Great Depression. Stravinsky’s unsettling and unconventional use of accents allows for him to express the lack of reason in the world and humanity felt in the Modernism era for every expectation in this section is completely thwarted.

Though many remember the 20^th century as a time of Jazz or Rock ‘n Roll, the early 1900’s were fill with the universal pain and misfortune caused by WWI and WWII. Igor Stravinsky’s unconventional use of timbre, melodic lines, and rhythms only further reflected the loss of faith in humanity during the Modernist Era. While many artists felt too much pain to create anymore, Igor Stravinsky was able to embody the fragmentation and despair of the 20^th century in masterpieces such as the Rite of Spring.

Wanderer Above the Sea of Mist

Wanderer Above the Sea of Mist
Music Phrases Through the Ages
Lauren Thaete

The Romantic time period was a time of emotional reflection and genius art. Only a few people could become a great artist or inspirational composer during this era. One particular artist that captured the emotional and individual ascetics of the Romantic times was Casper David Friedrich. His art not only spoke volumes about the 19th century, but also reflected the social ideals and creative process that began to challenge the logic and reasoning of the Enlightenment.

When looking at one Friedrich’s most iconic works, Wanderer above the Sea of Mist, it is clear that Friedrich was creating art for emotional fulfillment. The dramatic contrast between the dark foreground and illuminated background emphasis the curiosity in spiritual and emotional learning throughout the Romantic time period. In fact, one of the the most Romantic features about this work is the skewed proportion of the sky to the ground. Unlike most Enlightenment pictures that feature the main object or human in view, Friedrich’s Romantic work brings light and excitement to the sky and nature since the Romantic Era had a strong connection to nature. While the Enlightenment included the naming and sorting of species, the Romanic Era included the indigence and uncontrollable power of nature. The combination of the ambiguous mountain scape and swelling waves reflects the overwhelming qualities and power that the Romantic Era granted to nature. In addition, Friedrich makes a distinct point to emphasize the waves in the picture instead of the man to show that nature has a greater role in perception of life than does the single human being. 

While the Romantic Era stemmed from the Classical Era, clear differences between the two still exist as seen in Casper David Friedrich’s own art work. The subjects of the pieces have not changed, however the emphasis, color scheme, and use of light in the Romantic time period all are used to add drama and recreate an emotional mood. Wanderer Above the Sea of Mist reflects all of these aspects in the Romantic Era to create both a timeless and powerful piece of art.

Mozart Piano Sonata No. 16 in C Major K. 545 A Closer Look at Phrases

Mozart Piano Sonata No 16 C major K 545

Lauren Thaete

Music Phrases

When most people think of classical music, they think of Mozart due to his very precise structure and predictable music. In fact, his music was so perfect that the structure and motifs he used are still relevant in today’s music hundreds of years later. Specifically, Piano Sonata No. 16 in C Major K. 545 by Mozart not only shows off the phrases we have studied in class, but also serves as an excellent reflection of Enlightenment ideals.

Sonata No 16. In C Major K 545 was a piece written for the full register of the piano at varying dynamics. The piece predominately features the upper register by giving the right hand both the melody as well as sixteenth note subdivision of the beat. The right hand’s subdivision then creates a quadruple simple feel that is emphasized by the homophonic chords in the left hand that outline the anacrusis and down beat of a four pattern. The harmony started as an Alberti bass that then transformed into functional diatonic chords which later became arpeggiated and incorporated with the right hand in a give-and-take imitation. Minus the exception of the development at the end of each phrase, the harmony stays on either I, IV, or V.

When looking at the melody, one can see many classical characteristics such as upper-neighbor ornamentations and trills. The melody is generally lyrical or stepwise, and any jump is made within a major triad. A special note about this piece is that the right hand not only serves to play the melody, but in the midst of the second phrase, serves to play part of the sixteenth note harmony as well.

Both of the phrases in this piece are made of two equal-length elongated sentences. The first sentence starts on I and ends on V (with the soprano and bass on sol), making the phrase structure and Half Cadence. Going against expectation, Mozart then used the first phrase’s dominant chord as the new tonic chord in the second phrase, which he resolved in the new key. The second phrase is a completely different thought from the first phrase, so the structure is contrasting instead of parallel. Since the ending of the second sentence included a soprano voice that ended on do by step and a bass line on the tonic, the ending of the second phrases is a PAC making the overall structure of the introduction a contrasting interrupted period.

 Mozart’s work reflected the Enlightenment for it had clear structure and development of ideas. Each phrase, though expanded from the normal sentence structure, are equal in length, symbolizing that equality between the middle class and nobility. The ornamentations reflect the exquisite architectural details we’ve observed on famous monuments. Though there is embellishment, the core of the melody is both tonal and lyrical making it accessible to the common man for music was meant for everyone. Even the cadences come to distinct and clear endings to emphasize the importance of order and structure within the Enlightenment society. In fact, one could even see the discussion of the Philosophes within a Salon in the introduction of the second phrase where the key changes, but the expectation of reach a PAC does not. The right and left hand work together on the harmony, which could symbolize the fusion of the high and middle class communicating new ideas about science or math together. The trills are even ‘questioned’ in a sense from what they used to be in the Baroque Period for now they occur on the beat starting with the main note instead of the Baroque trills which start on the note above.

Though Mozart may not have known exactly the extent as to how much his music reflected the Enlightenment times, one can still enjoy the structure and embellishments of Sonata No 16. In C Major K 545. The lyrical melody and tonal harmony only add to the predictable nature of classical music. Additionally, the sharing of the harmony between the two voices only clarifies that both music and the social classes of the Enlightenment have to work together to create a full functioning masterpiece.

Symphonic and Concert Band, "Masters in Music"

"Master's in Music"
Music Phrases through the Ages
Lauren Thaete

On September 26, 2014, at 8:15 PM, the Ithaca College Symphonic Band and Ithaca College Concert Band performed their first concert of the season titled, “Masters in Music,” in the newly renovated Ford Hall. The selections for the night included many pieces primarily from, or based upon, the Baroque and Classical Era such as “Come, Sweet Death (1736)” by J.S. Bach.

One of my favorite pieces from the night was “JoyRiDE (2014)” by Michael Markowski. Though the selection was composed less than a year ago, the main themes and motifs throughout the entire work were all based off of Mozart’s own work, “Ode to Joy.” This piece reflects elements found in many of the classical pieces we’ve heard in our Yudkin readings for the themes were repetitive and recognizable. However, Markowski took what otherwise would have been a very simple monophonic piece, and layered the melody with secondary themes to create a lush and polyphonic sound. The polyphony wasn’t just a blend of various melodies though, but was instead a layer of motifs, divisions, melodic lines, and countermelodies all played in various ranges throughout the entire band.

Additionally, Markowski used his own compositional liberty to add in syncopated sixteenth notes motifs and four bar hemeolas that contrasted the Classical Era style since it was both complicated and at points, very discontent. I absolutely loved this piece, and I felt that is was a great song for the Ithaca College Concert Band to open with.

An interesting aspect about this concert was that both the Ithaca College Band and the Ithaca College Symphonic Band played selections by J.S. Bach that were arranged by different contemporary composers. The Symphonic Band played “Come, Sweet Death (1736),” which stayed more true to the Baroque style than did the Concert Band which played “Ricercare a6 (1747) BWV 1079.” Because “Come, Sweet Death” is a melancholy piece, the melody stayed predominantly in a minor key with a large use of woodwind monophony and legato brass chordal homophony. The effect of the tonal minor piece created a translucent texture and extremely thin timbre when compared to the “Ricercare a6 (1747) BWV 1079.”

The Concert Band’s performance of the “Ricercare a6 (1747) BWV 1079,” included more polyphony than did the Smyphonic Band’s performance since “Ricercare” is a seven-part Fugue. However, moments of thin timbre were achieved when the Fugue would thin down to a single woodwind voice, similar to the melody in “Come, Sweet Death.” In fact, a unifying decision that both Alfred Reed and Clark McAlister honored, was the elimination of a percussion section to make both songs sound more like an intimate choral rather than a large scale performance. However, Alfred Reed and Clark McAlister greatly differed in their interpretation of the style in which each piece would be performed.

Clark McAlister’s arrangement of the “Recercare a6 (1747) BWV 1079,” featured the brass section was featured often, had many detached articulations, and reached the climax of the piece at the very end, whereas McAlister’s composition feature the woodwinds, had legato articulations, reached the climax of the piece halfway through, and faded out in the end. Though the differences in these two arrangements came predominantly from the differences in the original pieces, the arrangers still played a role in shaping the sound of the group to either be melancholy, like “Come, Sweet Death”, or noble, like “Ricercare a6 (1747) BWV 1079.”

Overall, this concert was spectacular and I would recommend for anyone to attend another concert by the Symphonic Band or Concert Band. It was a mix between old and new pieces, loud and soft dynamics, and consent and disconsent masterpieces. Both bands show off the talented musicians at Ithaca College, and the broad array of recognizable and new sounds made this concert not only one of the largest, but one of the best concerts that Ithaca puts on throughout the year