Drop the Needle - Evolution of the Symphony: Orchestration and Color
Rimsky-Korsakov, Mahler, and Franck
"Music can name the unnameable and communicate the unknowable."
– Leonard Bernstein
Let me offer a warm welcome to the new subscribers!
Explore the Playlist:
Immerse yourself in this issue's vibrant symphonic tapestry. Each track in this Spotify playlist is a gateway to the rich world of orchestration and emotion in this issue.
Press play and let the journey begin.
Can a symphony not only tell a story but also transport us across time and cultures? How does Rimsky-Korsakov's Scheherazade achieve this, using the vocabulary of music to conjure the vivid world of One Thousand and One Nights and refine our perceptions of East and West?
Composed in 1888, Nikolai Rimsky-Korsakov's Scheherazade, Op. 35 is a symphonic masterpiece that epitomizes the advancement of orchestration and color. As a key figure in "The Mighty Five," Rimsky-Korsakov was instrumental in forging a distinct Russian classical music style, incorporating traditional Russian elements and wider exotic influences. This approach is mirrored in Scheherazade, drawing from One Thousand and One Nights and reflecting The Mighty Five's emphasis on nationalistic spirit and folklore.
In the late 19th century, Russia's cultural evolution towards a distinct national identity significantly influenced Rimsky-Korsakov. His Scheherazade reflects this through Orientalism, using musical elements to evoke the East through a Western lens. For instance, while most Western symphonic music is written in major or minor keys (Ionian or Aeolian modes, respectively), he liberally employs the Phrygian mode, along with dotted rhythms, throughout the piece evoking an exotic atmosphere and Sinbad’s adventurous essence. In The Story of the Kalendar Prince (the second movement), rhythmic patterns reminiscent of Middle Eastern dance music further enhance the Oriental flavor. These rhythmic patterns, lively and off-beat, help bring a sense of cultural authenticity and energy to the story. The harmonic progressions in The Young Prince and The Young Princess often employ modal harmonies, which are seldom used in typical Western music, adding to the Eastern narrative and ambiance.
Rimsky-Korsakov's orchestration techniques in Scheherazade were not only a cornerstone of his style but also marked a significant innovation in symphonic composition. He meticulously selected each instrument's timbre to paint a vivid musical canvas, a method that was groundbreaking in its approach to using the orchestra's colors and textures for musical storytelling.
For example, his use of woodwind instruments like the clarinet and bassoon introduced warmth and depth, a technique that was relatively novel in emphasizing character and mood. Brighter instruments such as flutes and piccolos were employed, effectively illustrating the story's more whimsical elements. Furthermore, the strings, particularly violins, were used to convey both the grandeur and subtlety of the narrative. Their wide range of expressive capabilities was exploited to a fuller extent than in many previous symphonic works, showcasing Rimsky-Korsakov's pioneering use of orchestral resources to create a rich, multi-dimensional experience in orchestral color.
Rimsky-Korsakov's expertise in orchestration is particularly evident in his choice of instrumental colors to represent different themes. For instance, the use of the solo violin in Scheherazade's theme not only captures her delicacy and intelligence but, with its soaring melodies intertwining with the gently cascading gestures on the harp, also allows for expressive freedom, mimicking the narrative flexibility of Scheherazade herself. Similarly, the robust and monolithic brass statement for the Sultan's theme underscores his authority and power, with the bold, resounding blocks of brass sound signifying the Sultan’s formidable presence.
Scheherazade employs leitmotifs—recurring musical phrases that symbolize specific characters or themes—to create a rich narrative. A leitmotif is like a musical signature for a character or an idea, helping the listener identify different parts of the story as the music plays. (Think, all the iconic themes in Star Wars. Those are leitmotifs!) These leitmotifs contribute to the emotional depth and storytelling of the piece. For instance, in the first movement, The Sea and Sinbad's Ship, the Sultan's theme, dominated by brass and lower strings, portrays his authority. This motif's minor key and commanding presence mark a shift from the more abstract thematic development of earlier symphonies by composers like Beethoven or Haydn.
Scheherazade's theme, introduced in the second movement The Story of the Kalendar Prince, offers a stark contrast with a delicate violin and harp interplay. This theme delicately reflects the nuances of Scheherazade's character, combining elegance with subtle intellect and cunning.
The use of counterpoint is masterfully demonstrated in The Young Prince and The Young Princess, where Rimsky-Korsakov weaves a tapestry of sound with interweaving melodies. Counterpoint in music is like a conversation between different musical lines, each with its own melody but coming together to create a harmonious and more complex whole. The dialogue between the violin and harp is not just a musical conversation but a representation of the unfolding love story, with each note and phrase tenderly painting the growing affection between the prince and princess. The intertwining of the violin and harp, each maintaining its distinct melodic identity while blending in harmonious polyphony, paints a vivid picture of the young couple's tender and romantic interaction.
The suite's final movement, Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman, showcases Rimsky-Korsakov's skill in blending grandeur with intimacy. Here, the escalating tension and dramatic flourishes bring the narrative to a thrilling climax, mirroring the tumultuous events of the story. In this movement, the dynamic interplay between brass and strings—with brass embodying the bustling energy of the Baghdad festival and strings adding lyrical, intimate passages— heightens the drama and emotion of the suite.
Nikolai Rimsky-Korsakov (1844-1908), Russian - Scheherazade, Op. 35
The Sea and Sinbad's Ship (Largo e maestoso – Allegro non troppo) (E minor – E major)
The Story of the Kalendar Prince (Lento – Andantino – Allegro molto – Vivace scherzando) (B minor)
The Young Prince and the Young Princess (Andantino quasi allegretto) (G major)
Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman (Allegro molto – Vivo – Allegro non troppo e maestoso) (E minor – E major)
YouTube Performance: Frankfurt Radio Symphony conducted by Alain Altinoglu with solo violinist Ulrich Edelmann, Alte Oper Frankfurt, September 15th, 2022
Spotify Performance: London Symphony Orchestra conducted by Alexander Lazarev
In Carl Heinrich Bloch's The Resurrection, the dramatic interplay of light and shadow, coupled with the awe-struck expressions of the figures, mirrors the emotional depth and journey of Gustav Mahler's Symphony No. 2 in C Minor, "Resurrection." This painting, with its central figure of Jesus Christ radiating light, symbolizes rebirth and transcendence, reflecting the symphony's final movement where the triumphant brass section heralds a transition from darkness to light. The contrast between the ethereal colors surrounding Christ and the darker hues of the painting's background parallels Mahler's use of major and minor tonalities to depict a shift from despair to hope. It is the centerpiece of this issue for good reason.
Composed during the tumultuous years of 1888 to 1894, Mahler's The Resurrection was born in an era of societal and philosophical upheaval. At this time, Vienna was a melting pot of traditional and modernist influences, marked by the intellectual currents of existentialism, psychoanalysis, and modernism from thinkers like Nietzsche, Freud, and Marx. These elements, intertwined with the vibrant and evolving cultural dominance of turn-of-the-century Vienna, profoundly influenced the symphony’s thematic development and structural innovation.
Mahler's personal battles, particularly his heart defect and rheumatic fever, introduced an acute awareness of mortality into his compositions. This is evident in the symphony’s first movement, "Totenfeier" (Funeral Rites), a somber funeral march that encapsulates the emotional turmoil associated with death. The progression of this theme throughout the symphony mirrors Mahler's own contemplation of life and death.
The second movement, "Andante moderato," contrasts the first with its serene, nostalgic character, resembling the tranquil expressions in Bloch's painting. It suggests a peaceful reminiscence, reflecting Mahler’s introspective nature.
In the whimsical third movement, In ruhig fließender Bewegung, Mahler's orchestration vividly captures Saint Anthony preaching to the fish, showcasing Mahler’s ability to translate complex narrative elements into a rich musical language.
The fourth movement, Urlicht (Primal Light), features a poignant alto solo, embodying a deep introspection and spiritual awakening, resonating with the era's introspective exploration of the human psyche.
The symphony reaches its apex in the final movement, showcasing Mahler's expertise in thematic transformation—a technique where musical themes evolve and change their character while retaining their core identity—and orchestration. This approach is vividly demonstrated through the evolution of the resurrection theme, initially introduced by the chorus. This theme undergoes a remarkable transformation from its earlier motifs, skillfully blending a variety of timbres and vocal elements. This not only showcases Mahler's compositional prowess but also poignantly encapsulates the symphony's overarching themes.
Mahler's influence on composers such as Arnold Schoenberg and Benjamin Britten is evident not only in his thematic complexity and emotional depth, but also in specific aspects of their compositions. For example, Schoenberg's Verklärte Nacht reflects Mahler's deep emotional expressiveness and complex thematic development. Similarly, Britten's War Requiem shows traces of Mahler's influence in its innovative symphonic structure and expressive range. These elements in the works of Schoenberg and Britten demonstrate how Mahler's style heralded a pivotal shift in the musical language of the early 20th century, inspiring a new generation of composers.
The film Maestro, which portrays Leonard Bernstein’s interpretation of Mahler’s symphony, offers new perspectives on this classic work. Bernstein's profound engagement with Mahler’s music, as depicted in the film, illuminates the symphony’s emotional richness and complexity, contributing to a deeper understanding of its enduring impact and relevance. The integration of scenes from Maestro alongside performances of the symphony would provide a comprehensive insight into Mahler's profound musical legacy. The trailer for Maestro is included below the performances.
Gustav Mahler (1860-1911), Austro-Bohemian - Symphony No. 2 in C Minor "Resurrection"
YouTube Performance: London Symphony Orchestra Conducted by Leonard Bernstein, with soprano Sheila Armstrong, mezzo-soprano Janet Baker, Edinburgh Festival Chorus
Spotify Performance: San Francisco Symphony conducted by Micheal Tilson Thomas
In Jean-François Millet's The Angelus, the deep reflection and spiritual solace of two peasants in prayer is vividly portrayed. This emotional depth parallels César Franck's Symphony in D minor, where contrasts of light and shadow in the painting find a counterpart in the symphony's bright and dark tonalities.
Franck, often an "unsung hero," diverges markedly in style from contemporaries like Wagner and Brahms.
During the late 19th century, orchestration in classical music saw significant changes. Franck's approach was unique, creating a cohesive, emotionally resonant narrative with a smaller, more intimate orchestra. His preference for a smaller ensemble, influenced by his artistic vision, organ music background, the chamber music tradition, and French musical culture, allowed for clearer and more intricate exploration of emotional depth. A smaller orchestra accommodated his preference for greater clarity of voices — a defining characteristic of organ music.
Franck’s orchestration directly impacts the symphony’s emotional expression. The strings convey a vast emotional palate from somberness to exuberance, the woodwinds add tranquil layers of texture and color, and the brass, especially in the final movement, brings grandeur and resolution. This orchestral interplay mirrors the complexity of human emotions, akin to the nuanced shades in Millet's painting.
Franck's Symphony in D minor, composed in 1888 and his only symphony, showcases a blend of romantic melodies and complex structures. This symphony exemplifies his talent for weaving a cohesive yet emotionally dynamic narrative in contrast to the more flamboyant romanticism of a Wagner or the structured classicism of a Brahms. For instance, in his Symphony in D minor, Franck introduces a hauntingly beautiful theme in the strings in the first movement, which he then intricately weaves through the subsequent movements, transforming it in various instrumental, harmonic, and rhythmic contexts.
At its premiere, the symphony, a departure from conventional music of the era, was met with curiosity and admiration. The symphony was garnered appreciation from fellow musicians and some critics for its innovative approach and emotional depth. Over time, it has garnered deep appreciation for its emotive power and thematic complexity, resonating with audiences and establishing its status as a timeless piece that resonates with emotional power.
The work is structured in three fluid movements. The first movement, marked Lento – Allegro non troppo (slowly, then a moderate pace), features strings setting a somber tone, with the contrasting timbres of the lower strings and violins adding emotional tension. The second movement, allegretto (moderately fast), contrasts with its lighter quality, where woodwinds evoke a serene atmosphere. The final movement, allegro non troppo ma con fuoco (briskly paced with fiery energy), unites the orchestra in a vibrant climax, with the brass and percussion adding intensity and triumph.
César Franck’s Symphony in D minor is a profound blend of orchestral heartstring pulling, intricate manipulation of themes, and painting with vivid orchestral color, inviting listeners into a deeply resonant musical experience.
César Franck (1822-1890), Belgian-French - Symphony in D minor
YouTube Performance: Frankfurt Radio Symphony conducted by Alain Altinoglu, January 21, 2022
Spotify Performance: Deutsches Symphonie-Orchester Berlin conducted by Lorin Maazel
Enhance your classical music journey with Drop the Needle by downloading the Substack app.
This convenient mobile access lets you enjoy immersive stories of composers like Rimsky-Korsakov, Mahler, and Franck, and never miss an update. Our next issue, The Path to Modernism, will explore the transformative works of Richard Strauss, Jean Sibelius, and Béla Bartók, delving into how they pioneered modernism in music. Stay tuned for this enlightening experience, and let the anticipation of our next symphonic exploration keep your passion for classical music alive until we meet again in The Path to Modernism, only for subscribers.
Portions of this content, including this disclaimer, were informed and structured with the assistance of ChatGPT 4.0 by OpenAI, followed by human review and editing for accuracy, context, and plagiarism.