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Music for ending the pursuit of happiness calls to mind the
popular metaphor of the butterfly, which eludes capture only to settle on the
shoulders on those who would respect its freedom. The music of Franz Schubert
seems to invert the usual major=happy/minor=sad dichotomy of tonality. In his
works---heard in this morning’s Gathering Music and Interlude—episodes in major
keys seem to belong to the terrain of unbidden dreams and mirages, while
sections in minor keys represent the anguish of wakeful consciousness.
In his first Canción y danza
(Song and Dance), Federico Mompou calls to mind the ambiguities of chasing
after love as a vehicle for happiness. The composer quotes a popular Catalan
folk tune (“La filla del Carmesi”), the refrain of which cautions, “Those who lack
love crave it, while those who have it spurn it.”
The works of Debussy performed in the Musical Meditation and Parting Music are
both based on the pentatonic (5-note) scale, often associated with Asiatic and other
indigenous musics. The scale—which can be recreated by playing the black keys
of a piano---contains both major and minor triads, and seems to vacillate between
both modes, resisting easy classification and requiring “acceptance” of the ambiguity.
What does striving in music sound like? Listen to young CUUC
member and my piano student Wesley Miller in Liszt’s “Sonnetto del Petrarca 123”
in this morning’s Opening Music, and consider the words of Petrarch’s poetry,
read by Rev. Meredith, which inspired the work.
Read on for programming details, and stay tuned for spoken introductions.
Gathering Music: Adam Kent, piano
Sonata in Bb Major, Op. Posth.
I. Molto moderato
Franz Schubert
Centering Music:
Canción y danza No. 1
Federico Mompou
Opening Music: Wesley Miller, piano
Sonetto del Petrarca 123
Franz Liszt
Musical Meditation:
Bruyères (Heather)
from Préludes, Book II
Claude Debussy
Interlude:
Moment Musical in F Minor, Op. 94, No. 3
Schubert
Parting Music:
La fille aux cheveux de lin (The Girl with the Flaxen Hair) from Préludes,
Book I
Debussy
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Music as the “language of the heart” is a popular trope, although it’s useful to remember that the art form’s capacity to embody human emotion was not always viewed as its primary virtue. With the development of opera at the turn of the 17th century, the composer Claudio Monteverdi wrote about a “seconda prattica” (a second—or “new”—practice) in music, in which the dictates of harmony and voice leading would take a back seat to textual expression. Throughout the 17th and 18th centuries, composers developed increasingly stylized ways to signal emotional “affects”—the outward manifestations of feelings, like grief, heroism, joy, jealousy, and others. At first, music was said to have become subservient to language, but, in time, composers realized that music’s ability to convey meaning and drama enabled it to function independently of words; hence, the evolution of purely instrumental musical forms during the same time period. This morning’s musical selections date from the time period in question; each work would have been understood to embody a singular state of the soul. Read on for programming details, and stay tuned for introductory comments.
Centering Music: Adam Kent, piano
La Visionaire
François Couperin (1668-1733)
Opening Music:
Sonata in D Major, Hob. XVI:37
I. Allegro
Franz Joseph Haydn (1732-1809)
Musical Meditation:
Adagio in F Minor
Joseph Bologne, Chevalier de Saint-Georges (1739-1799)
Interlude:
Sonata in C# Minor, Hob. XVI:36
I. Moderato
Haydn
Parting Music:
Sonata in D Major, Hob. XVI:37
III. Presto
Haydn