Music - MYP 4 and 5 - Samuel Wright - Hodder 2020

is ?
Klangfarbenmelodie
What
1 If I had to express deep, conflicting emotions through
2 If I had a poem that expressed deep, conflicting
1899 a work by Schönberg pre-empted the changes
In
would soon erupt in the 20th Century. We listen to
that
now and it feels like a film-score. Visit the score and
this
of ‘Verklärte Nacht’ at:
audio
of pre-marital sex. Set to a poem from Weib und
subject
(‘Woman and World’) by the modernist poet Richard
Welt
tense situation to a final happy resolution in D major at
a
end where the man forgives his lover. Throughout the
the
Schönberg’s harmony and treatment of his themes
work,
the Viennese public to label it as ‘indecent’.
caused
where ‘A’
rondo ,
the narration of the poem (such as the theme
expresses
Figure 11.34), ‘B’ represents the woman’s confession
in
her pregnancy and the ‘C’ section depicts the man’s
of
and acceptance. What would this compare
forgiveness
today? to
topic was almost too much for Viennese audiences,
The
Schönberg structured his music around the poem
but
In your portfolio, referring to the two
beautifully.
at the beginning, write a short response using
questions
11 How do schools of thought shape art? 317
I USED TO THINK… BUT NOW I THINK…
Take a few moments to ask yourself two questions:
music, where would I start?
emotions, could I write music to that poem?
The fundamental structure is that of a
https://youtu.be/vqODySSxYpc
Translated as ‘Transfigured Night’, this string sextet is
as a that the then taboo
tone poem explores
composed
prompt: .
I used to think… But now I think…
the
Dehmel, Schönberg begins the work in D minor, stressing
Figure 11.34 ‘Walking in a garden at night’ theme in doubled violas and cellos. The low D drone in each part is
■
and expressive, then the rising hopeful theme enters at the end using ascending perfect intervals.
dramatic
MINIATURES WITH A LARGE SOUND
Anton Friedrich Wilhelm von Webern (1883–1945), was
and the use of extended instrumental techniques (for
a student of Schönberg’s and an important member
example
which is hitting the strings with the
col legno, of the Second Viennese school. His skill in composition
bow). Webern would also take a melody and distribute
involved building on Schönberg’s 12-tone serialism, but
the pitches of that melody to different instruments,
also stripping back textures to focus on colours or sounds
essentially splitting the line between different timbres.
miniature. This would often mean his works included This became known as (literally:
Klangfarbenmelodie
in
detailed instructions to performers, extreme dynamics sound-co -me lor lody).
very