Influences on Composition - Part 1
October 9th 2006 12:56
Bit of a big update this time, so I’m splitting it over two weeks. Hope you enjoy.
As an expressive art form, music is unparalleled in it’s ability to convey emotions, ideas or events. Composers have often sought to express in their music something that is of prime significance to themselves or something they have a direct connection to. We often hear about the passionate and mood swing addled character of Schumann coming out in his works, or how Rachmaninov or Grieg expressed music which was attached to the heart of their own nationalism, but how exactly is it that these outside factors can become part of composition?
For some composers, it is a case of music offering an avenue for their emotions or views that are normally repressed. While no direct link is mentioned by himself, Tchaikovsky is widely thought to have expressed his homosexuality through his music. His Symphony No. 5 comes at a period where some believed he was attempting to quell his own sexuality and force himself to live a heterosexual life. Following in the music, there have been programmatic readings which point to him acknowledging his ‘problem’, exploring ideas for a solution, pursuing them steadfastly, and celebrating the aftermath with jubilation. Perhaps there is a deeper hint in the Symphony’s 19th century criticism that the ending of mirth comes too soon and too easily, suggesting Tchaikovsky’s own ‘premature celebration’ in a non-effective solution. In contrast, the later Symphony No. 6 is more turbulent and pessimistic in parts, but also features moments which suggest a kind of relenting acceptance. Nothing is confirmed by Tchaikovsky of course, but at times the evidence seems overwhelming that such a musically minded man would take composition as an avenue for his most personal, private, and desperate expression.
Connections between music and life don’t have to be so deep and personal however. In 1918, when Igor Stravinsky wrote his ‘Three Pieces for Clarinet Solo’, it is believed that he didn’t actually have any direct connection with jazz, even though these pieces are thought to be jazz influenced. He did however have some scores from formative jazz styles imported to him by an associate, and his later connection with jazz like rhythmic complexity is undeniable. The instrumentation in a later concerto for clarinet and jazz band shows more of his fascination with the genre. Stravinsky obviously had a terrific mind for transforming influences into his own ideas though, and many of his rhythmic (and harmonic) devices developed far beyond many of his contemporaries. Using the Three Pieces as an example, I have heard many clarinettists scoff at the idea that such a complex and unique piece could have connections to jazz, let alone early 20th century jazz. But on closer analysis, the constant time signature changes of the third movement and varied articulation and accents seem to mimic some of the improvisation styles of Dixieland music players, and the syncopation can obviously have links to ragtime, where this was a main feature. You could say that Stravinsky transformed this ragtime syncopation(which always has a rhythmic resolution) into something which could evoke more tension or excite the audience, as it never gives a chance to settle down or establish rest. Perhaps it is not even too far to say that his runs and tonal ambiguity(with rhythmic complexity) could have been an unconnected development evolving in a similar way to Bop jazz decades later(although I don’t doubt that many would think me outspoken on such a comparison).
Part two next Monday. Hope to see you then.
As an expressive art form, music is unparalleled in it’s ability to convey emotions, ideas or events. Composers have often sought to express in their music something that is of prime significance to themselves or something they have a direct connection to. We often hear about the passionate and mood swing addled character of Schumann coming out in his works, or how Rachmaninov or Grieg expressed music which was attached to the heart of their own nationalism, but how exactly is it that these outside factors can become part of composition?
Pyotr Ilyich Tchaikovsky in later life.
Connections between music and life don’t have to be so deep and personal however. In 1918, when Igor Stravinsky wrote his ‘Three Pieces for Clarinet Solo’, it is believed that he didn’t actually have any direct connection with jazz, even though these pieces are thought to be jazz influenced. He did however have some scores from formative jazz styles imported to him by an associate, and his later connection with jazz like rhythmic complexity is undeniable. The instrumentation in a later concerto for clarinet and jazz band shows more of his fascination with the genre. Stravinsky obviously had a terrific mind for transforming influences into his own ideas though, and many of his rhythmic (and harmonic) devices developed far beyond many of his contemporaries. Using the Three Pieces as an example, I have heard many clarinettists scoff at the idea that such a complex and unique piece could have connections to jazz, let alone early 20th century jazz. But on closer analysis, the constant time signature changes of the third movement and varied articulation and accents seem to mimic some of the improvisation styles of Dixieland music players, and the syncopation can obviously have links to ragtime, where this was a main feature. You could say that Stravinsky transformed this ragtime syncopation(which always has a rhythmic resolution) into something which could evoke more tension or excite the audience, as it never gives a chance to settle down or establish rest. Perhaps it is not even too far to say that his runs and tonal ambiguity(with rhythmic complexity) could have been an unconnected development evolving in a similar way to Bop jazz decades later(although I don’t doubt that many would think me outspoken on such a comparison).
Part two next Monday. Hope to see you then.
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