![]() He produced both chamber works and orchestral works in this style, perhaps most famously "Mathis der Maler." His chamber output includes his Sonata for French Horn, an expressionistic work filled with dark detail and internal connections. Stravinsky's rival for a time in neoclassicism was the German Paul Hindemith, who mixed spiky dissonance, polyphony, and free ranging chromaticism into a style which was "useful," a style that became known as Gebrauchsmusik. Stravinsky's neo-classicism culminated with his opera Rake's Progress, with the book done by the well-known modernist poet, W. Stravinsky's L'Histoire du Soldat is thought of as a seminal "neo-classical piece," as are his Dumbarton Oaks Concerto and his "Symphonies of Wind Instruments," as well as his Symphony in C. Paul Hindemith was another neoclassicist (and New Objectivist), as was Bohuslav Martinů, who revived the Baroque concerto grosso form in his works. Stravinsky composed some of the best known neoclassical works - in his ballet Pulcinella, for example, he used themes which he believed to be by Giovanni Pergolesi (it later transpired that many of them were not, though they were by contemporaries). ![]() Neoclassicism was instigated by Igor Stravinsky, according to himself, but attributed by others to composers including Ferruccio Busoni (who wrote "Junge Klassizität" or "New Classicality" in 1920), Sergei Prokofiev, Maurice Ravel, and others. Igor Stravinsky, Paul Hindemith, Sergei Prokofiev, and Béla Bartók are usually listed as the most important composers in this mode, but also the prolific Darius Milhaud and his contemporary Francis Poulenc. It is not that interest in eighteenth century music was not fairly well sustained through the nineteenth, with pieces such as Franz Liszt's À la Chapelle Sixtine (1862), Edvard Grieg's Holberg Suite (1884), Pyotr Ilyich Tchaikovsky's divertissement from The Queen of Spades (1890), and Max Reger's Concerto in the Old Style (1912), "dressed up their music in old clothes in order to create a smiling or pensive evocation of the past." It was that the twentieth century had a different view of eighteenth century norms and forms, instead of being an immediately antique style contrasted against the present, twentieth century neoclassicism focused on the eighteenth century as a period which had virtues which were lacking in their own time. However, in the use of modern instrumental resources such as the full orchestra, which had greatly expanded since the eighteenth century, and advanced harmony, neoclassical works are distinctly twentieth century. Neoclassicism makes a return to balanced forms and often emotional restraint, as well as eighteenth century compositional processes and techniques. Neoclassicism can be seen as a reaction against the prevailing trend of nineteenth century Romanticism to sacrifice internal balance and order in favor of more overtly emotional writing. Since economics also favored smaller ensembles, the search for doing "more with less" took on a practical imperative as well. Smaller, more spare, more orderly was conceived of as the response to the overwrought emotionalism which many felt had herded people into the trenches. Neoclassical music was born at the same time as the general return to rational models in the arts in response to World War I. Although in many ways neoclassical music returned to the forms and emotional restraint of eighteenth century music, works by these composers are nonetheless distinctly twentieth century. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late romanticism, as well as a "call to order" after the experimental ferment of the first two decades of the twentieth century. Neoclassicism is a trend in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint. Two significant composers led the development of neoclassical music: in France, Igor Stravinsky proceeding from the influence of Erik Satie, and Germany Paul Hindemith proceeding from the "New Objectivism" of Ferruccio Busoni. Some of the inspiring canon was drawn as much from the Baroque period as the Classical period – for this reason, music which draws influence specifically from the Baroque is sometimes termed neo-baroque. ![]() Neoclassicism in music was a twentieth century development, particularly popular in the period between the two World Wars, in which composers drew inspiration from music of the eighteenth century. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |