Modernistic Diversity and New Soundscapes

By Thomas Erma Møller (Translated from Norwegian by Sarah Osa)

It’s easy to find music to suit every taste in the diversity of musical expressions which emerged in the period 1900-1950. If you identify most strongly with the risk-taking absinthe drinkers at the forefront of artistic development, you should head straight for the complex and fascinating modernism of Schoenberg, Berg, Webern, Stravinsky, Bartók or even Scriabin. If, on the other hand, you are a nostalgic romantic who loves to drink vintage wines while contemplating life, you might better enjoy a concerto by Rachmaninov or Sibelius, or a big Mahler symphony. And if you really want to delve into musical nuances, we recommend a sampling of Debussy or Ravel’s tasteful soundworld, while Messiaen offers a hint of religious mysticism and sound magic. Still, the house recommendation remains the fresh, vivid symphonies which lie close to home by Sibelius and Nielsen!

At the beginning of the 1900’s, many found that the expressive devices of Romanticism had outplayed their roles. A new century demanded new ideas, techniques, sounds and effects. This led to the emergence of a diversity of styles reflecting different aspects of Modernism, of which the most famous and radical developed in Vienna, led by Arnold Schoenberg, Alban Berg and Anton Webern. The expressions varied from the extremely expressive, such as in Schoenberg’s Pierrot Lunaire or his Erwartung, to the passionate, such as in Berg’s violin concerto, to the ascetic, as seen in some of Webern’s orchestra pieces. The most noticeable innovation was nevertheless the break away from tonality. In a more or less organised form, all the 12 tones — all the black and white keys on the piano — were declared equal and without a tonal “home”.

Two other prominent composers, Igor Stravinsky and Béla Bartók, presented other solutions to the “crisis of tonality” They more or less retained a connection to the established system, but could use several keys at the same time, or build up the harmonies with new key configurations. Moreover, they were innovative in other areas such as rhythm, and through exploiting the sound possibilities and playing techniques of the instruments. Stravinsky’s ballets — The Firebird, Petrushka and The Rite of Spring — as well as Bartók’s Concerto for Orchestra and Bluebeard’s Castle all count among the greatest masterpieces of the 20th century. Both Stravinsky and Bartók were inspired by the folklore and folk music of their native countries, which lent them the potential for an expanded repertoire — of melodic changes, harmonies and rhythmical patterns.

After 1917, the political situation in the Soviet Union tainted and increasingly curtailed composers’ freedom of expression. Many composers, such as Igor Stravinsky, Serge Prokofiev and Serge Rachmaninov, fled to pursue a career in Western Europe or the United States, while others remained and were forced to ration their creativity according to party rule. The most famous of these was Dmitri Shostakovich — one of the greatest symphonic writers of the 20th century. His composing career was tarnished by threats and strictly defining guidelines from Stalin’s regime of terror, yet he succeeded in composing music which could both please the ruling powers and stand independently as innovative and epoch-defining. Good examples of this are his Symphony No. 5 and Symphony No. 7.

Gustav Mahler stands as the epitome of what was the end, but simultaneously also the highlight of the Late Romantic symphony. Here, the orchestral apparatus was enormous, the musical language further developed from Richard Wagner’s expansion of the borders of tonality, and the compositions lengthy and replete with philosophical content. Mahler’s Symphony No. 8 includes both soloists and choir in addition to the orchestra, with extracts of texts from Goethe’s Faust, and is said to have involved more than a thousand performers at its world premiere in 1910!

After Mahler, the symphony continued to develop in peripheral areas of Europe, and two leading figures here were Finnish composer Jean Sibelius, and Danish composer Carl Nielsen. Sibelius went in an opposite direction from Mahler. Instead of maximalising the symphony’s expressive qualities, he made it as concentrated as possible, leading to his last great masterpiece, Symphony No. 7, which is written in one single movement and contains a strong inner musical logic, while featuring a varied and creative orchestration and sound.

Somewhere between the radical modernism of the Viennese composers and the development of tradition by the symphonists, French composers invented a form of expression where the sound itself was of primary importance. Claude Debussy and Maurice Ravel found new harmonies and new patterns when it came to the order of chords. At the same time, they developed new ways of using the instruments. The subtle use of sound, which is often connected to Impressionism in painting or symbolism in literature, is best experienced in Debussy’s La Mer or Ravel’s Dapnis and Chloe. The French sound world was further expanded by Olivier Messiaen. Inspired by colours, birdsong and an unflinching Catholic faith, he built up his innovative sound masterpieces such as the unique Turangalila Symphony.

Like the symphony, the concerto was also embraced by the new stylistic expressions. Rachmaninov’s Piano Concerto No. 2 and Piano Concerto No. 3 are among the most famous examples of the continuation of the 19th century tradition for virtuosic, melodious and breathtaking concertos. Prokofiev’s piano concertos are also virtuosic and well-known, but have a more modernistic bent than Rachmaninov’s. For string instruments, Sibelius’ Violin Concerto and Edward Elgar’s Cello Concerto count among the most famous in the extension of the Romantic tradition, while Alban Berg’s Violin Concerto and Shostakovich’s Cello Concerto are among the most prominent examples of the new era.

In the 2017/18 season, the Oslo Philharmonic Orchestra will perform the following works from this period:

Gershwin: Rhapsody in Blue and songs. Feel the blue notes, the cool sounds and powerful rhythms of Gershwin’s jazzy orchestra music! 

Stravinsky: The Firebird. The first of Stravinsky’s epoch-defining ballets uses a vividly colourful orchestra palate, rich sounds and magical melodies. 

Rachmaninov: Piano Concerto No. 4. This rare pearl among Rachmaninov’s four piano concertos delivers both dreamy melodies and jazzy inspiration. 

Stravinsky: Fireworks. The title speaks for itself. This many-hued orchestra work by Stravinsky is quite a celebration. 

Scriabin: Prometheus - “Poem of Fire”. Delve into a sea of colour as the Oslo Philharmonic Orchestra realises Scriabin’s epic vision of the colour organ in the glittering Prometheus. 

Valen: Violin Concerto. Valen was inspired by Alban Berg’s famous concerto when he wrote this passionate violin concerto, where Bach meets Modernism. 

Kleven: Lotusland. Arvid Kleven at his most evocative suggests a distinct French fragrance, with both botanical and mythical undercurrents. 

Copland: Appalachian Spring Suite. Let yourself be swept away on a real American rural adventure where 19th century pioneers dream of a new life in a brand new world. 

Sibelius: Symphony No. 5. Sibelius drew inspiration from notions of God and seeing a group of swans taking off when writing this magnificent symphony — a highlight within the Nordic symphonic tradition. 

Messiaen: Les Ouffrandes Oubliées. Immerse yourself in Messiaen’s mythical meditation on the suffering of Christ in this beautiful, powerful and harmonious masterpiece. 

Elgar: Cello Concerto. As the soloist unleashes the dramatic opening chords of Elgar’s Cello Concerto,  you are ushered straight into a dark sound world. 

Rachmaninov: Piano Concerto No. 3. The composer’s legendary third piano concerto is famed for its unforgettable melodies and its devilishly difficult solo part. 

Bartók: Concerto for Orchestra. One of the 20th century’s most inventive, playful and harmonious orchestra works where every orchestra musician performs a solistic role. 

De Falla: Noches en los Jardines de Espana. Experience the scent of jasmine and the echo of Moorish influence in music from a night in the Spanish gardens! 

Prokofiev: Violin Concerto No. 1. Long-spun melodies grow out of pure wildness in this daring violin concerto, where Prokofiev always has a twist up his sleeve. 

Stenhammar: Symphony No. 2. Nordic melancholy, vitality, and an echo of the European tradition from Bach to Bruckner characterises the most prominent Swedish symphony of our time. 

Britten: Piano Concerto. The keys sizzle, march and bubble in this virtuosic solo concerto, which also displays a distinct British elegance. 

Elgar: Symphony No. 1. A noble and dignified theme sets the mood for this significant and perhaps underestimated British symphony. 

Berg: Violin Concerto. Written “in memory of an angel”, and one of Viennese modernism’s most exquisite monuments, especially when it meets a Bach chorale at its conclusion. 

Stravinsky: Petrushka. Delve into Stravinsky’s colourful and inventive ballet music, set to the tale of the Russian version of Pinocchio. 

Strauss: Metamorphosen. Strauss’ mystical work for 23 independent strings yields a unique effect which can only be experienced in the concert hall. 

Prokofiev: Symphony No. 1. Classical conventions are turned upside down in this light and humourous neo-classical gem of a symphony. 

Lili Boulanger: D’un matin de printemps. This piece is a little stroke of genius while showcasing French sound at its most subtle. 

Ravel: Mother Goose. An innocently charming ballet which in Ravel’s hands transforms to a magical sound adventure. 

Strauss: Vier letzte Lieder. Strauss’ gripping last songs takes death as its theme and constitutes a highlight of the Late Romantic tradition for orchestra songs. 

Prokofiev: Sinfonia Concertante. A brutally difficult piece for solo cello and orchestra which has long been considered close to impossible to play. 

Sibelius: Violin Concerto. Sibelius’ violin concerto counts among the greatest of concertos. Its magical, ice-cold opening and steadily increasing warmth set the scene. 

Rachmaninov: Piano Concerto No. 2. Rachmaninov’s second concerto for piano is equally demanding to his third, while the melodies are even more hypnotic and wondrous. 

Prokofiev: Symphony No. 6. A reminder of the atrocities of war which bores its way straight to the listener’s soul with unwavering passion. 

Listening tips

Stravinsky: The Rite of Spring. Stravinsky’s ultra-modern and groundbreaking musical rendering of a primitive sacrifice is wild, beautiful and exceptionally colourful. Essential listening.

Bartók: Concerto for Orchestra. One of the most inventive, playful and harmonious works written for orchestra where Bartók shines and every musician plays a solo part.

Mahler: Symphony No. 9. One of the greatest and most gripping of masterpieces of all Late Romantic symphonies, and Mahler at his most forward-thinking.

Berg: Violin Concerto. Modernism created some beautiful meetings with the past, such as in this piece, where a Bach chorale blends into the violin concerto written “In memory of an angel”.

Sibelius: Symphony No. 7. The highlight in Sibelius’ symphonic oeuvre and a masterpiece in terms of symphonic unity as well as displaying a forward-thinking and diverse use of orchestra.

Rachmaninov: Piano Concerto No. 2. Rachmaninov had undergone hypnotherapy when he wrote the exquisite melodies in this concerto. Let yourself fall under the spell.

Shostakovich: Symphony No. 5. A powerful symbol of Shostakovich’s battle with Stalin and simultaneously a unique masterpiece full of flaming energy from the first to the last note.

Debussy: La Mer. Debussy’s symphonic sketches of the sea form a definite peak in French sound and “Impressionistic” music, with light and colours in focus.

Ravel: Daphnis et Chloe. Ravel’s beautifully colourful musical rendering of the archaic tale of the sheperding couple’s great love and pastoral idyll.

Messiaen: Turangalila. New instruments and new sounds, previously unheard melodies and unique harmonies distinguish Messiaen’s singular and collosal masterpiece.

Schoenberg: 5 Orchestra Pieces (op. 16). These orchestra pieces are little modernistic gems, and are an example of Schoenberg’s most imaginative powers of orchestration.

Selected composers 

Igor Stravinsky (1882-1971)

Arnold Schoenberg (1874-1951)

Alban Berg (1885-1935)

Anton Webern (1883-1945)

Dmitri Shostakovich (1906-1975)

Serge Prokofiev (1891-1953)

Serge Rachmaninov (1873-1943)

Alexander Scriabin (1872-1915)

Claude Debussy (1862-1918)

Maurice Ravel (1875-1937)

Gustav Mahler (1860-1911)

Richard Strauss (1864-1949)

Jean Sibelius (1865-1957)

Carl Nielsen (1865-1931)

Olivier Messiaen (1908-1992)

Béla Bartók (1881-1945)

Paul Hindemith (1895-1963)

Benjamin Britten (1913-1976)

Edward Elgar (1857-1934)

Ralph Vaughan Williams (1872-1958)

Witold Lutoslawski (1913-1994)

Wilhelm Stenhammar (1871-1927)

Johan Halvorsen (1864-1935)

Fartein Valen (1887-1952)

Geirr Tveitt (1908-1981)

Eric Satie (1866-1925)

Charles Ives (1874-1954)

John Cage (1912-1992)

George Gershwin (1898-1937)

Gabriel Fauré (1845-1924)

Francis Poulenc (1899-1963)

Giacomo Puccini (1858-1924)