Symphony No. 2 (Bernstein)

Last updated
Symphony No. 2
The Age of Anxiety
by Leonard Bernstein
Bernstein Age of Anxiety.jpg
Title page of the score
Based on W. H. Auden's "The Age of Anxiety
Composed1948 (1948)–1949, revised 1965
Dedication Serge Koussevitzky
PerformedApril 8, 1949 (1949-04-08)
Movementstwo parts
Scoring
  • piano
  • orchestra

Leonard Bernstein's Symphony No. 2 The Age of Anxiety is a piece for orchestra and solo piano. The piece was composed from 1948 to 1949 in the United States and Israel, and was revised in 1965. It is titled after W. H. Auden's eponymous poem, and dedicated to Serge Koussevitzky.

Contents

History

A friend is claimed to have given Bernstein the idea to write music based on The Age of Anxiety in a letter:

What do you think of the 'Anxiety' idea? There is so much musical-subtlety in it, and those various metres brought about by the different roads the couples take and their differing means of transportation, to say nothing of the moods, and the separateness that becomes Oneness under alcohol and/or libidinal urges. You mentioned it being good ballet material, yes, but I think, first, it should be composed as music by itself and therefore protect it from being too obvious program music, and then if some clever choreographer can put the musical composition to work, with what added quality good music may give to the themes and material, well and good. I would rather have 'it' in the concert hall, where it can be less 'handled' than in the ballet school where many different talents brush it up. It's too good a thing for many hands. [1]

When beginning to write the piece, Bernstein stated that Auden's poem was "one of the most shattering examples of pure virtuosity in the history of English poetry" and that a "composition of a symphony based on The Age of Anxiety acquired an almost compulsive quality." [1] After Auden's "The Age of Anxiety" won the Pulitzer Prize in 1948, Bernstein praised it, saying "When I first read the book I was breathless." Bernstein worked on the composition "in Taos, Philadelphia, Richmond, Mass., in Tel-Aviv, in planes, in hotel lobbies…" [2] Though called a symphony, "The Age of Anxiety" does not follow the traditional symphonic form: instead of a conventional four-movement, exclusively orchestral work, Bernstein scored it for solo piano and orchestra, and divided the piece into six subsections – mirroring Auden’s text – split equally into two parts that are performed without pause. [2] He completed the piece on March 20, 1949 in New York City. Dissatisfied with the ending of the composition, Bernstein revised it in 1965 to firmly establish his idea for the true ending.[ citation needed ] The work was dedicated to and commissioned by Serge Koussevitzky who was preparing to end his 25-year career conducting the Boston Symphony Orchestra.

Instrumentation and structure

The symphony is composed for an orchestra containing 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, pianino (upright piano), strings, and solo piano. [2]

Structurally, there are two parts, each comprising three sections. Each movement is named after the six sections of Auden's poem, trying to mirror the moods and events in the poem. [1]

Part One

In accordance with Auden’s “Prologue,” the poem begins with four lonely individuals (three men and one woman) in a bar, each reflecting on his or her own disquietude while acknowledging the presence of the others. Musically, a plaintive clarinet duet signals the beginning of the characters’ journey, with a long descending scale signaling their retreat to a shared unconscious. [2] It is here that the characters begin discussing life in each of their own points of view, moving onto “The Seven Ages.” Here, Bernstein composed a set of variations that are unique in the fact that, rather than all sharing the same melody or thematic material like a traditional theme and variations would, each variation plays on the material from the variation immediately before it. This gives the work a constantly shifting landscape that is reminiscent of the past but progressing for the future. It then proceeds to “The Seven Stages,” that tells the tale of the same “group [embarking] on a collective dream, one of even more heightened awareness, attempting to rediscover the deeper meaning of their own humanity.” [2] Emulating the characters conflicting ideals and desires, Bernstein weaves a frantic and confused musical tapestry that shows the characters trying desperately to find what they are searching for, but falling short, though becoming closer because of their experience. This brings the first half of the piece to a dramatic and abrupt close.

Part Two

The second half of the piece opens with “The Dirge”, a theme, first introduced by the solo piano, based on a 12-tone row that gives way to a contrasting middle section, reminiscent of Brahms’ romanticism. [2] In the poem, the four travel to the women’s apartment by cab, mourning the loss of their fallen father ("Dad") figure. Once they arrive at the apartment, the four are determined to have a party, but refuse to take the attention away from any of the others, and all opt to turn in for the night. [2] “The Masque” is a speedy piano solo that is accompanied by syncopated rhythms in various percussion instruments. The main theme is the tune from Ain't Got No Tears Left, a song cut from On The Town. The piano is joined by the rest of the orchestra for a time before it drops out entirely, becoming “traumatized” as it tries to come to terms with its “escapist living.” [1] The energy from “The Masque” fades and the entire orchestra comes in to repeat the bars it had been playing before, now joined by the strings and starting “The Epilogue.” Here, echoes of the “Prologue” resound while the new 4 note theme is contemplated by the reminiscent piano soloist. Answering the orchestra’s calls for clarity, a solo piano cadenza, added in 1965, revisits the journey of the characters, and is taken up by the full orchestra, which builds to a radiant close. The listener, as well as the reader, finds that “what is left, it turns out, is faith.” [2]

Premiere

The work was premiered on April 8, 1949, with Serge Koussevitzky conducting the Boston Symphony Orchestra and the composer at the piano. It was met with good reviews and received a repeat performance in Tanglewood that summer. [1] It was recorded for the first time by Columbia Records in 1950 with Bernstein himself conducting the New York Philharmonic with pianist Lukas Foss as the soloist. A typical performance of the work lasts approximately 35 to 40 minutes.

W.H. Auden, who reportedly did not care for ballet and thought it a "very, very minor art", appears not to have appreciated the translation of his poem into other media. After the Symphony's premiere he commented that it "really has nothing to do with me. Any connections with my book are rather distant." [3]

Ballet

Jerome Robbins choreographed a ballet to this symphony in 1950 for the New York City Ballet. [4] The choreography has been lost.[ citation needed ] The work was premiered at the New York City Center Theater in 1950 and showcased the artistry of Jerome Robbins, Todd Bolender, Francisco Moncion and Tanaquil Le Clercq. [5] [6]

John Neumeier used the score for a ballet premiered by Ballet West in 1991. [7] Liam Scarlett created another version for the Royal Ballet in 2014. [8]

Related Research Articles

<span class="mw-page-title-main">Concerto for Orchestra (Bartók)</span> Orchestral work by Béla Bartók

The Concerto for Orchestra, Sz. 116, BB 123, is a five-movement orchestral work composed by Béla Bartók in 1943. It is one of his best-known, most popular, and most accessible works.

<i>Rhapsody on a Theme of Paganini</i> Concertante by Sergei Rachmaninoff

The Rhapsody on a Theme of Paganini, Op. 43, is a concertante work written by Sergei Rachmaninoff for piano and orchestra, closely resembling a piano concerto, all in a single movement. Rachmaninoff wrote the work at his summer home, the Villa Senar in Switzerland, according to the score, from 3 July to 18 August 1934. Rachmaninoff himself, a noted performer of his own works, played the piano part at the piece's premiere on 7 November 1934, at the Lyric Opera House in Baltimore, Maryland, with the Philadelphia Orchestra conducted by Leopold Stokowski.

<span class="mw-page-title-main">Serge Koussevitzky</span> Russian and American conductor (1874–1951)

Serge Koussevitzky was a Russian and American conductor, composer, and double-bassist, known for his long tenure as music director of the Boston Symphony Orchestra from 1924 to 1949.

<i>The Age of Anxiety</i> 1947 long poem by W. H. Auden

The Age of Anxiety: A Baroque Eclogue is a long poem in six parts by W. H. Auden, written mostly in a modern version of Anglo-Saxon alliterative verse.

<span class="mw-page-title-main">Symphony No. 2 (Prokofiev)</span> 1925 symphony by Sergei Prokofiev

Sergei Prokofiev wrote his Symphony No. 2 in D minor, Op. 40, in Paris in 1924-25, during what he called "nine months of frenzied toil". He characterized this symphony as a work of "iron and steel".

Pyotr Ilyich Tchaikovsky's Trio in A minor, Op. 50, was written in Rome between December 1881 and late January 1882. It is subtitled À la mémoire d’un grand artiste [In memory of a great artist], in reference to Nikolai Rubinstein, his close friend and mentor, who had died on 23 March 1881. It is scored for piano, violin, and cello.

The Young Person's Guide to the Orchestra, Op. 34, is a 1945 musical composition by Benjamin Britten with a subtitle Variations and Fugue on a Theme of Purcell. It was based on the second movement, "Rondeau", of the Abdelazer suite. It was originally commissioned for the British educational documentary film called Instruments of the Orchestra released on 29 November 1946, directed by Muir Mathieson and featuring the London Symphony Orchestra conducted by Malcolm Sargent; Sargent also conducted the concert première on 15 October 1946 with the Liverpool Philharmonic in the Philharmonic Hall, Liverpool, England.

The Variations on a Nursery Tune for piano and orchestra, Op. 25, were written by Ernst von Dohnányi in 1914. It is subtitled "For the enjoyment of friends of humor, to the annoyance of others" on the manuscript, though he omitted this inscription on the concert program and on the published edition, fearing that it might sound somewhat provocative. The work was premiered in Berlin on 17 February 1914.

<span class="mw-page-title-main">Variations and Fugue on a Theme by Mozart</span>

The Variations and Fugue on a Theme by Mozart, Op. 132, is a set of variations for orchestra composed in 1914 by Max Reger; the composer conducted the premiere in Berlin on 5 February 1915. He later produced a version for two pianos, Op. 132a, where the Variation 8 ("Moderato") is completely different.

Méditation (<i>Thaïs</i>) Composition from the opera Thaïs by Jules Massenet

"Méditation" is a symphonic intermezzo from the opera Thaïs by French composer Jules Massenet. The piece is written for solo violin, orchestra and backstage chorus. The opera premiered at the Opéra Garnier in Paris on March 16, 1894.

Variations on a Theme of Corelli, Op. 42, is a set of variations for solo piano, written in 1931 by the Russian composer Sergei Rachmaninoff. He composed the variations at his holiday home in Switzerland.

<i>La Boutique fantasque</i>

La Boutique fantasque, also known as The Magic Toyshop or The Fantastic Toyshop, is a ballet in one act conceived by Léonide Massine, who devised the choreography for a libretto written with the artist André Derain, a pioneer of Fauvism. Derain also designed the décor and costumes for the ballet. Ottorino Respighi wrote the music based on piano pieces by Gioachino Rossini. Its world premiere was at the Alhambra Theatre in London on 5 June 1919, performed by Sergei Diaghilev's Ballets Russes.

The Symphonic Variations, M. 46, is a work for piano and orchestra written in 1885 by César Franck. It has been described as "one of Franck's tightest and most finished works", "a superb blending of piano and orchestra", and "a flawless work and as near perfection as a human composer can hope to get in a work of this nature". It is a fine example of Franck's use of cyclic unity, with one theme growing into various others. The piano and orchestra share equally in the development of ideas. The work is in F♯ minor. Duration in performance is about fifteen minutes, and the instrumentation is piano solo and orchestra: pairs of flutes, oboes, clarinets, and bassoons; four horns; two trumpets; timpani; and strings.

Fifteen Hungarian Peasant Songs, Sz. 71, BB 79 is a collection of short folk melodies arranged for piano by Hungarian composer Béla Bartók. It was composed between 1914 and 1918. In 1933, Bartók adapted and orchestrated parts of the piece as Hungarian Peasant Songs, Sz. 100, BB 107, commonly known by its Hungarian name, Magyar parasztdalok.

Symphony No. 2, Op. 19 is a three-movement work for orchestra by the American composer Samuel Barber. The 25-minute work was originally written in 1944. The work underwent many revisions and was finally published in 1950. The original manuscript was withdrawn by Barber in 1964. He ordered that G. Schirmer destroy the original manuscript and all scores in their library. The work remained unpublished for many years until 1984 when a set of parts turned up in a warehouse in England. Renewed interest in Barber's work led to a 1990 reprint of the 1950 edition.

<i>Seven Anniversaries</i> Collection of piano pieces by Leonard Bernstein

Seven Anniversaries is a collection of short piano pieces by American composer Leonard Bernstein, written between 1942 and 1943. It is the first installment in a series of Anniversaries, followed by Four Anniversaries (1948), Five Anniversaries (1949–51), and Thirteen Anniversaries (1988).

The Short Symphony, or Symphony No. 2, is a symphony written by the American composer Aaron Copland from 1931 to 1933. The name derives from the symphony's short length of only 15 minutes. The work is dedicated to Copland's friend, the Mexican composer and conductor Carlos Chávez. The symphony's first movement is in sonata-allegro form, and its slow second movement follows an adapted ternary form. The third movement resembles the sonata-allegro but has indications of cyclic form. The composition contains complex rhythms and polyharmonies, and it incorporates the composer's emerging interest in serialism as well as influences from Mexican music and German cinema. The symphony includes scoring for a heckelphone and a piano while omitting trombones and a percussion section. Copland later arranged the symphony as a sextet.

Touches: Chorale, Eight Variations and Coda, often shortened as Touches, is a composition by American composer Leonard Bernstein. Composed in 1980, it is one of Bernstein's last compositions for solo piano.

References

  1. 1 2 3 4 5 Chisholm, Kate. "Works | Solo Instrument(s) & Orchestra | Symphony No. 2: The Age of Anxiety (1949)". www.leonardbernstein.com.
  2. 1 2 3 4 5 6 7 8 Hudgins, Deanna. "Symphony No. 2, "The Age of Anxiety" - Leonard Bernstein". LA Phil. Retrieved 2020-06-19.
  3. ↑ Catherine Gunther Kodat (2015). "Performance Anxieties: The A-Literary Companions of American Literary Studies". In Levander, Caroline F.; Levine, Robert S. (eds.). A Companion to American Literary Studies. John Wiley & Sons. pp. 136–7. ISBN   9781119062516 . Retrieved March 24, 2018.
  4. ↑ Martin, John (February 27, 1950). "City Troupe Gives Ballet by Robbins". New York Times. Retrieved March 24, 2018.
  5. ↑ Long, Robert Emmet (January 1, 2003). Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors, 1940 to the Present. A&C Black. ISBN   9780826414625 – via Google Books.
  6. ↑ "The Journal for Stage Directors & Choreographers". Stage Directors and Choreographers Foundation. July 9, 1997 – via Google Books.
  7. ↑ Dunning, Jennifer (October 15, 1991). "Neumeier Choreographs 'Age of Anxiety'". New York Times. Retrieved March 24, 2018.
  8. ↑ Sulcas, Roslyn (November 11, 2014). "Grim Horrors of Modernity, via Auden". New York Times. Retrieved March 24, 2018.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.