Program music: Subject and meaning

Program music is a tricky thing to experience. Whether conducting it, performing it, listening to it or even composing it, it is difficult to avoid falling into a sort of extra-musical purgatory from which emergence is often difficult.

This kind of music has two chief concerns. The first is its genesis: it was a product of the Romantic, pioneered by Liszt and a cornerstone of the ‘Music of the Future.’ The goal of the romantics was hyper-emotional expression, with an emphasis on individuality. Sometimes this meant musical individuality, but it often meant that of the composer—and his ego. Thus it became entirely possible for the subject of program music, whether heroic or tragic, to be a representation of the composer himself rather than a musical exploration of an extra-musical subject such as literature, art or history.

The second concern was the place of this kind of music within the scope of musical form. Program music sat comfortably (perhaps uncomfortably!) at the intersection of absolute music—pure, some would say—and storytelling. The former was, in orchestral terms, expressed most powerfully by the symphony, which was fast becoming a cornerstone of concert and compositional culture as Beethoven’s life drew to a close and the first wave of romantics, including Berlioz, Mendelssohn, Liszt and Wagner, began to mature. As the symphony orchestra became independent and concert culture evolved, the symphony took on new meanings—and new dimensions. Its evolution into a vehicle for program music was an intriguing form of intellectual and musical currency, albeit only one side of a very large coin.

The latter became increasingly complex. Music had always been used as a storytelling device, and it crossed boundaries very easily. Stories were told around campfires with singing and dancing; this had always been true. Folk-songs were story-telling devices almost as a rule. Opera had found a way to marry music, drama and literature in an entirely new way and was two centuries old by the time the Romantic era began. And even the Catholic Church, with their strict rules about…well, everything…had room for musical storytelling: forms such as the Miserere and Stabat Mater were very popular among composers.

Program music was not always about a story, of course. It sometimes dealt with ideas and philosophies, specific emotions and experiences. A linear narrative was not necessary; but imagery abounded, aided by the unbridled passions of the romantic composer and the ever-expanding orchestra and art of orchestration.

So with program music, where does the musician or listener begin? For that matter, where does a composer begin? The latter is an intriguing question with which to begin. First is the selection of the subject. It is an idea? Is it an existing work, such as a painting or character from a novel? Is the goal to recreate faithfully the inspiration for the music, or to merely suggest it through imagery? Is it an interpretation of that work or a reimagining of it? And then what should the audience listen for? Which is more powerful—symbolism or literal meaning?

Some composers’ intentions seemed clearer than others. The opening of Strauss’ Don Juan is brimming with bravado and virility; it is not only clear that Strauss is introducing us to the legendary lover but that the composer has definite ideas as to what kind of lover he is. We may hear clearly that this man, Don Juan, loves love, loves women, and is a master of seduction. We understand immediately that this is not the scoundrel of Mozart’s opera but the complex protagonist from the original story—with, perhaps, a slightly Straussian influence.

Other times we are entirely unclear as to where we are in a story—or what that story is! In the second movement of Rimsky-Korsakov’s Scheherazade, we are informed by the title ‘The Kalendar Prince’ of the subject for the movement. The story involves a young Prince and his misadventures following the escape of a coup-d’état. Rimsky-Korsakov spins a magnificent web of sound, with brilliant orchestration and virtuosic exclamations from every section of the orchestra. It is marvelously exciting music and wonderfully written. But alas—there seems to be no hint of the Prince himself, or anything resembling a narrative of any kind! To try and find one or interpret the program literally is utterly confounding.  

This is where the matter of music interpretation comes into play, along with a host of questions. How intimately acquainted with the original subject matter should the musician be? Is it part of a larger tradition? Such is the case with Don Juan, which Mozart set to great effect, and Strauss revered Mozart; so is it fair to ask whether Strauss was influenced not only by Molina and Byron but by Mozart as well? What of the context of a movement or motif in a larger work? With Scheherazade it is clear that the second movement is not a literal musical telling of the Kalendar story; perhaps the movement is about Scheherazade’s telling of the story rather than the story itself? But then, though the work evokes the mysticism of the Orient, it is at its heart Russian—so, then, should it sound ‘authentically’ Oriental or authentically Russian? Ah, the questions!

There is yet another matter that arises from the performance of programmatic music, and that is music which has been taken from a dramatic work. The orchestral repertoire is full of overtures and suites taken from ballet, opera and stage plays.

How does the meaning of the music change by being transported from the stage to the concert hall? Clearly the audience is now tasked with shifting their attention from singers or dancers to the orchestra. And how should the orchestra respond? After all, they are no longer accompanying theater but are now the main attraction. Certain considerations made necessary due to the technical concerns of accompanying may, in theory, no longer apply. Suddenly a written p, necessary so as not to drown out a singer, may be played mp or mf. Shall the dynamic be altered or will it remain p with a different quality and color? Similarly, a tempo may be adjusted: Allegro with the quarter at precisely 126 may be perfect for a performance with dancers, but with an orchestra on its own it may change. Would going slightly faster (assuming it sounded good!) change the music drastically or give a better or worse effect? Would new meanings reveal themselves? Ah, there is the magic!

In the end, we may be left with one important question: Does program music tell the story of the story—or the story itself? 

Advertisements

Dear Sesame Street: Less Hip Hop, please.

I have been a parent for a little more than five years now. It has been an incredible adventure from the first moment, filled with moments of terror, triumph, unimaginable joy and unexpected sorrow. I love being a father as much as I love being a musician. Indeed, the moment I held my son in my arms for the first time, I was reminded of the moment I first heard one of my own compositions being brought from the page to the concert hall–though this moment was never to be replicated. 

Being a father has brought me some unexpected inspiration as well. Simple things–watching my son hold a hermit crab for the first time and squeal in delight, or chasing a frog across the lawn–become epic adventures and moments of discovery. And he always makes me better. Indeed, before he was born, I had little desire to teach. Now, I feel compelled to teach as much and often as possible (and, as a happy consequence, to seek out knowledge and aspire to wisdom with a passionate urgency.) I have become keenly aware of education in all its forms: the school system and curriculum, naturally, but also the history of education. 

What I see has begun to disturb me greatly. A comprehensive commentary is far beyond the scope of such a modest article as this and, frankly, is probably beyond the author as well. But I know what I see and hear, and I know what I want to see (and what I feel is missing.) The fundamental goal of education should not be the development of skills for a job; it should be the cognitive, intellectual, emotional and, yes, spiritual growth of a human being in a safe, social and challenging environment.

I believe that learning is a comprehensive art and ought to be compelling. Education and knowledge should not be compartmentalized; each discipline informs the next and keeps us from existing in the vacuum nature so abhors. Yet I see this more and more: each subject is isolated, broken into simple components and structured so that bits and pieces may be digested (or, perhaps more accurately, consumed) for the all-important test. The days of the trivium and quadrivium are long gone. 

Media has become such an important part of our daily lives, for better or worse, that it is difficult to argue against it as a serious tool for children’s development and education. PBS television has always done an excellent job in delivering quality content, and I myself grew up on two of their most important shows. One was Mr. Rogers’ Neighborhood. Fred Rogers’ warmth, wisdom and sincerity made me, at the age of 5, want to be a better person, to keep my sense of wonder and curiosity no matter what my age. His show helped me realize that compassion, kindness and empathy were essential. 

The other show was Sesame Street. A natural community, where neighbors lived, worked, played, and shared everything together, it seemed much less a fantasy or fictional world than a pleasant snapshot of reality, a vignette and allegory which was gentle yet firm in its messages. The neighborhood was a place to visit, the community offering a standing invitation to join. 

As a child I can remember seeing Yo-Yo Ma and Itzhak Perlman join, and, given my love affair with music, I was captivated. I always carried these images in my mind; music was there, it was everywhere, it was for everyone. It expressed emotions that I didn’t even know I had, and best of all, I could express them, too! 

So when my son became old enough to start watching some television, I was delighted to see that Sesame Street was still on the air. I was happy to have some sense of continuity in this ever changing world.

Then I saw a recent show–and I was surprised. 

Why, oh why, is there so much rap and hip hop on Sesame Street? Where did it come from–and what educational purpose does it serve? This is ‘entertainment’ at best. It is not just guest artists; we see puppets casually rapping in certain segments, for no apparent reason.

Let us examine a few things. Rap and hip hop take two great arts–language (especially poetry) and music, and reduce them to simple elements. For young children, simpler is usually better. However, these elements are not executed in a manner which is fundamentally sound. Poetry, an art which has challenged some of the best literary minds in history, is reduced to ‘rhymes’ which are often trite and usually clever at best. Are these things not better exemplified by Mother Goose or Emily Dickinson? In addition, this language is riddled with slang, not to mention profanity–to things that are hardly healthy for developing minds which need to learn the building blocks of language not just technically but also socially. Then there is the question of the music. I think there is one term which can sum up the issue: beats. Yes, in these genres of music, it is all about the ‘beat.’ Forget, for a moment, that an incredibly powerful element of music (rhythm) is reduced to a single word. What does the word ‘beat’ make you think of? Beating eggs, beating someone at something, beating somebody up…’beat’ is a violent word. And that is the entry point with rap and hip hop. But what do we say in other forms of music, namely classical/art music? We speak of a ‘pulse.’ What does that word conjure images of? The pulse–the heartbeat, the first and most salient vital sign, a proof of life itself. Pulse…passion….energy…vitality….ever changing, at its safest when steady yet helpful when varying, racing ahead or slowing down. And that is what ‘classical’ music contains: every element of life, a window to worlds, ideas, experiences and knowledge. Isn’t that what children and young adults need?

The argument seems to be that this kind of music–rap, hip hop, popular music–is what children are most likely to be exposed to and, therefore, will relate to most easily. Yet this is a self-fulfilling prophecy. If they are introduced to this as a matter of course then it will be their sole frame of reference. And they will be: this music is heard in everything from television commercials to the background music in restaurants and retail stores. It is in movies and television shows, ring tones and video games. And if they have older siblings…

It seems, lately, almost taboo to criticize or even question rap and hip hop. Yet it is an important issue–one well worth discussing. It is not merely that I wish we had more violinists, opera singers, conductors and string quartets visiting (or living on!) ‘The Street’–though that would be wonderful! It is a need to demonstrate that culture is more than politically correct characters traipsing about the screen providing entertainment. Culture is about life. Isn’t it time to discuss that with our children?