Bang the Drum, Loudly
European music has an interesting correlation to the increase in volume and the adaptation of additional instrumentation. As composers begin appropriating new sounds from the expansive reach of governmental and military affairs with other cultures, so to expands the types of sounds that make their way into popular works. This, in addition to new technical innovations in existing instruments, such as trumpet valves, broader ranges for reeds, and the supplement of the viola, double bass, and in some cases, the octo bass, gives rise to ear catching (and sometimes, ear deafening) levels of volume. As music gains popularity and accessibility in European audiences, so too, does it gain in decibels.
Some of the early accounts of volume being an actual problem for the audience begins with Beethoven. Critics of his “Erotica” Symphony in 1805 exclaim that Beethoven had seemingly designed the piece to make his audience as deaf as the composer. Prior composers are also noted to manipulate dynamics as a primary means of style. For example, Haydn’s “Surprise Symphony”, No. 94 of his London works utilized a startlingly loud chord that interrupts the otherwise soft and gentle flow of the second movement did not appear in the original score. It was added on a whim by Haydn at the piece’s 1792 London premier. The reception was so positive that he kept it in, giving the symphony it’s namesake and hook. Haydn also used the thunderous volume of Turkish cymbals, triangles, and bass drums in his 100th Symphony, also known as his Military Symphony. The audience’s reaction to what was described as the sheer volume of noise made quite an impression. Peter Gutmann, (“Joseph Haydn- The Military Symphony” from www.classicalnotes.net/classics3) writes, “Typical of his dry wit, generations later Sir Thomas Beecham, arguably the greatest of all English conductors, had a simpler explanation of his compatriots' instant esteem for the Military Symphony: "The English do not like music, only the noise it makes." In modern times, Quiet Riot, the heavy metal group popular in the 1980s would pay homage to this sentiment in their song, “Come On, Feel the Noise.” The ideas surrounding a loud statement, coupled with the physical use of sound becomes a powerful partner of audience appeal.
In fact, Haydn’s use of Turkish instruments was not the first. Mozart also implemented the percussive ensembles from the region in his 1782 premier of “The Abduction from the Seraglio”, and opera written in German by request from the Austrian Emperor, Joseph II. Of the many impressive qualities of this composition, the overwhelming power of its virtuosity was partly attributed to the density of its writing. The famous commentary by the emperor, while disputed by historians in its translations, cited the impressive volume of actual notes. His direct statement is quoted as “Zu schön für unsere Ohren, und gewaltig viel Noten, lieber Mozart!” and it’s loose English translation being, "That is too fine for my ears – there are too many notes." Historians are quick to point out that “the anecdote, which is often repeated, is considered by some scholars to unfairly give the Emperor a bad reputation concerning both his own musical abilities and his appreciation and support of Mozart.” (Beales, Derek (2006). "Joseph II, Joseph(in)ism". In Cliff Eisen; Simon P. Keefe (eds.). The Cambridge Mozart Encyclopedia. Cambridge: Cambridge University Press. pp. 232–239.)
Hector Berlioz (1803-1869) was well known for the loudness of his compositions. He did this through the sheer force of numbers. His Treatise on Orchestration is an example of his expertise with large ensembles and its use in his works. He was known to conduct huge orchestras, in some cases with more than 1,000 musicians. While he was in opposition with Richard Wagner (1813-1883) on the subject of program music, they were both part of a period that demanded that musicians in an orchestra play what is written. New complexities and requirements for following dynamic notations made it more and more necessary for competent conducting and an adherence to the composer’s vision for a piece to be accurately represented. The specificity of volume notation continues to become more detailed as ensembles grow, instrumentation evolves, and appropriation of neighboring cultures expands. While louder definitely gains attention, the dynamic range overall expands to include sounds so quiet that they strain the human capacity for perception.
Dynamic expansion for European classical composition is a critical part of its development, and reflected in the technological achievements congruent with its growth, the cultural expansion associated with the government endorsement of national works, and the general appeal of the common audience. We can see the public reaction to excessive dynamic use in the satirical publications by critics at the premier’s of works like Beethoven and Berlioz, and the growth of public performance popularity is a testament to the effectiveness of dynamic expression. Composer’s recognition of the importance of performative adherence to dynamic vision is apparent in their use of wider ranges in written phrasings. The results are evident as some of the most popular works of this early period of dynamic expansion reflect. Let’s enjoy today’s listening example of Hector Berlioz’s Symphony Fantastique. This piece was met with varying review from its listeners, largely because of the deafening use of percussion and its impressive orchestral size. Here is Mariss Jansons conducting the Bavarian Radio Symphony Orchestra at the Proms festival in London, 2013. Thanks for reading!