Crescendo thru the Century
By 1804, the steam locomotive had entered the world of transportation. Global politics and conflict had reached new levels of intensity. The Napoleonic wars had claimed 4 million lives. Prussia, Crimea, and Turkey would all enter clashes that claimed an additional 2 million casualties. The technological advancement of the 19th century allowed for a broader range of sonic exploration, in addition to cultural exchanges brought about from national powers exchanging territory. Composers were using tools at their disposure to invent larger statements of dynamic range, and it became more and more important to them that the orchestras actually play what was written on the page. Dynamic notation became more specific, and Hector Berlioz was one of the early champions of conducting and leading musicians accurately to reproduce a work in its written form.
Berlioz had a profound impact on a wide range of composers. He toured Europe, including Russia, where artists came to revere, if not his compositions, then his artistry in leading musicians on the stage. Mikhail Glinka (1804-1857), one of the first Russian composers to make a name for himself, encountered Berlioz in Italy and later in Paris where the two developed a fondness for each other’s work. Russia, it turns out, had a rather impressive following for Berlioz. In his two visits there, (one in 1847, the other in 1867 near the end of his career), he wrote ‘friends who come to see me, who have for my music a passion which looks very much like fanaticism’. Names like Stasov, Balakirev, and Cui were in the circle that he made appearances with. Those of Borodin, Mussorgsky or Rimsky-Korsakov were also enamored with Berlioz’s work, but were unable to arrange a meeting, much to their disappointment, (all of these accounts can be found in his memoirs, which you can read more about here.). Franz Liszt is another great enthusiast and patron of Berlioz. Liszt was known to follow his performances and both shared mutual admiration for each other throughout their professional careers. All of these great minds were impressed with Berlioz and his ability to translate the newly found intricacies of notation into performative excellence.
Just as Joseph Haydn’s Military Symphony was impressive because it was a revelation of modern classical composition that used dynamics, instrumentation, and compositional style to imitate the visions of modern combat in a new light in the previous century, Berlioz understood the impact that this new use of dynamics could have with an effective conductor. Haydn may not have understood the influence that his use of dynamics had. In fact, Haydn had written his 100th symphony in sections. The second movement had been written in 1786 for the King of Naples and the third movement had been written in Vienne between his two trips to London. Haydn had presumably written the outside movements during his arrival the second time in London and it’s premier on February 4th, as noted by historian Peter Gutmann in his writings about the symphony. Haydn had compiled the disparate sources into a finished work was titled "Grand Overture with the Militaire Movement" and became one of the cornerstones of his fame, but its effectiveness came from the dynamic extremities that the sounds of war produced, and his imitations of that soundscape.
Haydn’s work as a musician who understood the importance of executing these new found extremes in dynamics to effectively communicate the intensity of modern war, in addition to his somewhat spur of the moment realizations with his “Surprise Symphony” (as noted in yesterday’s writings, Haydn had added the idea of a sudden, loud moment in his Symphony No. 94, which was met with immediate success) is a foundation to which we find minds like Berlioz. The use of dynamics is a trend that demands more sophistication in the art of conducting, and after Berlioz, Gustav Mahler (7 July 1860 – 18 May 1911) would be one of its next great champions. Mahler’s compositions would extend the use of expanded orchestras, new instrumentations, and impressive levels of dynamic range. If the satirists enjoyed poking fun at Berlioz’s premiers for its intensity, they would have a field day with Mahler’s exploitations of impressive decibel levels.
The themes of war would continue to pervade in the repertoire of late 19th century European composers. As battles intensified, machinery progressed, artillery become more lethal, and casualties rose, the horrors of modern warfare would make their way into orchestral themes. As The Great War approached, tensions in global politics and the potential for mass death unleashed by the march of progress, composers found new ways to represent its impact on audiences. This was not excusive to the fanfare and simple interpretation of the machines of combat, but in the psychological toll that the terrors of war would bring upon its returning veterans. As we dive deeper into the complex subject of dynamics, this topic will illuminate how the public perceived modern combat, and how the sounds of war ultimately reached the popular lexicon in the form of musical representation.
As we approach the end of the 1800s, lets enjoy today’s listening example from one of its most impactful personas, Gustav Mahler. Here is the third movement of his Symphony No.1, conducted by Christoph Eschenbach with the Orchestre de Paris. It is one of my favorite compositions, and the double bass solo in the opening speaks to the solemn mood and intensity that dynamic range was capable of achieving in the new age of romantic music to come. Thanks for reading!