COLOR ME SOME MUSIC

By Jim Berkenstock, Artistic Director

In our program that just closed, “Passionate Perspectives,” we explored the impulse to incorporate national musical elements as a reaction to the pervasiveness of stifling imperialism, especially in the case of the Hapsburg Regime in the 19th century. In our program that opens tonight (Thursday), we explore another kind of reaction, which is less nationalistic and more stylistic. “Composing in Color” is a program that largely reflects the French desire, beginning in the later part of the 19th century, to carve out a distinctly French sounding idiom. 

As I have mentioned in previous columns, French music in the 19th century was dominated by its virtually obsessive fascination with Grand Opera. Only in the last part of the century was a concerted effort made to create a purely instrumental oeuvre that the public would be willing to show interest in and support. Just try naming a prominent French symphonic or chamber music composer active in the first half of the 19th century. Etienne Mehul or Félicien David don’t quite jump to the fore like Schubert, Mendelssohn, or Schumann do in Germany, right? Okay, we have to make allowances for Berlioz and Chopin, but they were clearly outliers, and Berlioz was probably better appreciated in Germany than in his home country, despite his musical idiosyncrasies. 

So, in the later part of the 19th century, a French interest in instrumental music began to develop, however, the existing German tradition weighed heavily as a model. Slowly, the new school of French composers began to add their own voices. Saint-Saëns incorporated dance types from French Baroque composers and Franck employed the idée fixe process of repeating melodic material in subsequent movements that had originally been suggested by Berlioz. However, the biggest element the French eventually employed was something they borrowed from their painter compatriots. The unique approach of the French Impressionists like Monet and Renoir suggested something of a similar musical nature to Debussy, Ravel, and others of their contemporaries. 

The idea of color was not absent in the music of the chief Austrian/German composers, but it was not in the forefront. More important to them was form (structure), thematic manipulation, and harmonic language. Toward the end of the 19th century, the French began to place less emphasis on form and thematic manipulation and more on the experience of the music generated by unique harmonies, unusual melodic turns, and shifting combinations of instruments. Even variety in the combination of instruments became a focal point. Perhaps the quintessential work relying on color is Ravel’s Bolero, where the same two melodies alternate throughout the work and the rhythm stays constant. Only the solo instruments change. On the other hand, Debussy would have frowned on this because of the repetition. He came to desire a kind of constantly unfolding process where it sounded like everything was continuously being discovered. This was a stark reaction against the Germanic tradition of repeating and restating themes and of systematically developing musical motives in the development section of a work. Many of his solo piano works are wonderful examples of this, especially those describing water, as is his orchestral score for the ballet, Jeux. 

Because color was now such an important ingredient, the choice of instruments became particularly significant. One instrument, in particular, that was not often heard in German music of the time, but that offered unique color possibilities, was the harp. Our program that begins tonight and continues through Sunday is a great chance to experience the wonders that can occur with the addition of harp to various ensembles. We are also delighted to welcome Amanda Beranek as our guest harpist. Amanda is a New York-based harpist who has won numerous competitions and prizes for her playing and holds two degrees in music from The Juilliard School. She will be featured in French music by Debussy, Ravel, and Florent Schmitt, and the English composer, Sir Arnold Bax. She will be joined in each work by differing combinations of strings, flute, clarinet, and oboe. This is a unique opportunity to hear such rare and beautiful gems by truly consummate performers. 

Concert times and locations are as follows: 

Thursday, July 30, 7:00 pm., Woodwalk Gallery, Egg Harbor 

Friday, July 31, 7:00 pm., Sister Bay Moravian Church 

Saturday, August 1, 7:00 pm., Sargent Residence, Ephraim/Sister Bay 

Sunday, August 2, 4:00 pm., Kress Pavilion, Egg Harbor 

For tickets or more information, please call 920-854-7088 or visit www.midsummersmusic.com. After Sunday’s concert, we will take a bit of a break until later in August. We have not had a harpist join us for several years, so this is a treat, especially in such fine venues, including the Sargent residence in Ephraim. PenArt has Plein Air. We have harp music. Hope to see you soon.