Lecture 11. Form: Rondo, Sonata-Allegro and Theme and Variations (cont.)

The professor begins the lecture by checking the audio levels before delving into the week's focus on musical form, specifically theme and variations. The discussion is framed within the context of an upcoming concert featuring the Saybrook Orchestra at Battell Chapel. The concert will include pieces that exemplify the musical concepts being discussed. The lecture will prepare students for reviewing the concert by introducing them to a prep sheet guide for the pieces performed and providing advice on writing music reviews. The importance of attending despite potential scheduling conflicts is emphasized, with a makeup concert option for those unable to attend. The professor’s early preparation for the concert, aimed at selecting user-friendly, educational pieces, and the inclusion of a Brahms piece specifically for its thematic variation, are highlighted.

The second part of the lecture focuses on Johannes Brahms's set of variations on a theme, mistakenly attributed to Joseph Haydn. The professor outlines the structure of the theme Brahms used, detailing its musical form and the concept of repetition within the variations. The discussion includes an analysis of the theme's meter, mode, and string techniques. The lecture then transitions into a live demonstration, playing the theme to identify its parts, including the antecedent, consequent, and the pedal point technique used by Brahms. This part of the lecture aims to deepen the students' understanding of the theme's structure and Brahms's approach to variation.

The lecture progresses to discuss the complexity of Brahms's variations, emphasizing the challenges orchestras face in performing certain variations due to their rhythmic disjunction and counterpoint. The professor plays examples from the piece to illustrate the difficulties, particularly highlighting how variations can deviate significantly from the original theme. The discussion also touches on the concept of compound meter and how Brahms incorporates rhythmical obsession into his compositions, including the use of hemiola, to maintain interest and challenge performers.

Delving deeper into Brahms's compositional style, the professor discusses the composer's obsession with rhythmic variation and how it manifests in his music, particularly through unnecessary changes in hand positions during performances. This part of the lecture illustrates Brahms's dedication to achieving a unique sound, even at the expense of performers' convenience. The concept of hemiola is further explored with examples from the music, showcasing Brahms's skill in creating rhythmic interest and complexity.

The final part of the lecture on Brahms's variations focuses on the concluding sections of the piece, exploring the use of ostinato and how Brahms disguises and then reveals the theme towards the end. The professor discusses the use of triplets and other rhythmic devices to add complexity, culminating in a discussion on the piece's coda and its importance in signaling the end of the composition. The pedagogical value of analyzing this piece is emphasized, highlighting the students' serious engagement with classical music analysis.

The lecture shifts focus to the concept of rondo form, exploring its variations across different cultures and its historical roots in verse and chorus structures. The professor uses examples from the Middle Ages and contemporary music to illustrate the enduring nature of the rondo form. This section aims to familiarize students with the cyclical nature of the rondo and its importance in musical form through historical and modern examples, including a piece by Jean-Joseph Mouret as an illustrative example.

The lecture explores Antonio Vivaldi's use of ritornello form in 'Spring' from The Four Seasons, using it as a prime example of the rondo form. The professor explains how Vivaldi paints musical pictures of spring scenes, such as birds chirping and a babbling brook, through variations that deviate from and return to the main theme. This part of the lecture emphasizes the programmatic nature of Vivaldi's music and how it serves to engage the listener with vivid imagery.

Further exploring the rondo form, the lecture examines Mozart's Horn Concerto, highlighting its memorable themes and variations. The professor discusses the concerto's structure, emphasizing the use of repeated pitches, arpeggios, and modulation to minor keys to distinguish different sections. This analysis serves to illustrate Mozart's mastery of form and his ability to create engaging and memorable music through the rondo structure.

Concluding the lecture, the professor draws an analogy between rondo form and the architectural design of the Chateau de Chambord, illustrating the universality and symmetry of this musical form. The discussion then extends to contemporary music, using Sting's work as an example of rondo form's enduring appeal. This section underscores the timeless nature of rondo form and its relevance across different artistic disciplines and periods.