> > > Leonard Bernstein: The age of anxiety (Symphony no. URL to cite or link to: 1.74 MB (No.

Of downloads: 343) Chapter 4 to End 1.75 MB (No. Of downloads: 788) Beginning through Chapter 3 Description viii, 148 p. Charts, music. Abstract Leonard Bernstein's symphonic style displays two out-standing characteristics: it is dramatic and theatrical, and it reflects the composer's penchant for programmatic content. Each of these elements forms an integral part of his second symphony, The Age of Anxiety. The concertante function of the solo piano is certainly theatrical in its effect; the programmatic element is manifested by the work's being a musical paraphrase of Wyston Hugh Auden's The Age of Anxiety: A Baroque Eclogue.

A portion of this thesis is devoted to an analysis of the poem, and the writer has attempted to correlate the program with the music. It is evident that Bernstein has very closely followed the work of Auden in writing this symphony, and this results partially in a wide diversity of musical styles. To the listener totally unfamiliar with the poem, portions of the symphony do not 'hang together,' and the music may be considered to be too dependent upon the program at various points.

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A unique aspect of Bernstein's melodic style in this symphony involves the use of a process of melodic evolution: the theme of one small section will provide a motive which will in turn be developed in the next small section, and so on. His melodies are primarily motivic in construction, with emphasis placed upon the individual interval. Sequence is an important element in the development of themes; few themes are long and self-generating. From a rhythmic standpoint, the work is disappointing in its straightforwardness. The one movement in a jazz idiom provides the only real instance of fairly intricate rhythmic patterns, such as polyrhythms and changing meters.

This sec¬tion also presents an example of a rhythmic cell being de¬veloped in conjunction with different melodic ideas; in other sections of the work, a rhythmic pattern is always associated with the same melodic line. Harmonic materials are diversified; sections ranging from jazz to serialism are found.

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In general, tertian harmonies and tertian structures with an added tone prevail; quartal and quintal structures are found, but are employed only for very brief periods. The jazz element has harmonic influence throughout the work. Feeling of a tonal center is generally present, but modulations from this center occur frequently and rapidly.

Harmony is non-functional; there is much use of chromaticism, particularly in effecting modulations. Texture at any given moment is generally quite thin, with more than three different simultaneous ideas occurring very rarely. Orchestration is non-virtuostic; scoring is by choirs, and the predominating closed structure is effected by interlocking of choirs. The piano part is of prominence throughout a majority of the symphony; it nearly always carries the prevailing the¬matic material. The part is virtuostic largely by virtue of the enormous variety of techniques and styles required. The formal organization of the work is undoubtedly a product of the dictates of the poem. Bernstein has divided the work into six sections as follows: Prologue, Seven Ages (seven variations utilizing the technique of melodic evolu¬tion discussed previously), Seven Stages (seven variations in the line of more traditional theme and variations), Dirge (slow twelve-tone section), Masque (the jazz movement), and Epilogue.

The form is not indicative of a symphony, and much debate has arisen as to whether the work should not instead be considered a concerto, due to the prominence of the piano part. The writer has concluded that Bernstein's naming it 'symphony' indicates that he places more emphasis upon the formal organization than upon virtuosity. This, then, should indeed be its designation.

Contributor(s): - Author Primary Item Type: Thesis Identifiers: Unknown ML95.2.C288 Language: English Subject Keywords: Bernstein, Leonard, 1918-1990. Age of anxiety.

First presented to the public: 8/27/2007 Original Publication Date: 1968 Previously Published By: Thesis (M.A.)--University of Rochester License Grantor / Date Granted: Jim Farrington / 2007-08-27 15:24:48.0 ( ) Date Deposited 2007-08-27 15:24:48.0 Date Last Updated 2012-09-26 16:19 Submitter: Jim Farrington Copyright © This item is protected by copyright, with all rights reserved. All Versions.