I figure that since no one is exactly leaping forward to write for the blog, I'll put something - anything - up for the 3 or 4 of you who follow it to read. In this particular case, I will put up an outline of a piece I am working on for my next concert: Gustav Holst's "A Somerset Rhapsody." This is not a full analysis, simply a pre-cursor to one, an outline that I like to put together before I jump into full chordal and rhythmic analysis of a piece. Anyhow, I figure this blog needed something, so...here it is. ;-)
Introduction
Composer
Gustav Holst was born on 21 September 1874, in Gloucestershire, England. He learned piano and violin from an early age, but a nerve ailment that affected his right hand eventually caused him to settle on trombone as his principal instrument. Holst attended the Royal Conservatory of Music, where he met fellow composer Ralph Vaughan Williams, and they became lifelong friends and often critiqued each other’s work without rancor or enmity.
In 1905 he was appointed Director of Music at the St. Paul’s Girls’ School, and in 1907 he was appointed Director of Music at Morley College, both of which he would retain for the rest of his life (eventually writing the St. Paul’s Suite for that school’s string orchestra). He is best known in orchestral circles for his tone poem suite, The Planets and for various smaller works. In the wind band world he is best known for his two suites for military band (in E-flat Major and in F Major) and for his Hammersmith: Prelude and Scherzo, all three considered cornerstone works in the wind band’s repertory.
History
A Somerset Rhapsody, Op. 21, was composed in 1906, and was dedicated to Cecil Sharp, the collector of English folksong music. It is based on three tunes found among Sharp’s many collections: “The Sheep-Shearing Song” (also known as “It’s a Rosebud in June”), “High Germany,” and “The Lover’s Farewell.” It was rewritten and premiered at Queens Hall by conductor Edward Mason in April of 1910, and published by Boosey & Hawkes in 1927. The transcription for winds was completed by Clare Grundman in 1980.
Analysis
Terms
- Affretando
- Allargando
- Allegro
- Animato
- Come 1o
- L’Istesso
- Lunga
- Meno mosso
- Moderato
- Morendo
- Pesante
- Tenuto
First Impressions
A Somerset Rhapsody begins with a treble continuo (originally in the Violin II part, here presented by flute, clarinet, and vibraphone) based on C, over which is written the first theme (“Sheep Shearing Song,”), given to the English Horn (Oboe in the original). [Pitch Set: F Dorian – F-G-Ab-Bb-C-D-Eb]. A note in the orchestral score indicates that whenever possible, this solo should be played by an Oboe d’Amour. In the version for winds, there are cues for the solo in the Oboe and Alto Sax parts, to be used at the discretion of the conductor.
The melody is restated with different accompaniment (shifting chords) in m. 27-44, this time by the Flute and E-flat Clarinet, joined by the Piccolo and Oboe intermittently. The key changes at m. 27 in the original score for orchestra, but Grundman has chosen to forego the use of key signatures in his transcription, so there is no key change here. However, the melody now shifts to D Dorian [Pitch Set: D-E-F-G-A-B-C].
Although the work is not a fugue, there is a stretto-like section where the Horns entering with a melodic fragment (m. 46-47), followed in succession by the Bassoons, Alto Clarinet, Alto Sax I, and Euphonium (m. 47-48), then most of the soprano voices (Upper WWs, Alto Sax II, Trumpets) in m. 48-49.
A transitional section follows, begun by the timpani foreshadowing the ostinato that is to follow, while the trumpets sound a fanfare figure in fifths. This occurs alongside a return to the treble continuo and the first theme. More foreshadowing of the ostinato is revealed, this time in quarter notes by the String Bass and low reeds (cello and bass in the original). Fragments of the first theme serve to shift the tonality to A Dorian [Pitch Set: A-B-C-D-E-F#-G-A].
The fanfare figure is repeated (m. 63-74) in different voices while an ostinato is intoned by low voices, starting on A Dorian at first, but then shifting back to F Dorian. As much as possible, this ostinato should sound like pizzicato celli and bass. The transition leads directly into the second theme (“High Germany”, c minor). [Pitch Set: C-D-Eb-F-G-Ab-Bb].
“High Germany” is orchestrated in the Alto Clarinet, Bassoon, and Euphonium, sometimes reinforced by other voices (Tenor Sax and Horn). In the original, this melody is given to the Bassoons and full Cello section. The theme is repeated twice, the second time with added treble/soprano voices using the same pitch set.
The theme ends abruptly at m. 106, and the third theme (“Lovers’ Farewell,” C Dorian, m. 107-127) is presented by the Horns, with the Clarinet II, Bassoon in sixths. The theme consists of three sections of 8+12+12 (ab1b2). Tenor Sax and Clarinet I are added during the second section, and the Piccolo/Flute and Clarinet I take over during the third section, at which point the brass have dropped out of the texture. [Pitch Set: C-D-Eb-F-G-A-Bb]. During the final four measures of the third theme, the Trumpet and Horn enter on a fragment of the High Germany theme, and the ostinato winds up again.
“High Germany” and “Lover’s Farewell” are combined as a sort of fantasia, traveling through several key areas, and the ostinato figure travels first through Eb Dorian, then modulates through repetitions of the “High Germany” fragment, at one point even cycling through Bb Phrygian. The fanfare figure (from m. 51) is also brought back here, adding to the unsteady tonal center (m. 140-165), and all the tension is released with a fortissimo Bb Major chord (with the F in the bass, as part of a V-I figure).
The climax is reached at m. 179, with a full-texture repetition of “High Germany,” this time in Bb minor. A second version of the theme is presented by soprano and alto voices (m. 196-211) while the low ostinato continues, both in Bb Dorian [Pitch Set: Bb-C-Db-Eb-F-G-Ab]. A flourish of woodwinds takes us to a repetition of the second theme “Lover’s Farewell,” with some added chromaticism in the form of Clarinet/Alto Sax I/Cornet 3 moving line. This section begins to diminuendo and rallentando, heading into a new tempo at m. 235.
Fragments of the “Lover’s Farewell” theme are presented by the Oboe, then Clarinet I, while the Bassoon and Horn respond with a three-note motive-fragment of Theme One. The flutes eventually take over the meandering and unwinding theme (originally in the Violin I, with mute). The three-note motive eventually leads to a Euphonium (originally, Trombone) augmentation of the “Sheep Shearing Song” melody. This melody is taken over by upper woodwinds, while the ostinato pattern begins to wind up again.
The tune is transformed into a hemiola (3/4, m. 275) that is presented alongside the second half of the “High Germany” theme, heard earlier at m. 196, here written in the Cornet I part. The theme continues (although the meter shifts back to 3/2 and the hemiola elements are dropped) until it arrives at a recapitulation of the opening bars, with the English Horn once again taking the solo lead and a treble continuo (on C) from the flute. A solo Clarinet takes over the final notes from the English Horn, and the piece ends on a lunga fermata whole note, fading softly away.
If you're not familiar with the tune, here are, in order, the original, and the transcription (which is a tad rough, and not the best recording):
