Neoclassicalism in music is a twentieth-century trend, especially today in the interwar period, in which the composers sought to return to the aesthetic teachings associated with the widely defined concept of "classism," order, balance, clarity. , economy, and emotional control. Thus, neoclassicism was a reaction to uncontrollable and unwarranted emotionism at the end of Romanticism, as well as a "call to order" after the experimental fermentation of the first two decades of the twentieth century. Neoclassical impulses find expression in features such as the use of peered performances style, emphasis on rhythm and on contrapuntal textures, updated or extended tone harmonies, and concentration on absolute music compared with Romantic music programs.
In a thematic form and technique, neoclassical music often draws inspiration from 18th century music, though the canon-inspired possession often goes to the Baroque and earlier periods for the Classical period - for this reason, music that draws special inspiration from the Baroque is sometimes referred to as music neo-Baroque . Neoclassicism has two distinct national development lines, French (partly from the influence of Erik Satie and represented by Igor Stravinsky, who was actually born in Russia) and Germany (continuing from the "New Objectivity" of Ferruccio Busoni, which is actually Italian, and is represented by Paul Hindemith ). Neoclassicism is an aesthetic trend rather than an organized movement; even many composers who are not usually regarded as "neoclassicists" absorb the elements of style.
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Although the term "neoclassicism" refers to the movement of the 20th century, there is an important 19th century precursor. In such pieces as Franz Liszt's Æ' la la la Chapelle Sixtine (1862), Edvard Grieg Holberg Suite (1884), the transfer of Pyotr Ilyich Tchaikovsky from The Queen of Spades (1890), George Enescu Piano Suite in Old Style (1897) and Max Reger Concerto in the Old Style (1912), composers "dressed their music in old clothes to create a smiling or pensive awakening of the past "(Albright 2004, 276).
Symphony No. 1 Sergei Prokofiev (1917) is sometimes referred to as the precursor of neoclassicism (Whittall 1980). Prokofiev himself thinks that his composition is a "graduation phase" while Stravinsky's neoclassicism is in the 1920s "becoming the baseline of his music" (Prokofiev 1991, 273). Richard Strauss also introduced a neoclassical element into his music, especially in his orchestra suite Le bourgeois gentilhomme Op.Ã,60, written in an early version in 1911 and its final version in 1917 (Ross 2010, 207).
Ottorino Respighi is also one of the precursors of neoclassicism with "Water and Ancient Attraction" No. Suite. 1, compiled in 1917. Instead of seeing the musical forms of the 18th century, Respighi, who, besides being a renowned composer and conductor, was also a renowned musician, seeing Italian music from the 16th and 17th centuries. His contemporary , Gian Francesco Malipiero, also a music expert, compiled a complete edition of Claudio Monteverdi's works. Malipiero's relationship with ancient Italian music is not only aimed at reviving the antique forms in the "back to order" framework, but an attempt to revive a compositional approach that will allow composers to break free of sonata constraints. overly exploited thematic forms and mechanisms (Malipiero 1952, 340, quoted from Sorce Keller 1978).
Igor Stravinsky's first foray into style began in 1919/20 when he composed Ballet Pulcinella, using a theme he believed by Giovanni Battista Pergolesi (later out that many of them did not, though they were by contemporaries). The next example is Octet for wind, Dumbarton Oaks Concerto, Concerto in D, Symphony of Psalms, Symphony in C, and Symphony in Three Mutations, and Oedipus Rex ballet Apollo and Orpheus , where neoclassicism takes explicitly the "classical Greek" aura. Stravinsky's Neoclassicism culminated in the opera The Rake's Progress, with libretto by W. H. Auden (Walsh 2001, Ã,§8). The Stravinskian Neoclassicism was a decisive influence on the French composers Darius Milhaud, Francis Poulenc, and Arthur Honegger, as well as on Bohuslav Martin ?, who revived the Baroque concerto grosso form in his works (Large 1976, 100). Pulcinella , as a subcategory of the existing Baroque compositions, spawned a number of similar works, including Alfredo Casella Scarlattiana (1927), Poulenc FranÃÆ'§aise Suite , Ottorino Respighi Antiche arie e danze and Gli uccelli (Simms 1986, 462), and Richard Strauss Tanzsuite aus KlavierstÃÆ'¼cken von FranÃÆ'§ois Couperin and related to Divertimento nach Couperin , Op. 86 (1923 and 1943, respectively) (Heisler 2009, 112). Beginning around 1926 BÃÆ'Ã… © la BartÃÆ'³k the music showed marked improvement in neoclassical features, and a year or two later admitted Stravinsky's "revolutionary" achievement in creating new music by reviving old musical elements while at the same time naming his counterpart ZoltÃÆ'¡ n Kodá¡ ly as other Hungarian neoclassical followers (BÃÆ'³nis 1988, 73-74).
A German neoclassicism strain developed by Paul Hindemith, which produces chamber music, orchestral works, and operas in a very contrapuntal style, changes color dramatically, best exemplified by Mathis der Maler . Roman Vlad compares Stravinsky's "classicism", which comprises the external forms and patterns of his work, with the "classic" Busoni, which represents the internal disposition and the artist's attitude to the work (Samson 1977, 28). Busoni wrote in a letter to Paul Bekker, "By 'Young Classicalism' I mean mastery, sifting and altering into account all the advantages of previous experiments and their inclusion in a strong and beautiful form" (Busoni 1957, 20).
Neoclassicism found audiences welcomed in Europe and America, when Nadia Boulanger's school spread ideas about music based on his understanding of Stravinsky music. Boulanger taught and influenced many famous composers, including Gra? Yna Bacewicz, Lennox Berkeley, Elliott Carter, Francis Chagrin, Aaron Copland, David Diamond, Irving Fine, Jean FranÃÆ'§aix, Roy Harris, Igor Markevitch, Darius Milhaud, Astor Piazzolla, Walter Piston, Ned Rorem, and Virgil Thomson.
In Spain, Manuel de Falla's neoclassical concert for Harpsichord, Flute, Oboe, Clarinet, Violin, and Cello in 1926 was regarded as an expression of universalism, widely related to international aesthetic modernism (Hess 2001a, 3-8). In the first movement of the concerto, Falla quoted fragment villancico of the 15th century "De los ÃÆ'lamos, vengo madre". He also included quotes from 17th century music when he first embraced neoclassicism in the part of the puppet theater of El retablo de maese Pedro (1919-23), an adaptation of Cervantes Don Quixote PsychÃÆ'Â © and incidental music for Pedro CalderÃÆ'³n de la Barca, El gran teatro del mundo , written in 1927 (Hess 2001b ). In the late 1920s and early 1930s, Roberto Gerhard was arranged in neoclassical style, including his Concertino for Strings, Wind Quintet, L'alta naixenÃÆ'§a del rei en Jaume , and ballet < i> Ariel (MacDonald 2001). Other important Spanish neoclassical composers are found among members of GeneraciÃÆ'³n de la RepÃÆ'ºblica (also known as GeneraciÃÆ'³n del 27), including JuliÃÆ'¡n Bautista, Fernando Remacha, Salvador Bacarisse, and JesÃÆ'ºs Bal y Gay (PÃÆ'Â © rez Castillo 2001; Heine 2001a ; Heine 2001b; Salgado 2001a).
A neoclassical aesthetic was promoted in Italy by Alfredo Casella, who had been educated in Paris and continued to live there until 1915, when he returned to Italy to teach and organize concerts, introducing modernist composers such as Stravinsky and Arnold Schoenberg to a public-minded provincial Italian. Its neoclassical composition may be less important than its organizing activities, but especially representative examples include Scarlattiana in 1926, using the motifs of Domenico Scarlatti's keyboard sonata and the same Concerto romano years (Waterhouse and Bernardoni 2001). Casella's colleague, Mario Castelnuovo-Tedesco, wrote a fluidly neoclassical work reminiscent of early Italian classical music and models: the themes of his book Concerto italiano in the G minor in 1924 because the violin and orchestra resonate Vivaldi as well as the 16th - and the 17th century Italian folksongs, while his very successful Guitar Concerto no. 1 in D 1939 consciously followed the Mozart concert style (Westby 2001).
Representatives of Portuguese neoclassicism included two members of "Grupo de Quatro", Armando Josà © Fernandes and Jorge Croner de Vasconcellos, both of whom studied with Nadia Boulanger (Moody 1996, 4).
In South America, neoclassicism is very important in Argentina, where it differs from the European model because it does not seek to improve the new-style upheaval that does not occur in Latin America. Argentine composers associated with neoclassicism include Jacobo Ficher, JosÃÆ'Â © MarÃÆ'a Castro, Luis Gianneo, and Juan JosÃÆ'Â © Castro (Hess 2013, 205-206). The most important 20th century Argentine composer Alberto Ginastera changed from nationalistic to neoclassical in the 1950s (eg, Piano Sonata No. 1 and Variaciones concertantes) before switching to an atonal-dominated style and serial techniques. Roberto CaamaÃÆ'Â ± o, professor of the Gregorian song at the Institute of Sacred Music in Buenos Aires, uses dissonant neoclassical styles in several works and other serialist styles (BÃÆ'Ã… © hague and RuÃÆ'z 2001).
Although the famous Bachianas Brasileiras of Heitor Villa-Lobos (composed between 1930 and 1947) was printed in the form of Baroque suites, usually beginning with an introduction and ending with a simple movement or like toccata and using a neoclassical device such as a figure -the ostinato and long pedal records, they are not meant to be so much as a stylish memory of the Bach style as a free adaptation of the Baroque harmonic and contrapuntal procedures for music in the Brazilian style (BÃÆ'Ã… © hague 2001a; BÃÆ'Ã… © hague 2001d). The Brazilian composer of the generations after Villa-Lobos more specifically associated with neoclassicism included RadamÃÆ' Â © s Gnattali (in his later works), Edino Krieger, and the productive Camargo Guarnieri, who had contact with but not studied under Nadia Boulanger when he visited Paris in the 1920s. Neoclassical character figures in Guarnieri music began with the second Piano Sonatina movement of 1928, and were prominent in five piano concertos (BÃÆ'Ã… © hague 2001a; BÃÆ'Ã… © hague 2001b; BÃÆ'Ã… © hague 2001c).
The composition of Chile Domingo Santa Cruz Wilson was strongly influenced by German neo-classicism so he was known as the "Chilean Hindi" (Hess 2013, 205).
In Cuba, JosÃÆ'Ã… © ArdÃÆ'Â © vol started his neoclassical school, although he himself turned to modernist nationalist styles later on in his career (BÃÆ' Â © hague and Moore 2001; Eli RodrÃÆ'guez 2001; Hess 2013, 205).
Even the atonal school, represented by Arnold Schoenberg, shows the influence of neoclassical ideas. Forms of Schoenberg's work after 1920, beginning with opp. 23, 24, and 25 (all compiled at the same time), have been described as "open neoclassical", and are attempts to integrate progress from 1908 to 1913 with the inheritance of the 18th and 19th centuries (Cowell 1933, 150; Rosen 1975, 70-73). Schoenberg sought in the works to offer a structural reference point for the listener they could identify, beginning with Serenade, op. 24, and Suite for piano, op. 25 (Keillor 2009). Schoenberg's disciple Alban Berg actually came to neoclassicism before his teacher, in his book Three Pieces for Orchestra , op. 6 (1913-14), and opera Wozzeck (Rosen 1975, 87), which uses closed forms such as suites, passacaglia, and rondo as organizing principles in every scene. Anton Webern also achieved a kind of neoclassical force through intense concentration on the motif (Rosen 1975, 102). However, his 1935 orchestration of the six ricercar parts of Bach's Musical Offering was not regarded as neoclassical because of its concentration on instrumental color fragmentation (Simms 1986, 462).
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