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Benjamin Britten's Simple Symphony, Op. 4
Movement III "Sentimental Saraband"
Andy Bast
August 4, 2007
GMUS 611
Dr. Johnson
Contextual Background
At the age of 20. English composer Benjamin Britten was already an
accomplished composer. He composed his Simple Symphony, Op. 4 between December
23, 1933 and February 10, 1934, soon after his graduation from the Royal College of
Music. The published score contains this note from Britten: "The 'Simple Symphony' is
entirely based on material from works which the composer wrote between the ages of
nine and twelve. (The actual sources are given in the footnotes to each movement.)
Although the development of these themes in many places is quite new, there are large
stretches of the work which are taken bodily from the early pieces--save for the rescoring for strings."1 The third movement, the Sentimental Sarabande begins with
material from his Suite no. 3 for Piano (1925), while the middle section is from a Waltz
written by a nine-year-old Britten in 1923. So, the question is: What is sentimental
about this “Sentimental Sarabande?" An obvious answer is simply that the materials for
the work are culled from the composer's childhood and therefore sentimental. However a
theoretical analysis of the themes and their treatment can reveal a deeper understanding.
The third movement traces a narrative through and between its binary sections
(figure 1), which develops a tender impression of sentimentalism. A listener can
understand this emotional response to the music by examining in detail the contrasts
Figure 1
A
B
[a][b]-[a][b]
1
Steinberg, Michael. Simple Symphony for String Orchestra, opus 4. Program notes
from San Francisco Symphony (www.sfsymphony.org).
between the two sub-sections ([a] and [b]) of the work and how their relationships
develop through the first and second large sections (A and B).
Britten seems to set up this relationship between each contrary section in order to
give a special sense of emotional release to the second. The calm of the [b] sub-section
(marked poco piu traquillo) is only effective because of the emotional weight of the [a]
sub-section, which is rife with a sense of dark and passionate yearning. The many
suspensions and releases, coloring of chords with sevenths and non-chord tones, almost
constant pedal G tonic in the bass, chromatic harmonies that tonicise various other key
areas and the progression of the Urlinie all contribute to a sense of yearning that
characterizes the initial section of the work.
The A Section (Appendix 1 is a score and tonal analysis that is helpful to reference)
The melody’s opening phrase, marked Poco lento e pesante (a little slow and
heavy), begins with a climb from the tonic G in the first violins to the third (Bb) which is
held over the bar and then returns to the tonic via an emphasis of the dissonant second
scale degree (A). This three note ascending and descending motive is the primary
melodic material of the [a] and is a microcosmic statement of the sub-section as a whole,
which is trying to move from scale degrees 3-1 (See figure 2). The 3-1 movement also
underpins the entire section, which will be examined later. This motive gives the
impression of seeking to reach a higher point, but failing (m.3) and then revving up and
trying again (m. 5-9). The various harmonies over which these suspended half-notes are
laid create different dissonances (either a true suspension or a dissonance on beat two).
Figure 2 (violin 1, mm. 1-4)
In mm. 2 and 4, the dissonance falls on beat two and the chord tone is suspended over the
bar; however, in m. 10 (identical restatement of the initial melodic phrase) a minor v
chord is hinted at, making the suspension a 6-5 over the bar line. These melodic
dissonances leave the listener harmonically off balance and contribute to the overall
effect of the section. The dissonant non-chord-tones are not only present in the melody,
but also appear in harmony parts, usually coloring the harmony with unresolved
sixths/sevenths, neighboring or passing tones (e.g. mm. 5-8).
A basic Schenkerian reduction of the background/middleground (see appendix 2)
of the [a] sub-section gives a helpful view of the progression of the Urlinie and Ursatz
from scale degree 3 to 1 and i-v-i. Sustaining the tonic and scale degree 3 through
twenty-six measures until a structural minor v7 chord with scale degree 2 adds to the
tension-filled drama of the movement, finally resolving to the tonic fundamental. The
interesting tonicization of Bb major (which one can essentially view as a nested i-v-i
progression with Bb functioning in a dominant-like role -or- one as a quick key change
and the ii˚7 chord functioning as the nested v) foreshadows the [b] section key area. This
concept of tonicization and obscuring the key area returns throughout the [a] section as a
means of varying the harmony and eventually becomes the means of transformation or
development of the [b] phrase at the end of the piece.
The [a] sub-section is significantly more harmonically complex than the [b]
section. Already in the third measure, the g minor melody is accompanied the dissonant
ii˚7 chord and gives an impression of dark emotional intensity. Harmonies move
between a plethora of diatonic chords (i, ii˚, III, iv, V7, v, vi, vii˚, etc.) while the lower
strings hammer out a pedal G tonic, calling to mind the incessant drive of minor tonic
pedal tones of the first movement of Brahms Symphony no. 1 in C minor. In addition to
these driving pedals, the two pieces also share the melodic suspended dissonances tied
over the bar and triple meter. Whether or not Britten consciously made this connection,
the effect of these similar minor tonic 'drum beats' evokes a fierce pathos--not at all what
we anticipate from the title of the movement. This pedal stays constant (reinforcing the
minor tonic) for the first fifteen measures until it gives way to a decisive minor iv chord.
As soon as the harmony shifts, the spell of pedal G is broken, and we hear the relative
major Bb tonicized. This tonicization is short-lived, however and the harmony quickly
shifts back to and candences on g minor.
Measure 33 begins the second statement of the [a] section, which is essentially the
same as the first. However, an unexpected tonicization of VI (Eb) and iv (c) in mm. 4144 harmonize the second phrase of the melody. Each iteration of the initial melodic cell
has been chromatically harmonized further away from the tonic and this statement
(further emphasized by fortissimo crescendos to sforzandos) takes our ears beyond the
standard expection/realization formula. The harmonic shift also opens the door for the
extension of the phrase and the elaboration of the harmony, tonicizing the bVII and VI,
that follow before cadencing on the g tonic. A lone D (5th of the tonic triad) played by
the second violins acts as a life-line, connecting the [a] section to [b].
Through common-tone modulation the D becomes the third of the relative major
Bb key area. Melodically, as before, tied half-notes over the bar permeate the music;
however, these no longer seem yearning. The melodic and rhythmic pull from beat three
to beat one, which dragged the melodic motion through the harmonies in [a], has
dissipated. Emphasis is now on the downbeat in this calm passage rather than beat three.
Pedal string bass pizzicatos on the fifth (F) reinforce this new rhythmic emphasis with
entrances almost exclusively on beat one and give the first seven measures a gentle
dominant quality. These pizzicato bass notes and the up-bowed first violin off beats
surround the inner voices in a soothing Ländler. Nothing is unexpected or out of the
ordinary. Throughout this section the only chords we hear are I, IV and V, most of which
occur over the pedal F. Very few non-chord tones color the harmony and the music
gently undulates between I and V chords in the now tonic Bb, perhaps recalling the calm
rocking motion of Brahms’ Wiegenlied, a truly sentimental reference.
Sentimental Sarabande
A basic definition for "sentimentalism" is: that which is prompted by feelings of
tenderness, sadness or nostalgia. Perhaps we are to imagine the angst of the [a] section
giving way to a sentimental image of the familiar cradle song-like [b] section.2 Certainly
2
Britten's relationship with his mother and other important feminine figures in his life,
coupled with his choice to set themes he composed as a young boy could be the subject
of further research. Britten's relationship with his mother was complex. She both
encouraged his music making and rigorously controlled his life. He composed the work
immediately after his parents (influenced by RCM authorities) disallowed him to travel to
Austria to meet Alban Berg, who they determined would not be a good role model for the
twenty-year-old. The Simple Symphony is dedicated to another important figure in his
child hood-his viola teacher Audrey Alston, from whom he began taking lessons at age
10. (Perhaps the yearning for an alternate mother-figure?)
the tonic-dominant harmonic rocking and reliance on exclusively major triads creates a
sense of tenderness when juxtaposed with the initial dissonant-laiden [a] sub-section.
Again, if this music is not a specific reference to Brahms, it is certainly an example of
much simpler texture, harmony, phrase structure, and melody reminiscent of the im
volkston (in the style of the people) movement in poetry and music throughout the 19th
century. This move from the intensely yearning to the familiar and folk-like thus yields
an effect of sentimentality in the [b] section.
The following CIN diagrams detail the concepts of how human emotional states
can relate to the compositional techniques Britten uses in each sub-section. This
approach is useful in clarifying how the music can "sound" passionate, yearning, content,
and sentimental. (see figures 3a and 3b)
The large B section
The second major section of this movement is much shorter than the first but
contains a brilliant combination of the themes of each subsection [a] and [b], which
coalesce as a transition to the final [b] section. The first phrase of subsection [a] at m. 92
is basically the same as the first phrase of the piece. The second phrase at m. 108 is more
direct; the texture is reduced to unison strings and marked ff with accents and sforzandos.
Although the harmony tonicizes Bb, similar to the earlier parallel passage in the A
section, the character of the music is a stark contrast (earlier marked p and
decrescendoing to pp with fluid texture). Clearly something has evolved in the music of
this B section.
Figure 3a-subsection [a]3
Generic Space
-aspects of states
-elements in directed
motion
-teleology
Human Space
Music Space
-emotional yearning or
reaching for something
-yearning is accompanied
by increase of desire for
something
-yearning is accompanied
by a state of discontent
-minor melodic three-note
motive rises and falls
-dynamic increases mirror
rise of musical line
-dissonances of melody and
harmony create musical
tension
-Urlinie's prolongation of 31 creates tension
Blended Space
-music is
anthropomorphized
expressing a tension-filled
longing for something. This
tension is characterized by
discontent/dischord.
3
Conceptual Integration Networks were developed by rhetorician Mark Turner and
linguist Gilles Fauconnier in order to formalize the relationships between mental spaces
involved in a conceptual blend (the examination of the correlations of two concepts and
the new mental space-blended space-that emerges from their relationship with each
other). (Zbikowski, Lawrence. "Cross-Domain Mapping," in Conceptualizing Music:
Cognitive Structure, Theory, and Analysis (New York: Oxford University Press, 2002)
77-78.
Figure 3b-subsection [b]
Generic Space
-aspects of states
-elements in directed
motion
-teleology
Human Space
-feeling of contentment
-calmness can be
brought about by a sense
of familiarity
-sentimental thoughts are
accompanied by
pleasant memories
Music Space
-Standard non-chromatic
harmony stablizes
tonality
-diatonic melodies
-soft dynamics
-rhythmic stability
Blended Space
-music feels peaceful,
contented, and familiar
-music has
characteristics of
sentimentalitycalmness/soft dynamics,
familiarity-stable
harmony & rhythm
The hint at Bb doesn't dissolve back to the tonic and then proceed to the second
statement of the first phrase (over sixteen measures: mm. 17-32). Instead, what took
sixteen measures earlier, now takes eight as a massive lower string D major scale (V)
emphatically drives to the unison tonic first phrase at m. 116. Measures 116-122 mirror
mm. 42-48 but instead of returning to the tonic, the phrase unexpectedly extends the V/V
harmony giving way in m. 127 to a stunning transition formed from [b] melodic material
harmonized with modulatory chords, eventually making their way to the Bb major key
area in m. 136. The melody has evaporated leaving only ppp first inversion ascending
chords. So, the materials that represent a child-like or sentimental state ([b]) are gone
leaving merely the emotional impression of that state, the calm rising harmonies. The
yearning for our own childhood is not really the yearning of the actual events of
childhood (i.e. the themes) but really a yearning of for simpler playful feelings of
childhood. Herein lies the depth of the sentimental nature of the piece. Following the
chords of sentiment, which crescendo and climax on a forte vi chord, the music finally
gives way to the [b] subsection themes and harmony, calmly bringing the movement to a
close.
Concluding Remarks
Although seemingly a simple setting of themes Britten composed as a child, the
Sentimental Sarabande is a complex musical expression of the idea of sentiment and how
one yearns for the release of sentimental feelings of childhood or child-like memories.
The music takes on various emotional characteristics, which work together as a new
musical anthropomorphic entity to express the intense yearning of the first sub-section [a]
giving way to the calm sentimentality of the second sub-section [b]. Without this
contrast, each section on its own is less than the musical meaning gained from brilliantly
pairing them. Britten succeeds even in this "Simple" symphony in layering and weaving
multiple meaning into the fabric of the music.
Appendix 2-Schenkerian Analysis of subsection [a] (mm. 1-31)