The Curse of the Werewolf and 8 serial symphonies - Benjamin Frankel

[J.Z. Herrenberg]

In view of this fact, does the Member maintain his high regard for this piece?

I am sure the Member will remain firm.

He may correct me, if that isn't the case.

[Archaic Torso of Apollo]

I am sure the Member will remain firm.

We are sure of that too 

But considering the unfortunate musical factoid highlighted by us in our previous post, we doubt that Mr. Grew will be able to maintain his enthusiasm for Mr. Frankel's symphonic oeuvre. 

[Dundonnell]

Since the member had not actually heard Mr. Frankel's Second Symphony until after he began this thread I would be most interested to know the extent of his familiarity with the music of this most excellent composer

[Scarpia]

After hearing his clarinet quintet on an anthology album of hyperion I was curious about the symphonies.  I've listened to the first disc from the cpo symphony cycle, containing symphonies 1, 5 and May Day Overture.  I do find the music fascinating.  It was only after listening to the symphony and reading the linear notes that I realized that the first symphony was composed using serial techniques.  From my listening and what I gather from reading various things, it seems that Frankel does not regard serial methods and tonality as antithetical, and incorporates elements into the tone rows which evoke a sense of tonality.

In any case, I found the first symphony a great pleasure, with orchestral color used to great effect in highlighting various melodic elements.  The fifth symphony didn't grab me with quite the same force.  I must admit, the May Day overture evoked the strongest reaction.  I take it this one is not serial, and the effective introduction of jazz elements into the melodic fabric added color to a very bright score.

In any case, I look forward to hearing more Frankel.

P.S., can nothing be done about this thread title?

[Franco]

From my listening and what I gather from reading various things, it seems that Frankel does not regard serial methods and tonality as antithetical, and incorporates elements into the tone rows which evoke a sense of tonality.

I think this is not an uncommon approach (not that I am any gauge but this is how I work).  Alban Berg intentionally incorporated tonal aspects in his tone series.  Because avoiding any hint of tonality is always listed as a rule in the "method books" it has taken on more importance than it deserves, and the academic serialists went off the deep end with this kind of thing, but someone had to and now that it's been done there is no need to continue down that path.

I think many composers who still use the 12-tone technique do so in combination with other processes and certainly feel no obligation to adhere to the most stringent ideas about how a 12-tone composition can be written.  But even if one were to adhere to the most stringent application of the 12-tone process - that's okay too.

The proof of the pudding is in the eating.

[Scarpia]

I think this is not an uncommon approach (not that I am any gauge but this is how I work).  Alban Berg intentionally incorporated tonal aspects in his tone series.  Because avoiding any hint of tonality is always listed as a rule in the "method books" it has taken on more importance than it deserves, and the academic serialists went off the deep end with this kind of thing, but someone had to and now that it's been done there is no need to continue down that path.

I think many composers who still use the 12-tone technique do so in combination with other processes and certainly feel no obligation to adhere to the most stringent ideas about how a 12-tone composition can be written.  But even if one were to adhere to the most stringent application of the 12-tone process - that's okay too.

The proof of the pudding is in the eating.

Having listened to Frankel's first symphony again, I can see something gained and something lost in this technique.  Frankel's version of serial composition allows him lots of melodic invention, with a very free sort of counterpoint where melodies are constantly growing out of each other, conflicting with each other, reinforcing or complementing each other.  A very rich tapestry of sound is generated.  What is lost is functional harmony.  The feeling of tension and release that is so critical to traditional classical music as dissonance resolves to consonance is largely absent.  This is a big void for me, and it means that although I continue to be interested in the sort of music Frankel writes, it just doesn't hit as profound a chord in me.  Comparing to Arnold, who wrote in roughly the same time, Arnold's music is perhaps more direct, less subtle than Frankel, but the dissonant, perverted harmonies that Arnolds cloaks his melodies with have a much strong emotional appeal to me.

[Archaic Torso of Apollo]

Having listened to Frankel's first symphony again, I can see something gained and something lost in this technique.  Frankel's version of serial composition allows him lots of melodic invention, with a very free sort of counterpoint where melodies are constantly growing out of each other, conflicting with each other, reinforcing or complementing each other.  A very rich tapestry of sound is generated.  What is lost is functional harmony.  The feeling of tension and release that is so critical to traditional classical music as dissonance resolves to consonance is largely absent. 

This is precisely the feeling I had listening to F's 2nd and 3rd Symphonies. The music manages to be both exciting and monotonous at the same time, an interesting paradox.

Incidentally, the full-blown serialist symphonies I've heard (like Frankel's, or Rochberg's 2nd, or Rautavaara's 3rd) actually sound quite conservative, like Romanticism with the dissonance turned up a notch. Not really radical at all, despite the stereotypical view of Schoenbergian 12-tonery.

[Franco]

I have heard Rochberg's 2nd and other of his earlier atonal compositions but I have not heard any Frankel and was only responding in a general way to the description of his process.  I will no doubt hunt down some of his music in order to hear what he's actually accomplished, but a liberal use of the 12-tone technique can produce very rewarding results, IMO.

[mjwal]

I quite like the title of this thread - it's the first time that I've had the association "serial music" and "serial killer".
Seriously though, if not too earnestly, I agree that the Frankel violin concerto is superb - and the witty Serenata Concertante on the disc makes an intriguing filler, since it seems to be one of those dodecaphonic works that disprove the generalisation that so-called serial music can't be humorous. I'm listening to the 2nd symphony now, a gripping piece that reminds me more than once of Lulu - and though I hear no elements of jazz, isn't there a faint reminiscence of Johnny Ace at about 2+ minutes in? It might be described as the clock motive, and returns a few times during the work (combined with an allusion to the Dies Irae in the slow movement, I believe)... I would assent to Franco's point that "a liberal use of the 12-tone technique can produce very rewarding results" - and remind you of the symphonies of Humphrey Searle, also not to be disdained. By the way, in both of these composers I hear tension and release all the time, it's just achieved by different processes.

[Mirror Image]

Frankel has come to my attention over the past year, but I did not pursue any of his music until now. I bought the Cpo recordings of his symphonies and concerti and also bought the Naxos recording with The Curse of the Werewolf. I'm looking foward to listening in-depth to this composer.

A year ago the word serial would have sent me running for cover, but now, as I have learned from Berg, Alwyn (his Symphony No. 3 is an acknowledged 12-tone classic), and Dallapiccola that this method of composition can be as lyrically expressive as tonal music.

[Klaatu]

Thanks, Sydney, for posting this. Frankel is another forgotten English composer - he's been forgotten by me, at any rate! I bought the CPO CD of Symphonies 7 and 8 at the turn of the Millennium, don't think I ever got round to listening to it, and forgot - until now - that I had it in my collection! I'm writing this as I listen to A Shakespeare Overture from the same disc.

Yet another English composer (along with Hubert Parry) whose music I will be re-visiting over the next few weeks, thanks to this estimable Forum!

[Scarpia]

Listened to Frankel's 2nd symphony for the first time today.  The impression is consistent with his first symphony.  A wonderful melodic invention, and really creative use of the sonorities of the orchestra.  The high point is perhaps the menacing second movement.

A little bonus on the cpo disc is a 4 minute recording of the composer introducing the symphony.  The work was written in 1962 and the composer died in 1973, so it is clear when, approximately, the recording was made.  But, oddly, the release contains no information on it.  Presumably it was recorded for a previous recording of the piece.  In the introduction Frankel describes his inspiration for the work, and for the second movement he gives a scenario out of a science fiction movie, giant creatures pursuing humans across the landscape.  Odd.   

[snyprrr]

Just noting all the Hammer films being shown on TCM this month. I think I have distilled the typical Hammer "theme":

Bb A Ab
Bb A Ab
Bb A Ab
Bb A Ab

pause

Bb A Ab
Bb A Ab
Bb A Ab
Bb A Ab

Right?

[Scarpia]

Just noting all the Hammer films being shown on TCM this month. I think I have distilled the typical Hammer "theme":

Bb A Ab
Bb A Ab
Bb A Ab
Bb A Ab

pause

Bb A Ab
Bb A Ab
Bb A Ab
Bb A Ab

Right?

It seems to me you take particular pleasure from the thought that no one here has the slightest idea what you are talking about 95% of the time.

[DavidW]

Frankel is the first atonal composer that I liked and felt had emotional resonance.  Good to see that he has his own thread.

Thanks to this thread I know now that there is a bargain box set... I might have to buy.

[snyprrr]

It seems to me you take particular pleasure from the thought that no one here has the slightest idea what you are talking about 95% of the time.

Seriously? No one can read that?

au contrare,...clarity over frustration!!! Obviously I'm not doing my job.



The three notes above go downward chromatically, which IS the theme Hammer uses in a lot of it's films to denote excitement. Anyone?

[Scarpia]

Seriously? No one can read that?

au contrare,...clarity over frustration!!! Obviously I'm not doing my job.



The three notes above go downward chromatically, which IS the theme Hammer uses in a lot of it's films to denote excitement. Anyone?

Who is Hammer and what does it have to do with Frankel?

[DavidW]

Who is Hammer and what does it have to do with Frankel?

Hammer studios produced Curse of the Werewolf which Frankel wrote the score for.  They were best known for making ripoffs of the universal classics, their best known efforts are the Christopher Lee Dracula movies.  Snips is still silly, but he was technically on topic.

[Scarpia]

Hammer studios produced Curse of the Werewolf which Frankel wrote the score for.  They were best known for making ripoffs of the universal classics, their best known efforts are the Christopher Lee Dracula movies.  Snips is still silly, but he was technically on topic.

Fair enough.

[mjwal]

There is a good general point to be made that people enjoy the "scary" musical effects in horror films which are actually borrowed from Schoenberg and his ilk but would run a thousand miles from concerts of dodecaphonic music full of the same kind of effects. Apparently they are less enjoyable when divorced from visual images. I don't need the latter as accompaniment myself but they often come unbidden when listening to serial music
To follow up the game of making connections between the apparently unconnected: who is the link between Frankel and Britten?