Classical Music - Country Style

Around the turn of the 20th century especially, a marvelous example of synchronicity occurred. Composers and musicians from various countries (primarily in Europe) returned to their roots, one might say. Without the mixed blessings of multi-media, instant communication or any type of recording devices, these (mostly) male musicians listened to various folk melodies and then transcribed them on paper as best they could. What happened afterwards was nothing short of miraculous, for they then used these folk melodies in new orchestral and chamber works.

Of course, using native melodies was not an especially new thing - after all, Carl Maria von Weber is credited with having begun the nationalistic opera movement with his Der Freischütz in 1821. Based on a German legend, it also utilizes German folktunes, and still remains in the repertoire, although most of his other works have fallen out.

Felix Mendelssohn absorbed both melodies and rhythms of Italy and Scotland for two of his symphonies, obligingly named for the countries represented. Scottish is No. 3 in a minor, Op. 56 from 1842, while the Italian is No. 4 in A major, Op. 90 from 1846.

Tchaikovsky also used Italian folk tunes in his Capriccio Italien, Op. 45, written in 1880. There is a tender song for strings and a jaunty one for oboe before the final whirling tarantella. An earlier inspiration was the Little Russian melody, The Crane used in his Symphony No. 1 in g minor, Op. 13 - Winter Dreams, written in 1866, and revised in 1874.

Bela Bartók was a Hungarian, born in 1881, who made an early debut as composer at age nine, and piano soloist a year later. He was fairly well established in his chosen field, when in 1905 he began making trips to remote regions of Hungary. Here he collected folksongs and dances which were mostly unknown to the outer world. After editing, they were published, but then he decided to incorporate these native songs into his music. The result was a major change in his style - from romantic to avant-garde albeit of a somewhat rustic nature, in some of his work. He was not afraid of dissonance or harshness if required. One notable example of his use of folk music is his Music for Strings, Percussion and Celeste from 1936. The last movement is an energetic and vigorous peasant dance.