Program music, or what is commonly referred to as descriptive
music, has been used to express dramatic subjects or stories in musical terms
for centuries. Henry Purcell's masque, "Venus and Adonis," is an early example
of this, where the death of Adonis is musically portrayed, along with the baying
of hounds directly imitated on the violins. However, the limitations of the
orchestra severely limited this type of music, even during Bach's time, although
he was able to reproduce the braying of an ass, which was meant as a punishment.
Beethoven's "Battle of Victoria" and the gunfire of the "1812 Overture" may have
been overdone, but the calm of the "Pastoral Symphony" is almost palpable.
It was during the days of Liszt and Berlioz that program music truly came into
its own. Liszt's Symphonic Poem was a series of actual descriptive illustrations
of pieces of poetry. He attempted to produce in music what the poet sought to
produce in words. Later, the Czech composer Smetana wrote in the same style, but
not as emotionally as Liszt, focusing more on the pictorial aspects. Russian
composers such as Tchaikovsky, Balakirev, and Rimsky-Korsakov all developed the
"tone poem" idea, as did Saint-Saens. The ghoulish "Danse Macabre" and Dukas'
"The Sorcerer's Apprentice," which conveys the idea of swelling waters almost
engulfing the sorcerer's house, were highly successful. Among modern British
composers, Arnold Bax's "Tintagel" and Sir Edgar Elgar's "Planet" Suite and
"Falstaff" symphonic poem combine directly descriptive music with a true feeling
for the continuity and development of the music.
Music that is purely descriptive is rarely fully satisfactory from a critical
standpoint. The more direct the programming, the less successful the total
aesthetic appeal. Finally, background music written for films, television
programs, or incidental music for radio plays or stories rarely stands alone.
Often it can be too overpowering or just too loud, detracting from the
audience's enjoyment. However, at its best, background music can enhance a
variety of moods, ranging from forbidding and sinister accompaniment in
psychological thrillers to carefree music in light comedies. |