4.2- Classical Song Details Flashcards
Symphony no 104 in D(haydn)
1st mvmt
Intro: d min
Adagio
4/4
Full orchestra begins with asc. 5ths and desc. 4ths
Dotted notes show majestic quality in a french overture style
Fermatas used to increase drama
Exposition D maj Allegro Cut time Elegant diatonic melody played by violins Folk like quality of theme
Bridge
Huge leaps played “f”
Modulates to A maj
2nd theme
In a maj
Copy of first theme played by woodwinds and strings
Monothematic exposition
Codetta
2 string motives alternate
Contrary motion and syncopation give elegant mood
Contrasting staccato and legato
Development
Opens in b min
Repeated note theme used
Tension inc. using different keys and dynamics
Recap D maj Bridge 2 Counter melodies added to woodwinds Coda Rhythmic activity increases as mvmt ends
The creation
3 parts: 1. 1-4 days creation 2. 5 -7th days 3. In garden of eden Gabriel an archangel: soprano Uriel an archangel: tenor Raphael an archangel : bass Adam: bass Eve: soprano
Uriels recitative
And god said let there be light in the firmament to divide up the day and the night and to give light upon the earth and let them be for signs and seasons and for days and years he made the stars also.
Recitativo secco
Sung by uriel
Describes the fourth day
As it continues…..in splendor bright is rising now the sun and darts his rays……
In d maj
Andante
Cut time
Recitativo accompagnito
Word painting on a slow ascending d maj scale accomp by orchestral cresc. Vividly portrays the rise of the sun
Short rocket motive played by cello and bass for in splendor bright
“ in softer beams” played by cello and bass in g major played softly to portray ascent of moon
Chorus and trio by archangels Begins in c maj Allegro Cut time The heavens are telling the glory of God The wonder of his works displays the firmament
Satb chorus sings the opening lines homorhymically accomp by orchestra
Word painting night is suggested by a brief shift to c min
After the trio the chorus returns with its opening melody with initation btwn voices
Final chorus expands on opening melody
Marriage of Figaro: Plot
Figaro and Susanna, servants to countess look forward to their wedding day. but they are distressed to know that the count is going to seduce Susanna first. The countess, who wishes for her husbands affection, and Susanna lay a trap for the count. the women switch places, and it is not until its too late that the count realizes he is romancing his wife, not susanna. Ashamed, he pledges his love to his wife and Figaro and Susanna are happily married.
Marriage of Figaro: Act One Overture
d major
modified sonata form
allegro
cut time
First theme: D +, strings play rapid eighth note figures, a sense of joy and excitement is created
Second theme: A +
contrast created through less rhythmic activity
Recap
first and second themes restated in D+
When first theme returns, it is unclear where the music will go next, which foreshadows the surprises in the opera itself
Marriage of Figaro: Act Once scenes 6 & 7(cherubino)
Cheubinos Aria: “Non so piu”
Eb major
ABAC form
allegro vivace
cut time
Cherubino is with Susanna, he sings to her of his newly emerging feelings about love. He sees the count approaching as he finishes, and hides….
>melody begin s in middle register and goes higher as his agitation increases
>phrases are short and use rests to suggest his breathless passion
>Section A: Eb+
>Section B: Bb +
> Section C: slower, more reflective ends in Eb+
Marriage of Figaro: Act One scenes 6 & 7(Susanna)
Recitativo Secco: Susanna,Count, Basilio
>accomp by continuo only
>dialogue btwn Susanna and the count, then basilio
>speech like documentary style
Terzetto:
Susanna is worried count will find Cherubino and assume the worst…which he does…..
>orchestral accomp
>sonata form
first theme in Bb sung by count
bridge sung by basilio
second theme in dom. minor sung by susanna
Piano Concerto in G+, K453
First movement
key: G maj
allegro
common time
sonata form, with double exposition
>theme one unfolds in elegant 4 measure phrases
>violins are featured accomp by woodwinds
>bridge: forcefully played by entire orchestra
>theme two: woodwinds and violins present theme
Solo:
>piano plays a decorated version of theme 1 in G+
>L.H. accomp is alberti bass
>bridge: modulates to D+
>piano theme in D+ has quiet playfulness
>contrasts legato and staccato
>second theme hear in D+, presented by piano and strings
>Codetta: reaffirms D+
>dev’t: piano theme featured
>modulates to various keys, piano has rapid runs, sequential passages and arps in triplets which accomp woodwinds
>recap: first theme reprised by strings and woodwinds
>decorated version of first theme played by piano
Piano Sonata in Cmin, op 13, pathetique
1st mvmt
First movement: c min grave common time Intro: opens homorhythmically in c min crisp dotted notes like French overture dramatic contrasts using accents, pauses and dynamics dim 7ths heighten tension cadenza like run leads into exposition Expo: cmin sonata form allegro e con brio cut time rapid ascending RH melody agitated quality augmented by staccato articulation LH tremolo octaves Bridge: begins modulation away from tonic syncopations propel music forward Theme 2a composer writes in Eb minor when Ebmaj would have been more typical sharp contrasts in register require rapid hand crossing Theme 2B finally moves to Eb maj melody and bass move in contrary motion Codetta Eb maj theme of 1A used in closing bars of expo Development g minor intro with dotted note figures from the introduction suspense generated by extended dom preparation Recap c min restored first theme returns second themes return in f min codetta returns in tonic Coda
Pathetique: 2nd movement
Ab maj
rondo form ABACA
adagio cantabile
2/4
A:
>soft legato melody stated in middle register of RH
B:
>f min, then Eb maj
>new melodic material in RH with repeated note accomp in LH
A:
>returns in middle register
C:
>new key(Ab minor)
insistent triplet accomp strikes a brooding tone
A:
principal melody returns ion Ab maj accomp by triplets from C
Coda:
derived from main melody, ends in perfect cadence in tonic
Pathetique, 3rd mvmt
c min rondo ABACABA allegro cut time A: >agitated melody in RH >melody spans a 9tth >played softly with embellished grace notes >section ends wiith a V-I cadence in c min B: >begins in f min, modulates to Eb maj >features RH melody based on scales in LH >dom 7th chord with fermata prepares for return of A A: unaltered C: begins in Ab maj contrapuntal texture syncopated descending staccato scale in LH then RH A: c minore ending altered to lead into section B directly without cadence B: begins in C maj, ends in c min shortened, omits scale passages A: opening pick up notes omitted shortened and leads directly to coda Coda: based on triplet figure from B leads to a forceful V-I cadence to close
Piano Quintet in A Maj “Trout”
Fourth movement:
d Major
andantino
2/4
theme and variations
based on a lied by Schuber called Die Forelle
Theme:
>only strings play, melody introduced by violin
>homophonic texture in binary form
Var I:
>theme played on piano
>dbl bass plays pizz
>vln and clo play triplet figure in imitation
>musical character is graceful and elegant
Var 2:
>theme by vln
>piano imitates fragments of theme
>musical character remains lighthearted
Var 3: >theme by dbl bass >piano has virtuostic accomp to theme >vln and vla play syncopated 16ths >character is humorous and ironic
Var 4: >theme shared by all instruments >begins in d maj >has abrupt changes of dynamics >dramatic and forceful in character
Var 5: >theme by cello begins in Bb maj >piano responds imitating the cello's dotted rhythms >broad and lyrical
Var 6:
>theme by vln
>piano plays 16th note triplets drawn from original song
>tempo changes to allegretto
>gentle coda brings song to close just like in original lied
