1
Q
When did Mozart write his “Coronation Mass”?
A
1779
2
Q
What is the real name of Mozart’s “Coronation Mass”?
A
Mass in C Major
3
Q
What is the Koechel number of Mozart’s Mass in CM?
A
K. 317
4
Q
What is the orchestration for Mozart’s Mass in CM?
A
SATB solos, SATB chorus, 0.2.0.2.-2.2.3.0. timp, vln, cello, bass, organ
5
Q
Which typical instruments are not scored in Mozart’s Mass in CM?
A
flutes, clarinets, violas
6
Q
Does Mozart’s Mass in CM include any movements for just soloists? If so, which ones?
A
NO
7
Q
How many movements are in Mozart’s Mass in CM?
A
5, adding Benedictus to Sanctus
8
Q
What form is the Kyrie from Mozart’s Mass in CM in?
A
ABA’
9
Q
What interesting articulation is used prevalently in the Kyrie of Mozart’s Mass in CM?
A
Forte-piano
10
Q
Which part sings the first theme in the Kyrie of Mozart’s Mass in CM?
A
Soprano solo
11
Q
Which two parts sing a duet at the Christe of Mozart’s Mass in CM?
A
Soprano and Tenor
12
Q
Name six characteristics of the Kyrie of Mozart’s Mass in CM?
A
- opens with dotted-eighth Kyries
- sharp and quick dynamic changes
- conducted in 8 despite being in 4/4
- Soprano solo at Piu andante articulates main theme
- large interval leaps in chorus soprano
- recapitulation is not exact
13
Q
What form is the Gloria from Mozart’s Mass in CM in?
A
Sonata-allegro, with an unclear development
14
Q
Name six characteristics of the Gloria of Mozart’s Mass in CM.
A
- opens with similar dotted rhythms as Kyrie
- homophonic, straightforward delivery of text
- alternation of solo quartet and tutti
- development doesn’t use thematic material
- extended range writing reserved for soprano soloists
- long, symmetrical phrases over predictable orchestration, pedal octaves
15
Q
Name eight characteristics of the Credo of Mozart’s Mass in CM.
A
- declamatory, rapid text
- unified by the theme F-G-Bb-A
- uses muted strings at Et incarnatus
- tutti at Crucifixus
- quasi-recapitulation at Et resurrexit
- florid violin writing
- more chromatic than other movements
- considerable use of forte-piano, sometimes on unstressed beats
16
Q
Name six characteristics of the Agnus Dei of Mozart’s Mass in CM.
A
- extended Soprano solo which was used in “Dove Sono” from the Marriage of Figaro
- begins in FM and transitions to CM in Dona nobis
- choir doesn’t come in until Dona nobis
- Dona nobis is a recapitulation of Kyrie Soprano solo material, but sung by tutti chorus
- choral writing is almost entirely homophonic
- lower strings stay busy with rapid rhythms through the end of the movement
17
Q
When did Mozart compose his Requiem?
A
1791
18
Q
What is the Koechel number for Mozart’s Requiem?
A
K. 626
19
Q
What performance forces are used in Mozart’s Requiem?
A
SATB solos, SATB chorus, 2 basset hrn, 2 bsn, 2 clr, 3 tmb, timp, strings, bc
20
Q
How many major movements are in Mozart’s Requiem?
A
8 - Introitus, Kyrie, Sequenz, Offertorium, Sanctus, Benedictus, Agnus Dei, Communio
21
Q
How many sub-movements are in the Sequenz of Mozart’s Requiem?
A
6 - Dies irae, Tuba mirum, Rex tremendae, Recordare, Confutatis, Lacrimosa
22
Q
Which movements of Mozart’s Requiem were solely composed by Mozart?
A
Introitus and Kyrie
23
Q
Which movements of Mozart’s Requiem were solely composed-out by Sussmayr?
A
Sanctus, Benedictus, Agnus Dei, and Communio
24
Q
What style is the Kyrie and Christe of Mozart’s Requiem in?
A
Fugue, countersubject on the “Christe” text; very Bach-like
25
Name something unique about the "te decet hymnus" soprano solo in the Introitus of Mozart's Requiem.
It is the same plainchant melody used in Bach's Magnificat.
26
What is the Koechel number for Mozart's Mass in C Minor?
K. 427
27
What is the nickname for Mozart's Mass in C Minor?
"Great"
28
What term best describes the overall style of Mozart's Mass in C Minor?
Cantata Mass, to big to be used in the liturgy during service
29
Who originally sang the soprano solos in Mozart's Mass in C Minor?
His wife Constanze
30
What is the orchestration for Mozart's Mass in C Minor?
2.2.0.2.-2.2.3.0., timp, strings, organ (NO clarinets in Salzburg)
31
What are the vocal forces involved in Mozart's Mass in C Minor?
SSTB solos, SATB chorus
32
What is unique about the overall structure of the Mozart Mass in C Minor?
It is incomplete, including only the Kyrie, Gloria, Sanctus-Benedictus, and parts of the Credo (NO Agnus Dei)
33
Name seven overall characteristics of the Kyrie from Mozart's Mass in C Minor.
- much more operatic than other classical masses
- fugal subject in soprano, but basses don't sing it
- "Christe" section in Eb Major
- organ still figured
- frequent use of strong-beat suspensions and syncopation
- weeping seconds which lead to new sections
- soprano solo in "Christe" is very operatic and virtuosic, strong influence of fugue
34
Name seven characteristics of the Gloria from Mozart's Mass in C Minor.
- mixture of homophony and polyphony
- trombones colla parte in polyphony
- "Hallelujah Chorus" quote at "in excelsis"
- persistent syncopation
- pedal points in continuo
- fanfare-like brass rhythms
- rhythmic push until the very end of the movement
35
Name five characteristics of the Laudamus te from Mozart's Mass in C Minor.
- very Vivaldian, considerable use of sequence
- Italian aria style
- florid writing
- frequent eighth-quarter-eighth syncopation
- reduced orchestration to ob, hrn, strings, and organ, w/ sop2 solo
36
Describe five characteristics of the Gratias in Mozart's Mass in C Minor.
- 5-part chorus (SSATB)
- primarily homophonic
- only 12 mm long
- more chromatically experimental than previous movements
- Marked very slow (Adagio) with quickly dotted arpeggios
37
Name six characteristics of the Domine Deus from Mozart's Mass in C Minor.
- Soprano 1 and 2 duet
- strings and continuo
- inverted melody from sop1 in sop2
- hocket-like declamation of text, but different text
- very melismatic at points
- frequent syncopation leading toward cadences
- rhythmically drives toward the ending
38
Name six characteristics of the Qui tollis from Mozart's Mass in C Minor.
- double-dotted rhythms in Largo
- double chorus, SATBx2
- continuo line alternates solo/tutti
- homophonic chorale like texture with multiple suspensions
- some antiphonal writing
- ABA in form
39
Name six characteristics of the Quoniam tu solus from Mozart's Mass in C Minor.
- SST trio
- imitative counterpoint
- melody steps out of standard meter
- very Handelian in that the counterpoin leads directly into choral sections
- E minor
- augmented syncopation to quarter-half-quarter (from eighth-quarter-eighth)
40
Name six characteristics of the Jesu Christe from Mozart's Mass in C Minor.
- C Major
- 6 mm long
- chorale like
- fully orchestrated
- disjoint partwriting
- anticipation of 'Cum sancto'
41
Name seven characteristics of the Cum Sancto Spiritu from Mozart's Mass in C Minor.
- canon in variation, very similar to opening of the Credo in Haydn's Nelsonmesse
- lots of sequence
- offbeat entrances very common
- chromatic working of line very similar to bach
- standing on the dominant
- eighth-note pattern never ends, passed from one voice/inst to another
- unison writing
42
Name the two movements of the Credo of Mozart's Mass in C Minor which have survived.
Credo in unum Deum and Et incarnatus est
43
Name five characteristics of the Sanctus in Mozart's Mass in C Minor.
- osanna fugue like figures, incredibly florid
- double chorus
- typical thrice statement of Sanctus
- quicker harmonic movement than other measures
- was partially lost and reconstructed
44
What vocal forces are at play in the Benedictus of Mozart's Mass in C Minor.
- SATB solo quartet
| - Osanna is again in double chorus
45
What is the opus number of Beethoven's Mass in C?
Op. 85
46
When was Beethoven's Mass in C composed?
1807
47
What is the orchestration for Beethoven's Mass in C?
0.2.2.2.-2.0.0.0. strings, organ
48
What are the vocal forces of Beethoven's Mass in C?
SATB solos, SATB chorus
49
How many movements are in Beethoven's Mass in C?
5
50
What is unique about the outset of Beethoven's Mass in C?
It starts with a cappella chorus basses
51
Name 8 general characteristics of Beethoven's Mass in C.
- no separate arias
- sections of contrasting tempo, meter, tonality, and texture
- limited fugal writing in Credo
- sudden shifts in dynamics
- thematic material in Kyrie repeated in Dona
- combines symphony, opera, and concerto forms
- 5 movements not divided into smaller segments
- Shorter than the missa solemnis settings of Mozart and Haydn
52
Name six characteristics of the Kyrie from Beethoven's Mass in C.
- stretched vocal ranges
- antiphonal relationship between quartet and chorus
- primarily homophonic
- persistent use of sf in instruments
- tripartite, but the return of the Kyrie is in EM with offset entrances
- typical Beethoven ending with several repetitions of the tonic chord, which is back in C
53
Name 10 characteristics of the Gloria of Beethoven's Mass in C.
- ff, long tones in chorus
- incredibly scalar in instruments
- use of single instrument transitional lines
- mostly homophonic and syllabic
- elements of counterpoint in instruments
- quartet and chorus
- Qui tollis solo quartet, supported by syncopated lower instruments
- intense swing in mood and tonal character, as well as text-painting "Jesu Christe"
- Cum sancto spiritu set to fugue
54
Name 8 characteristics of the Credo from Beethoven's Mass in C.
- homophonic, stately, syllabic
- oscillating octaves common to Beethoven
- short, individual voice part statements used for transition
- greater extension of range
- quick changes between piano and forte, sometimes on every other beat
- ascending passages at 'et ascendit'
- constant variations of rhythms
- fugal elements in chorus at 'et vitam venturi'
55
Name 6 characteristics of the Sanctus of Beethoven's Mass in C.
- tripartite, Sanctus-Pleni-Osanna + Benedictus
- Imitative rhythms in Sanctus
- Osanna is fugato
- Big cadences at the end of each section
- antiphonal between solo quartet and chorus in Benedictus
- incredibly challenging, melismatic quartet writing
56
Name 5 characteristics of the Agnus Dei from Beethoven's Mass in C.
- pastoral 12/8
- use of syncopation for tension development
- antiphonal quartet/chorus 'Dona'
- another statement of 'Agnus Dei, qui tollis peccata mundi' after 'Dona' starts, then back to 'Dona'
- very declamatory, high in register, and pounds tonic at the end as per Beethoven's typical style
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