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Comps Prep > Classical Era > Flashcards

Classical Era Flashcards

1
Q

When did Mozart write his “Coronation Mass”?

A

1779

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2
Q

What is the real name of Mozart’s “Coronation Mass”?

A

Mass in C Major

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3
Q

What is the Koechel number of Mozart’s Mass in CM?

A

K. 317

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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

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5
Q

Which typical instruments are not scored in Mozart’s Mass in CM?

A

flutes, clarinets, violas

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6
Q

Does Mozart’s Mass in CM include any movements for just soloists? If so, which ones?

A

NO

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7
Q

How many movements are in Mozart’s Mass in CM?

A

5, adding Benedictus to Sanctus

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8
Q

What form is the Kyrie from Mozart’s Mass in CM in?

A

ABA’

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9
Q

What interesting articulation is used prevalently in the Kyrie of Mozart’s Mass in CM?

A

Forte-piano

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10
Q

Which part sings the first theme in the Kyrie of Mozart’s Mass in CM?

A

Soprano solo

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11
Q

Which two parts sing a duet at the Christe of Mozart’s Mass in CM?

A

Soprano and Tenor

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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
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13
Q

What form is the Gloria from Mozart’s Mass in CM in?

A

Sonata-allegro, with an unclear development

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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
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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
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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
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17
Q

When did Mozart compose his Requiem?

A

1791

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18
Q

What is the Koechel number for Mozart’s Requiem?

A

K. 626

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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

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20
Q

How many major movements are in Mozart’s Requiem?

A

8 - Introitus, Kyrie, Sequenz, Offertorium, Sanctus, Benedictus, Agnus Dei, Communio

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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

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22
Q

Which movements of Mozart’s Requiem were solely composed by Mozart?

A

Introitus and Kyrie

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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
Q

Name something unique about the “te decet hymnus” soprano solo in the Introitus of Mozart’s Requiem.

A

It is the same plainchant melody used in Bach’s Magnificat.

26
Q

What is the Koechel number for Mozart’s Mass in C Minor?

A

K. 427

27
Q

What is the nickname for Mozart’s Mass in C Minor?

A

“Great”

28
Q

What term best describes the overall style of Mozart’s Mass in C Minor?

A

Cantata Mass, to big to be used in the liturgy during service

29
Q

Who originally sang the soprano solos in Mozart’s Mass in C Minor?

A

His wife Constanze

30
Q

What is the orchestration for Mozart’s Mass in C Minor?

A

2.2.0.2.-2.2.3.0., timp, strings, organ (NO clarinets in Salzburg)

31
Q

What are the vocal forces involved in Mozart’s Mass in C Minor?

A

SSTB solos, SATB chorus

32
Q

What is unique about the overall structure of the Mozart Mass in C Minor?

A

It is incomplete, including only the Kyrie, Gloria, Sanctus-Benedictus, and parts of the Credo (NO Agnus Dei)

33
Q

Name seven overall characteristics of the Kyrie from Mozart’s Mass in C Minor.

A
  • 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
Q

Name seven characteristics of the Gloria from Mozart’s Mass in C Minor.

A
  • 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
Q

Name five characteristics of the Laudamus te from Mozart’s Mass in C Minor.

A
  • 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
Q

Describe five characteristics of the Gratias in Mozart’s Mass in C Minor.

A
  • 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
Q

Name six characteristics of the Domine Deus from Mozart’s Mass in C Minor.

A
  • 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
Q

Name six characteristics of the Qui tollis from Mozart’s Mass in C Minor.

A
  • 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
Q

Name six characteristics of the Quoniam tu solus from Mozart’s Mass in C Minor.

A
  • 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
Q

Name six characteristics of the Jesu Christe from Mozart’s Mass in C Minor.

A
  • C Major
  • 6 mm long
  • chorale like
  • fully orchestrated
  • disjoint partwriting
  • anticipation of ‘Cum sancto’
41
Q

Name seven characteristics of the Cum Sancto Spiritu from Mozart’s Mass in C Minor.

A
  • 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
Q

Name the two movements of the Credo of Mozart’s Mass in C Minor which have survived.

A

Credo in unum Deum and Et incarnatus est

43
Q

Name five characteristics of the Sanctus in Mozart’s Mass in C Minor.

A
  • 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
Q

What vocal forces are at play in the Benedictus of Mozart’s Mass in C Minor.

A
  • SATB solo quartet

- Osanna is again in double chorus

45
Q

What is the opus number of Beethoven’s Mass in C?

A

Op. 85

46
Q

When was Beethoven’s Mass in C composed?

A

1807

47
Q

What is the orchestration for Beethoven’s Mass in C?

A

0.2.2.2.-2.0.0.0. strings, organ

48
Q

What are the vocal forces of Beethoven’s Mass in C?

A

SATB solos, SATB chorus

49
Q

How many movements are in Beethoven’s Mass in C?

A

5

50
Q

What is unique about the outset of Beethoven’s Mass in C?

A

It starts with a cappella chorus basses

51
Q

Name 8 general characteristics of Beethoven’s Mass in C.

A
  • 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
Q

Name six characteristics of the Kyrie from Beethoven’s Mass in C.

A
  • 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
Q

Name 10 characteristics of the Gloria of Beethoven’s Mass in C.

A
  • 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
Q

Name 8 characteristics of the Credo from Beethoven’s Mass in C.

A
  • 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
Q

Name 6 characteristics of the Sanctus of Beethoven’s Mass in C.

A
  • 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
Q

Name 5 characteristics of the Agnus Dei from Beethoven’s Mass in C.

A
  • 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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