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History 1: An Overview > Compositions > Flashcards

Compositions Flashcards

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1
Q

eine kleine nachtmusik 2nd mvt form

A

rondo form (ABACA coda)

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2
Q

eine kleine nachtmusik 1st mvt recapitulation

A
  • first theme
  • bridge is unexpectedly unmodified
  • although 2nd theme is in the tonic
  • coda grows out of codetta sand ends with reference to first theme
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3
Q

symphony no. 5, op.67 4th mvt key

A

c major tonic major

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5
Q

La Primavera 1st mvt verse 1

A
  • poetic image: birds are celebrating with festive song

* depicted by high-pitched trills and repeated-note figures

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7
Q

symphony no. 5, op.67 #background

A

4

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8
Q

symphony no. 5, op.67 2nd mvt theme A

A
  • broken tonic triad chord low strings
  • elegant dotted rhythms
  • dolce and legato
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9
Q

symphony no. 5, op.67 2nd mvt variation 4

A

theme A clipper, march-like fashion in a flat minor

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11
Q

La Primavera background

A
  1. genre
  2. date
  3. composer
  4. op. no.
  5. title of collection
  6. title of first four of collection
  7. program
  8. performing forces
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12
Q

La Primavera title of first four in collection

A

La Quattro Stagioni

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13
Q

polonaise in A flat Major genre

A

solo piano work

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16
Q

la primavera 2nd mvt orchestration

A
  • reduced orchestration

* no cello or continuo

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17
Q

eine kleine nachtmusik #3rd mvt

A

6

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19
Q

eine kleine nachtmusik 4th mvt tempo

A

allegro

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20
Q

eine kleine nachtmusik 1st mvt 2nd theme A

A
  • contrast from 1st theme
  • begins with frisky downward turn
  • triplet figures and piano dynamic
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22
Q

polonaise in A flat Major section B 1st theme

A
  • E major
  • left hand ostinato staccato octaves
  • war-like; dotted rhythms, chordal texture
  • dramatic D sharp major(dominant) near end
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23
Q

La Primavera 1st mvt tempo

A

allegro

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25
Q

eine kleine nachtmusik 1st mvt 2nd theme B

A
  • repeated eighth notes

* insistent quality

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26
Q

polonaise in A flat Major section B 2nd theme

A
  • more lyrical

* bel canto style

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28
Q

symphony no. 5, op.67 2nd mvt variation 2

A
  • theme A running thirty-second notes by low strings

* theme B unchanged

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29
Q

eine kleine nachtmusik 4th mvt form

A

sonata-rondo form (A BAC A)

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31
Q

Symphonie Fantastique composer

A

Hector Berlioz

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33
Q

symphony no. 5, op.67 performing forces

A

symphony orchestra (strings, woodwinds, bassoons, contra bassoons, trumpets, timpani, French horns, trombones)

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35
Q

symphony no. 5, op.67 2nd mvt variation 1

A
  • theme A running sixteenth notes by violas and cello

* theme B unchanged

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37
Q

la primavera 2nd mvt time signature

A

3/4

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39
Q

La Primavera 1st mvt verse 3

A
  • poetic image: storm clouds, thunder, lightning

* depicted by tremolando passage (thunder) and thirty-second note scales (lightning)

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40
Q

symphony no. 5, op.67 2nd mvt coda

A
  • più mosso (little faster)

* bassoons begin playing theme A material

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41
Q

La Primavera date

A

1725

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42
Q

La Primavera 2nd mvt key

A
  • C sharp minor

* relative minor

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43
Q

Erlknöig sinister nature contrast

A
  • soft to rough voice
  • triplets become clearer
  • major to minor
  • “und bist du nicht willig, so brauch’ ich Gewalt”
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46
Q

symphony no. 5, op.67 4th mvt development

A
  • based on 2nd theme material; inverted, expanded, treated imitatively between instruments
  • near the end, scherzo theme played pp gently by woodwinds and pizzicato strings
  • dominant preparation
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47
Q

La Primavera #background

A

8

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48
Q

La Primavera 2nd mvt

A
  1. key
  2. tempo
  3. time signature
  4. form
  5. orchestration
  6. poetic image
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50
Q

symphony no. 5, op.67 1st mvt time signature

A

2/4

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51
Q

la primavera 2nd mvt poetic image

A
  • sleeping goatherd and barking dog
  • depicted by solo violin’s languorous melody (sleeping goatherd), violin’s dotted-note figure (rustling leaves), and viola’s ostinato (barking dog)
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52
Q

string quartet, “quinten” 4th mvt expo 1st theme

A
  • introduced by first violin perfect 4th interval played p
  • pronounced syncopation
  • fermatas arrest forward drive
  • mysterious suspenseful mood
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53
Q

La Primavera 2nd mvt tempo

A

largo

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56
Q

la primavera 3rd mvt time signature

A

12/8

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59
Q

la primavera 3rd mvt form

A

ritornello

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60
Q

eine kleine nachtmusik 3rd mvt menuet

A
  • internal structure rounded binary
  • phrases typical four measures long
  • loud, robust character
  • dance-like by rhythmic accentuating
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61
Q

symphony no. 5, op.67 2nd mvt theme B

A
  • theme based on motive-cyclical structure by woodwinds and violins
  • dolce and legato
  • shifts to c major boldly midway
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62
Q

Prelude and Fugue in B flat Major #background

A

7

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64
Q

Symphonie Fantastique date

A

1830

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66
Q

prelude and fugue in B-flat major background

A
  1. genre
  2. date
  3. composer
  4. no.

5, title of collection

  1. significance
  2. structure
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67
Q

string quartet, “quinten” 4th mvt key

A

d minor, ends in d major

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68
Q

eine kleine nachtmusik 3rd mvt key

A

g major

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69
Q

symphony no. 5, op.67 1st mvt codetta

A
  • mainly first theme material

* persistent perfect cadences

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71
Q

La Primavera 1st mvt ritornello theme

A
  • theme played by solo and first violins
  • poetic image: Spring has arrived
  • depicted by spirited rhythmic figures, bright celebratory dance-like character
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72
Q

string quartet, “quinten” 4th mvt bridge

A
  • pedal point by outer instruments

* first theme material by violin II

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74
Q

string quartet, “quinten” background

A
  1. genre
  2. date
  3. composer
  4. significance of nickname
  5. performing forces
  6. op. no
  7. cause
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75
Q

eine kleine nachtmusik 2nd mvt section B

A
  • new melody
  • more rhythmically active
  • melodic line is embellished
  • internal structure binary form
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76
Q

polonaise in A flat Major date

A

1842

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77
Q

symphony no. 5, op.67 2nd mvt tempo

A

andante con moto

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78
Q

symphony no. 5, op.67 date

A

1807-1808

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79
Q

eine kleine nachtmusik 4th mvt key

A

g major

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80
Q

symphony no. 5, op.67 4th mvt time signature

A

common time

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82
Q

La Primavera 1st mvt verse 2

A
  • poetic image: murmurings streams are caressed by gentle breezes
  • depicted by violins playing rapid, undulating figures
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84
Q

polonaise in A flat Major nationalism

A
  • polonaise is a polish dance

* although Chopin is half french, he considered himself polish

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85
Q

La Primavera 1st mvt

A
  1. key
  2. tempo
  3. time signature
  4. form
  5. ritornello theme
  6. verse 1
  7. verse 2
  8. verse 3
  9. orchestration
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86
Q

Erlknöig key

A

originally in g minor (often transposed to fit vocal range of performer)

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87
Q

string quartet, “quinten” op. no

A

op.76, no.2

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88
Q

la primavera 2nd mvt form

A

two-part structure

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90
Q

Erlknöig source of text

A
  • poem by Johann Wolfgang von Goethe

* German legend, a sinister supernatural elf who dwells in the forest; anyone who is touched by him dies

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92
Q

polonaise in A flat Major tempo

A

maestoso

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93
Q

eine kleine nachtmusik 4th mvt 2nd theme

A
  • begins with downward turn of a minor sixth
  • chromatic embellishments
  • stepwise motion
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94
Q

polonaise in A flat Major structure

A

ABA1 (with introduction and coda)

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95
Q

symphony no. 5, op.67 4th mvt bridge

A

•French horn modulates to g major

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96
Q

eine kleine nachtmusik structure

A
  • sonata cycle

* symmetrical phrases

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97
Q

string quartet, “quinten” 4th mvt expo 2nd theme A

A
  • modulates to relative major (f major)

* descending sequence

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98
Q

symphony no. 5, op.67 2nd mvt

A
  1. key
  2. form
  3. tempo
  4. time signature
  5. theme A
  6. theme B
  7. variation 1
  8. variation 2
  9. variation 3
  10. variation 4
  11. coda
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100
Q

polonaise in A flat Major the heroic

A
  1. introduction
  2. section A
  3. section B 1st theme
  4. section B 2nd theme
  5. return of section A
  6. coda
  7. virtuosity
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101
Q

Symphonie Fantastique performing forces

A

symphony orchestra (expanded)

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102
Q

Symphonie Fantastique #background

A

6

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103
Q

string quartet, “quinten” #background

A

7

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104
Q

Erlknöig genre

A

lied

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105
Q

Symphonie Fantastique 5th mvt distortion

A
  • relative major, E flat major; 6/8
  • beloved became a witch
  • idée fixe distorted; trills, grace notes
  • thematic transformation; vulgar, grotesque
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106
Q

symphony no. 5, op.67 #2nd mvt

A

11

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109
Q

symphony no. 5, op.67 1st mvt expo 1st theme

A
  • motive by clarinets and strings, repeated sequentially a step lower
  • fermatas arrest the forward drive, generating tension and restlessness
  • grows out if statement, then repeated sequentially
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110
Q

symphony no. 5, op.67 1st mvt development

A
  • opens boldly with French horns
  • mainly first theme material
  • tension by fragmentation, inversion, repetition, and dynamic contrast
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111
Q

Erlknöig boy’s piano

A
  • loud
  • dissonant piano
  • minor
  • triplets more apparent
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112
Q

string quartet, “quinten” cause

A

commissioned by Count Joseph Erdödy

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115
Q

Symphonie Fantastique 5th mvt program summary

A
  • at witches’ sabbath
  • gathering if sorcerers and monsters at his funeral
  • strange sounds, groans, laughter, distant shout
  • beloved, who he had killed, is there but has become vulgar, trivial, grotesque
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116
Q

Erlknöig musical setting

A
  • narrator’s voice in middle register
  • father’s voice in low pitch, legato depict calm mood
  • son’s voice in upper register, suggests youth and innocence
  • Erlking voice in middle register, insincere sweetness, does not fool child
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118
Q

prelude in B-flat major form

A

binary

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119
Q

polonaise in A flat Major time signature

A

3/4

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120
Q

eine kleine nachtmusik 1st mvt tempo

A

allegro

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122
Q

la primavera 3rd mvt

A
  1. key
  2. tempo
  3. time signature
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123
Q

string quartet, “quinten” 4th mvt

A
  1. key
  2. form
  3. tempo
  4. time signature
  5. expo 1st theme
  6. bridge
  7. expo 2nd theme A
  8. expo 2bd theme B
  9. codetta
  10. development
  11. recapitulation
  12. coda
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124
Q

Erlknöig date

A

1815

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126
Q

symphony no. 5, op.67 3rd mvt

A
  1. key
  2. form
  3. tempo
  4. time signature
  5. scherzo 1st theme
  6. scherzo 2nd theme
  7. trio
  8. scherzo return
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128
Q

symphony no. 5, op.67 4th mvt expo 1st theme

A
  • blazing crescendo leads into final movement without a break
  • outlines tonic chord
  • ff trumpets, majestic
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129
Q

symphony no. 5, op.67 3rd mvt key

A

c minor

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130
Q

polonaise in A flat Major return of section A

A

shortened

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131
Q

polonaise in A flat Major introduction

A
  • dominant octaves, followed by ascending chromatic scale in parallel motion
  • expanded through sequential repetition
  • tension by sforzando, dissonant chords
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132
Q

prelude and fugue in B-flat major date

A
  • book 1-1722

* book 2-1742

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133
Q

La Primavera 1st mvt time signature

A

common time

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135
Q

Symphonie Fantastique 5th mvt romanticism

A
  • expression of emotions; his beloved
  • myths and legend; witches
  • program music; provided text
  • historical event; Dies Irae, guillotine
  • creative imagination; col legno, distortion
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136
Q

symphony no. 5, op.67 1st mvt bridge

A
  • motive played by fortissimo French horns

* modulates to relative major

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137
Q

string quartet, “quinten” #4th mvt

A

12

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138
Q

string quartet, “quinten” 4th mvt recapitulation

A
  • first theme in d major, then shifts to d major
  • bridge altered to stay in d major
  • cello absent calm mood
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139
Q

prelude and fugue in b flat major genre

A

keyboard music-prelude and fugue

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140
Q

Symphonie Fantastique 5th mvt idée fix

A

•The Beloved” introduced in 1st mvt by strings

142
Q

Symphonie Fantastique general program

A
  • lovesick artist attempts suicide
  • drug too weak and puts him to deep sleep
  • nightmare haunted by visions of his beloved
143
Q

La Primavera op. no.

A

op. 8, no.1

144
Q

Symphonie Fantastique full title

A

Symphonie Fantastique: Épisode de la vie d’un artiste

145
Q

prelude and fugue in B-flat major composer

A

Johann Sebastian Bach

146
Q

string quartet, “quinten” genre

A

string quartet

147
Q

Erlknöig art song

A
  1. plot
  2. introduction
  3. musical setting
  4. Erlking contrast
  5. boy’s panic
  6. sinister nature contrast
  7. end
  8. romanticism
148
Q

Erlknöig #background

A

9

149
Q

Symphonie Fantastique 5th mvt tempo

A

begins larghetto, then hanged to allegro

150
Q

eine kleine nachtmusik 4th mvt

A
  1. key

2 .form

  1. tempo
  2. time signature
  3. 1st theme
  4. 2nd theme
151
Q

Erlknöig Erlking contrast

A
  • soft, higher voice and accompaniment
  • less triplets, more quarter notes
  • less scales, mostly tonic notes
  • major
152
Q

string quartet, “quinten” 4th mvt coda

A
  • rapid triplets by first violin

* ends with unison arpeggios ff

153
Q

Erlknöig song type

A

durchkompniert

157
Q

polonaise in A flat Major #the heroic

A

7

159
Q

Symphonie Fantastique #5th mvt

A

11

160
Q

symphony no. 5, op.67 4th mvt 2nd theme

A
  • triplet motive figures intrusive vigorous theme
  • ascends step wise, then echoed descending
  • dynamic contrast ff and pp
162
Q

Erlknöig performing forces

A

solo voice and piano

163
Q

eine kleine nachtmusik 1st mvt time signature

A

common time

165
Q

Symphonie Fantastique 5th mvt mood

A

scary, dark, dead

166
Q

prelude and fugue in B-flat major collection

A

The Well-Tempered Clavier, Book One

167
Q

Symphonie Fantastique inspiration

A
  • infatuation with actress Harriet Smithson

* public executions, controversial literary works

169
Q

symphony no. 5, op.67 2nd mvt form

A

two themes and variations

170
Q

La Primavera genre

A

solo violin concerto

172
Q

polonaise in A flat Major background

A
  1. genre
  2. date
  3. composer
  4. structure
  5. key
  6. time signature
  7. tempo
  8. nationalism
  9. op.
173
Q

Symphonie Fantastique background

A
  1. full title
  2. date
  3. composer
  4. inspiration
  5. general program
  6. performing forces
174
Q

Symphonie Fantastique 5th mvt col legno

A
  • wooden part of their bows

* sounds like bats and squealing animals

175
Q

Erlknöig plot

A
  • father riding in horse with son on windy night
  • boy sees erlking, elf tries to lure frightened child
  • boy increasingly scared despite father’s attempt to calm him
  • they arrive at the courtyard and the sin is dead in father’s arm
176
Q

Erlknöig introduction

A
  • vigorous octave triplets right hand
  • arched melody left hand
  • scary and fear mood
178
Q

Symphonie Fantastique 5th mvt key

A

begins in c minor

180
Q

La Primavera composer

A

Antonio Vivaldi

181
Q

Symphonie Fantastique 5th mvt time signature

A

begins common time, changes to 6/8

182
Q

Erlknöig composer

A

Franz Schubert

185
Q

polonaise in A flat Major coda

A
  • based on theme A materi

* majestic close by media by major triad, dominant 7th chord, then tonic arpeggio

188
Q

eine kleine nachtmusik date

A

1787

194
Q

Symphonie Fantastique 5th mvt Dies Irae

A
  • home key, C minor
  • by bassoons, ophicléide, repeated by brass choir in diminution
  • two bronze bells, on in C other in G
  • funeral
196
Q

symphony no. 5, op.67 4th mvt codetta

A
  • initiated by woodwinds and violas

* descends in four-note fragments

197
Q

symphony no. 5, op.67 1st mvt key

A

c minor

198
Q

eine kleine nachtmusik 1st mvt form

A

sonata form

199
Q

polonaise in A flat Major composer

A

Frédéric Chopin

201
Q

eine kleine nachtmusik 3rd mvt trio

A
  • new dominant key d major
  • contrast by ditto voce, more lyrical and legato
  • more chromaticism than menuet
202
Q

prelude in B-flat major

A

7

203
Q

Erlknöig background

A
  1. genre
  2. date
  3. composer
  4. source text
  5. song type
  6. performing forces
  7. key
  8. time signature
  9. tempo
210
Q

symphony no. 5, op.67 4th mvt recapitulation

A
  • bridge modified

* themes restated in the tonic

212
Q

string quartet, “quinten” 4th mvt expo 2nd theme B

A
  • double sop thirds by first violin
  • followed by wide descending leaps
  • abrupt change in dynamics
213
Q

symphony no. 5, op.67 2nd mvt key

A

A-flat major

214
Q

string quartet, “quinten” date

A

1797

215
Q

polonaise in A flat Major key

A

a flat major

216
Q

symphony no. 5, op.67 1st mvt recapitulation

A
  • first theme, followed by oboe solo that resembles a cadenza
  • bridge altered to stay in the tonic
  • second theme in c major, followed by codetta theme in c major
  • long coda in c minor, continues to fragment and expand on first theme
220
Q

symphony no. 5, op.67 composer

A

Ludwig van Beethoven

221
Q

prelude and fugue in B-flat major structure

A
  • 2 books
  • each has all 24 keys
  • organized in pairs of tonic major and minor from c chromatically ascending to b
222
Q

string quartet, “quinten” 4th mvt development

A
  • 2nd theme material throughout
  • texture shift-homophonic to polyphonic with imitation
  • ends with dominant preparation
  • tension created by diminished seventh chord by violins
224
Q

la primavera 1st mvt form

A

ritornello

226
Q

Symphonie Fantastique 5th mvt dance of the witches

A
  • tonic major (C major)
  • fugal texture
  • stabbing syncopation
  • dissonance
  • combined with Dies Irae
227
Q

eine kleine nachtmusik 2nd mvt section A

A
  • lyrical, understanding, simple, elegant
  • unfolds over tonic pedal
  • balanced by four measure phrases and clear cut cadences
  • internal structure rounded binary form
228
Q

symphony no. 5, op.67 1st mvt tempo

A

allegro con brio

230
Q

polonaise in A flat Major virtuosity

A
  • double finger chromatic scales
  • large leaps (disjunct)
  • rapid ostinato, staccato octave pattern
  • soft and fast
231
Q

polonaise in A flat Major Section A

A
  • right hand polonaise rhythm characteristic
  • harmonized in thirds, ornamented with grace notes, appoggiaturas
  • left hand octave, big leaps span of 3 octaves
  • 3 sweeping ascending scales
239
Q

prelude in B-flat major

A
  1. key
  2. tempo
  3. time signature
  4. texture
  5. form
  6. section A
  7. section B
240
Q

prelude in B-flat major tempo

A
  • not specified

* implied quick in the manner of toccata

242
Q

prelude in B-flat major texture

A

homophonic and polyphonic

243
Q

polonaise in A flat Major background

A

9

244
Q

Erlknöig #art song

A

8

245
Q

symphony no. 5, op.67 2nd mvt time signature

A

3/8

248
Q

string quartet, “quinten” composer

A

Franz Joseph Haydn

251
Q

Symphonie Fantastique 5th mvt

A
  1. key
  2. tempo
  3. time signature
  4. program summary
  5. idée fixe
  6. mood
  7. distortion
  8. Dies Irae
  9. dance of the witches
  10. col legno
  11. romanticism
252
Q

la primavera 3rd mvt tempo

A

allegro

253
Q

string quartet, “quinten” 4th mvt time signature

A

2/4

258
Q

polonaise in A flat Major op.

A

op.53

260
Q

symphony no. 5, op.67 1st mvt expo 2nd theme

A
  • played by woodwinds and first violins
  • contrasts by piano and legato playing(lyrical)
  • motive played by cello and basses, ostinato background
262
Q

Erlknöig romanticism

A
  • programmatic writing; connections with music and text
  • nationalism; myths and legends
  • romanticism; emotions, creative imagination
  • wide range of dynamics; depict different characters
  • piano virtuosity; fast triplets
268
Q

eine kleine nachtmusik 3rd mvt tempo

A

allegretto

269
Q

string quartet, “quinten” 4th mvt codetta

A
  • confirms f major

* supported by tonic pedal point

270
Q

eine kleine nachtmusik 4th mvt 1st theme

A
  • rocket theme tonic arpeggio

* spirited, lift-hearted character

271
Q

symphony no. 5, op.67 4th mvt tempo

A

allegro

274
Q

symphony no. 5, op.67 2nd mvt variation 3

A
  • theme A contrary notion by woodwinds

* theme B in c major without preparation

275
Q

fugue in B-flat major

A

10

277
Q

symphony no. 5, op.67 4th mvt coda

A
  • piccolo rapid ascending scales
  • codetta theme played, leading into dramatic conclusion
  • final tonic chord reiterated many times
278
Q

symphony no. 5, op.67 3rd mvt form

A
  • ternary, scherzo and trio (ABA)

* menuet is replaced by scherzo

279
Q

string quartet, “quinten” 4th mvt tempo

A

vivace assai

281
Q

eine kleine nachtmusik 2nd mvt section C

A
  • new key tonic minor
  • imitative dialogue between outer parts
  • repeated sixteenth notes in inner voice
  • fast and sneaky mood
283
Q

Erlknöig time signature

A

common time

284
Q

string quartet, “quinten” performing forces

A

violin I, violin II, violin, cello

286
Q

la primavera 3rd orchestration

A

ripieno

287
Q

symphony no. 5, op.67 3rd mvt scherzo 1st theme

A
  • rocket theme initiated by low strings

* played pp

289
Q

symphony no. 5, op.67 3rd mvt time signature

A

3/4

290
Q

string quartet, “quinten” significance of nickname

A
  • “quintus” means forth in Latin

* bold descending fifths in first movement

291
Q

la primavera 3rd mvt key

A

E major

293
Q

Erlknöig end

A
  • a flat major, flattened supertonic triad, Neapolitan

* sounds like heart stopped beating

294
Q

La Primavera 1st mvt orchestration

A

ripieno

295
Q

eine kleine nachtmusik background

A
  1. genre
  2. performing forces
  3. date
  4. composer
  5. structure
296
Q

Erlknöig tempo

A

schnell (German for fast)

298
Q

prelude in B-flat major section B

A
  • arpeggiated seventh chords followed by cadenza-like runs
  • virtuosity
  • improvisatory
301
Q

symphony no. 5, op.67 #1st mvt

A

10

304
Q

lab primavera 3rd mvt poetic image

A
  • nymphs and shepherds dancing to the sound of bagpipes

* depicted bass nite drone (bagpipes) and lilting compound meter (rustic dance)

307
Q

eine kleine nachtmusik 1st mvt expo 1st theme

A
  • unison, homorhythmic melody by violins

* outlines tonic and dominant seventh chord

308
Q

symphony no. 5, op.67 4th mvt

A
  1. key
  2. form
  3. tempo
  4. time signature
  5. expo 1st theme
  6. bridges
  7. expo 2nd theme
  8. codetta
  9. development
  10. recapitulation
  11. coda
310
Q

string quartet, “quinten” 4th mvt form

A

sonata form

312
Q

symphony no. 5, op.67 3rd mvt trio

A
  • cello and double basses have melody

* imitative, energetic, playful

314
Q

eine kleine nachtmusik 3rd mvt form

A

ternary, menuet and trio (ABA)

317
Q

symphony no. 5, op.67 1st mvt

A
  1. key
  2. form
  3. tempo
  4. time signature
  5. expo 1st theme
  6. bridge
  7. expo 2nd theme
  8. codetta
  9. development
  10. recapitulation
319
Q

symphony no. 5, op.67 3rd mvt scherzo 2nd theme

A
  • bold motive played f by French horns

* cyclical structure

320
Q

eine kleine nachtmusik 3rd mvt

A
  1. key
  2. form
  3. tempo
  4. time signature
  5. menuet
  6. trio
321
Q

symphony no. 5, op.67 3rd mvt scherzo return

A
  • theme 1 abbreviated, theme 2 pianissimo, pizzicato and staccato
  • suspended by deceiving cadence leading to transitional passage
  • timpani plays motive
323
Q

fugue in B-flat major texture

A

polyphonic

326
Q

symphony no. 5, op.67 #4th mvt

A

11

327
Q

eine kleine nachtmusik #4th mvt

A

6

332
Q

prelude in B-flat major section A

A
  • broken thirdly-second note chord passages
  • frequent thirty-second note runs
  • ends in F major (dominant)
336
Q

symphony no. 5, op.67 4th mvt form

A

sonata form

339
Q

symphony no. 5, op.67 1st mvt form

A

sonata form

340
Q

fugue in B-flat major exposition

A
  • subject played in top voice

* two motives; first us mostly disjunct, second is conjunct

342
Q

fugue in B-flat major episode 1

A
  • leads to G minor (relative minor)

* subject in G minor then tonal answer in c minor

343
Q

symphony no. 5, op.67 genre

A

symphony

344
Q

symphony no. 5, op.67 3rd mvt tempo

A

allegro

348
Q

eine kleine nachtmusik 2nd mvt time signature

A

cut time

350
Q

eine kleine nachtmusik 3rd mvt time signature

A

3/4

352
Q

eine kleine nachtmusik 2nd mvt coda

A

•after return of section A, grows out and brings movement to a gentle close

353
Q

fugue in B-flat major

A

B-flat major

355
Q

symphony no. 5, op.67 #3rd mvt

A

8

359
Q

fugue on b flat major tempo

A
  • no indication

* assumed moderately fast

361
Q

fugue in B-flat major real answer

A
  • bass voice comes in with real answer

* counter subject in two top voices

364
Q

La Primavera program

A
  • sonnet most likely written by Vivaldi
  • describes four seasons of the year
  • portions of text printed above corresponding passages in original score
365
Q

prelude in B-flat major key

A

B-flat major

366
Q

La Primavera #2nd mvt

A

6

370
Q

fugue in B-flat major episode 2

A
  • leads to E flat major and two-measure tonal answer in E flat major
  • subject in E flat major
372
Q

fugue in B-flat major final section

A
  • tonal answer reaffirming the home key

* last four measures act as a coda concluding the fugue

374
Q

la primavera #3rd mvt

A

7

378
Q

eine kleine nachtmusik 2nd mvt tempo

A

andante

384
Q

La Primavera performing forces

A

solo violin, strings, continuo

387
Q

symphony no. 5, op.67 background

A
  1. genre
  2. performing forces
  3. date
  4. composer
388
Q

eine kleine nachtmusik 4th mvt time signature

A

cut time

389
Q

eine kleine nachtmusik #backgound

A

5

390
Q

eine kleine nachtmusik genre

A

chamber music-serenade for strings

391
Q

eine kleine nachtmusik 2nd mvt

A
  1. key
  2. form
  3. tempo
  4. time signature
  5. section A
  6. section B
  7. section C
  8. coda
392
Q

eine kleine nachtmusik performing forces

A
  • double string quartet (with optional double bass)

* often performed by string orchestra

394
Q

La primavera 1st mvt key

A

E major

395
Q

eine kleine nachtmusik composer

A

Wolfgang Amadeus Mozart

396
Q

eine kleine nachtmusik #1st mvt

A

11

398
Q

eine kleine nachtmusik 1st mvt development

A
  • starts with 1st theme material in d major
  • moves to c major featuring 2nd theme B material
  • strong dominant chord to prepare main theme in tonic
399
Q

eine kleine nachtmusik #2nd mvt

A

8

400
Q

eine kleine nachtmusik 1st mvt

A
  1. key
  2. form
  3. tempo
  4. time signature
  5. expo 1st theme
  6. bride
  7. expo 2nd theme A
  8. expo 2nd theme B
  9. codetta
  10. development
  11. recapitulation
402
Q

prelude and fugue in B-flat major significance

A
  • “well-tempered” refers to equal temperament

* “clavier” is the German word for keyboard instruments except organ

405
Q

eine kleine nachtmusik 1st mvt key

A

g major

407
Q

eine kleine nachtmusik 2nd mvt key

A

c major

411
Q

prelude in B-flat major time signature

A

common time

415
Q

eine kleine nachtmusik 1st mvt bridge

A
  • modulates to d major

* first violins outline g major triad, then ascending scale leads to d major

416
Q

eine kleine nachtmusik 1st mvt codetta

A
  • all instruments play in unison again

* ends with a strong perfect cadence in d major

420
Q

fugue in B-flat major

A
  1. key
  2. tempo
  3. time signature
  4. texture
  5. exposition
  6. tonal answer
  7. real answer
  8. episode 1
  9. episode 2
  10. final section
422
Q

fugue in B-flat major time signature

A

3/4

428
Q

fugue in B-flat major tonal answer

A

•middle voice comes in with tonal answer

437
Q

La Primavera title of collection

A

Il cimento dell’armonia e dell’invenzione

444
Q

prelude and fugue in B-flat major no.

A

21

484
Q

La Primavera #1st mvt

A

9

History 1: An Overview (8 decks)

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