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details of pieces Flashcards

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1
Q

“Carmen” - characters

A
  • Carmen - mezzo-soprano; free-spirited gypsy girl
  • Don Jose - tenor; army corporal
  • Escamillo - baritone; bullfighter (toreador)
  • Micaela - soprano; Don Jose’s girlfriend
  • Frasquita - soprano; Carmen’s friend
  • Mercedes - mezzo-soprano; Carmen’s friend
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2
Q

“Carmen” - composer

A

Georges Bizet

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3
Q

“Carmen” - genre

A

lyric opera (French opera w/spoken dialogue)

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4
Q

“Carmen” - librettists

A

Ludovic Halevy & Henri Meilhac

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5
Q

“Carmen” - plot summary

A

centers around Carmen, a beautiful and seductive gypsy who works in a cigarette factory. She flirts with Don Jose, an army soldier, in the town square. Although betrothed to Micaela, his childhood sweetheart, he becomes obsessed with Carmen.

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6
Q

“Carmen” - premiere date

A

March 3, 1875

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7
Q

“Carmen” - setting

A

Seville, Spain and its surrounding hillsides in 1820s

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8
Q

“Carmen” - source of plot

A

novella by Prosper Mellarme

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9
Q

“Eine Kleine Nachtmusik”, K 25, mvmt I - Bridge

A

modulates to new key: D major (V)

1st vlns outline G triad, followed by scale moving to D

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10
Q

“Eine Kleine Nachtmusik”, K 525 - composition date

A

1787

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11
Q

“Eine Kleine Nachtmusik”, K 525 - genre

A

serenade for strings (chamber music)

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12
Q

“Eine Kleine Nachtmusik”, K 525 - performing forces

A

double string quartet (w/double bass); often performed by a string orch

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13
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - Codetta

A

all instruments play briefly in unison, ending w/ AC in D

repeat signs are usually observed in performance

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14
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - Development

A

short

begins w/T1 in D

quickly moves to CM, then material from T2b

end quickly emphasizes V to prepare listener for return of T1 in I (tonic)

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15
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - Exposition T1

A

[the one we all know]

in unison, outline I then V7 chords

homophonic texture; melodic line played by vln

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16
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - form

A

sonata form

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17
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - key

A

G major

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18
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - meter

A

common time

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19
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - Recapitulation

A

T1 returns exactly as in Expo

bridge unexpectedly cadences in D, as in Expo

T2 bring return of G

Coda grows out of Codetta, ending w/reference to T1

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20
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - T2 group

A

contrasts w/T1

melody begins w/playful downward turn

features a triplet figure and piano dynamic level

toward end: melody built from repeated 8th-note figure that creates an insistent quality

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21
Q

“Eine Kleine Nachtmusik”, K 525, mvmt I - tempo

A

allegro

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22
Q

“Eine Kleine Nachtmusik”, K 525, mvmt II (Romanza) - key

A

C (subdominant of main)

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23
Q

“Eine Kleine Nachtmusik”, K 525, mvmt II - Coda

A

grows out of Section A material

brings the mvmt to a gentle close

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24
Q

“Eine Kleine Nachtmusik”, K 525, mvmt II - form

A

rondo form (ABACA)

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25
Q

“Eine Kleine Nachtmusik”, K 525, mvmt II - meter

A

cut time

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26
Q

“Eine Kleine Nachtmusik”, K 525, mvmt II - Section A

A

character is lyrical, understated, simple, elegant

unfolds over tonic pedal

balance is achieved through 4-meas phrases w/clear-cut cadences

internal structure of this section is rounded binary

returns after Section C

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27
Q

“Eine Kleine Nachtmusik”, K 525, mvmt II - Section B

A

new melody introduced

becomes more active rhythmically

melodic line is embellished

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28
Q

“Eine Kleine Nachtmusik”, K 525, mvmt II - Section C

A

new key: C minor

imitative dialogue between out parts (vln 1, col)

repeated 16th-note figure in inner voices; more active, creating restless character

then Section A returns

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29
Q

“Eine Kleine Nachtmusik”, K 525, mvmt II - tempo

A

andante

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30
Q

“Eine Kleine Nachtmusik”, K 525, mvmt III - form

A

ABA (ternary)

Minuet & Trio

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31
Q

“Eine Kleine Nachtmusik”, K 525, mvmt III - key

A

G major

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32
Q

“Eine Kleine Nachtmusik”, K 525, mvmt III - meter

A

3/4

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33
Q

“Eine Kleine Nachtmusik”, K 525, mvmt III - Minuet

A

internal structure is rounded binary

phrases are typically 4 meas. long

forte dynamic, robust character

dance-like quality reinforced through rhythmic accentuation

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34
Q

“Eine Kleine Nachtmusik”, K 525, mvmt III - tempo

A

allegretto

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35
Q

“Eine Kleine Nachtmusik”, K 525, mvmt III - Trio

A

new key: D major (V of G)

contrast is achieved through lotto voce indication; more lyrical character, legato lines

more chromatic inflections than in the menuet

sotto voce (under the voice): a subdued gentle character, lowering the volume level as if to a whisper

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36
Q

“Eine Kleine Nachtmusik”, K 525, mvmt IV - form

A

sonata-rondo form

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37
Q

“Eine Kleine Nachtmusik”, K 525, mvmt IV - key

A

G major

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38
Q

“Eine Kleine Nachtmusik”, K 525, mvmt IV - meter

A

cut time

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39
Q

“Eine Kleine Nachtmusik”, K 525, mvmt IV - T1

A

spirited, light-hearted character

opens w/rocket theme outlining tonic arpeggio

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40
Q

“Eine Kleine Nachtmusik”, K 525, mvmt IV - T2

A

begins w/downward turn of m6

stepwise motion

employee some chromatic embellishments

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41
Q

“Eine Kleine Nachtmusik”, K 525, mvmt IV - tempo

A

allegro

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42
Q

“Erlkonig” - characters

A
  • Narrator - middle register
  • Father - lower register, legato phrases = calm
  • Son - higher register, suggesting youth and childlike innocence
  • Erlking - middle register, insincere sweetness
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43
Q

“Erlkonig” - composition date

A

1815

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44
Q

“Erlkonig” - genre

A

lied

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45
Q

“Erlkonig” - key

A

G minor

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46
Q

“Erlkonig” - meter

A

common time

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47
Q

“Erlkonig” - performing forces

A

solo voice & piano

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48
Q

“Erlkonig” - song type/form

A

durchkomponiert

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49
Q

“Erlkonig” - source of text

A

poem by Goethe, inspired by German legend of the Erlking

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50
Q

“Erlkonig” - tempo

A

schnell

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51
Q

“Fugue in B flat Major”, BWV 866 - countersubject

A

2 countersubjects are presented simultaneously throughout

act as accompanying figures to the statements of the subject or answer

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52
Q

“Fugue in B flat Major”, BWV 866 - Final Section

A

concludes with tonal answer reaffirming the home key of BbM

the final 4 measures act as a coda, bringing the fugue to a strong close.

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53
Q

“Fugue in B flat Major”, BWV 866 - Fugal Exposition

A

Subject (unusually long) in B-flat in top voice

comprises two motives: first mostly disjunct outline the I-V7 harmony, while 2nd is conjunct, outlining same harmonies

Tonal Answer in middle voice (F; V)
Countersubject in top voice

Subject in B
CS1 in middle
CS2 in top
redundant answer of tonal answer in upper voice

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54
Q

“Fugue in B flat Major”, BWV 866 - meter

A

3/4

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55
Q

“Fugue in B flat Major”, BWV 866 - Middle Section

A

1st episode leads to Gm

subject appears in Gm followed by a tonal answer in Cm

2nd episode leads to EbM

partial entry of tonal answer is interrupted by complete entry

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56
Q

“Fugue in B flat Major”, BWV 866 - number of voices

A

3

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57
Q

“Fugue in B flat Major”, BWV 866 - tempo

A

moderately fast

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58
Q

“Fugue in B flat Major”, BWV 866 - texture

A

polyphonic

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59
Q

“Fugue in B flat Major”, BWV 866 - type of answer

A

tonal

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60
Q

“L’amour est un oiseau rebelle”

A

Carmen’a aria
AKA the “Habanera”

comingles childlike playfulness with sensuality; she believes that love is fickly, comes as unpredictably as it leaves

melody traces chromatic descent, which hints at Carmen’s sensuality

cellos maintain crisp ostinato rhythm characteristic of habanera

violins, violas suggest Spanish guitars w/pizzicato accomp

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61
Q

“L’amour est un oiseau rebelle” - key

A

D minor; chorus shifts to D major

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62
Q

“L’amour est un oiseau rebelle” - tempo

A

Allegretto quasi Andantino

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63
Q

“Messiah”, HWV 56 - genre

A

oratorio

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64
Q

“Messiah”, HWV 56 - language

A

English

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65
Q

“Messiah”, HWV 56 - librettist

A

Charles Jennens

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66
Q

“Messiah”, HWV 56 - performing forces

A 
SATB soloists
SATB chorus
string orchestra with continuo
oboes
bassoons
trumpets
timpani
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67
Q

“Messiah”, HWV 56 - premiere date & circumstances

A

1742 - for a benefit concert in Dublin; composed the previous summer in just 24 days

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68
Q

“Messiah”, HWV 56 - source of text

A

biblical prose - OT & NT

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69
Q

“Messiah”, HWV 56 - structure

A

3 parts, each containing multiple movements:

Part 1: the prophesy of the coming of Christ and his birth
Part 2: Christ’s suffering, death, and the spread of his doctrine
Part 3: the redemption of the world through faith

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70
Q

“Messiah”, HWV 56, “Glory to God” - key

A

DM

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71
Q

“Messiah”, HWV 56, “Glory to God” - meter

A

common time

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72
Q

“Messiah”, HWV 56, “Glory to God” - tempo

A

allegro

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73
Q

“Messiah”, HWV 56, “Glory to God” - text

A

Glory to God, glory to God in the highest, and peace on earth, good will towards men.

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74
Q

“Messiah”, HWV 56, “Glory to God” - word painting

A

“Glory to God in the highest” is set in the upper register

“And peace on earth” is depicted by a downward 8ve leap in Bass

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75
Q

“Messiah”, HWV 56, “Hallelujah” - key

A

D major

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76
Q

“Messiah”, HWV 56, “Hallelujah” - meter

A

common time

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77
Q

“Messiah”, HWV 56, “Hallelujah” - tempo

A

allegro

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78
Q

“Messiah”, HWV 56, “Hallelujah” - text

A

Hallelujah, for the Lord God Omnipotent reigneth. The kingdom of this world has become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. King of kings, and Lord of lords, hallelujah!

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79
Q

“Messiah”, HWV 56, “Hallelujah” - texture

A

alternation of homophonic, polyphonic

homorhythmic texture on opening “Hallelujah” delivers the text clearly, powerfully

imitative polyphony on “and He shall reign for ever and ever” expands the phrase and reinforces the repeated words

rising sequence (“King of kings”) builds toward climate

trumpets and drums heighten the overall mood (affect) of praise, joy

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80
Q

“Messiah”, HWV 56, Overture - form

A

||: A :|| B ||

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81
Q

“Messiah”, HWV 56, Overture - genre

A

French overture

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82
Q

“Messiah”, HWV 56, Overture - key

A

Em

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83
Q

“Messiah”, HWV 56, Overture - meter

A

common time

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84
Q

“Messiah”, HWV 56, Overture - original title

A

Sinfony

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85
Q

“Messiah”, HWV 56, Overture - Section A

A

tempo: grave
texture: homophonic

predominant rhythm: dotted figure

predominant affect: majestic, stately

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86
Q

“Messiah”, HWV 56, Overture - Section B

A

tempo: allegro moderato
texture: polyphonic (fugue)

number of voices: 3

subject introduced by: 1st vlns + oboes

type of answer: tonal

predominant affect: energetic, lively

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87
Q

“Messiah”, HWV 56, “Rejoice Greatly” - form

A

ABA’ (ternary form in which the repeat of Section A is varied)

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88
Q

“Messiah”, HWV 56, “Rejoice Greatly” - genre

A

soprano aria

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89
Q

“Messiah”, HWV 56, “Rejoice Greatly” - key

A

Bb major

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90
Q

“Messiah”, HWV 56, “Rejoice Greatly” - meter

A

common time

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91
Q

“Messiah”, HWV 56, “Rejoice Greatly” - tempo

A

allegro

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92
Q

“Messiah”, HWV 56, “Rejoice Greatly”, Section A - text

A

Rejoice, rejoice, rejoice greatly, oh daughter of Zion. Rejoice greatly, shout, oh daughter of Jerusalem. Behold they King cometh unto thee…

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93
Q

“Messiah”, HWV 56, “Rejoice Greatly”, Section A - word painting

A

“Rejoice greatly” has a joyful, celebratory character expressed through melismas

“Shout” is exclaimed with a burst of sound in the upper register

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94
Q

“Messiah”, HWV 56, “Rejoice Greatly”, Section B - key

A

G minor

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95
Q

“Messiah”, HWV 56, “Rejoice Greatly”, Section B - text

A

He is the righteous Savior, and He shall speak peace unto the heathen.

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96
Q

“Messiah”, HWV 56, “There Were Shepherds” - key

A

CM

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97
Q

“Messiah”, HWV 56, “There Were Shepherds” - meter

A

common time

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98
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 2 - key

A

F major

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99
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 2 - meter

A

common time

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100
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 2 - tempo

A

andante

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101
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 2 - text

A

And lo! The angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

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102
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 2 - type

A

recitativo accompagnato

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103
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 2 - word painting

A

16th-note repeated figure suggests the trembling of the fearful shepherds

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104
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 3 - key

A

begins in DM

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105
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 3 - meter

A

common time

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106
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 3 - tempo

A

not indicated

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107
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 3 - text

A

And the angel said unto them, “Fear not: for behold I bring you good tidings of great joy, which shall be to all people; for unto you is born this day, in the city of David, a Savior which is Christ the Lord.

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108
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 3 - type

A

recitativo secco

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109
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 4 - key

A

begins in DM

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110
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 4 - meter

A

common time

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111
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 4 - tempo

A

not indicated

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112
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 4 - text

A

And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying

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113
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 4 - type

A

recitativo accompagnato

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114
Q

“Messiah”, HWV 56, “There Were Shepherds” - section 4 - word painting

A

dotted figures in the vocal line emphasize the suddenness of the angels’ arrival

fluttering 16th notes in the accompaniment suggest the movement of the angel’s wings

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115
Q

“Messiah”, HWV 56, “There Were Shepherds” - tempo

A

not indicated

116
Q

“Messiah”, HWV 56, “There Were Shepherds” - text

A

There were shepherds abiding in the field, keeping watch over their flocks by night.

117
Q

“Messiah”, HWV 56, “There Were Shepherds” - type

A

recitativo secco, for soprano

118
Q

“Music for Piano” - background

A

commissioned by the Alliance for Canadian New Music Projects in 1982, and was dedicated to Jean Lyons, friend and former piano teacher of Alexina Louie

119
Q

“Music for Piano” - ‘Changes’ - comments

A

variety is created within the repeated figure through dynamic gradation and accented notes, played with RH 5th finger

pedal point
hemiola-like effect

as the momentum eases toward the conclusion, dynamic indications become gradually softer, leading to the final indication – perdendosi (“gradually dying away”)

120
Q

“Music for Piano” - ‘Changes’ - composition date

A

1982

121
Q

“Music for Piano” - ‘Changes’ - general approach

A

minimalist style, built on the principle of repetition

122
Q

“Music for Piano” - ‘Changes’ - genre

A

solo piano music

123
Q

“Music for Piano” - ‘Changes’ - key signature

A

3 flats, not treated in traditional Eb manner

124
Q

“Music for Piano” - ‘Changes’ - length

A

52 measures

125
Q

“Music for Piano” - ‘Changes’ - meter

A

4/4

126
Q

“Music for Piano” - ‘Changes’ - texture

A

largely two-part

127
Q

“Music for Piano” - ‘Changes’ - titles

A

“The Enchanted Bells”

“Changes”

“Distant Memories”

“Once Upon a Time”

128
Q

“Polonaise in A flat Major” - opus

A

53

129
Q

“Polonaise in A flat Major”, op. 53 - composition date

A

1842

130
Q

“Polonaise in A flat Major”, op. 53 - example of

A

nationalism, patriotism
idiomatic writing for piano
virtuosic writing

131
Q

“Polonaise in A flat Major”, op. 53 - form

A

ABA’ (with introduction & coda)

132
Q

“Polonaise in A flat Major”, op. 53 - genre

A

solo piano music

133
Q

“Polonaise in A flat Major”, op. 53 - key

A

A flat major – E major [B section] – A flat major

134
Q

“Polonaise in A flat Major”, op. 53 - meter

A

3/4

135
Q

“Polonaise in A flat Major”, op. 53 - notes on form

A 
A section
* RH characteristic polonaise rhythm
* LH - vigorous leaping 8ves
* sweeping ascending scale = virtuosity, brilliance
B section
* LH ostinato: staccato 8ves
* proud, martial character
* dramatic shift down HS to D# (Eb) major
* new theme
* more introspective, lyrical style; rubato
A' section - shorter than A
Coda
* based on main A theme
* ending I - III - V7 - I
136
Q

“Polonaise in A flat Major”, op. 53 - tempo

A

maestoso

137
Q

“Prelude & Fugue in B flat Major”, BWV 866 - genre

A

solo keyboard music

138
Q

“Prelude a l’apres-midi d’un faune” - composition date

A

1894

139
Q

“Prelude a l’apres-midi d’un faune” - form

A

loose ternary structure (ABA’)

140
Q

“Prelude a l’apres-midi d’un faune” - genre

A

symphonic poem (tone poem)

141
Q

“Prelude a l’apres-midi d’un faune” - key signature

A

begins and ends in four sharps

142
Q

“Prelude a l’apres-midi d’un faune” - meter

A

begins in 9/8

143
Q

“Prelude a l’apres-midi d’un faune” - performing forces

A

strings: violins, violas, cellos, double basses, harps
woodwinds: flutes, oboes, English horn, clarinets
brass: French horns
percussion: antique cymbals

144
Q

“Prelude a l’apres-midi d’un faune” - return of Section A

A

modified version of opening theme using longer note values (augmentation)

solo flute now outlines a perfect 4th; clarified E major tonality

antique cymbals are gently struck in the final section

145
Q

“Prelude a l’apres-midi d’un faune” - Section A

A

tonality is deliberately ambiguous

opening melody, played by flute, descends chromatically C# to G, outlining tritone

mysterious atmosphere depicts the opening of Mallarme’s poem: nymphs in their “gossamer embodiment, floating on the air…”

fluid rhythmic approach: figures flow across bar lines and obscure metric accents

innovative orchestration, featuring harp glissandi, muted horns, and muted strings

146
Q

“Prelude a l’apres-midi d’un faune” - Section B

A

2 new themes introduced by woodwings

contrast through more active, animated rhythm

exotic atmosphere: clarinets tracing rapid whole-tone scales

strings often move in parallel motion, creating a gentle, floating sound

modulations, syncopations build to effective climax

147
Q

“Prelude a l’apres-midi d’un faune” - source of inspiration

A

Symbolist poem (pastoral) by Stephane Mallarme

148
Q

“Prelude a l’apres-midi d’un faune” - tempo

A

tres modere

149
Q

“Prelude in B flat Major”, BWV 866 - form

A

incorporates aspects of binary form

150
Q

“Prelude in B flat Major”, BWV 866 - meter

A

4/4

151
Q

“Prelude in B flat Major”, BWV 866 - Section A

A

broken-chord passages played in breathless 32nd-notes sequentially

features frequent 32nd-note runs
ends in F major (V) and proceeds immediately to next section

152
Q

“Prelude in B flat Major”, BWV 866 - Section B

A

continues in toccata-like style w/ rapid cadenza-like runs that emerge from arpeggiated 7th chords

requires virtuosity throughout

its improvisatory style contrasts with the controlled order demonstrated in the fugue that follows

153
Q

“Prelude in B flat Major”, BWV 866 - tempo

A

no specific indication

style implies quick tempo, in the manner of a toccata

154
Q

“Prelude in B flat Major”, BWV 866 - texture

A

homophonic & polyphonic

155
Q

“Quand je vous aimerai?”

A

Carmen’s recitative

key: F minor

flirting, spies Don Jose in the crowd. Her teasing nature is suggested by short, clipped phrases that are punctuated by the “fate” motive

signature theme representing fate: D - C#-Bb-C#-A

156
Q

“Quand je vous aimerai?” - tempo

A

Andante moderato

157
Q

“Short Ride in a Fast Machine” - background

A

This dazzling work for orchestra and 2 synthesizers is one of John Adams’s signature works. Commissioned by the Pittsburgh Symphony Orchestra for its Great Woods Festival in 1986, it is also knows as “Fanfare for Great Woods”. It demonstrates the composer’s minimalist style: tonal harmonies, a driving beat, complex polyrhythms, and shimmering orchestration.

“You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?”

158
Q

“Short Ride in a Fast Machine” - composition date

A

1986

159
Q

“Short Ride in a Fast Machine” - genre

A

fanfare for orchestra

160
Q

“Short Ride in a Fast Machine” - performing forces

A

large symphony orchestra and 2 synthesizers

161
Q

“Short Ride in a Fast Machine” - sections

A

1 - “Delirando” (deliriously); high wood block
2 - low wood block; sudden coloristic shift as winds, strings take over from brass
3 - high wood block returns, switches to medium; music softens and stabilizes
4 - Slightly Slower; wood block eliminated; trumpets dominate, reinforcing the fanfare style

162
Q

“Short Ride in a Fast Machine” - structure

A

one movement, loosely divided into 4 sections

163
Q

“Short Ride in a Fast Machine” - things to listen for

A

constantly marked beat and complex cross-rhythms that play out against it

changing meter; simultaneous perception of simple and compound time; complex polyrhythms; “rhythmic dissonance”

use of expanded percussion – glockenspiel, xylophone, antique cymbals of various sizes, triangle, tambourine

extreme dynamic ranges; sudden shifts of volume and density

ostinato-like repetitions of short figures

164
Q

“String Quartet in C Major”, op. 76, no. 3 - commissioned by

A

Count Joseph Erdody

165
Q

“String Quartet in C Major”, op. 76, no. 3 - composition date

A

1797

166
Q

“String Quartet in C Major”, op. 76, no. 3 - genre

A

string quartet

167
Q

“String Quartet in C Major”, op. 76, no. 3 - nickname & origin

A

AKA “Emperor Quartet”

elegant theme in 2nd movement = basis of variations

wrote his own national anthem for Austria in honor of emperor *Francis **

168
Q

“String Quartet in C Major”, op. 76, no. 3 - structure

A

four movements

169
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - form

A

theme and variations (four)

170
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - key

A

G major

171
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - meter

A

2/2

172
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - tempo

A

begins poco adagio, cantabile

173
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - Theme

A

theme played by first violin

four phrases: aabcc

homophonic texture

174
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - Variation I

A

theme played by 2nd violin

contrast and virtuosity achieved through elaborate 16th-note figuration played by 1st violin

accompaniment delicately encircles melody

175
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - Variation II

A

theme played by cello

1st + 2nd vlns feature syncopation & increased rhythmic drive as the variation unfolds

1st vln introduces many chromatic inflections

176
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - Variation III

A

theme played by viola

rich chromatic harmonies introduced in accompaniment

syncopation featured in vlns

177
Q

“String Quartet in C Major”, op. 76, no. 3, mvmt II - Variation IV

A

theme played by 1st vln, initially in middle register, then soaring to upper

reharmonization w/inflections of Em imparts a more somber tone

eventually modulates back to G major

178
Q

“Symphonie fantastique” - opus

A

14

179
Q

“Symphonie fantastique”, op. 14 - composer

A

Hector Berlioz

180
Q

“Symphonie fantastique”, op. 14 - composition date

A

1830

181
Q

“Symphonie fantastique”, op. 14 - full title

A

“Fantastic Symphony: Episode in the Life of an Artist”

182
Q

“Symphonie fantastique”, op. 14 - general program

A

a lovesick artist takes opium in an attempt to commit suicide; the drug puts him into a deep sleep; we see his dreams and nightmares which are haunted by visions of his beloved (Harriet Simpson)

183
Q

“Symphonie fantastique”, op. 14 - genre

A

program symphony

184
Q

“Symphonie fantastique”, op. 14 - inspiration

A
  • longstanding infatuation with access Harriet Smithson
  • revolutionary climate, incl. public executions
  • controversial literary works like “Confessions of an English Opium-Eater” by Thomas de Quincey
185
Q

“Symphonie fantastique”, op. 14 - performing forces

A

symphony orchestra (expanded)

186
Q

“Symphonie fantastique”, op. 14, mvmt 5 - ending

A
  • C major
  • fugal texture
  • jarring dissonance
  • “Dance of the Witches” [idee fixe] combines with “Dies irae”
  • employs col legno technique
187
Q

“Symphonie fantastique”, op. 14, mvmt 5 - instruments used

A

clarinet plays “idee fixe” as gigue w/grace notes & trills

bells chime before “Dies irae”

“Dies irae” played by bassoons and ophicleide

188
Q

“Symphonie fantastique”, op. 14, mvmt 5 - key

A

opens in C minor

189
Q

“Symphonie fantastique”, op. 14, mvmt 5 - meter

A

begins in 4/4

190
Q

“Symphonie fantastique”, op. 14, mvmt 5 - program

A

He sees himself at a witches’ sabbath, in the midst of a hideous gathering of sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its mobile and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath…Roars of delight at her arrival…She joins the diabolical orgy…The funeral knell tolls, burlesque parody of the “Dies irae”, the dance of the witches. The dance of the witches combined with the “Dies irae”.

191
Q

“Symphonie fantastique”, op. 14, mvmt 5 - tempo

A

begins larghetto but later changes to allegro

192
Q

“Symphonie fantastique”, op. 14, mvmt 5 - title

A

“Songe d’une nuit de sabbat”

“Dream of a Witches’ Sabbath”

193
Q

“Symphony No. 5 in C Minor”, op. 67 - composition date

A

1807-1808 (Middle Period)

194
Q

“Symphony No. 5 in C Minor”, op. 67 - genre

A

symphony

195
Q

“Symphony No. 5 in C Minor”, op. 67 - performing forces

A

symphony orchestra:

  • strings
  • piccolo
  • flutes
  • oboes
  • clarinets
  • bassoons
  • contrabassoon
  • trumpets
  • French horns
  • trombones
  • timpani
196
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - Bridge

A

grows out of T1

played fortissimo by French horns

unusually short

modulates abruptly to new key

197
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - Codetta

A

T1 material dominates, punctuating the close of the Exposition w/decisive authentic cadences

198
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - Development

A

opens boldly w/French horns

draws principally on T1

tension generated by:

  • manipulation & breaking down of 4-note figure
  • filling-in of the interval of 3rd
  • inversion of motive
  • expansion of passage through forceful repetition

abrupt dynamic contrasts contribute to the dramatic energy

at end, tension builds through repetitions of the basic theme played fortissimo by full orch in unison

199
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - form

A

sonata form

200
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - key

A

C minor

201
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - meter

A

2/4

202
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - Recapitulation

A

T1 returns, followed by short, melancholy oboe solo played freely

bridge follows, altered to stay in tonic

T2 returns surprisingly in the key of C major, not Cm as expected

codetta is also in CM, followed by lengthy coda

coda restores Cm, continues to fragment, expand on T1, like a development

203
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - T1

A

four-note motive

fermatas arrest the forward drive of this theme, generating tension & restless character

T1 grows out of initial statement, repeated sequentially in a series of descending statements

204
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - T2

A

new key: E flat major (relative major)

played by woodwinds & vln 1

piano & legato phrases create contrast

rhythm of four-note motive in cellos & basses provides persistent background to this more lyrical theme

205
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt I - tempo

A

allegro con brio

206
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt II - form

A

two themes with variations

207
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt II - key

A

A flat major

208
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt II - meter

A

3/8

209
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt II - T1

A

grows out of ascending broken tonic triad in low strings

characterized by elegant dotted rhythms

marked dolce and played legato

210
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt II - T2

A

woodwinds & violins present T2, based on s-s-s-L rhythms, marked dolce & legato

begins in Ab major but shifts to CM, featuring brass playing fortissimo

211
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt II - tempo

A

andante con moto

212
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt II - variations

A

Var 1 - T1 in smooth running 16th notes (violas + cellos); T2 follows (unchanged)

Var 2 - T1 returns in running 32nd notes (low strings)

Var 3 - T1 in contrary motion (woodwinds); suddenly T2 in CM

Var 4 - T1 in Abm (parallel minor) in a clipped, march-like fashion

Coda
- marked più mosso
bassoons begin, playing T1 material

213
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt III - form

A

ABA (ternary form) - scherzo & trio replaced traditional M&T

214
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt III - key

A

C minor

215
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt III - meter

A

3/4

216
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt III - Scherzo (A)

A

T1

  • rocket theme initiated by low strings
  • played pianissimo

T2

  • bold subsidiary theme played forte by French horns
  • recalls s-s-s-L rhythm of mvmt I [mostly on G]
  • fermatas add to mood of mystery, suspense
217
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt III - Scherzo returns

A

T1 abbreviated

T2 returns pianissimo, played by pizz. strings + staccato winds

suspense is achieved at the end of the mvmt. by a deceptive cadence that leads into a transitional passage

timpani plays the s-s-s-L rhythm softly

blazing crescendo leads directly into mvmt IV w/o a break

218
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt III - tempo

A

allegro

219
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt III - Trio

A

new key: CM (parallel major)

features woodwinds + strings; double basses take leading role

imitative texture

playful, energetic character contrasts w/the dark scherzo

220
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - Bridge

A

features French horns

leads to GM

221
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - Coda

A

piccolo stands out above orchestra, playing rapid ascending scales

at Presto, codetta theme is played quickly, leading to bold, dramatic conclusion

final tonic chord reiterated 8x

222
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - Codetta

A

initiated by woodwinds & violas

theme descends in four-note fragments

223
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - Development

A

based on T2 material: inverted, expanded, treated imitatively between instruments

toward end, scherzo theme is unexpectedly recalled, now pianissimo, played gently by woodwinds & pizz. strings

224
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - Exposition T1

A

outlines tonic chord

fortissimo trumpets add a majestic touch

225
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - form

A

sonata form

226
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - key

A

C major (parallel major)

227
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - meter

A

common time

228
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - Recapitulation

A

all musical material returns but remains in C major

229
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - T2

A

new triplet figure introduces a vigorous theme

theme scenes in stepwise motion, echoed by descending figures

dramatic contrasts between fortissimo and piano

contains the s-s-s-L motive

230
Q

“Symphony No. 5 in C Minor”, op. 67, mvmt IV - tempo

A

allegro

231
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1) - composition date

A

1725

232
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1) - genre

A

solo violin concerto

233
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1) - performing forces

A

solo violin, strings, continuo

234
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1) - source of inspiration

A

sonnets, most likely written by Vivaldi, describing the four seasons of the year

portions of the text were printed above the corresponding passages in the original score

235
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1) - subtitle

A

“The Contest between Harmony & Inspiration”

236
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt 1 - form

A

ritornello form

237
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt 1 - key

A

E major

238
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt 1 - meter

A

4/4

239
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt 1 - tempo

A

allegro

240
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt 1 - text

A

stanzas 1 & 2:

Spring has arrived [ritornello theme] and cheerfully
The birds greet her with a festive song [Episode 1 - trills]
And with the breath of Zephyr
The streams flow with sweet murmurs [Episode 2 - undulating 16th-note figure]

Lightning and thunder, chosen to herald her [Episode 3 - scales, tremolos]
Cover the sky with a cloak of black,
Then while they fall silent, the little birds
Return anew to sing their song.

241
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt II - form

A

two-part structure

242
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt II - key

A

C#m

243
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt II - meter

A

3/4

244
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt II - poetic text

A

stanza 3

And then on the flowery pleasant meadow,
To the dear murmurs of leafy branches and plants [vlns - dotted rhythm undulating],
The goatherd sleeps [solo vln.] alongside his faithful dog [vla ostinato].

245
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt II - tempo

A

largo

246
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt III - form

A

ritornello form

247
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt III - key

A

E major

248
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt III - meter

A

12/8

249
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt III - poetic text

A

stanza 4

The shepherd’s bagpipes [bass pedal point] festively sound
As nymphs and shepherds dance [lilting, compound meter] below the beloved sky
At the bright arrival of spring.

250
Q

“The Four Seasons”, op. 8 - ‘Spring’ (no. 1), mvmt III - tempo

A

allegro

251
Q

“The Rite of Spring” - choreographer

A

Vaslav Nijinsky

252
Q

“The Rite of Spring” - composition date

A

1913

253
Q

“The Rite of Spring” - genre

A

ballet

254
Q

“The Rite of Spring” - original sets, costumes

A

Nicholas Roerich

255
Q

“The Rite of Spring” - performing forces

A

large symphony orchestra w/expanded percussion

256
Q

“The Rite of Spring” - structure

A

in two parts

Part 1: Adoration of the Earth
Part 2: The Sacrifice

257
Q

“The Rite of Spring” - summary

A

set in pagan Russia during pre-Christian times, the ballet comprises a series of episodes depicting tribal games and rituals conducted to ensure the fertility of the earth. It culminates in the Sacrificial Dance during which a chosen maiden dances herself to death

258
Q

“The Rite of Spring”, Part 1 - Dance of the Adolescents

A

primitivism evoked through elemental, pounding rhythm

marked “Giusto” (in strict time)

strings are used percussively, not lyrically

French horns reinforce syncopation w/strong accents

dissonant harmonies derived from the use of poly chords

short modal melody introduced by French horns against evocative backdrop of trills (woodwinds) and col legno (upper strings)

259
Q

“The Rite of Spring”, Part 1 - Game of Abduction

A

action becomes increasingly frenzied as young men dominate the women

begins 9/8, marked Presto

fold, fanfare-like figures

played marcatissimo (with much accentuation)

dense orchestration accentuates the frenzied dance, featuring pizzicato and staccato articulations

260
Q

“The Rite of Spring”, Part 1 - Introduction

A

haunting bassoon solo, in highest register

marked Lento, tempo rubato

melody based on Aeolian mode, sounds archaic, evocative

pliable rhythm achieved through changing meters, fermatas

complex polyrhythms

intense chromaticism maintains tension

primordial landscape is suggested through rich orchestral effects such as flutter-tongue (woodwinds) and harmonic (upper strings)

brief ostinato-like figure played by violins serves as transition to the next section

261
Q

“Votre toast, je peux vous le rendre”

A

Escamillo’s aria
AKA Toreador Song

orchestra introduces theme

tpts, horns, tbns play brusque rhythm, underscores E’s swaggering nature

timp & triangle add depth and shimmer

262
Q

“Votre toast, je peux vous le rendre” - chorus

A

marked con fatuita (with smugness)

ensemble + chorus reiterate celebratory melody

263
Q

“Votre toast, je peux vous le rendre” - key

A

F minor; chorus shifts to F major

264
Q

“Votre toast, je peux vous le rendre” - tempo

A

Allegro molto moderato

265
Q

“Votre toast, je peux vous le rendre” - time signature

A

4/4

266
Q

Well-Tempered Clavier - composition date

A

book 1 - 1722

book 2 - 1742

267
Q

Well-Tempered Clavier - significance of title

A

refers to the newly-invented tuning system for keyboard instruments that allowed for pieces to be written in any key

268
Q

Well-Tempered Clavier - structure

A

two books

each w/24 P&F, organized in pairs of parallel major/minor

begins w/C, goes up chromatically, ends w/B

269
Q

“West Side Story” - choreographer

A

Jerome Robbins

270
Q

“West Side Story” - composition date

A

1957

271
Q

“West Side Story” - film

A

directed by Robert Wise & Jerome Robbins (1961)

272
Q

“West Side Story” - genre

A

musical theater

273
Q

“West Side Story” - librettist

A

Arthur Laurents (playwright) and Stephen Sondheim (lyricist)

274
Q

“West Side Story” - plot summary

A

The plot parallels the love affair and final tragedy of “Romeo & Juliet”. The audience is initially introduced to the two rival gangs and observes the hostility between them. Later, Maria and Tony meet at a dance and fall in love. Tension builds between the two gangs and leads to a fight in which Bernardo stabs and kills Riff. Tony in turn stabs and kills Bernardo, Maria’s brother. In the final scene, Tony is stabbed by another member of the Sharks. Maria arrives but Tony is already dead.

275
Q

“West Side Story” - source of plot

A

Shakespeare’s “Romeo & Juliet”

276
Q

“West Side Story”, ‘America’ - characters singing

A

Anita (mezzo), Rosalia (S), other Puerto Rican girls

277
Q

“West Side Story”, ‘America’ - Chorus & Verses

A

key of CM w/ sudden (jazzy) modulations

chorus consists of short syncopated phrases, repeating the word “America”

verses use call & response patterns to convey argumentative exchanges between Rosalia & Anita

chorus & verses alternate 6/8 & 3/4, establishing the hemiola effect

278
Q

“West Side Story”, ‘America’ - form

A

verse-chorus structure, preceded by introduction

279
Q

“West Side Story”, ‘America’ - Introduction

A

ambiguous tonality - modal inflections in melodic lines

claves and guiro establish Latin ambience w/ cross-rhythms, rhythmic ostinato

Spanish gtr + celesta provide undulating lines in parallel 3rds in rising/falling triplets

colorful orchestrations help paint vivid portraits: Rosalia doubled sweetly by flute; Anita accompaniment by mournful oboe

word painting on “breezes” - arched motive based on whole-tone scale; glissandi on string harmonics

280
Q

“West Side Story”, ‘America’ - sentiments expressed

A

Rosalia expresses her homesickness for her native Puerto Rico

Anita defiantly declares her love for her newfound home, Manhattan

Sondheim’s clever lyrics extol both the virtues and false promises of “The American Dream”

281
Q

“West Side Story”, ‘America’ - setting

A

an alley behind Bernardo & Maria’s house

282
Q

“West Side Story”, ‘Maria’ - character singing

A

Tony (tenor)

283
Q

“West Side Story”, ‘Maria’ - Introduction

A

melody opens w/chant-like intonation suggesting Tony’s worshipful adoration of Maria

verse continues w/beginning tritone interval; this angular motive runs throughout most of the score (conveys strife, yearning, star-crossed love)

orchestration features lush strings doubling the voice part throughout; timpani used to heighten musical climaxes

284
Q

“West Side Story”, ‘Maria’ - key

A

B major, Eb major

285
Q

“West Side Story”, ‘Maria’ - meter

A

common time

286
Q

“West Side Story”, ‘Maria’ - sentiments expressed

A

he reflects rapturously on her name

287
Q

“West Side Story”, ‘Maria’ - setting

A

outside the gymnasium, where Tony has just met and fallen in love with Maria

Level 9 History (7 decks)

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