Final Flashcards
Haydn, Symphony 88, mov. III (Minuet and Trio)
A quintessential example of the Classical symphony. The third movement, a Minuet and Trio, follows the traditional ternary form (A-B-A), with each section constructed in rounded binary form. The Classical minuet and trio differ significantly from their Baroque predecessors, which typically featured a simpler binary form (A-B), with each section repeated and a straightforward modulation from tonic to dominant (or relative major/minor) and back. In contrast, Classical minuets evolved into a more sophisticated structure with the inclusion of A-prime (A’) and C-prime (C’) sections, allowing for thematic recapitulation and variation. This practice, evident in Haydn’s work, adds a sense of symmetry and thematic unity absent in Baroque examples.
The trio section also contrasts the minuet in style and orchestration, a characteristic more pronounced in the Classical era. While Baroque trios might maintain textural consistency with the minuet, Classical trios often shift to a lighter texture, reduce instrumentation, or introduce contrasting melodic ideas, which Haydn does in this movement with the use of pastoral bagpipe sounds. These developments, along with the nuanced harmonic progression in the rounded binary form—moving away from predictable cadences—demonstrate the increased complexity and refinement of Classical minuets and trios.
Haydn, Symphony 88, mov. IV (Rondo)
The fourth movement of Symphony No. 88 by Joseph Haydn is a lively rondo, following a recurring A-B-A-C-A pattern, with the main theme returning between contrasting episodes. This Classical rondo form builds upon Baroque ritornello structures, which featured recurring sections interspersed with contrasting material. Unlike the more predictable harmonic progressions and sectional divisions of Baroque ritornellos, Haydn’s rondo explores greater thematic variety and dramatic contrasts between episodes. The recurring theme is energetic and playful, while the contrasting sections incorporate surprising modulations and motivic development, hallmarks of Haydn’s inventive compositional style. The harmonic clarity and symmetrical phrasing of this movement exemplify the Classical emphasis on balance and elegance, while its cheerful, buoyant character reflects Haydn’s knack for humor and accessibility.
Mozart, Symphony 40, mov. I
Wolfgang Amadeus Mozart’s Symphony No. 40 in G minor is one of the most emotionally intense works of the Classical era, and its first movement is written in sonata form which utilizes a rounded binary form. The movement begins with a restless, sighing theme built on descending chromaticism, immediately establishing its tragic and agitated tone. Unlike the lighter affect of Baroque minor-key symphonies, this movement uses dramatic dynamic contrasts and harmonic instability to evoke Romantic-era intensity. The exposition modulates from G minor to the relative major, B-flat, while the development section fragments and transforms the opening theme, creating heightened tension. The recapitulation resolves the conflict but retains its brooding character. Mozart’s harmonic language and thematic economy demonstrate the Classical synthesis of formal clarity and expressive depth.
Beethoven, Symphony No. 5 in C Minor, mov. I
Ludwig van Beethoven’s Symphony No. 5 in C Minor opens with a universally recognized four-note motif that pervades the entire first movement, making it one of the most tightly unified works of the Classical era. The movement follows sonata form which includes a rounded binary form, but Beethoven transforms the structure with unprecedented dramatic force. While Classical symphonies by composers like Haydn and Mozart often featured balanced phrases and predictable harmonic progressions, Beethoven pushes these boundaries with a relentless drive and frequent dynamic contrasts. The minor key and persistent rhythmic motif evoke a sense of struggle, a hallmark of Romanticism. The harmonic tension is heightened by chromatic modulations, and the recapitulation reinterprets earlier material with heroic resolve, culminating in an energetic coda. This movement represents a turning point between Classical restraint and Romantic expressiveness.
Schubert, “The Elf King”
Franz Schubert’s Der Erlkönig is a prime example of the German Lied genre, combining text and music to vividly depict Goethe’s dramatic poem as well as using both recitative and singing. Unlike the more formulaic vocal settings of the Baroque era, where word painting was prominent but often secondary to formal constraints, Schubert’s through-composed structure enables continuous variation to reflect the narrative. The rapid triplet figure in the piano represents the galloping horse, while the vocalist alternates between the four characters—the narrator, father, son, and Elf King—using distinct tonalities and vocal registers. The song’s dramatic harmonic shifts, such as the unsettling modulation from major to minor when the Elf King sings, enhance its emotional power. This synthesis of music and text creates an immersive and psychological depth unprecedented in earlier song traditions.
Berlioz, Symphonie Fantastique, mov. V
Hector Berlioz’s Symphonie Fantastique broke new ground as a programmatic symphony, telling the story of an artist’s descent into despair. The fifth movement, “Dream of a Witches’ Sabbath,” depicts a grotesque and surreal vision, blending Romantic expression with vivid orchestral effects. Unlike Baroque programmatic works, such as Vivaldi’s Four Seasons, which used literal imitations of nature, Berlioz uses abstract thematic transformations to convey emotion and narrative. The idée fixe, representing the protagonist’s beloved, appears distorted into a grotesque dance. The use of the “Dies irae” chant, combined with eerie effects like col legno strings and dissonant harmonies, reflects Romanticism’s fascination with the macabre. The movement’s innovative orchestration and dramatic narrative exemplify Berlioz’s role as a pioneer of modern symphonic writing.
Wagner, Tristan and Isolde: “Prelude”
Richard Wagner’s Prelude to Tristan und Isolde revolutionized Western music through its groundbreaking harmonic language and emotional intensity. The “Tristan chord,” a dissonant sonority that refuses immediate resolution, symbolizes unfulfilled longing and challenges Classical principles of tonal resolution. While Baroque opera relied on recitatives and arias with clear harmonic goals, Wagner’s prelude introduces his concept of endless melody, where the music flows seamlessly without traditional cadences. The chromaticism and shifting tonalities of the prelude create a sense of timelessness, aligning with the Romantic ideals of subjective experience and emotional transcendence. This work had a profound influence on late Romantic and early modern composers.
Brahms, Violin Concerto, mov. III (Rondo)
Johannes Brahms’s Violin Concerto in D Major, Op. 77, concludes with a vibrant rondo that combines Classical structure with Romantic expression. The movement alternates a recurring theme (A) with contrasting episodes (B and C), showcasing the virtuosity of the solo violin. Unlike Baroque concertos, which often followed strict ritornello forms, Brahms integrates the soloist and orchestra into a more cohesive and dialogic structure. The Hungarian folk-inspired rhythms and syncopations give the movement a lively character, while the harmonic progressions demonstrate Brahms’s ability to blend traditional forms with lush Romantic sonorities. The result is a movement that is both energetic and richly expressive.
Debussy, “Clouds” from Three Nocturnes
Exemplifies the Impressionist style, with its focus on atmosphere and tonal color over conventional harmonic progression. Unlike the clearly defined forms and functional harmony of Baroque and Classical music, Debussy employs modal scales, whole-tone harmonies, and non-traditional progressions to create a sense of ambiguity and fluidity. The piece avoids clear cadences and traditional thematic development, instead using shifting orchestral textures and timbres to evoke the drifting and ephemeral nature of clouds. Inspired by Symbolist aesthetics, Debussy’s emphasis on tonal color and mood contrasts sharply with the motivic and structural precision of earlier Classical and Romantic traditions, marking a departure toward modernism.
Schoenberg, Pierrot Lunaire, no. 18, “The Moonfleck”
Arnold Schoenberg’s Pierrot Lunaire represents a radical break from the tonal traditions of the Baroque, Classical, and Romantic eras. In this programmatic piece, Schoenberg employs atonality, rejecting the harmonic frameworks of earlier music, and introduces Sprechstimme, a vocal technique blending speech and song. Unlike Baroque recitative, which follows tonal progressions, Sprechstimme creates an eerie and fragmented texture. The dissonant piano and pointillistic accompaniment mirror the text’s surreal imagery, reflecting the Expressionist movement’s focus on psychological intensity and abstraction. The jagged melodic lines and abrupt shifts in dynamics and register give the piece a fractured, dreamlike quality, contrasting sharply with the continuity and resolution of earlier musical styles.
Ligeti, Lux Aeterna
György Ligeti’s Lux Aeterna is a choral masterpiece that exemplifies the 20th-century technique of micropolyphony, where densely overlapping melodic lines create shimmering harmonic clusters. Unlike Baroque or Classical polyphony, which emphasizes distinct melodic lines and harmonic progressions, Ligeti’s music dissolves individual voices into a unified, texture-focused soundscape. The Latin text from the Requiem Mass is treated with a reverence for sonority rather than textual clarity, reflecting modernist ideals of abstraction. The work’s static harmonies and gradual shifts in texture evoke a timeless, ethereal atmosphere, a stark contrast to the dynamic and goal-oriented harmonic motion of earlier periods.
Varese, Poème électronique
Edgard Varèse’s Poème électronique is a pioneering work of electronic music that moves beyond traditional instrumental composition. Created for the Philips Pavilion at the 1958 World’s Fair, the piece integrates recorded sounds, electronic tones, and spatial manipulation to create an immersive auditory experience. Unlike Baroque and Classical works, which relied on live performers and acoustic instruments, Poème électronique uses technology to expand the possibilities of sound. Varèse’s concept of “organized sound” shifts the focus from melody and harmony to timbre, rhythm, and spatial relationships, representing a break from earlier traditions and a leap into the avant-garde.
Cage, 4’33”
John Cage’s 4’33” challenges traditional notions of music by instructing the performer to remain silent for the duration of the piece, allowing ambient sounds to become the music. This radical departure from Baroque and Classical conventions, which emphasized structured melodies, harmonies, and forms, embraces chance and indeterminacy. Cage’s work aligns with modernist and experimental philosophies, questioning the boundaries between sound and silence, performer and audience. Unlike earlier eras, where composers dictated every detail, 4’33” empowers listeners to perceive their environment as music, redefining the act of listening itself.
