GMH2: Listening Test 1 Flashcards
Symphony No. 3, CPE Bach
Classical sonata form w/2 themes and limited development
Theme at beginning Beethoven used for his 2nd symphony
Sturm and Drang (more chromaticism, dynamics, rests)
Keyboard expected but not obligatory
Manheim Rocket
Trommel Bass (drum)
Orfeo ed Euridice, Gluck
Melodic sighs
Lyric simplicity in vocal line
Broken chord accomp (classical style)
Lament figures
One of the most famous operas
String Quartet Op. 33 No. 2, Haydn
New and special style
Transitional work between 1st and 2nd style string quartet
Thematic development using counterpuntal technique
Galant
False recap
Symphony No. 104 (London) in D, Haydn
No harpsichord
Dotted rhythm (french overture)
Last of London symphony
Cello independent
Restates first theme in dominant as second theme
Monothematic
Sonata form from key change
Symphony No. 104 (London) in D, Haydn
No harpsichord
Dotted rhythm (french overture)
Last of London symphony
Cello independent
Restates first theme in dominant as second theme
Monothematic
Sonata form from key change
Marriage to Figaro, Act II (Mozart)
Trio
Individual characters
Sonata Form
Concerto No. 27 For Piano and Orchestra in Bb Major (1st Mvt), Mozart
Classical in every aspect
Textbook concerto - sonata form
His best concerto
Ballance between piano and orchestra
Melodic/harmonic chromaticism
Rarely repeat phrases (varies repeats)
Concerto No. 27 For Piano and Orchestra in Bb Major (1st Mvt), Mozart
Classical in every aspect
Textbook concerto - sonata form
His best concerto
Ballance between piano and orchestra
Melodic/harmonic chromaticism
Rarely repeat phrases (varies repeats)
Piano Sonata No. 23 Op. 57 Mvt. 1, Beethoven
Heroic Epic
Technically demanding (long)
No break between 2nd and 3rd
Dynamic contrast
Fragmentation
Rhythmic drive
Sonata Form
No repeat sign for expo
Development throughout sonata based on neighbor tone
Symphony No. 3 “Eroica” Mvt. 1, Beethoven
Arrival of the hero = C#
No slow intro
Dynamic marking
Fragmentation
Winds prominent
Dissonance
Horn entrance
