listening for midterm

Question 1

agitated strings “Bella “amoooree) lots of tremolo sighs

Answer 1

Rigoletto, Act III, no. 12 Quartetto [“Bella figlia dell’amore”] (1851)

Question 2

piano and strings going between long and short staccato phrases with speeding phrases man singing and being interrupted with string section (mento ending)

Answer 2

La traviata, Act II, no. 4 Scena ed aria Alfredo [“De’ miei bollenti spiriti” and “O mio rimorso! O
infamia!”] (1853)

Question 3

man singing Ceellleesst EEEDa Long phrases cute off at end orchestra underneath

Answer 3

Aida, Act I, Romanza Radamès [“Celeste Aida”] (1871)

Question 4

two men duet, Diooo in unsion lyrics, orchestra with interjections underneath

Answer 4

Don Carlo [Don Carlos], Act I (of 4-act Milan version), Duetto Don Carlo e Rodrigo [“Dio, che
nell’alma infondere”] (1867; rev. 4-act Milan version 1884)

Question 5

string lament, higher soraing over lower for a few measures before lead enters. Ella Giaam ammoo, single man, oboe articulates phrases

Answer 5

Don Carlo [Don Carlos], Act III (of 4-act Milan version), Aria King Philip [“Ella giammai m’amò”]
(1867; rev. 4-act Milan version 1884)

Question 6

piano with scalular line and cadence before woman comes in Vaga argenti at the end, clear phrases, (phrases end with enti) piano gives arpeggios underneath.

Answer 6

Vincenzo Bellini, “Vaga luna che inargenti” (1829)

Question 7

1. Manrico staccato band underneath Malll reggendo” He sings for a while. Woman underneath builds up in an articulated pattern 2. female voice desperate with little orchestra underneath. (Per ahloo acoo) Woman sings for a while Ah, Ah, Ah Man answers

Answer 7

Il trovatore, Act II, no. 6 Scena e duetto Azucena e Manrico [“Mal reggendo all’aspro assalto” and
“Perigliarti ancor languente”] (1853)

Question 8

1. oom pa pas quick underneath woodwinds and strings “Mirra di acerbe” Leonora 2. Many two note sighs Conteeeendd Leonora and Count answer each other inmatching phrasing

Answer 8

Il trovatore, Act IV, no. 13 Scena e duetto Leonora e Conte [“Mira di acerbe lagrime” and “Vivrà!
Contende il giubilo”] (1853)

Question 9

drum rolls back to back, militant horns, french horn call followed by orchestra. 1 minute and a half followed by man’s voice “aller low ta” articulated by the horns once more declammatory speech.

Answer 9

Il trovatore, Act I, no. 1 Introduzione [“All’erta! All’erta!”] (1853)

Question 10

1.Minor key strings Taceaa female singer low at first Strings in low staccato under her, build up with vibrato waltz like crescendos and descrescendo 2. More staccato part jumps Di ta strings follow

Answer 10

• Il trovatore, Act I, no. 2 Scena e cavatina Leonora [“Tacea la notte placida” and “Di tale amor”]
  (1853)

Question 11

1. Three voices Conte listening from afar with “Io Fremo”. Il Trovatore gives haunting melody (I am trovatore) (feels offstage. Three voice argument. 2. Di geloso (accented Sprezzatttttt)

Answer 11

Il trovatore, Act I, no. 3 Scena e romanza Manrico [“Deserto sulla terra”], e terzetto [Leonora,
Manrico, e Conte] [“Di geloso amor sprezzato”] (1853)

Question 12

1. popular anvil hamoring (sounds like Carmen) Men phrasing getting louder and louder and then cutting off interjected by anvils Vedii women join second time around. 2. Striddee la vamppppaa tremolo woodwind feature from earlier, particularly lower female voice

Answer 12

Il trovatore, Act II, no. 4 Coro di Zingari [“Vedi le fosche notturne spoglie”] e canzone Azucena
(“Stride la vampa”) (1853)

Question 13

Sinister brass as female singer crescendos (ceppi) and decrescendos with woodwind zips by

Answer 13

Il trovatore, Act II, no. 5 Scena e racconta Azucena [“Condotta alla era in ceppi”] (1853)

Question 14

1. Heavy Woodwinds Low male Ill Ballleeen “Stoic qaulity, adagio repeats 2.Strings horn like quality Per me Stoic winds and strings follow voice. (frenda)

Answer 14

Il trovatore, Act II, no. 7 Scena ed aria Conte [“Il balen del suo sorriso” and “Per me, ora fatale”]
(1853)

Question 15

two options 1. Chorus of nuns very quiet and descrescenda at the end of each phrase followed by no no in Count. 2. Leonora E di gi (staccato) ends on sighs

Answer 15

Il trovatore, Act II, no. 8 Finale (1853)

Question 16

1. strong winds beginning picks up speed with runs and staccatos. Large group of men singing in unison. trombones in unison with men (staccato)

Answer 16

• Il trovatore, Act III, no. 9 Coro d’introduzione [“Or co’ dardi ma fra poco” and “Squilli, echeggi la
  tromba guerriera”] (1853)

Question 17

Female beginning, “Giooori pove vivi” Sad string few notes underneath.

Answer 17

• Il trovatore, Act III, no. 10 Scena e terzetto [Azucena, Conte, e Ferrando] [“Giorni poveri vivea”]
  (1853)

Question 18

“Ah si” declammatory with two tense two note figure under manrico (pachida) 2. Di Quella pira accented and spread apart tremolos inbetween phrases

Answer 18

• Il trovatore, Act III, no. 11 Scena ed aria Manrico [“Ah, sì, ben mio, coll’essere” and “Di quella
  pira”] (185

Question 19

1 and 2. Leonora with sad lament underneath Daammor roseee (drifts off) tremolos
3. Chorus of monks drifts off in similar to the nuns Leonora comes in with subdivided beats underneath her. She sounds resolved

Answer 19

Il trovatore, Act IV, no. 12 Scena ed aria Leonora [“D’amor sull’ali rosee” and “Tu vedrai che
amore in terra”], e Miserere (1853)

Question 20

Sad string chords for several minutes mini cadence IV-I Madre from man and woman answers

Answer 20

Il trovatore, Act IV, no. 14 Finale (1853)