Listening quiz 1 Flashcards
Symphony in B major, first movement
Georg Matthias Mann (1740). Shows both Baroque and Classical Tendencie.One baroque element is two primary themes next to each other. Primary theme are measures 1-8. Secondary are 9-18. Transition is 19-25. Development are measures 32-58. Recapitulation are measures 59-86. Development is in the V for the primary theme, and ii for the secondary theme.
Sonata in D Major, K. 492
Domenico Scarlatti. (1750) Example of binary form that does not bear “true” sonata form. Features mixed elements of Baroque and Classical styles. Periodic phrase structure,relatively slow harmonic rhythm, and transparent textures look forward. While virtuosic runs and sequential passages are more characteristic of the earlier part of the 18th century.
Symphony in D Major, Op. 3, No. 2, first movement
Johann Stammits. (1752). Shows binary form is not the only precedent in sonata form. Shows use of ritornellos. Recapitulation happens when the ritornello returns for the third time. Shows a tendency for mid-18th century mixture of old and new (ritornello vs. sonata forms)
Sonata in D Major, Op. 5, No. 2 first movement
Johann Christian Bach. (1766) Piano Sonata. Shows departure from ritornello structure. Only one theme in the exposition in primary key, the exposition has two keys. Transitional theme moves away from tonic early. Fragmented themes in the development. Alberti bass provides harmonic support. Uses point of furthest remove.
Fantasia in C minor
Carl Phillip Emmanuel Bach. (C.P.E.) 1753. Unexpected musical events. No bar line=rhapsodic freedom. Hallmark of Empfindsamkeit. Opposite of everything else that was going on during the Classical Era. Uses a bebung ( quaver note, creates bravado on the note)
Piano Sonata in C minor, HOB. XVI:20, first movement
Franz Josef Haydn. 1781. Reflects increasing size of sonata form. Longer, more varied technically more demanding. More demanding shifts. Seems simple on surface but has highly nuanced complications. Represents a modern sentiment by scholars today as Strum und dang (storm and stress)–use of minor mode, large melodic leaps, jagged syncopations and sudden dynamic contrasts. Overall result is a sense of heightened emotional intensity.
Sting Quartet in C major, Op. 33, No 3, first movement
Franz Josef Haydn. 1795. textural richness. Accompaniment and melody are inextricably linked. Pulsing notes in beginning grow into a motivic idea that binds the melody
Sting Quartet in C major, Op. 33, No 3, second movement
“Scherzo” but has a typical makeup of a minuet and trio.
Sting Quartet in C major, Op. 33, No 3, third movement
Slow. Sonata form with varied reprise–exposition is NOT repeated note for note and changes.
Sting Quartet in C major, Op. 33, No 3, fourth movement
Rondo uses a favorite technique found in Haydn’s quartets: an extended retransition between the repeat of A after A and B have been stated. A is in I, B is in vi, retransmission is unstable, then A and B are in I retransmission is unstable leading to V, and final A and coda are in I.
Symphony No. 103 in E-flat Major, first movement
Haydn. 1795. ?
Piano concerto in D Major, K. 107, No. 1, first movement
Wolfgang Amadeus Mozart. 1772. Based on J.C. Bach’s keyboard sonata in D major. (first 8 measures closely follow Bach’s) Soloist would have filled basso continuo line by filling in the harmonies to Mozart’s figured bass during the tutti. Anaylzed in terms of ritornello structure: alternating tutti and solo sections. Ritornellos hallmarks of concertos.
Piano concerto in D minor, K. 466
Mozart. 1785. Sense of drama in mode. (major vs. minor), time, and texture. Soloist enters with new, previously unheard theme–typical of the concerti. Great contrast to the brooding, ominous theme of the orchestra. Cadenza that is typically used was written by Beethoven.
La Serva Padrona “Lo conosco a quegli ochietti”
Giovanni Battista Pergolesi. 1733.
Only two singers (Uberto and Serbian), small ensemble of strings and basso continuo. Title translation: I see it in your eyes. Serbian argues she would be the perfect mistress for the lifelong bachelor. Work points toward lighter style of mid-18th century an less monolithic approach to musical expression.
Alcesti, Act II, scene 3
Christoph Willibald Gluck. 1767. Aleceste delivers on all the of Gluck’s reform ideas. Aria and recitative are distinguishable. Chorus is promenade (to imitate Greak Drama). Voices are not pretentious. Excerpt contains recitative (accompanied), chorus, aria, and duet in sequence. Opera is more faithful to dramatic principles than to the demands of singers.
