Listening quiz 2

Question 1

Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”)

1. Allegro con brio

Answer 1

Beethoven 1803.• Almost all of them explore a fundamentally “new” approach to the genre. evokes ideals with French Revolution.

Question 2

Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”)

2. Marcia funebre

Answer 2

Beethoven 1803. Funeral March. evokes ideals with French Revolution.

Question 3

Piano Concerto No. 4 in G Major, Op. 58, second movement

Answer 3

Beethoven 1806. Soloist and orchestra–latter part limited only to strings Drama between the two: a dichotomy of events in that the orchestra is quite abrasive, while the piano is cantabile Suggestion of a program from some that this is a retelling of Orpheus and Euridice.
o Mm. 1-5 and 14-18 is a descent to the underworld
o Mm 19-46 Orpheus charming Charon with Music
o Mm. 47-54 crossing the underworld to get Euridice.
o Mm. 55-63 (solo cadenza) doubts Euridice is following him, leads to the loss of his beloved
• See “Beethoven as Orpheus,” p. 391

Question 4

Symphonie fantastique, fifth movement

Answer 4

Berlioz 1830.• Detailed program written by Berlioz (p. 396) and details ahis infatuation with Harriet Smithson. Witches Sabbath. Creepy Dies Irie. Schumann argued that the movement titled would have sufficed. See Heine’s assessment, p. 397

Question 5

Overture to “A Midsummer Night’s Dream”

Answer 5

Mendelssohn 1826.• Felix Mendelssohn composed this at the age of 17 He presents a succession of the play’s characters
Sonata-form overture Intro: in winds– calls to mind an enchanted forest Scurrying in the strings (fairies, Oberon and Titania) A pompous theme, Theseus, who is a human Lover’s theme
Bottom’s theme (a donkey)

Question 6

Erlkonig D. 328

Answer 6

Schubert 1815. Through-composed/modified strophic. One voice sings narrator/son/father/Elf King. Each character takes on different keys, vocal registers, and rhythmic nuances. Piano part is mimetic. Recitative at the end renders the ballad complete. More declamatory for narrator, higher register for son, lower register for Father, and more lyrical for Erlking. Recitative at the end renders the ballad complete.

Question 7

Beautiful Dreamer

Answer 7

Stephen Foster 1862. simplicity is key here with memorable melody and not technically demanding. Parlor music.

Question 8

Mazurka in A minor, Op. 17, No. 4

Answer 8

Chopin 1833. Political implications. Polish folk dance in triple meter. Emphasis on 2nd beat when dancers click their heels. Note the “tempo rubato”–a bending of the tempo that involved subtle temps shifts

Question 9

Ballade No. 1 in G minor, Op. 23

Answer 9

1835 Chopin. Ambigous intro leads to G minor and the opening idea. Secondary idea in E-flat major (modulation of I to VI) Large-scale form in a single movement; technically very demanding. Long thought that he based his 4 ballades on 19th century poet MIckiewwicz. Regardless, there is a strong sense of narrative to the work. Ambigoius opening until measure 8. Long been thought that it was written with some literary work in mind

Question 10

Carnival, Op. 9 1. Papillons

Answer 10

1835 Schumann. Butterfly.

Question 11

Carnival, Op. 9 2. A.S.C.H–S.C.H.A. (Lettres dansantes)

Answer 11

1835 Schumann. Hometown of Ernestine von Fricken.

Question 12

Carnival, Op. 9 3. Chiarina

Answer 12

1835 Schumann. Clara Schumann

Question 13

Carnival, Op. 9 4. Chopin

Answer 13

1835 Schumann. Written to sound like Chopin.

Question 14

Carnival, Op. 9 5. Estrella

Answer 14

1835 Schumann. Ernestine von Fricken

Question 15

Nuages gris

Answer 15

1881 Franz liszt. represents a character work liket hose of Chopin and Schumann, however, it is highly foreshadow impressionistic designs

Question 16

Etudes d’execution transcendante No. 1 in C major

Answer 16

Liszt 1838. came to public genre to be heard outside the practice studio

Question 17

Caprices Op. 1, No. 24

Answer 17

Paganini 1810. 11 variation with a finale. inspired Liszt and Rachmaninoff to write variations on this theme

Question 18

Il Barbiere di Siviglia 1. Act I, Scene 2 “Largo al factotum”

Answer 18

1816 Rossini. Figaro introduces himself as a barber who is in such high demand for his services.

Question 19

Il Barbiere di Siviglia 2. Act I, Scene 5 “Una voce poco fa”

Answer 19

1816 Rossini. : Bel canto tradition. Slow opening, dramatic and lively conclusion (known as cabaletta) Rosina is writing a letter to Lindoro, confessing her love to him. “But if you push me the wrong way, I’ll be a viper, and the last laugh will be on you.” Great liberties taken by the soloist in her runs – this in in the tradition of bel canto (to embellish as needed).

Question 20

Rigoletto 1. Act III, Quartet

Answer 20

1851 Giuseppe Verdi. All arias throughout Rigoletto require virtuoso singing, but the arias do not interrupt the flow of the action. Several contrasting emotions simultaneously, as with Mozart.

Question 21

Tristan und Isolde 1. Prelude

Answer 21

1859. Wagner. Has an interesting chord that was unheard of that time.

Question 22

Tristan und Isolde 2. Act II scene I (ending)—scene 2 (beginning)

Answer 22

1859. Wagner. Voices are not bel Canto. Almost sound like an intsrument to help it be a Gesamtkustwerk

Question 23

Piano Sonata in C Major, Op. 53 “Waldstien”, first movement

Answer 23

Beethoven. 1804. chromatic movement in the beginning to theme. which is hymn like. tritone movement in cadenza.