[Listening] Test 1 Flashcards
Orfeo Ed Euridice
-Gluck
-Orfeo’s Lament
-One of the most famous arias from the 18th c.
-Broken Chord Accomp. (Classical style detail)
-Lyric simplicity (single melodic line)
-Melodic sighs (2 note slurs)
String Quartet, Op. 33, No. 2, mvt. 1
-Haydn
-“New and special style”
-Gallant
-Transitional work between 1st and 2nd style of string quartet (solo w/ accomp. vs. 4pt counterpoint)
-Thematic development (specifically in development section) using counterpoint
Symphony No. 104 (London) in D Major, mvt. 1
-Haydn
-Slow intro w/dotted rhythm (reminiscent of French overture)
-Long coda to balance intro
-Begins in Dm, continues in DM
-1st theme restated as 2nd theme, just in dominant (mono thematic); changes of tonality creates sonata form
-No basso continuo
Symphony No. 104 (London) in D Major, mvt. 1
-Haydn
-Slow intro w/dotted rhythm (reminiscent of French overture)
-Long coda to balance intro
-Begins in Dm, continues in DM
-1st theme restated as 2nd theme, just in dominant (mono thematic); changes of tonality creates sonata form
-No basso continuo
Concerto No. 27 for piano and orchestra, in Bb Major, K. 595, mvt. 1
-Mozart
-Last concerto he wrote
-Classical in every respect
-Textbook example for concerto sonata form
-Balance between piano and orchestra
-Specifically written for piano (not another keyboard instrument)
-Melodic and harmonic chromaticism
-Rarely repeats himself 2x
Concerto No. 27 for piano and orchestra, in Bb Major, K. 595, mvt. 1
-Mozart
-Last concerto he wrote
-Classical in every respect
-Textbook example for concerto sonata form
-Balance between piano and orchestra
-Specifically written for piano (not another keyboard instrument)
-Melodic and harmonic chromaticism
-Rarely repeats himself 2x
Symphony No. 3 “Eroica,” mvt. 1
-Beethoven
-added 3rd horn part; expansion of orchestra
-Woodwinds prominent
-Separate cello/bass
-More dynamic markings/contrasts
-C# note symbolizes hero’s arrival/daring deeds
-Fragmentation
-Thematic transformation - modifying a theme so it appears/sounds new
-V7 tremolo and tonic horn entrance creates drama since horns enter “early”
Symphony No. 3 “Eroica,” mvt. 1
-Beethoven
-added 3rd horn part; expansion of orchestra
-Woodwinds prominent
-Separate cello/bass
-More dynamic markings/contrasts
-C# note symbolizes hero’s arrival/daring deeds
-Fragmentation
-Thematic transformation - modifying a theme so it appears/sounds new
-V7 tremolo and tonic horn entrance creates drama since horns enter “early”
Piano Sonata No. 23, Op. 57, “Appassionata,” mvt. 1
-Beethoven
-Sonata form
-Repeat sign (double bar) missing
-Development throughout entire sonata (based on neighbor tone figure)
-Heroic epic
-Technically demanding
-Dynamic contrasts
-Looooooong
Heidenröslein, Lied
-Schubert
-Strophic lied
-Simple (broken chord) accompaniment suited for the text
Erlkönig, Lied
-Schubert
-3 characters (Father, child, Erlking)
-Triplet 8ves represent galloping horse and anxious father
-each time child cries out for his father the notes are transposed up a step
-Accomp. changes when Erlking sings (waltz, broken chord, repeated chords)
-Ballad leid
-based on poem by Goethe
