[Listening] Test 2 Flashcards
Der Freischütz - The Wolf’s Glen
Weber
-Most striking Romantic movement in operatic literature
-Singspiel
-Melodrama
-Allegro moderato section
-Themes of Romanticism: Supernatural, Death
Der Freischütz - The Wolf’s Glen
Weber
-Most striking Romantic movement in operatic literature
-Singspiel
-Melodrama
-Allegro moderato section
-Themes of Romanticism: Supernatural, Death
Nocturne No. 5
John Field
-Character piece
-Singing melody
-Broken chord accomp. w/pedal
-Writing demonstrates piano capabilities
-Forefunner to Chopin’s Nocturnes
Nocturne, Op. 32 no. 2
Chopin
-Similar to J. Fields Nocturne No. 5
-Extended left hand accomp.
-Single-note melodic line
-Pedal markings
-Shows off the capabilities of the piano
-Harmonic overloading
-Return after contrast
Elijah - Call him Louder (recitative) and Hear and Answer Baal (chorus)
Mendelssohn
-Similar writing to Handel and Haydn
-Full orchestration
-Chorus alternates between homophony and polyphony
Carnaval, Op. 9 - Eusebius
Schumann
-Character piece
-Represents Schumann’s dreamy, introverted character traits
Carnaval, Op. 9 - Florestan
Schumann
-Character piece
-Represents Schumann’s passionate, extroverted character traits
Der Nussbaum, Op. 25, No. 3 Lied
Schumann
-Modified Strophic Lied
-Piano and voice true partnership
-Voice begins phrase, piano finishes
-Harmonic color
Mondnacht, Op. 39, No. 5 Lied
Schumann
-Modified Strophic lied
-not an example of voice/piano partnership
-repeated 8mm phrases
Norma, Act II, Scene 4
Bellini
-Scene ed Aria including a Cavatina and cavalletta
-New Bel Canto style
-One of most familiar arias of 19th c.
-Stepwise writing
Norma, Act II, Scene 4
Bellini
-Scene ed Aria including a Cavatina and cavalletta
-New Bel Canto style
-One of most familiar arias of 19th c.
-Stepwise writing
Norma, Act II, Scene 4
Bellini
-Scene ed Aria including a Cavatina and cavalletta
-New Bel Canto style
-One of most familiar arias of 19th c.
-Stepwise writing
Otello, Act II, Scene II
Giuseppe Verdi
-Music drama
-Strong Characterization (Sinister character, appoggiatura, acciaccatura “crushing sound”, chromaticism, trills, ornamentation)
-Symphonic Quality of orchestra
-Strong/sharp contrasts
Symphonie Fantastique, mov. 5
Hector Berlioz
Program Symphony
-1st symphony presentation of Macabre
-1st movement with multiple scenes linked by storyline
-idee fixe in clarinet
-Polyrhythm (eerie scene; designates confusion)
Symphonie Fantastique, mov. 5
Hector Berlioz
Program Symphony
-1st symphony presentation of Macabre
-1st movement with multiple scenes linked by storyline
-idee fixe in clarinet
-Polyrhythm (eerie scene; designates confusion)
Symphonie Fantastique, mov. 5
Hector Berlioz
Program Symphony
-1st symphony presentation of Macabre
-1st movement with multiple scenes linked by storyline
-idee fixe in clarinet
-Polyrhythm (eerie scene; designates confusion)
Tristan und Isolde, Prelude
Richard Wagner
-Harmony is tonal, but his use of altered chords and unorthodox resolution will press the tonal limits
-Chromatic passages and accented appogiaturas tie in with historical significance in regards to pushing tonal boundaries
-F-B-D#-G# “Tristan” chord, love potion motive
Symphony No. 4
Johannes Brahms
-Following tradition of Beethoven in motivic development
-Demonstrates Brahms’ lyric quality
-Melodic-signs and yearning “ramp up” emotion by end of first movement
-Added piccolo, contrabassoon, 4th horn and 3 trombones
-Sonata form
-Cross-rhythm with use of hemiola prominent
-Wide leaps
Anakreons Grab, Lied
Hugo Wolf
-Based on a poem by Goethe
-Wagnerian in style (highly chromatic)
-4 part texture
-talks about Anakreon’s grave
-Themes: Nature and Death
Kindertotenlieder No. 5
Gustav Mahler
-Lied
-Similar to Wolf, but Mahler uses orchestral accompaniment
-Vocal solo often treated as part of the counterpoint while orchestral accompaniment serves as reflection, not interruption
-Interludes between phrases
-Depth of love (for child); deep emotion of tragic loss; Death
Prélude á L’aprés-midi D’un Faune
Claude Debussy
-Symphonic poem
-Based on poem by Mallarmé
-Flute represents faun’s panpipes
-Chromaticism
-Rhythmically Vague and unmetered
-Color/Shade to create atmosphere
-Rests
