Midterm 2 Flashcards

Question 1

Q

Describe String Quartet No. 4 in B-flat, ii. Minuetto

Answer

A

By Maddalena Laura Sirmen
Early Classical Style in Italy
Minuet (minuetto) movement
Instrumental
Ensemble: 2 violins, viola, & cello (string quartet)

Question 2

Q

Describe Symphony No. 5 in C minor, i. Allegro con brio

Answer

A

By Ludwig van Beethoven
Form: sonata (exposition, development, recapitulation)
Tempo: allegro

Question 3

Q

Describe Sonata No 14 in C# minor, op. 27 no. 2 (Moonlight) i. Adagio sostenuto

Answer

A

By Ludwig van Beethoven
1801
Instrument: piano
Sonata form in C# (C-sharp) minor
Tempo: adagio sostenuto
Movement 1

Question 4

Q

Describe Piano Trio in G Minor, op. 17, i. Allegro moderato

Answer

A

By Clara Wieck Schumann
Tempo: allegro moderato
Sonata-form movement in G minor (tonic key)
Genre: piano trio
Ensemble: piano, violin, cello

Question 5

Q

Describe Frauenliebe und –leben, i. „Seit ich ihn gesehen“

Answer

A

By Robert Schumann
Title means A Woman’s Love and Life
1830
Genre: a cycle of eight Lieder (‘cycle of art songs’)
Ensemble: soprano and piano
Form: strophic (both stanzas of the poem are set to the same repeating music)

Question 6

Q

Describe Frauenliebe und –leben, viii. „Nun hast du mir den ersten Schmerz getan“

Answer

A

By Robert Schumann
Title means A Woman’s Love and Life
1830
Genre: a cycle of eight Lieder (‘cycle of art songs’)
Ensemble: soprano and piano
Form: through-composed (none of the music repeats)
Vocal style: recitative

Question 7

Q

Who composed Nocturne (Notturno) in G Minor, H.337?

Answer

A

Fanny Hensel

Question 8

Q

Describe Die Walküre, Act III scene 3

Answer

A

By Richard Wagner
Opera
Part of The Ring Cycle
Music drama
Wagnerian brass

Question 9

Q

Describe Madama butterfly, Act 2, “Un bel di, vedremo”

Answer

A

By Giacomo Puccini
1904
Tragic opera (called by Puccini a Tragedia giapponese)
Rare example of exoticism among Puccini’s operas
At least 7 authentic Japanese melodies appear in the opera
Use of pentatonic (5-pitch) scales, various percussion instruments (cymbals and other metallic percussion instruments), and Puccini’s orchestration -> evoked a “Far Eastern ambience” (to Western ears)
Madama Butterfly is one of the world’s most often performed and beloved operas, especially in the US

Question 10

Q

Describe Nonet in E-flat, op. 38, iii. Scherzo

Answer

A

By Louise Farrenc
Genre: scherzo
Tempo: vivace

Question 11

Q

Describe Nonet in E-flat, op. 38, vi. Adagio – Allegro

Answer

A

By Louise Farrenc
Tempo: adagio and allegro

Question 12

Q

Describe Slavonic Dances, op. 46, i. Furiant

Answer

A

By Antonín Dvořák
Genre: orchestral suite
1878
Created for piano four hands (2 players sitting at one piano)

Question 13

Q

Describe Slavonic Dances, op. 46, ii. Dumka

Answer

A

By Antonín Dvořák
Genre: orchestral suite
1878
Created for piano four hands (2 players sitting at one piano)

Question 14

Q

Describe Symphony No. 9 in E Minor, op. 95, From the New World, ii. Largo

Answer

A

By Antonín Dvořák
Tempo: largo (slow)
Main melody is inspired by plantation songs common to black-face minstrelsy

Question 15

Q

What are the dates of the Classic Period?

Answer

A

1750 - 1800+

Question 16

Q

What are the dates of the Romantic Period?

Answer

A

1800 - 1900+

Question 17

Q

Describe Vienna, Austria

Answer

A

18th-century capital of the latter-day Holy Roman Empire (Empire of Austria after 1806)
Imperial seat of the Hapsburg Dynasty
One of the most important musical-cultural centers in Europe in the 18th and 19th centuries
City most associated with 3 of the most influential musicians of the Classical Period:
Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven (the Viennese classicists)
18th-century Viennese classicism

Question 18

Q

Describe the Esterházy family

Answer

A

Wealthiest and most powerful of the Hungarian royal families
Close relatives of the imperial family in Vienna
Patrons of music
At age 29, Franz Joseph Haydn entered the service of the Esterházy family

Question 19

Q

Describe the invention of the piano

Answer

A

Invented ~1700
Keyboard instrument that strikes the strings with little hammers (and then silences them with dampeners)
Unlike earlier plucked keyboard instruments, the piano is capable of playing louder and softer -> originally called a fortepiano (or pianoforte)
The original fortepianos contained much more wood inside than a modern piano -> sound different
Modern pianos have a metal soundboard, which resonates sympathetically when the strings vibrate, so it sounds much more ‘tinny’ and ‘clear’ than a fortepiano of Mozart’s time
Modern pianos are capable of playing softer and much louder than the pianoforte
The piano became the dominant keyboard instrument of the Classical Era (and after)

Question 20

Q

What’s a fortepiano/pianoforte?

Answer

A

Unlike earlier plucked keyboard instruments (harpsichord, clavichord, etc.), the piano is capable of playing louder and softer, thus it was originally called a fortepiano (or pianoforte)
The original fortepianos contained much more wood inside than a modern piano -> sound different

Question 21

Q

What are the bowed strings of the classical orchestra?

Answer

A

Violins (1st & 2nd)
Violas
Cellos/violoncellos
Double basses (contrabass)

Question 22

Q

Who are the Viennese classicists?

Answer

A

Franz Joseph Haydn
Wolfgang Amadeus Mozart
Ludwig van Beethoven

Question 23

Q

What are the woodwinds of the classical orchestra?

Answer

A

Single-reed woodwinds of classical orchestra:
- Flutes (2)
- Clarinets (2)
- Bass clarinet in 19th century
Double-reed woodwinds of classical orchestra:
- Oboes (2)
- Bassoons (2)
- Contrabassoon in 19th century

Question 24

Q

What are the changes that occur to the orchestra during the 1800s?

Answer

A

~1750 - 1800 orchestras based around a core of bowed strings that usually played at least 4 separate parts
Typical classical orchestra was much smaller than those that emerged in the 19th century
In the 19th century, orchestras became larger
Late-Romantic orchestra: large orchestral ensemble
Introduction of conductors

Question 25

Q

What are the common brass instruments of the romantic orchestra?

Answer

A

Horn (French horn)
Trumpet
Trombone
Tuba (invented in 19th century)

Question 26

Q

What’s the percussion instrument of the classical and romantic orchestra?

Answer

A

Timpani (expanded in 19th century)

Question 27

Q

What’s chamber music?

Answer

A

‘Social/domestic music-making’
One of the most popular types of chamber music in the late 18th century (and beyond) were string quartets
Many of Haydn’s string quartets were intended for amateur performance
String quartets were a genre common in ‘social music-making’

Question 28

Q

What’s tonality?

Answer

A

AKA functional tonality, the Major/Minor tonality, tonal music
System of major and minor keys (and related scales) that was the foundation of music theory and practice in the Western world from ~1600 - 1900
Hierarchical system that emphasizes certain pitches and chords (simultaneous combinations of pitches) in a key so that some pitches and chords sound more stable (consonant) than others
Within this system, every possible chord in any given key has a functional relationship to the other chords in that key
This musical-theoretical system still serves as the basis for most of the music (‘art’ and ‘popular’ music) that’s created today
Our modern systems of harmony differ greatly from the classic version due to increased use of chromaticism

Question 29

Q

What’s a key?

Answer

A

Limited collection of 7 pitches organized around a central pitch (tonic)
Hierarchical network of interval relationships in which certain pitches and chords (simultaneous pitches in combination) are emphasized more than others to create a sense of motion (toward or away from stability) in music

Question 30

Q

What are the functions of a key?

Answer

A

A key limits the number of pitches used in a piece of music from 12 (the entire chromatic scale -> all the pitches in one octave) to 7 that collectively have a specific “intervallic content” (a network of interval relationships)
Music that’s composed “within a key” is music in which the pitches have been consciously arranged in a hierarchical manner that emphasizes the tonic pitch more than others, creating the aural impression that this “reference” pitch is the most restful and stable pitch in the music

Question 31

Q

What’s a major key/major scale?

Answer

A

Major key is a group of 7 different pitches that features an interval pattern arranged in ascending order, starting on the tonic
Ex: C-major scale = step step 1⁄2-step step step step 1⁄2 step

Question 32

Q

What’s a minor key/minor scale?

Answer

A

Minor key is a group of 7 different pitches that features an interval pattern when arranged in ascending order, starting on tonic
Ex: C-minor scale = step 1⁄2-step step step 1⁄2-step step step

Question 33

Q

What’s a chromatic scale?

Answer

A

Series of pitches moving exclusively in half steps, thereby including all 12 pitches in the octave
Doesn’t define a key
It isn’t limited -> contains all of the pitches in an octave

Question 34

Q

What’s chromatic harmony?

Answer

A

AKA chromaticism
Use of chords and pitches that don’t function normally within the diatonic tonal system of major and minor keys
Dissonances that result from using pitches that aren’t in the key
Use of chromatic harmony creates a heightened emotional or evocative effect and loosens listeners’ aural sense of key and tonic
Chopin’s works exemplify the romantic approach to chromatic harmony as an expressive device
Wagner’s music pushed chromatic harmony to its uttermost limits
Beethoven’s late works make increasing use of chromatic harmony, occasionally baffling contemporary audiences and critics with strong dissonances

Question 35

Q

What’s the tonic pitch?

Answer

A

The central pitch that the limited collection of 7 pitches (key) is organized around
This tonic pitch functions in a manner analogous to the pitch known as the “final” in earlier modal music
Most important pitch in any key (pitch that’s most stable and consonant)
Pitch that gives its name to a key and its related scale
Pitch that’s the “root” of the tonic chord (consisting of the 1st, 3rd, and 5th pitches of the key’s scale)

Question 36

Q

What’s the tonic chord?

Answer

A

A tonic triad is the 3-note chord that contains the tonic, the 3rd (mediant), and the 5th (dominant) pitches of any major or minor scale
AKA an “I chord” in major and “i chord” in minor (pronounced “one chord” for both), because the root (bottom note) of the chord is tonic

Question 37

Q

What’s the dominant pitch?

Answer

A

5th note of a major or minor scale (beginning on tonic and ascending) -> the pitch that is a “perfect 5th” (proper term for that interval) above tonic
2nd most important pitch in a key, since dominant often precedes tonic in music, especially at cadences
Most important pitch for aurally defining where the tonic is -> when a piece of music reaches the dominant, people will ‘hear’ where the tonic is before they actually hear it, creating a sense of arrival when it does occur
Strongest cadence in music: when the dominant is followed by the tonic -> often happens at the end of a piece of classical music (and many other times within the piece -> ex: at the end of musical phrases, to mark large sectional divisions in a work’s form, etc.)

Question 38

Q

What’s the dominant chord?

Answer

A

3-note chord that has the dominant, the 7th (leading tone), and the 2nd pitches (supertonic) of the scale
AKA a V-chord (a “five chord”)

Question 39

Q

Describe Louise Farrenc

Answer

A

1804-1875
French composer, pianist, teacher, and scholar
Showed artistic and musical talent at a very early age
By mid-adolescence she was a pianist of professional caliber, an exceptional theory student, and a promising composer
Trained in composition and orchestration with Anton Reicha at the Paris Conservatory starting in 1821
Was taught privately since women were forbidden to enroll in traditional composition classes at the time
Her earliest published works for piano appeared between 1825 and 1839
In 1845 the Paris Conservatoire adopted Farrenc’s 30 Etudes as required study in all piano classes
Appointed Professor of Piano at the Paris Conservatoire in 1842 -> only woman musician at the Conservatoire in the 19th century to hold a permanent chair of this rank and importance
Her excellence and influence as a teacher were demonstrated by the high proportion of her pupils who won competitions and went on to professional careers
Farrenc was paid less than her male colleagues at the Conservatoire for nearly a decade
After the premiere of her Nonet, op 38, in which violinist Joseph Joachim took part, she started receiving equal pay

Question 40

Q

Describe Peter Ilyich Tchaikovsky

Answer

A

1840-1893
On the international music scene, arguably the most famous and popular Russian composer of the 19th century
Studied music at the new St. Petersburg Conservatory and later served as a Professor of Music at the Moscow Conservatory
Among the great Russian composers of the 19th century, Tchaikovsky was less dedicated to promoting nationalistic music
His music often sounds characteristically ‘Russian,’ due to his use of exotic scales (modes, pentatonic scales, etc.) and subject matter
Composed several famous ballets including Swan Lake, Sleeping Beauty, The Nutcracker
The Nutcracker wasn’t successful at its premiere in St. Petersburg in 1892 but has become a holiday favorite

Question 41

Q

Describe Antonín Dvořák

Answer

A

1841-1904
Considered one of the great Czech nationalist composers of the 19th century
Earned worldwide admiration and prestige for 19th-century Czech music with his symphonies, chamber music, oratorios, songs and operas
Dvořák sought to develop a musical style that was closely identified with his homeland’s aspirations for independent self-rule
8 of Dvořák’s 9 operas have librettos in the Czech language and were intended to convey the Czech national spirit, as were many of his choral works
Dvořák never quoted actual folk melodies in his Slavonic Dances, but he evoked their style and spirit by using traditional rhythmic patterns and formal structures that were common in traditional folk dances

Question 42

Q

Describe Amy Beach

Answer

A

1867-1944
First American woman to succeed as a composer of large-scale art music (like symphonies)
Celebrated during her lifetime as the greatest woman composer in the US
Child prodigy and exceptional pianist
First performed publicly at the age of 7
Made her professional debut at 18 and afterwards became a frequent soloist with the Boston Symphony Orchestra
Usually counted among the Second New England School (group of composers working primarily in Boston)
Throughout her life, she wrote more than 150 numbered works, ranging from chamber and orchestral works to church music and songs
Her early works show the influences of German composers Richard Wagner and Johannes Brahms
She added her characteristic intensity and passion
In her later years, she moved beyond the late-Romantic style, as her works became more chromatic and dissonant
She retained an intense lyricism throughout her career
Although generally considered a late-Romantic composer stylistically, some of her late works explore modernist innovations in harmony, texture, and orchestration

Question 43

Q

Describe Symphony in E Minor, Gaelic Symphony

Answer

A

By Amy Beach
1894
One of her most famous works
She subtitled it Gaelic because some of its melodies were inspired by folk songs of the Irish (ethnic group important in the history of New England)

Question 44

Q

What’s a modulation?

Answer

A

AKA transitions
Change of key within a piece of music
When a piece (or section) of music begins in one key and then changes into another key
Only the most simple pieces remain in the same key throughout
Many classical works modulate to the key of the dominant and then return to the original key (the tonic)
Large-scale works (ex: operas and the movements of Romantic symphonies) can modulate into many keys, and these patterns of modulation often define different major sections of the work’s overall form

Question 45

Q

What are the ternary forms (A-B-A)?

Answer

A

minuet / minuet & trio form (A-B-A)
scherzo / scherzo & trio form (scherzo-trio-scherzo)

Question 46

Q

What’s a minuet/minuetto?

Answer

A

Elegant dance movement in triple meter (usually 3/4) popular around 1650-1800
Dance form
Only Baroque dance that remained important in Classical instrumental music
Extremely common movement type in all Classical instrumental genres
Typically the 2nd or 3rd movement of a 4-movement symphony or string quartet that follows the “Classical model” as practiced by Mozart and Beethoven

Question 47

Q

What’s a scherzo?

Answer

A

Dance form
Typically the 3rd movement of a 4-movement symphony or string quartet that follows the “Classical model” as practiced by Mozart and Beethoven

Question 48

Q

What’s a theme and variations form?

Answer

A

The first music you hear is the ‘theme,’ which is followed by many variations on that theme
Musical forms such as this one are structured around the varied repetitions of a single melody (the ‘theme’), but these melodies often appear in key areas other than the tonic
Typically the 2nd movement of a 4-movement symphony or string quartet that follows the “Classical model” as practiced by Mozart and Beethoven
Ex: Mozart’s twelve variations on Twinkle, Twinkle Little Star

Question 49

Q

What’s a sonata form?

Answer

A

AKA First-movement Form and Sonata-Allegro Form
Common in the first movements of instrumental genres: symphonies, string quartets, concertos, and sonatas
Thought of in its day as: 1. a structural principle capable of creating a pleasing balance and symmetry (Classical pov) and/or 2. a dramatic form, in which a conflict (large-scale dissonance) is resolved at the end (more Romantic aesthetic)
Historically, sonata form was a rounded binary form -> a 2-part form (A-B) in which the end of the movement (Part B) contains a brief reappearance of the initial music from Part A -> simplest examples of sonata forms from earlier 18th century have 2 somewhat balanced halves
Easier to think of the work as a 3-section form
Later developments, especially in the 19th century, led to an increased emphasis on the Development section until the resulting works sound more like they have 3 parts (exposition, development and recapitulation)
Unlike the classical sonata forms found in symphonies and string quartets, the sonata form in the 1st movement of a concerto doesn’t repeat the exposition exactly
Typical of 19-century sonata forms, the 2 (or more) main key areas of the sonata form’s exposition might include a wide variety of themes, often more than 2, making Romantic-era sonata forms more difficult to “parse” than those of the 18th century

Question 50

Q

What’s a cadenza?

Answer

A

Section of music near the end of a concerto movement (usually in 1st movement but sometimes in 3rd as well) during which the instrumental soloist plays completely alone (with no orchestral accompaniment)
Virtuosic cadenzas were usually improvised in live performances, giving the player a chance to show off their technical skill at improvisation without worrying about ‘staying with’ the orchestra
Published editions of concertos usually included a fully notated cadenza for those players (including amateurs) incapable of spontaneous improvisation

Question 51

Q

What’s a sequence?

Answer

A

Short musical motive (fragment of melody) that’s repeated over and over at different pitch levels (either generally rising or lowering in pitch)
May appear anywhere in music, but are often featured in sections of music that are modulatory (key of music is changing)

Question 52

Q

What’s a lyrical melody?

Answer

A

Classical Era works often contain lyrical or folk-like or generally brief melodies that are memorable and appeal to the wider audiences that heard the music
Typically in the slow 2nd movement of a 4-movement symphony or string quartet or in the slow 2nd movement of a 3-movement sonata or concerto that follows the “Classical model” as practiced by Mozart and Beethoven
Ex: cantabile

Question 53

Q

What’s a cantabile?

Answer

A

Italian word that means “singable“ or “songlike”
In instrumental music, it’s a style of melody meant to imitate the human voice
Usually homophonic
Lyrical melody

Question 54

Q

What’s a motive?

Question 55

Q

What’s a theme?

Answer

A

The main melody

Question 56

Q

What does op. 5 mean?

Answer

A

Opus number 5

Question 57

Q

What’s a virtuoso?

Answer

A

A skilled musician

Question 58

Q

What’s a Lied?

Answer

A

AKA art song
Plural: lieder
Genre of monody (song) composed for solo voice with piano accompaniment
Musical setting of a high-quality poem, often a poem that’s already well known to the audience -> these poems were rarely written by the composer of the music
Popularity of the art song was largely due to the ubiquity of the piano in the homes of wealthier families
Prominent genre in fashionable salons
Domestic music making was common and common/generally expected that the daughters of affluent families could play the piano and/or sing
The piano in an art song is more than just accompaniment -> it’s crucial to the expression and musical interpretation of the poem
Art song = composer’s reading of a poem

Question 59

Q

What’s a ballet?

Answer

A

Genre that results from the collaboration of a composer and a choreographer
Includes both the dance (choreography) and music
Proper term (genre designation) for the music alone is “ballet score”
Proper term (genre designation) for the dance alone is “choreography”

Question 60

Q

What’s the ballet score?

Answer

A

Proper term (genre designation) for the music alone in the ballet genre

Question 61

Q

Who is the most famous composer of character pieces?

Answer

A

Frédéric Chopin

Question 62

Q

What’s a character piece?

Answer

A

Genre for solo piano in the 19th century
One-movement miniatures for solo piano, usually brief (2-7 mins), with descriptive titles suggestive of mood, scene, type of song or dance, etc.
Model for many piano character pieces were the bel canto arias in the Italian operas of Rossini and others
Usually homophonic: lyrical melody and clear accompaniment
Have a wide variety of fanciful titles, often suggesting an improvisatory style (ex: prelude, intermezzo, and impromptu)
Other titles suggest urban or nationalistic dance types, such as waltz, mazurka, and polonaise
Character pieces, like art songs, were a prominent genre in fashionable salons
Chopin composed a lot of these

Question 63

Q

What are the different types of character pieces?

Answer

A

étude (‘study’ -> Chopin designed these as technical studies for his piano students and as artworks worthy of concert performance. Always technically difficult pieces, exciting to hear and play)
mazurka (genre of stylized Bohemian dance, urban or nationalistic dance types)
nocturne (“night piece” -> genre that suggests a mood or scene)
polonaise (genre of stylized Bohemian dance, urban or nationalistic dance types)
prelude (suggests an improvisatory style)

Question 64

Q

What is the name of an ensemble with 1 instrument or voice?

Answer 63

A

Concert genre
Genre of large-ensemble music in multiple movements for a featured instrumental soloist with an orchestra
The Classical models (late 18th-century form) of the concerto have 3 movements

Answer 64

A

Genre of large-ensemble music in multiple movements for 2 soloists plus orchestra

Answer 65

A

Genre
Always a piano with a string quartet
Ensemble: piano, 1st violin, 2nd violin, viola, cello

Answer 66

A

Romantic orchestral genre
Always programmatic
One-movement work for orchestra with a descriptive title, usually based on a sonata form design -> similar to a symphony first movement (without the other 3)
By 1800, concert overture became a stand-alone orchestral genre distinct from association with opera or the symphony
Concert overtures are almost always sonata-form movements -> contain an exposition with themes in both the tonic and secondary keys, followed by a development section, and a recapitulation that follows the sonata-form principle (both main themes return in the tonic key)

Answer 67

A

German genre of opera
Light and/or comic German opera, using spoken dialogue (no recitative) along with arias, duets, choral numbers, etc
Plots are often fantastic or exotic, and common characters are often included
More like a play with music (because of the spoken dialogue)
Was very popular among and strongly associated with the German middle-class audience, but was also strongly supported by the Hapsburg Emperor Joseph II (one of Mozart’s patrons in Vienna)
Influenced by other lighter, comic genres, especially the British ballad opera, which also contained spoken dialogue and light, catchy tunes

Answer 68

A

Genre
Multi-movement collection of dances written for orchestra

Answer 69

A

Genre
Multi-movement collection of dances

Answer 70

A

AKA tone poem
Always programmatic
Single-movement in free form (form unique to each piece), scored for orchestra, and with a descriptive title associated with some extra musical phenomenon
The free form of such works gave composers the freedom to design pieces that closely adhered to the form, content, character, etc., of the extra-musical inspiration, making this a particularly Romantic genre from the standpoint of free, individual expression
Franz Liszt (composer, piano virtuoso, and father-in-law of Richard Wagner) is credited with being the first to use the term for his orchestral works

Answer 71

A

Giuseppe Verdi

Answer 72

A

1803-1869
Progressive French composer and advocate for program music
Celebrated for his colorful orchestration, use of innovative orchestral effects, and the general expansion of the orchestra to include more and more ‘colorful’ instruments
Influential music critic who published his eclectic essays in journals and books -> serving as a “taste maker” in the 19th century
Wrote the orchestration manual “Treatise on Orchestration” (1844), which was widely studied by subsequent Romantic composers, many of whom are now considered great orchestrators, like Nikolai Rimsky Korsakov and Richard Strauss
Known for his advocacy and general development of program music
Befriended Franz Liszt, piano virtuoso and fellow progressive composer, who transcribed Berlioz’s entire Symphonie fantastique for piano

Answer 73

A

Hector Berlioz

Answer 74

A

1819-1896
One of the most important and influential virtuoso concert pianists in the 19th century
Fine composer and leading ‘interpreter’ of the music of her husband Robert Schumann, and Beethoven, Chopin, and Johannes Brahms (a close personal friend and confidante both before and after Robert’s death)
Historically important as a “taste maker” because she had a significant
role in educating and shaping the musical tastes of the public, through frequent and impressive performances
Often performed the works of earlier composers, such as J. S. Bach, Mozart, and Beethoven, re-introducing their works to new audiences (a force in the canonization of those composers and works)
Instrumental in shaping our present-day conception of the piano concert -> the first pianist to memorize her programs, which has become a standard practice among pianists
She composed in a variety of genres (solo piano pieces, piano concertos, chamber music of various genres, choral pieces, and art songs) but gave up composition after her husband’s death

Answer 75

A

1810-1856
German composer and influential music critic
Widely regarded as one of the greatest composers of the early Romantic era
Trained at a young age to be a concert pianist, but a permanent hand injury prevented him from fulfilling that aspiration
A “taste maker” -> he wrote for Die Neue Zeitschrift für Musik (The New Music Journal - most important and influential music journals of the 19th century
Schumann championed the works of many dead composers (Mozart, Beethoven, and Schubert) and his contemporaries (Felix Mendelssohn, Hector Berlioz, and Chopin)

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Midterm 2 Flashcards

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