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Music > Midterm 2 > Flashcards

Midterm 2 Flashcards

1
Q

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

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

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

A
  • By Ludwig van Beethoven
  • Form: sonata (exposition, development, recapitulation)
  • Tempo: allegro
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3
Q

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

A
  • By Ludwig van Beethoven
  • 1801
  • Instrument: piano
  • Sonata form in C# (C-sharp) minor
  • Tempo: adagio sostenuto
  • Movement 1
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4
Q

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

A
  • By Clara Wieck Schumann
  • Tempo: allegro moderato
  • Sonata-form movement in G minor (tonic key)
  • Genre: piano trio
  • Ensemble: piano, violin, cello
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5
Q

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

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)
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6
Q

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

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
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7
Q

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

A

Fanny Hensel

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8
Q

Describe Die Walküre, Act III scene 3

A
  • By Richard Wagner
  • Opera
  • Part of The Ring Cycle
  • Music drama
  • Wagnerian brass
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9
Q

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

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
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10
Q

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

A
  • By Louise Farrenc
  • Genre: scherzo
  • Tempo: vivace
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11
Q

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

A
  • By Louise Farrenc
  • Tempo: adagio and allegro
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12
Q

Describe Slavonic Dances, op. 46, i. Furiant

A
  • By Antonín Dvořák
  • Genre: orchestral suite
  • 1878
  • Created for piano four hands (2 players sitting at one piano)
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13
Q

Describe Slavonic Dances, op. 46, ii. Dumka

A
  • By Antonín Dvořák
  • Genre: orchestral suite
  • 1878
  • Created for piano four hands (2 players sitting at one piano)
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14
Q

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

A
  • By Antonín Dvořák
  • Tempo: largo (slow)
  • Main melody is inspired by plantation songs common to black-face minstrelsy
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15
Q

What are the dates of the Classic Period?

A

1750 - 1800+

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16
Q

What are the dates of the Romantic Period?

A

1800 - 1900+

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17
Q

Describe Vienna, Austria

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
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18
Q

Describe the Esterházy family

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
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19
Q

Describe the invention of the piano

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)
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20
Q

What’s a fortepiano/pianoforte?

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
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21
Q

What are the bowed strings of the classical orchestra?

A
  • Violins (1st & 2nd)
  • Violas
  • Cellos/violoncellos
  • Double basses (contrabass)
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22
Q

Who are the Viennese classicists?

A
  • Franz Joseph Haydn
  • Wolfgang Amadeus Mozart
  • Ludwig van Beethoven
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23
Q

What are the woodwinds of the classical orchestra?

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

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24
Q

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

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
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25
Q

What are the common brass instruments of the romantic orchestra?

A
  • Horn (French horn)
  • Trumpet
  • Trombone
  • Tuba (invented in 19th century)
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26
Q

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

A

Timpani (expanded in 19th century)

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27
Q

What’s chamber music?

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’
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28
Q

What’s tonality?

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
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29
Q

What’s a key?

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
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30
Q

What are the functions of a key?

A
  1. 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)
  2. 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
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31
Q

What’s a major key/major scale?

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
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32
Q

What’s a minor key/minor scale?

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
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33
Q

What’s a chromatic scale?

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
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34
Q

What’s chromatic harmony?

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
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35
Q

What’s the tonic pitch?

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)
36
Q

What’s the tonic chord?

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
37
Q

What’s the dominant pitch?

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.)
38
Q

What’s the dominant chord?

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”)
39
Q

Describe Louise Farrenc

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
40
Q

Describe Peter Ilyich Tchaikovsky

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
41
Q

Describe Antonín Dvořák

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
42
Q

Describe Amy Beach

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
43
Q

Describe Symphony in E Minor, Gaelic Symphony

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)
44
Q

What’s a modulation?

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
45
Q

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

A
  • minuet / minuet & trio form (A-B-A)
  • scherzo / scherzo & trio form (scherzo-trio-scherzo)
46
Q

What’s a minuet/minuetto?

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
47
Q

What’s a scherzo?

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
48
Q

What’s a theme and variations form?

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
49
Q

What’s a sonata form?

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
50
Q

What’s a cadenza?

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
51
Q

What’s a sequence?

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)
52
Q

What’s a lyrical melody?

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
53
Q

What’s a cantabile?

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
54
Q

What’s a motive?

A

A melody

55
Q

What’s a theme?

A

The main melody

56
Q

What does op. 5 mean?

A

Opus number 5

57
Q

What’s a virtuoso?

A

A skilled musician

58
Q

What’s a Lied?

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
59
Q

What’s a ballet?

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”
60
Q

What’s the ballet score?

A

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

61
Q

Who is the most famous composer of character pieces?

A

Frédéric Chopin

62
Q

What’s a character piece?

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
63
Q

What are the different types of character pieces?

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)
64
Q

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

A

solo

65
Q

What’s the name of an ensemble with 2 instruments or voices?

A

duet

66
Q

What’s the name of an ensemble with 3 instruments or voices?

A

trio

67
Q

What’s the name of an ensemble with 4 instruments or voices?

A

quartet

68
Q

What’s the name of an ensemble with 5 instruments or voices?

A

quintet

69
Q

What’s the name of an ensemble with 6 instruments or voices?

A

sextet

70
Q

What’s the name of an ensemble with 7 instruments or voices?

A

septet

71
Q

What’s the name of an ensemble with 8 instruments or voices?

A

octet

72
Q

What’s the name of an ensemble with 9 instruments or voices?

A

nonet

73
Q

What’s a concerto (solo concerto)?

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
74
Q

What’s a double concerto?

A

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

75
Q

What’s a piano quintet?

A
  • Genre
  • Always a piano with a string quartet
  • Ensemble: piano, 1st violin, 2nd violin, viola, cello
76
Q

What’s the concert overture?

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)
77
Q

What’s a Singspiel?

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
78
Q

What’s an orchestral suite?

A
  • Genre
  • Multi-movement collection of dances written for orchestra
79
Q

What’s a suite?

A
  • Genre
  • Multi-movement collection of dances
80
Q

What’s a symphonic poem?

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
81
Q

Who was the most famous and important Italian opera composer of the 19th century before Puccini?

A

Giuseppe Verdi

82
Q

Describe Hector Berlioz

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
83
Q

Who wrote the important orchestration manual Treatise on Orchestration (1844)?

A

Hector Berlioz

84
Q

Describe Clara Schumann

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
85
Q

Describe Robert Schumann

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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