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Musical Excerpts Flashcards

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0
Q

Oklahoma!

A
  1. Rogers and Hammerstein, musical
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1
Q

Sgt peppers lonely hearts club band

A

1967, rock n roll. Beatles

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2
Q

Appalachian spring

A

Copland, orchestral suite/ballet, 1944

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3
Q

Three places in New England

A

1911-1914, Charles Ives, early modern, chromaticism

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4
Q

Concord Sonata

A

1911-1915, pub 1920, early modern, Charles Ives.

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5
Q

Porgy and Bess

A

Gershwin, 1935, opera/musical, early modern

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6
Q

Rhapsody in Blue

A

Classical jazz/fusion, early modern, 1924

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7
Q

Quatuor pour la fin du temps

A

1940, Messiaen, modern, later 20th century.

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8
Q

Lyric suite

A

Berg, 1925, string quartet, 12-tone, early modern

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9
Q

Leningrad Symphony

A

Shostakovich, 7th sym. 1939-1940

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10
Q

Classical symphony

A

Prokofiev, 1916, neoclassicism

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11
Q

Le Sacre de printemps

A

Stravinsky, 1913, ballet, early modern

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12
Q

Petrushka

A

Stravinsky, 1911, neoclassical ballet

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13
Q

Firebird

A

Stravinsky, 1910

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14
Q

Dialogue of the Caramelites

A

Poulenc, 1956, late 20th century opera

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15
Q

Three-Penny Opera

A

Bertold Brecht/Kurt Weill, 1928, early modern

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16
Q

War Requiem

A

Britten, 1962, later 20th century

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17
Q

Peter grimes

A

Britten, 1945, opera

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18
Q

Ancient voices of children

A

George Crumb, 1970

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19
Q

Mikrocosmos

A

Bartok, 1926-1939, children piano music

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20
Q

Music for strings, percussion and celesta

A

1936, bartok

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21
Q

Prelude to afternoon of the faun

A

Debussy, 1894

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22
Q

Der Rosenkavalier

A

Strauss, 1911

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23
Q

Jephtha

A

Handel, oratorio, 1751

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24
Q

Alleluia Pascha nostrum

A

gregorian chant, used in the mass, ca. 800 (Leonin’s version written late 12th century)

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25
Q

Flow, my tears

A

1596, John Dowland, voice and lute, based on the dance the Pavan

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26
Q

L’Orfeo

A

Monteverdi, first opera, 1607, late renaissance, early baroque

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27
Q

L’incoronazione di Poppea

A

Monteverdi, 1643, developed more characterization, with recit with dissonace and chromaticism

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28
Q

Combattimento di Tancredi e Clorinda

A

Monteverdi, 1624, scena for three voices, first use of pizzicato and tremolo

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29
Q

The Triumphs of Oriana

A

1601, compiled by Morley, book of English madrigals in honor of Elizabeth the I

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30
Q

Cruda Amarilli

A

1600, Monteverdi, polyphonic, renaissance vocal music, 4th book of Madrigals, Artusi blamed it saying it was crude and that he had departed too much from the traditional renaissance polyphany

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31
Q

Pope Marcellus Mass

A

1652, Palestrina, in honor of Pope Marcellus, first freely-composed mass

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32
Q

Missa Hercules dux Ferrariae

A

setting of the Ordinary of the Mass composed by Josquin des Prez, and dedicated to Ercole d’Este I, Duke of Ferrara. The musical source material for the mass, the cantus firmus, is derived from the musical letters in the Duke’s name, a technique called soggetto cavato. Set in the C Hexachord

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33
Q

Missa prolationum

A

2nd half of 15th century, Johannes Ockheghem, uses progressive canon, incredible contrapunctal

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34
Q

Missa Mi-mi

A

Ockheghem,

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35
Q

Missa Se la face ay pale

A

Guillaume du Fay, 1450’s, cantus-firmus mass, used isorhythmic motet, used his own ballade Se la face ay pale, as the tenor voice. the borrowing from multiple voices makes it a cantus-firmus/imitation mass

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36
Q

Nuper rosarum flores

A

1436, du Fay, motet for opening of the Florence cathedral, synthesis of older isorhythmic style and new contrapunctal style

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37
Q

Sumer is icumen in

A

maybe Wycombe, 1260, oldest composition featuring 6-part polyphony

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38
Q

Messe de Nostre Dame

A

Guillaume de Machaut, ca 1360, earliest complete setting of the Ordinary of the Mass attributable to a single composer

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39
Q

Sederunt principles (4-v)

A

Pérotin, organum quadruplum, was composed for St. Stephen’s Day (26 December), 1199, for the dedication of a new wing of the Notre Dame Cathedral. His music, as well as that of Léonin and their anonymous contemporaries, has been grouped together as the School of Notre Dame.

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40
Q

In ecclesilis (polychoral)

A

Giovanni Gabrieli’s Magnum Opus,

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41
Q

Symphonie sacrae

A

Schutz, 1629, concerted Lain motets for various small combinations of voices and instruments. Strong influence of Monteverdi and Grandi

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42
Q

Saul, was verfolgst du mich

A

Schutz, 1650, large-scale concerto, 6 solo voices, two choirs doubled by instruments, two violins, continuo.

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43
Q

Dido and Aeneas

A

Purcell, 1689, year of William and Mary’s coronation

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44
Q

Well-tempered Clavier

A

Bach, 1722, 1740, 24 prelude and fugue pairs, one in each of the major and minor keys. Designed to demonstrate near-equal temperament

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45
Q

Goldberg Variations

A

Bach, 1741, took genre of keyboard variations to a new level. 30 variations. every third variation is a canon, starting at unison, then 2nd, etc.

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46
Q

L’Art de toucher le clavecin

A

Couperin, 1716. most important sources for performance practice of the French Baroque

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47
Q

Twelve solo sonatas, op. 5

A

Corelli, 1700, served as models for the next half century. firt major composer whose reuptation rests exclusively on instrumental music

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48
Q

Traité de l’harmonie

A

Rameau, Jean-Philippe. 1722, treatise on harmony won him renown as a theorist

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49
Q

The Art of Fugue

A

Bach, early 1740s, experimentation of monothematic instrumental works

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50
Q

A Musical Offering

A

Bach, 1747. canon and fugue based on the theme given to him by Frederick the Great

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51
Q

St. Matthew’s Passion

A

Bach, 1727. solo voices, double choir, double orchestra

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52
Q

Mass in B Minor

A

Bach, 1747-9

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53
Q

“Wachet auf, ruft uns die Stimme”

A

Bach, 1731, church cantata

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54
Q

Giulio Cesare

A

Handel, 1724, opera

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55
Q

Israel in Egypt

A

Handel, 1739, biblical oratorio

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56
Q

La Serva Padrona

A

Pergolesi, 1733, short opera buffa used as an intremedio between acts, around 45 minutes

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57
Q

Orfeo ed Euridice

A

Gluck, 1762, synthesis of French, Italian and German operatic styles

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58
Q

Essay on the True Art of Playing Keyboard Instruments

A

CPE Bach 1753-62. important source of information on the musical thought and practice of the period

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59
Q

Le Matin, Le Midi and Le Soir Symphonies

A

Haydn, 1761, first composed in the Prince Esterhazy

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60
Q

Farewell Symphony

A

Haydn, 1772, Symphony 45

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61
Q

London Symphonies

A

Haydn, 1790. orchestration expanded, with trumpets and timpani and clarinets. Symphony 94 called the Surprise Symphony.

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62
Q

Quartets, op. 33

A

Haydn, 1781, dedicated to the Grand Duke Paul of Russia

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63
Q

“Kaiser” Quartet

A

Haydn, 1796, 3rd quartet in Op. 76, dedicated to the Hungarian count von Erdody

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64
Q

The Creation

A

Haydn, 1798, oratorio, published in English and German, inspired by Handel’s oratorios, specifically the Messiah

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65
Q

Seven Last Words

A

Haydn 1785, orchestral work

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66
Q

“Dissonance Quartet”

A

Mozart, 1785. part of his last six quartets dedicated to Haydn. string quartet op 19

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67
Q

Symphony in G Major

A

Mozart, 1771, salzburg

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68
Q

Jupiter Symphony

A

Mozart, 1788, Symphony 41, his last symphony

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69
Q

Marriage of Figaro

A

Mozart, 1786, da ponte libretto

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70
Q

Don Giovanni

A

Mozart, 1787, based on Don Juan, da ponte libretto

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71
Q

Cosi fan Tutte

A

Mozart, 1789, opera buffa, da ponte libretto

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72
Q

Magic Flute

A

Mozart, 1791, uses singspiel, two acts

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73
Q

Fidelio

A

Beethoven, 1805, only opera, in German

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74
Q

Sonate pathetique

A

Beethoven, 1798, sonata 8, op 13

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75
Q

Midsummer Night’s Dream

A

Mendelssohn, 1842, incidental music

76
Q

Symphony 41 in C major

A

Mozart, 1788, the jupiter symphony

77
Q

Symphony no 5 in c minor

A

Beethoven, 1808

78
Q

Symphony no 104 in d major

A

Haydn, 1790, last symphony

79
Q

Sinfonia Eroica

A

Beethoven, 1804

80
Q

Pastoral Symphony

A

Beethoven, 1808, symphony 6

81
Q

Rasumovsky Quartets

A

Beethoven, 1806, quartets 7-9, commission by russian ambassador in vienna

82
Q

Appassionata Sonata

A

Beethoven, 1805-7, piano sonata 23

83
Q

Emperor concerto

A

Beethoven, 1811, concerto no 5

84
Q

Diabelli Variations

A

Beethoven, 1819-1823, variations on a waltz theme composed by Diabelli

85
Q

Missa Solemnis

A

Beethoven, 1819-1823

86
Q

Der Freischutz

A

Carl María von Weber, 1821, first German Romantic opera, used speaking

87
Q

Death and the Maiden Quartet

A

Schubert, 1824, his testament to death

88
Q

Wanderer Fantasie

A

Schubert, 1822, piano solo, 4 mvmts

89
Q

Trout Quintet

A

Schubert, 1819, with double bass instead of two violins

90
Q

Erlkonig

A

Schubert, 1815, lied, poem Goethe

91
Q

Die schone Mullerin

A

Schubert, 1823, song cycle poems by Muller

92
Q

Winterreise

A

Schubert, 1827, song cycle also by Muller

93
Q

Carnaval

A

Schumann, 1834, piano solo, 21 mvmts

94
Q

Kreisleriana

A

Schumann, 1834, dedicated to Chopin, 8 mvmts piano solo

95
Q

Symphonic Etudes

A

Schumann, 1834, piano etudes

96
Q

Dichterliebe

A

Schumann, 1840, “the Poet’s Love”, song cycle

97
Q

Frauenliebe und Leben

A

Schumann, 1840, follows a couple through life, 8 songs

98
Q

Symphonie fantastique

A

Berlioz, 1830, early Romantic, PROGRAM MUSIC

99
Q

Harold en Italie

A

Berlioz, 1834, second symphony

100
Q

Les Troyens

A

Berlioz, 1856-8, opera, libretto from Virgil

101
Q

Hebrides Overture

A

Mendelssohn, 1830, a stand along concert overture

102
Q

Italian Symphony

A

Mendelssohn, 4th symphony, 1833 (actually 3rd symphony he composed)

103
Q

Scottish Symphony

A

Mendelssohn, 1842, actually his 5th and last symphony

104
Q

Spring Symphony

A

Schumann, 1841, first symphony

105
Q

Elijah

A

Mendelssohn, 1846, oratorio

106
Q

Songs without Words

A

Mendelssohn, 1829-40, piano works, 8 volumes of 6 songs

107
Q

Barber of Seville

A

Rossini, 1816, opera buffa

108
Q

Lucia de Lammermoor

A

Donizetti, 1839, opera tragico

109
Q

Norma

A

Bellini, 1831, bel canto

110
Q

Les Huguenots

A

Meyerbeer, 1836, grand opera, 5 acts

111
Q

Carmen

A

Bizet, 1875

112
Q

Faust

A

Gounod, 1859, grand opera

113
Q

Les Préludes

A

Liszt, 1856, symphonic poem

114
Q

Annés de pélérinage (Years of Pilgrimage)

A

Liszt, 1835-8, solo piano suite

115
Q

Transcendental Etudes

A

Liszt, 1952, from 1937, piano etudes

116
Q

A Faust Symphony

A

Liszt, 1857, similar to symphonic poem, with each movement a different character from Goethe’s Faust

117
Q

Rigoletto

A

Verdi, 1851

118
Q

La Traviata

A

Verdi, 1853

119
Q

Don Carlos

A

Verdi, 1867 (french language)

120
Q

Aida

A

Verdi, 1870

121
Q

Otello

A

Verdi, 1887

122
Q

Falstaff

A

Verdi, 1893

123
Q

Tannhäuser

A

Wagner, 1845

124
Q

Tristan und Isolde

A

Wagner, 1859

125
Q

Die Meistersinger von Nürnburg

A

Wagner, 1867

126
Q

Der Ring des Nibelungen

A

Wagner, 1876, (die walkure, siegfried, das rheingold, gotterdamerung)

127
Q

Parsifal

A

Wagner, 1882

128
Q

Variations on a Theme by Haydn

A

Brahms, 1873, theme and variations

129
Q

Ein Deutsches Requiem

A

Brahms, 1865-6, sacred, non-liturgical in German

130
Q

Symphony no 4 in e minor, op 98

A

Brahms, 1885

131
Q

Romeo and Juliet Fantasy - overture

A

Tchaikovsky, 1870, symphonic poem in sonata form

132
Q

Pathetique Symphony

A

Tchaikovsky, 1893, first performance in october, 9 days before his death

133
Q

Swan Lake

A

Tchaikovsky, 1876, ballet

134
Q

La Boheme

A

Puccini, 1895

135
Q

Tosca

A

Puccini, 1899

136
Q

Turandot

A

Puccini, 1924

137
Q

New World Symphony

A

Dvorak, 1893

138
Q

Italienisches Liederbuch

A

Hugo Wolf, 1892

139
Q

Also Sprach Zarathustra

A

Richard Strauss, 1896, tone poem based on Nietzsche’s book of the same title

140
Q

Till Eulenspiegel

A

Strauss, 1894, tone poem

141
Q

Don Quixote

A

Strauss, 1897

142
Q

Salome

A

Strauss, 1905

143
Q

Elektra

A

Strauss, 1903-9, modern expressionist

144
Q

Songs of a Wayfarer

A

Mahler, 1884-5, song cycle

145
Q

Symphony no 2 “Resurrection”

A

Mahler, 1895 (first performance),

146
Q

Symphony of a Thousand

A

Mahler, 1906, Symphony no 8

147
Q

Kindertotenlieder

A

Mahler, 1901-4, lieder, 5 Ruckert poems, “late-romantic idiom”

148
Q

Das Lied von der Erde

A

Mahler, 1908-9, 6 movements, 2 voices

149
Q

Boris Godunov

A

Mussorgsky, 1872

150
Q

Pictures at an Exhibition

A

Mussorgsky, 1874, 10 movements for piano

151
Q

Scheherezade

A

Rimsky-Korzakov, 1888, symphonic poem

152
Q

Peer Gynt

A

Grieg, 1875, (norwegian), incidental music to a Ibsen’s play

153
Q

Prelude a l’apres-midi d’un faun

A

Debussy, 1894, beginning of modern music

154
Q

La Mer

A

Debussy, 1903-5, first work with “open form”

155
Q

Pelléas et Melisande

A

Debussy, 1898, opera

156
Q

Children’s Corner Suite

A

Debussy, 1908, 6 mvmt piano suite

157
Q

La Valse

A

Ravel, 1919-20, conceived as ballet, “choreographic poem”

158
Q

Gaspard de la nuit

A

Ravel, 1908, three pieces after Bertrand poems

159
Q

Daphnis et Chloe

A

Ravel, 1912, Diaghilev ballet

160
Q

Le Tombeau de Couperin

A

Ravel, 1914-17, neo-classical style, originally a piano suite, each mvmt dedicated to a friend lost in WWI

161
Q

Enigma Variations

A

Elgar, 1898-9, portraits of his friends, set of 14 variations of a theme, the “enigma”

162
Q

Fantasy on a Theme of Thomas Tallis

A

Vaughan-Williams, 1910, string

163
Q

The Planets

A

Holst, 1914-16

164
Q

Verklärte Nacht

A

Schoenberg, 1899, German late-romanticism, based on poem by Dehmel

165
Q

Pierrot lunaire

A

Schoenberg, 1912, song cycle for voice and orchestra, first use of sprechtstimme

166
Q

Moses und Aron

A

Schoenberg, 1930-2, 12-tone, opera, only 2 of the 3 acts

167
Q

Wozzeck

A

Berg, 1922, “avant-garde” style, uses leitmotivs, sprechgesang

168
Q

Lulu

A

Berg, 1935, opera, used tone-rows for each character, acting as a leitmotiv

169
Q

Symphony op 21

A

Webern, 1928, two parts, perfect mirror-images with his twelve tone rows- all have a same forward and backwards

170
Q

Rhapsody on a Theme by Paganini

A

Rachmaninov, 1934, based on Paganini’s 24 caprice

171
Q

L’histoire du soldat

A

Stravinsky, 1918, for 3 actors/1+ dancers and septet

172
Q

Les Noces

A

Stravinsky, 1917, dance cantata, ballet with vocalists

173
Q

Oedipus Rex

A

Stravinsky, 1927, oratorio

174
Q

The Rake’s Progress

A

Stravinsky, 1951, based loosely on paintings by William Hogarth

175
Q

Symphony of Psalms

A

Stravinsky, 1930, 3-mvmt choral symphony, neo-classical style

176
Q

Cinderella

A

Prokofiev, 1940-4, ballet

177
Q

La Marteau sans Maitre

A

Boulez, 1953-4, serialist

178
Q

Gesang der Jünglinge

A

Stockhausen, 1955-6, electronic work, voice matching with electronic sound, etc

179
Q

Poéme électronique

A

Varese, 1958 world fair

180
Q

Threnody for the Victims of Hiroshima

A

Penderecki, 1960, chromaticism

181
Q

Ionisation

A

Varese, 1929-31, 13 percussionists

182
Q

Philomel

A

Babbitt, 1964, serial, combines synthesizer with both real and recorded voice.

183
Q

Ancient Voices of Children

A

George Crumb, 1970, 5 mvmts, poems by Lorca,

184
Q

Einstein on the Beach

A

Glass, 1975, opera, staging by Robert Wilson

185
Q

Satyagraha

A

Glass, 1979, minimalist, based on life of Ghandi

186
Q

Nixon in China

A

John Adams, 1987, mixes Stravinskian 20th-century neoclassicism, jazz references, and big band, it’s “minimalist”

187
Q

Sequenza

A

Berio, 1958-1995, 14 pieces for solo instruments, use of extended technique

Music History (2 decks)

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