Required works details Flashcards
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Haec Dies (Chant) by Anonymous
- Early Middle Ages
- Gregorian chant
- soloist and chorus
- monophonic, responsorial performance, unmeasured rhythm
- joyous celebration of Easter celebration, Psalms Old testament
- N/A
This is the base (Cantus Firmus) for many other medieval compositions.
Haec Dies (Organum) by Anonymous
- Early Middle Ages
- Organum (Notre Dame School)
- soloist and chorus
- polyphonic (with monophonic sections) | two voices
- Old Testament—Psalms
- No plot
This anonymous work illustrates how the techniques of the Notre Dame School were applied to create polyphonic compositions. The Haec dies (Chant) served as the point of departure and became the structural framework for this new composition. Polyphony
Format: The cantus firmus is drawn from the original Haec Dies chant, while the upper voice is newly composed and more rhythmically active than the cantus firmus
O mitissima/Virgo/Dies by Anonymous
- 13th century
- polytextual motet
- three voices
- The two lower voices are part of the organum and the tenor is a cantus firmus from the chant Haec Dies.
- Musical character varies
- Poems in praise of the Virgin Mary
- Plot is N/A
Most frequently used intervals are perfect fourths, fifths and octaves. The cantus firmus involves a repeated rhythmic pattern consisting of long-long-short-long notes.
Ce Fut en Mai by Moniot D’Arras
- Mid 13th century
- monophonic chanson
- solo singer, monophonic
- Strophic form, consisting of 5 verses, with 12 short lines in each verse. Internal structure of each verse is AABB
- Text is Romantic and Sad, while the music is jolly and happy
- Secular poem
- The poem is about a man with no love and get comforted by a couple
Royal Estampie No. 4 by Anonymous
- late 13th century
- dance music (Estampie- an early medieval dance with a stately character)
- variable instruments
- sectional with open and closed endings
- no text
- no text
Found in the Chansonnier du Roy
Kyrie from Messe de Nostre Dame by Guillaume de Machaut
- around 1350
- Mass
- four voices, singers with instruments
- 3 sections, text follows ABA form
- sacred
- cantus firmus in tenor is based on the plainchant Kyrie from Gregorian Mass IV
This is the first complete polyphonic setting of the ordinary of the mass by a single composer. This Mass also introduced another voice into the traditional 3 voice style: the counterpoint.
Ave Maria … Virgo Serena by Josquin des Prez
- 1470s-1480s
- motet
- four voices a cappella , polyphonic
- opening couplet, 5 quatrains (four lines)
- sacred
- rhymed strophic poem
- reflects the exalted position held by the Virgin Mary
The text is mostly syllabic with a short melismas emphasizing key words.
Important Change from perfect intervals to thirds and sixths, while still keeping cadences on fifths and octaves
Gloria from Missa Papae Marcelli by Giovavnni Palestrina
- 1567
- Mass
- six voices a capella, polyphonic (with homorhythmic passages)
- Mass Ordinary (Second movement)
- Sacred sounding
- Mass Ordinary Gloria
A polyphonic setting of the five movements of the Ordinary to demonstrate the potential for achieving clarity in text setting within a simple polyphonic texture.
Sectional form reflects the structure of the text
Moro, lasso, al mio duolo by Carlo Gesualdo
- 1611
- Madrigal
- Five voices a cappella, polyphonic
- Secular poem accompanied by music
- the music reflects the character of the poem
- no plot
Highly chromatic opening passage Imitative texture contrasts with earlier chordal passages
My Bonny Lass She Smileth by Thomas Morley
- 1595
- English madrigal (Ballett)
- 5 voices a cappella with largely homophonic textures with some polyphony
- strophic poem (AABB within each stanza)
- Dance-like character with nonsense syllables adding a lively light-hearted mood
- Based on a Italian madrigal, transformed into an English ballett
- A romantic story of a woman’s lover
- No plot
Section A:
- Duple meter
- A lively- light hearted mood is created
- large syllabic setting and homorhythmic texture project the text with clarity
- homophonic text setting in the verses is alternated with more imitative writing in the “fa-la-la” refrains
Section B:
- switch from duple to triple meter on the “fa-la-la” refina in the B section
- same music is repeated for the second verse of text
The Carman’s Whistle by William Byrd
- 1591
- Keyboard music, also arranged for lute
- solo keyboard
- theme and variations
- lilting, cheerful
- based off of a popular 16th-century tune
- the title “The Carman’s Whistle” refers to the men whose occupation involved looking after the horses and carts that moved goods and supplies between farms and markets, whilst whistling.
L’Orfeo by Claudio Monteverdi
Overview:
- 1607
- Italian Opera
- orchestra
- prologue and five acts
- sad, deep and dark
- based on the Fables of Orfeo (Greek Mythology)
- Orfeo’s wife dies, then Orfeo goes to the underworld, loses her again after looking into her eyes, then Apollo feels pity on Orfeo, taking him to heaven to lead a happier eternal life
Tu se’ morta (L’Orfeo’s recitative)
Orfeo just learned that Euridice (his wife) is dead and resolves to retrieve her from the underworld in his grief.
- Demonstrates the new monodic style that defined early Baroque opera
- stile rappresentativo (a solo vocal line written in a declamatory style is supported by a simple framework of chords)
Ahi, caso acerbo (Chorus)
The chorus echoes Orfeo’s sorrow, lamenting the cruelty of fate.
- 5 voices act much like a Greek Chorus
- textual clarity achieved through primarily syllabic setting in the homorhythmic sections.
Dido and Aeneas by Henry Purcell
Overview:
-1689
- English opera
- orchestra
- 3 acts
- Sad romance
- Librettist was Nahum Tate
- Prince Aeneas and his men were sailing across the sea when their boat gets shipwrecked and land up is Carthage, where Aeneas falls in love with the queen. A witch tricks the couple inot believing that Aeneas needs to fulfill his destiny and leave Carthage. Queen then commits suicide
Dynamic string writing of the Italian tradition, the regal character of the French Overture, and the lyricism of the English vocal style
Dido’s Lament (Act 3 Final Scene)
Thy hand, Belinda (Recitative)
- Recitativo secco (accompanied by continuo only)
- Queen expresses her sorrow to Belinda, and prepares herself for death
When I am Laid in Earth (Aria)
- ground bass employed and has a chromatic line repeated eleven times
- solo vocal line soars above the continuo and string accompaniment.
With Drooping Wings (Chorus)
- A chorus of cupids gather to mourn Queen’s tragic fate with a poignant musical euology to Queen
Giulio Cesare in Egitto by George Frideric Handel
Overview:
- opera seria
- 1724
- A small ensemble, included muted violins, harp, and viola da gamba with oboe and violin doubling the vocal line
- 3 acts
- vivid and virtuosic
- Librettist is Nicola Haym
- based on ancient Roman history (Julius Caesar and his army arrive in Egypt, where Cleopatra needs Caesar’s support to regain the throne of Egypt from her brother Ptolemy. Cleopatra disguises herself as a servant and seduces Caesar. With Caesar’s support, Cleopatra secures her crown)
V’adore pupille (Cleopatra’s Aria)
Section A:
Dotted rhythm remains constant. Rhythm is inspired by the sarabande
Section B: contrast is created through the minor mode and new melodic and rhythmic motives. Restless and witful character
Da capo Section A
Singer embellishes the original melody with a variety of florid ornaments
Cantata No. 80 Ein feste Burg ist unser gott (Our Mighty Fortress is Our God)
by Johann Sebastian Bach
Overview:
- Cantata
- 1744
- SATB soloists, SATB Chorus, continuo, and pairs of oboes
- Eight Movements
- Religious
- Librettist is Salomo Franck, Basis chorale by Martin Luther
1st Movement (Choral Fugue):
Opening tenor melody is an embellished version of the original chorale
Brief interludes connect each fugal exposition
2nd Movement (Duet for Soprano and Bass):
Unison strings play an agitated sixteenth-note figure throughout
Bass beings with a complex countermelody featuring long melismas
5th Movement (Chorale for Unison Chorus):
In unison, strings and oboes play a melodic figure based on the opening of the chorale melody, now in compound time
8th Movement (Chorale):
Martin Luther’s melody is presented in its original form by the sopranos with harmonic support form the altos, tenors and basses.
The eight movements of this cantata are organized to create a balanced structure using full performing forces in movements one, five and eight to act as “pillars” supporting the imitate movements
Brandenburg Concerto No. 2 in F Major by J. S. Bach
- 1721
- concerto grosso
- string orchestra and continuo (ripieno) ; violin, oboe, recorder, and trumpet (Concertino)
- one of a set of six concertos (the first concerto has four movements, the others have three)
- no musical character
- no text
- no plot
Ritornello Theme:
Played by orchestra and soloists
Made up of four motives
- motives 1 and 3 are built around the outline of a tonic triad
- motives 2 and 4 are characterized largely by scale-type movement
A bright and cheerful mood is established
Opening ritornello dominates the entire work
Concertino Theme
Soloists take turns presenting the concertino theme, alternating with the ritornello theme
La Poule by Jean-Phillippe Rameau
- 1729
- Suite
- Harpsichord
- Binary form (AB)
- played in a spirited manner
- no text
- no plot
Section A:
- Opening motive consists of a series of repeated notes (imitating the clucking of a hen) followed by a broken-chord flourish
- Throughout the work, Rameau modifies the motive in a clever ways
- Rhythmic energy and brilliance by many agrements (ornaments) associated with the French keyboard
- Section A is repeated
Section B:
- Restates the opening measures in the dominant key
- Further develops the chromaticism heard in Section A
- Section B is repeated
Water Music Suite by George Frederic Handel
- 1717
- orchestral suite
- Baroque orchestra: strings, continuo, trumpets, horns, oboes, and bassoons
- 22 movements, arranged in three suites
- no text
- no plot
Hornpipe:
Ternary Form (ABA)
- Begins with a bold ascending figure
- prominent use of syncopation
- repeated-note motive treated sequentially
- high brass imitated by low brass
-bold and vibrant character established
Section B:
- less active
- featues the repeated-note figure from Section A
- Absence of brass creates contrast and a more mellow character
SECTION A RETURNS
London Symphony by Franz Joseph Haydn
-1795
- symphony
- 4 movements (demonstrating sonata cycle)
- symphony orchestra
- no text
- no plot
Sonata Form (monothematic exposition)
Ternary form with variations (Lyrical, Expressive Character)
Ternary form
Sonata Form
First Movement:
Introduction
- Homophonic texture is established as the introduction unfolds
- chromatic passages create an air of tension and mystery
- fermatas heighten the drama
- the full orchestra boldly announces an ascending perfect 5 followed by a descending fourth
Exposition
- An Elegant diatonic melody, played quietly by violins, outlines the tonic triad in symmetrical four measure phrases
- theme has a folk-like quality
Bridge
- vigorous transition covers a wide range
- broad leaps between upper and lower registers played forte
Second Theme
- It is actually the first them transposed to the dominant key, played instead by woodwinds and string
Codetta
- two string motives alternate
- contrary motion and syncopation contribute to the playful mood
- contrasting staccato and legato articulation
Exposition usually repeated
Development:
repeated note figure from the first theme dominatees the devlopment section
- tension is heightened through the use of differnce minor keys and contrasting dynamic levels
- dominant prepartion occurs over many measures, building up tension in prepartion for the return to the tonic key
Recapitulation
- first theme returns, played by the strings
- bridge
- second theme with countermelodies is played by the woodwinds
Coda
- increased rhythmic activity and strong final cadence draws the movement to a spirited close
The Creation by Franz Joseph Haydn
- 1798
- oratorio
- 3 parts, each containing multiple movements
- soprano, tenor, and bass soloists, SATB chorus, orchestra (with basso continuo for the recitatives)
- the book of Genesis and John Milton’s epic poem Paradise Lost
- Librettist was prepared by Baron Gottfried van Swieten
“And God said: Let there be light” (Uriel’s Recitative)
- Recitativo Secco, with sparce accompaniment
- declamatory style
- describes the fourth day of Creation on which God created earth and the heavens, sun, moon, and stars
“In splendor bright” (Uriel’s Recitative)
- Word painting
- recitativo accompagnato: begins with orchestral introduction, vividly painting the rising of the sun
- creation of the sun and moon
“The Heavens are telling the Glory of God” (Chorus and Trio: Gabriel, Uriel, Raphael)
- SATB chorus: Homorhythmic setting accompanied by orchestra
- final chorus expands once more on the opening melody alternating homorhythmic and imitative textures
Piano Concerto in G Major by Wolfgang Amadeus Mozart
- 1784
- concerto
- piano and orchestra
- 3 movements
- Musical character varies from movement
- no text
- no plot
First Movement:
Sonata with double exposition (also called first-movement concerto form)
Orchestral Exposition:
First theme: Unfolds in an elegant four-measure phrases with occasional chromatic appoggiaturas
Violins are featured, accompanied by graceful woodwind figurations
Bridge: played by the full orchestra
Second theme: a gently lilting figure featuring syncopation, with violins and woodwinds
Solo Exposition
First theme: piano plays a decorated version of the first theme
Bridge: Now featuring piano figurations
Piano Theme: a quiet playfulness is achieved by the angular melody
Second theme: presented by the piano and strings
Codetta: closing section
Development:
Features the piano theme
Modulates to various keys
Piano part presents rapid scale passages with woodwind accompaniment
Dominant preparation leads to the return to the home key
Recapitulation:
First theme is restated by strings and woodwinds
A decorated version of the first theme is played by the piano
Piano theme is followed by the second theme
Cadenza:
Preformed in an improvisatory manner, based on thematic material heard earlier
After Cadenza, the full orchestra with play a final concluding passage, leading to an authentic cadence in the tonic key
Marriage of Figaro by Wolfgang Amadeus Mozart
- 1786
- opera buffa
- sung
- four acts
- mood varies from act
- Plot Summary: Figaro and Susanna look forward to getting married. They realize that the Count has a desire to seduce Susanna before the marriage takes place. The Countess joins Susanna in laying a trap for the Count. In the final act, the two women switch identities by exchanging their outfits. The Count doesn’t realize until it is too late. In the final scene of the opera, he begs his wife’s forgiveness.
Overture: Modified Sonata
Exposition
First Theme:
- strings play rapid eighth-note figures
- a sense of joy and excitement
Second theme:
- contrast is created through a more lyrical and less active melody
Recapitulation:
First and second themes are restated
ACT 1: Figaro is measuring space for a bed, while Susanna tries on the hat for the wedding
Cherubino’s Aria: Sings of his attraction to women in Susanna’s room
- melody begins in the middle register and builds higher as his agitation increases
“Ah! Son perduto” (Recitativo secco:
Susanna, Count, Basilio): The Count also arrives in Susanna’s room with Cherubino hiding in the room. Later Basilio arrives in the room, causing the Count to also hide. Basilio tells Susanna about Cherubino’s love for the Countess, causing the Count to emerge angrily from his hiding place.
- recitativo secco, accompanied by continuo only
- speech-like declamatory style
“Cosa sento!” (Terzetto: Count, Basilio, Susanna): The Count expresses his rage over Cherubino; Basilio is pleased at the trouble his interference is causing; and Susanna is worried that the Count will discover Cherubino
- orchestral accompaniment
- sonata form employed
- the each character expresses their own emotions, creating contrast and a rich musical texture
Piano Sonata in C minor (Pathetique) by L. V. Beethoven
- 1798
- Piano sonata
- solo piano
- three movements
- sorrow and a brooding melancholy (Romantic and Sorrowful Mood)
- no text
- no plot
A connection could be made to the Sturm und Drang sentiments.
First Movement (Sonata Form) :
Introduction
- homorhythmic, chordal texture and crisp, dotted rhythms (Reminiscent of the French Overture)
- dramatic contrasts through marked accents, unexpected pauses, and abrupt changes in volume
- Diminished seventh for increased tension and suspense
Exposition:
First Theme:
- agitated quality is amplified by staccato articulation
Bridge:
- modulation away from tonic key
- incisive syncopation moves the music forwards
Second Theme (Theme 2a)
- sharp contrasts in music
- unexpected modulation
- melody and bass move outward in contrary motion
Codetta:
- A fragment of the first theme is used
- exposition is repeated
Development:
- Bridge material is combined with the introductory material
- Suspense is generated by the extended dominant preparation
Recapitulation:
- first theme returns
- bridge has been eliminated and the first theme expanded to act as transition
- second theme returns
- codetta returns
Coda:
recalls fragments from the introduction
- ends with strong authentic cadence
Second Movement (Rondo Form A B A1 C A2) :
Section A:
- melody is accompanied with a broken chord figure also written for the right hand
- repeated one octave higher
Section B:
- new melodic material is presented in the right hand with a repeated-chord accompaniment in the left hand
Section A1:
- Section A melody returns, no repeat
Section C:
- insistent triplet accompaniment creates a brooding tone
Section A2:
- Section A melody returns accompanied by the triplet figure carried over from Section C
Coda:
- reiterates authentic cadences several times
Third Movement (Rondo ABACA1BA2) :
Section A:
- agitated melody
- melody has a wide range, played softly and embellished with grace notes
Section B:
- features a right-hand melody based on scale passages accompanied by left-hand broken- chord figures
- descending scale passage leads to a fermata over a dominant seventh chord in preparation for the return of
Section A:
- Exactly the same
Section C:
- contrapuntal textures with lines moving in contrary motion
- features syncopation
- descending staccato scale passage; first in the left hand and then in the right hand
- extended dominant preparation
- descending scale passages (Identical to the end of Section B) prepares for the return of Section A
Section A1:
- Begins like the original Section A
- ending has been altered to lead directly into Section B without an authentic candence
Section B2:
- Shortened; omits the descending scale passage
Section A2:
- opening notes have been omitted
- Shortened; leads directly into the coda
Coda:
- after a brief reference to the opening of Section A, a final descending scale passage leads to a forceful authentic cadence
