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DMA Comps > Romantic 1825-1900 > Flashcards

Romantic 1825-1900 Flashcards

1
Q

Albeniz, Issac

A

1860-1909

Spanish composer and pianist

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2
Q

Allgemeine musikalische Zeitung

A

A newspaper dedicated to musical life founded in 1789 by Breitkopf und Hartel of Leipzig
Articles on musical subjects, reviews of performances and scores, correspondence reports from other cities, musical supplements
Template for other musical journals popping up around Europe

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3
Q

Arpeggione

A

A bowed guitar invented by JG Staufer in 1824
Cello-sized with curved bridge and fingerboard
Some Schubert written for it but now played on the cello

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4
Q

B.A.C.H.

A

Letters of Bach’s surname
Bb, A, C, B natural which the series of pitches have been used in works (especially by fugue subjects) by various composers including Bach himself (The Art of the Fugue). Other composers: Schumann, Liszt

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5
Q

Balakirev, Mily

A

1837-1910
Russian composer who organized and led “The Five”
Champion of Russian music
Established New School of Music to rival St. Petersburg Conservatory
Wrote mostly orchestral music, songs and a few piano works

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6
Q

Ballad

A

Strophic narrative song with sentimental text
Moderate or slow tempo
Form consisting of two or more 16-measure strophes, each followed by an 8 bar refrain
Sometimes known as ballad/refrain
19th century = Carl Loewe

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7
Q

Bayreuth

A

Theater designed by Wagner to his own specifications of his works in Bavarian town of Bayreuth
Theater finished in 1873, first cycle of the ring in 1876

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8
Q

Beethoven, Ludwig van

A

1770-1827
Composer born in Bonn, later lived in Vienna
Composition lessons from Haydn and maybe a few from Mozart
Improvising on the piano
Lost hearing in 1801 which led him to write the HEILIGENSTADT TESTAMENT
Early works- 1801 = 18 string quartets, pathetique sonata, first and second symphonies
Middle works “Heroic” 1802-1811 characterized by larger scale and scope including Eroica symphony number 3, the 4th-6th symphonies and Waldstein sonata, triple concerto and his only opera Fidelio.
Late period 1812-1827 = 8th and 9th symphonies, five piano concertos, one violin concerto, 15 string quartets, 32 piano sonatas, 10 violin sonatas and 5 cello sonatas, vocal music, wind band music and a Battle Symphony

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9
Q

Bellini, Vincenzo

A

1801-1835
Italian composer of 10 opera seria
Principal librettist Romani
Last opera I Puritani - composed for France with text by Pepoli
He only composed operatic music after his student days
Norma 1831 is the best known opera
Subject typical of Romantic opera - hopeless loves, violent death
Arias more flexible and lyrical

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10
Q

Bennett, William Sterndale

A

1816-1875
English composer and virtuoso pianist
First piano concerto interested Mendelssohn
1849 found the Bach society - conducted giving the English premiere of the St. Matthew passion

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11
Q

Berlioz, Hector

A

1803-1869
Leading spokesman for Romanticism in France
Campaigned in favor of Beethoven, Weber and Gluck
Wrote articles and reviews for periodicals in Paris
He won the Prix de Rome in 1830 with his cantata La Derniere Nuit de Saranapale
Most famous work also his first major one - the Program music Symphony Fantastique with its recurring idee fixe
the hero and beloved of the piece represent Himself and the actress Harriet Smithson, who he had never met when the piece was first performed
Sought to connect his music with its program by imitating musical sounds that already have fixed associations by expressing emotions musically
He published his comprehensive Grand Traite d’instrumentation et d‘orchestration in 1844
Operas: Les Troyens 1856-8, program symphonies, sacred music, choral and vocal music and songs

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12
Q

Bizet, Georges

A

1838-1875
French pianist and composer of the opera Carmen 1875, which was not received well during his lifetime because of the subject matter
Seguidilla and habanera
Elements of the opera lyrique and Italian opera (toreador song)
Won prix de Rome in 1857
Operas, overture, piano pieces and songs

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13
Q

Boito, Arrigo

A

1842-1918
Librettist and composer
Collaboration with Verdi led to Simon Boccanegra 1881, Otello 1887, Falstaff 1893

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14
Q

Borodin, Alexander

A

1833-1887
Russian chemist and medical researcher and member of “The Five”
Opera Prince Igor, two string quartets, In the Steppes of Central Asia, Three symphonies
Included by Mendelssohn and championed by Liszt
Incorporated melodic inflections of Russian Folksong

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15
Q

Brahms, Johannes

A

1833-1897
German composer
Pitted against the “New German School” of Liszt and Wagner
Style tends to be conservative and “classical” especially in form
Dense sonorities, many parallel sixths and thirds, pedal points, “flat side” harmonies, metric displacement
4 symphonies, violin concerto, two piano concertos, double concerto for violin and cello, string quartets, quintets and sextets, piano trios, quartets and a quintet, a trio with horn, trio with clarinet, sonatas for solo piano, violin, cello and clarinet, songs, chorale preludes for organ, orchestral and choral works including his German Requiem

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16
Q

Breitkopf, Johann Gottlob Immanuel

A

1719-1794
One of the most versatile figures in the history of German publishing and printing
Breitkopf firm founded by his father in 1719 and achieved greater importance when Immanuel took it over
Invented new typographical models
Divisible and movable types introduced in 1754 improved the system of printing notation and music could be published with much larger editions
Virtually all notable composers tried to have their music printed by the Breitkopf firm
Published catalogues of all available works
Hartel took over in 1796 and came to be known Breitkopf-Hartel from that point on

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17
Q

Bruckner, Anton

A

1824-96
Austrian organist and composer
Many sacred works (style influenced by Mozart and Caecilian movement which urged the emulation of older styles of church music including Gregorian chant and 16th century polyphony (Palestrina))
9 symphonies (all in 4 movements and expand the sonata-allegro form)
Outter movements thematically related, and beginning movement begins with nothing a soft indistinct harmonic or tremolo of strings

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18
Q

Bulow, Hans von

A

1830-1894
Pianist and conductor
Supporter of new German school of Wagner and Liszt
Conducting premiers of Tristan 1865 and Die Meistersinger 1868
Composed symphonic and piano pieces and edited piano pieces by other composers

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19
Q

Carnicer, Ramon

A

1789-1855
Most admired Spanish composer of the first half of the century
Wrote operas in the Italian style with italian librettos
Cristoforo Colombo 1831 by Romani

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20
Q

Cavatina / Cabaletta

A

Type of aria 19th century Italian opera
Cavatina is the entrance aria of a principal singer, moderate or slower than moderate tempo
Paired with the more athletic cabaletta featuring virtuosic soloist im displays (Lucia di Lammermoor Act 3)

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21
Q

Caecilian movement

A

Movement within the Roman Catholic Church especially in German countries to reform music in the spirit of 19th century Romantic historicism

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22
Q

Chabrier, Emmanuel

A

1841-1894
French composer of operas who adopted the Wagnerian manner
His opera Gwendoline 1886 prominent love duet often thought to be reminiscent of Tristan
Wagnerian chromaticism throughout
Chabrier’s style more typically reminiscent of Debussy with colorist use of augmented chords and juxtaposition of root-position chords in nonfunctional successions

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23
Q

Character pieces

A

Late 18th and 19th century any of a wide variety of kinds of program music
Principally short, lyric piano piece
Usually evokes a particular mood or scene, with a descriptive title
Mendelssohn’s op 7 Charakterstucke 1827 and Schumann’s Davidsbundlertanze op 6 1837
Little distinction between program music and characters pieces
Song forms ABA most common for individual pieces

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24
Q

Chopin, Frederick

A

1810-1849
Polish pianist and composer who settled in Paris
Most of his performing career was in private salons rather than concert stage
He supported himself by the printing of his works
Composed almost exclusively for the piano, but also two piano concertos, few works for piano and orchestra, piano trio, cello sonata, and nineteen polish songs
His solo piano music fall into neat musical categories: three sonatas, 24 preludes (in all major and minor keys), two sets of Etudes, 22 nocturnes, four ballades, three impromptus, Fantaisie-Impromptu, and music derivative of dance (Mazurkas, Polonaises, Austrian Waltzes).
Style characterized by exploitation of the romantic piano sonority and proclivity for obscuring tonal syntax by means of linear chromatic motion

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25
Q

Clementi, Muzio

A

1752-1832
Italian composer, music publisher and pianist
Wrote mostly for piano, two symphonies, piano concerto

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26
Q

Cornelius, Peter

A

1824-1874
Friend of Wagner
Composed two worth dramatic works:
Der Barbier von Bagdad 1858, and Der Cid 1865, neither survived for more than a few performances bc it was hard to outshine Wagner

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27
Q

Csardas

A

Hungarian dance form first known about 1840 in the ballrooms of Pest, the Hungarian capital
Alternating slow and fast sections sharply accentuated rhythms with many dotted figures and triplets, colorful violinistic ornamentation and paraphrase

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28
Q

Cui, Cesar

A

1835-1918
Russian military engineer and composer now the least known of “The Five”
6 full length operas, a many shorter dramatic works
His music shows little influence from Russian folk music or subject matter
Also wrote short piano and chamber compositions

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29
Q

Czerny, Carl

A

1791-1857
Bohemian pianist, teacher and composer born in Vienna
Pupil and friend of Beethoven
Known for his prodigious output of keyboard exercises
Edited keyboard music of Bach and Scarlatti and made piano arrangements of many works of Beethoven, Haydn and Mozart

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30
Q

Des Knaben Wunderhorn

A

“The Youth’s Magic Horn”
A group of German folk-song texts collected and published in three volumes
Mahler composed settings of a number of these texts both as songs (some with orchestral accompaniment) and in several of his symphonies including the second, third and fourth

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31
Q

Davidsbund

A

Schumann frequently wrote of an imaginary League of David that was to oppose the Philistines of his day
First edition of Davidsbundlertanze each piece is signed either E or F (or both) for Eusebius and Florestan who represented respectively, Schuammn’s pensive, introverted and impulsive, extroverted sides

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32
Q

D’Indy, Vincent

A

1851-1931
French composer
Harmonic language mixes “impressionistic sounding” juxtaposed diatonic chords with roots a tritone apart, augmented triads and altered-seventh sonorities
Included Wagnerian chromaticism, symptomatic of French music at the fin de siecle

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33
Q

Dithyramb

A

An Ancient Greek song in honor of Dionysus

A title for works of the 19th and 20th century the term suggests music of a passionate Dionysian character

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34
Q

Donizetti, Gaetano

A

1797-1848
Bel canto opera composer
First wrote instrumental and church music
Long fruitful relationship with the librettist Felice Romani (Il Pirata, Milan 1822)
Many of his late works written for the Theatre Italien in Paris
Turned more towards opera seria which featured internal scenes comprising scena and aria, unaccompanied secco recit, accompanied arioso for dramatic high points
Donizetti’s harmonic language is quite simple and use of melody more stereotyped and less adorned than like Bellini

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35
Q

Dussek, Jan Ladislav

A

1760-1812
Pianist and composer
Early touring concert pianist
Wrote most of his works for piano or including piano
Early works in Classical style but last 20 show Romantic characteristics in the expression markings, use of full chords, choice of keys, frequent modulations to remote keys and use of altered chords and non-harmonic notes
harmony includes wider range of chords and considerably more chromatic than of Mozart/ Haydn/ Beethoven
Piano style is brilliant and virtuosos in character
Remarkably popular in his lifetime

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36
Q

Dvorak, Antonin

A

1841-1904
Czech composer and violinist
He achieved great reconciliation (even tho he was Czech) bc of support from Brahms and Hanslick
Traveled to England and Russian and lived for 3 years in the US
Earliest style relies on the classical models from Beethoven and Schubert and in general his works are conservative
Strongly influenced by the folk music of his native Bohemia in his use of the modal-sounding flat seventh in minor, drone accompaniment and start root-position sonorities
Wide rage of genres but most known for large instrumental genres, symphony, string quartet, chamber compositions with piano, piano pieces, concerti (one for cello and one for violin) songs, and oratorio, cantatas and operas (Rusalka 1900)

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37
Q

Eclogue

A

A poem in which shepherds converse
In classical antiquity they were written by Theocritus and Virgil
16th century sometimes written as plays and staged forming early part of pastoral tradition from which operas drew
Term is used as a title for piano pieces with a pastoral character. Tomasek, Frank, Liszt and Dvorak

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38
Q

Elgar, Edward

A

1857-1934
First strong native English composer to appear on the scene since the early 18th century
Enigma Variations 1899
Orchestral textures are reminiscent of Brahms but harmonic language comes closer to mature Wagner style

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39
Q

Endless Melody

A

Wagner’s ideal, outlined in Oper und Drama, musical continuity and avoidances of cadences creating a sense of continuous melody

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40
Q

Faure, Gabriel

A

1845-1924
Fin de siecle French composers
French song/ melodie
His songs chronicle growing sensitivity to text-music relationships and increasingly individual harmonic style with strains the limits of tonal syntax
Root-motion by thirds, seventh and ninth chords in new contexts
Whole tone sounds all appear in the melodies of Faure

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41
Q

Faust

A

Drama by Geothe
inspired Liszt to write his Faust Symphony 1857
Berlioz La Damnation de Faust (orchestra and chorus 1846)
Gounod - five act opera 1859
Faust is the hero of several medieval legends, an old philosopher who sells his soul to the devil in exchange for knowledge and power

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42
Q

Field, John

A

1782-1837
Irish virtuoso pianist, composer and student of Clementi
most of his career in Russia
Short piano pieces representing the bulk of his output
Tonic pedal points allow for lavish pedal use, which Schumann later signaled out as Field’s primary contribution to Romantic musical style

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43
Q

Florestan, Eusebius, Raro

A

Members of the imaginary Davidsbund battled the Philistines of contemporary culture
Schumann Used these characters in his essays and reviews against the prevailing musical taste in German society
Eusebius = pensive introverted
Florestan = impulsive extroverted

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44
Q

Franck, Cesar

A

1822-1890
Belgian organist and composer
Taught Duparc and Chausson
Campaigned for the cause of avant-garde music creating a schism between them and the reactionaries led by Saint-Saens
After hearing Tristan prelude in 1874 he converted to writing strong chromic idiom (shown in organ compositions)
Most famous pieces are late ones: The oratorio Les Beatitudes 1879, piano quintet 1879, symphonic variations for piano and orchestra 1885, symphony in d minor 1888, violin sonata in A 1886, single string quartet 1889

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45
Q

Gesamtkunstwerk

A

Term coined by Warner in his essay Opera und Drama 1851
Poetry, scenic design, staging, action, and music are seen as aspects of a total scheme
Concept was primary importance to Wagner’s music drama which was an attempt at creating the ultimate art form which linked together all various arts (music, singing, dance, poetry, writing, painting, sculpture) in one complete whole
Wagner believed it was a return to the artistic ideals of classical Greece and Rome

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46
Q

Gilbert and Sullivan

A

Composes of English operettas proved to be the most distinctive English musical drama of the century
Sullivan English music student studied at Leipzig conservatory same time as Grieg, entered into partnership with Gilbert in 1875 to write one-act “afterpiece” to an Offenbach opera
Broad parody and witty absurdities in Gilbert’s texts are matched by Sullivan’s array of borrowed and adapted styles (ranging from Handelian recit to Gounod like sentimental airs and Italian bel canto)
These two men single-handedly created the tradition of English operetta

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47
Q

Glinka, Mikhail

A

1804-1857
Composer known as the founder of Russian opera A Life for the Czar 1836
the work blended together current styles in French and Italian serious opera with a nationalistic Russian flavor (inclusion of folk and folk-like melodies)
Repetitions of tiny melodic modules, irregular meters (5/4) and pentatonic construction give their Russian Flavor
Later operas have a constant repetition of a simple line against a perpetually changing accompaniment background

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48
Q

Goethe

A

Quintessential German Romantic Poet
His poetry known throughout Europe and inspired some of the greatest work of the 19th century most of which were Lieder (Schubert, Schumann, Wolf)
Kennst du das Land
Opera - Faust

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49
Q

Gottschalk, Louis Moreau

A

1829-1869
Virtuoso pianist and composer from New Orleans
Who’s elaborations of Creole melodies first excited French audiences in 1844
Piano piece, The Last Hope 1855 one fo the most popular parlor pieces of the time

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50
Q

Gounod, Charles

A

1818-1893
Composer of opera-lyrique
He also wrote church music, piano and instrumental ensemble music, 200 songs in various languages
Greatest achievement was Faust 1859 (declamatory singing within)
Simple stereotyped harmonic language

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51
Q

Grand opera

A

Opera in France after 1820 strove to appeal to the uncultured masses by stressing spectacle
increase in numbers of ballets, choruses, crowd scenes
Leaders: Eugene Scribe (1791-1861), Giacomo Meyerbeer (1791-1864), Louis Verson (1798-1867)
Meyerbeer: Robert Le diable 1831, Les Huguenots 1836
Rossini Guillaume Tell 1829
Grand opera influenced later composers such as Bellini (I Puritani), Verdi (Aida), Wagner (Rienzi)

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52
Q

Grenados, Enrique

A

1867-1916
Spanish composer and pianist remembered mainly for his piano compositions which reflect traditional rhythms and melodies of his native land
Well known work: suite for piano - Goyescas

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53
Q

Grieg, Edvard

A

1843-1907
Norwegian national composer
Best works are short piano pieces, incidental orchestral music to plays
Tends to write consistently in two and four-bar groups
Nationalism most apparent in vocal works, modal melody and harmony (Lydian raised fourth, Aeolian lowered seventh), drone basses
His piano style is reminiscent of Chopin

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54
Q

Hanslick, Eduard

A

1825-1904
Progressive music critic in Vienna
Schumann invited him to Dresden
Championed Brahms, disliked Wagner, Liszt and Berlioz

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55
Q

Hegel

A

1770-1831
German writer and philosopher who wrote Lectures on Aesthetics
He portrayed the arts as the embodiment of Geist which refers to the human mind and the entire universe

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56
Q

Heiligenstadt Testament

A

October 6-10 1802
The most striking confessional statement in the biography of Beethoven
Found among his papers after his death, showed the manic swings between melancholy and mania and the depths of his suffering that he was enduring throughout his life

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57
Q

Hoffmann, ETA

A

1776-1822
German writer and composer
His fantastic tales epitomized one aspect of Romanticism, the fascination of the supernatural and the expressively distorted or exaggerated
He wrote vivid and forceful reviews of the music of his time
His works as a composer have often been neglected

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58
Q

Von Hoffmannsthal, Hugo

A

1874-1929
Viennese poet, dramatist and librettist
He wrote libretti fora number of Richard Strauss’s works including Elektra (1909), Der Rosenkavalier (1909-1910) and Ariadne auf Naxos (1912)

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59
Q

Hugo, Victor

A

1802-1885
French poet, novelist and playwright who was part of a Parisian group of artists including Liszt
He challenged the Classical prescriptions for language and manners
His violation of “the unity of place” and his breaking of established poetic rules, and use of every-day speech for exalted characters
HIs followers in the debate were Berlioz and Liszt.

60
Q

Hummel, Johann Nepomuk

A

1778-1837
Austrian pianist, composer, teacher and conductor
During his time one of Europe’s greatest composers and perhaps the greatest pianist
As a composer he stands on the borderline between epochs
His works: operas, Singspiels, symphonic masses, sacred works, occasional pieces, chamber music, songs and concertos and solo piano music (no symphonies)
Stylistically late Classicism, homophonic textures, Italianate melodies, Alberti accompaniments

61
Q

Humperdink, Engelbert

A

1854-1921
Handel und Gretel 1893 innocent melody and Wagnerian orchestral textures was the only opera (besides those of Wagner) that appealed to the German public before the turn of the century
Served as Wagner’s assistant in Bayreuth

62
Q

Idee fixe

A

Berlioz’s term for the recurring musical idea linking several movements of his Symphonie fantastique and associated in its program with the image of the beloved
Symphonie fantastique: Berlioz’s cyclic program symphony which includes the recurring idee fixe and the use of the Dies irae.
Typical of the 19th century the subject material is taken from the dream
First movement, modified sonata form
Second - waltz
Third - pastorale (adagio in two-part form)
Fourth - March to the Scaffold
Fifth - introduction and Allegro
Unity is achieved both through the recurring theme and through the evolution of the dramatic idea of the program

63
Q

Kalkbrenner, Friedrich

A

1785-1849
French pianist, teacher and composer of German extraction
One of the first performers to establish an international career
Kalkbrenner’s technique: parallel to the keyboard, the forearm rested, the independence of fingers
Concentrated mainly on the piano as a composer
Works sometimes foreshadows Chopin

64
Q

Leitmotif

A

Musical theme of motive associated with a particular person, thing or idea in the drama
The association is established by sounding the leitmotif (usually in the orchestra) at the first appearance or mention of the object of reference and by its repetition at each subsequent appearance or mention
Associated with the operas of Wagner but also found in Verdi and Weber

65
Q

Leoncavallo, Ruggiero

A

1858-1919
Italian composer of operas in the verismo style
He wrote libretto and music for I Pagliacci 1892.
Rich harmonic language with many V7 and o7 chords, and continuous flow blurring the lines of recit and arioso

66
Q

Lied

A

Lieder of the 18th century were short, idyllic and strophic
19th century composers preferred a new type of song used by Zumsteeg (1760-1802) called the ballad which was long and often involved alternating narrative and dialogue, romantic adventure and supernatural incidents
The greater length of ballads necessitated greater variety of themes and textures and thus required some means of imposing unity on the whole
Contrasts of mood and movement of the story were captured and enhanced by the music
The piano rose in prominence sharing the task of portraying the text

67
Q

Liszt, Franz

A

1811-1886
Hungarian composer and pianist
Famous for being a virtuoso pianist and for the brilliant piano compositions
Remembered today as the inventor of the program symphony and symphonic poem
He wrote pieces in free form and broke away from Classical period forms
Rhapsody, Fantasia, Nocturne, Elegie and Ballad were some of his piano titles
Foreshadowed the innovations of Wagner and some believe perhaps even the atonal melodies and polytonal harmonies of the 20th century in his use of cyclic structural device and experiments with chromatic harmonies, unconventional melodies
Wrote dozens of piano transcriptions
Symphonic poem: Les Preludes, Prometheus, Mazeppa, Die Hunnenschlacht
Program symphonies: Faust Symphony, Dante Symphony
Large Choral works: oratorios- Die Legende der heiligen Elisabeth, Christus and the Hungarian Coronation Mass

68
Q

Lobkowitz

A

1772-1816

Prince and patron of Beethoven to whom the “Eroica” symphony was dedicated

69
Q

Loewe, Carl

A

1796-1869
Conservative German composer best known for his ballads for voice and piano
Favored texts by Goethe and Herder and showed a fondness for the horrific and supernatural
Musical style is similar to Zumsteeg and early Schubert
Also wrote five operas and several oratorio

70
Q

MacDowell

A

1860-1908
American composer who lived and studied for 10 years in Germany
Second piano concerto in D minor and last piano sonata (Keltic, dedicated to Grieg)
His music tend to include titles or poems which suggest musical moods and pictures

71
Q

Mahler, Gustav

A

1860-1911
Austrian composer and conductor
10 symphonies among the finest monuments to the declining years of the Austro-German domination of European music and led to the developments which were to revolutionize the Viennese tradition in the works of Berg, Schoenberg and Webern.
4 symphonies used voices and achieved a synthesis of song and symphonic form which has remained inimitable
Great conductor of oepra

72
Q

Marchenoper

A

“Marchen” meaning “tales” pieces of music with some suggestion of traditional or legendary forms
“Oper” meaning “Opera”

73
Q

Mascagni, Pietro

A

1863-1945
Italian composer and conductor of orchestral music and opera
Took over for Toscanini at La Scala
Most famous for his one act opera: Cavalleria rusticana 1888
Possessed genuine flair for popular melody approaching Italian folk-song

74
Q

Massenet, Jules

A

1842-1912
French composer of highly popular operas that made him one of the richest musicians of his time
Herodiade, 1881, Manon 1884, Le Cid 1885, Werther 1892 and Thais 1894
Won Prix de Rome at 20

75
Q

Mazurka

A

A polish dance in 3/4 meter with strong accents on the second or third beat of the measure
Spread throughout Europe in the mid 18th century becoming immensely popular
A dance by 4, 8 or 12 couples
In the 19th century the rhythms of the mazurka attracted composers simply as an instrumental form
The most famous mazurkas are the 52 written by Chopin for piano
Other composers: Tchaikovsky, Glinka and Mussorgsky

76
Q

Melodie

A

19th century French term for “song”
French composers wanted to denote not a simple Air but the more complex “art song”
Faure, Duparc, Debussy
They chose verse from contemporary writers, Victor Hugo, Verlaine, Baudelaire
Vocal lines maintained a suppleness directly dependent on the French language and the kind of poetry chosen (influenced by Symbolist, Impressionist, Fauvist, Cubist and other movements)
Inspired piano accompaniments which supported the general mood of the poem rather than being specifically realistic or minutely illustrative

77
Q

Melodrama

A

Popular type of entertainment with spoken text and pictorial accompanying music cultivated by Benda and Zumsteeg

78
Q

Mendelssohn, Fanny

A

1805-1847
Felix’s sister received excellent music education at home and also became a composer
Four books of songs, collection of part songs, Lieder hone Worte for piano
Believed to have exercised considerable influence on her brother’s compositions

79
Q

Mendelssohn, Felix

A

1809-1847
German composer and conductor remembered mainly for song like melodies
Overture to Shakespeare’s A Midsummer Night’s Dream at 17, last three symphonies in standard rep today (No3 Scotch, No4 Italian, No5 Reformation), concert overtures, two piano concertos, violin concerto, oratorio (St. Paul and Elijah) eight books of Lieder ohne Worte (songs without words), dozens of songs, numerous chamber works
Revived music of Bach, conducted St. Matthew Passion in 1829

80
Q

Meyerbeer, Giacomo

A

1791-1864
German composer of French Grand Opera
Composed several operas in the Rossini manner all of them successful in Italy but despised in Germany where Weber was King
At 25 he lost interest in the Italian style and moved to Paris
He met Scribe (famous librettist) and wrote his first grand opera Robert le diable
Les Huguenots 1836 - less because of musical qualities and achieved success because of its dramatic and scenic flair which can only be compared with that of the Hollywood film epics of the 1930s.

81
Q

Mighty Five

A

A group of Russian composers who banded together in the 1860s in response to the old-fashioned teaching of the St. Petersburg Conservatory
The group included: Balakirev, Borodin, Cui, Mussorgsky and Rimsky-Korsakov
They used folk songs and folk-tales in their music with prominent modal elements
The group did not stay together long and they really had no unity of style or doctrine and moved on to different directions

82
Q

Music drama

A

Lohengrin is original in the way the symbols, expressed by thematic material stated in the overture are used throughout the drama coming together at the end in a kind of analogy to a symphonic recapitulation… it was this analogy with symphonic style which gave Wagner the opportunity of creating a new kind of opera, which he called the “music drama”
Important features: subject matter based on legend and deal with archetypal concepts applicable to mankind as a whole rather than to specific men
Music should be constructed so as to follow the sense of the drama and not impose its own pattern upon it (recit and aria must be replaced by continuous flow, halted by few cadences)
Use of leitmotivs in the orchestra for dramatic effect

83
Q

Mussorgsky, Modest

A

1839-1881
Russian army officer, civil servant and member of “The Five”
Many of his works are incomplete because of alcoholism and disordered lifestyle
His piano suite Pictures at an Exhibition (later orchestrated by Ravel) effectively shows his propensity for dramatic scenes and visual stimuli
Influenced by Realism = direct and unadorned presentation of subjects from ordinary life, Russian peasant
This theory led to several unfinished operas and a number of songs characterized by a severely naturalistic (syllabic) declamation that persisted through later songs
Boris Godunov his only complete opera
a loose assemblage of tableau’s which the composer connects musically through the use of specific melodic and harmonic motives associated with dramatic acts and persons
Idiosyncratic harmonic style which included frequent use of tonic pedals and unresolved dissonant sonorities

84
Q

Mystic chord

A

Promethean chord
Chord = c-f#-Bb-e-a-d (superposed fourths) by the Russian composer Skryabin
Forms the harmonic basis of many of his works including the tone poem Promethee 1911 from which work the chord takes its alternative name

85
Q

Nationalism

A

A widespread movement of the 19th century emphasized national musical characteristics especially found in a country’s folk songs, dances, and legends
Russian, Bohemia, Norway, Finland, Hungary, Romania, Spain and England
Earliest example is Glinka’s opera A Life for the Czar 1836
Mussorgsky’s opera Boris Godunov
Smetana’s The Bartered Bride (Bohemian peasant life with folk dances and other elements of folk music)
Grieg in Norway
Dvorak in Bohemia
Sibelius in Finland
Granados, de Falla Spanish dance rhythms
Janacek in Moravia
Bartok and Kodaly in Hungary
Szymanowski in Poland
Elgar and Vaughan Williams in Great Britain
Chavez in Mexico
Gilbert, Ives, Harris Gershwin, Copland in the US

By 1900 the movement had declined
In the middle of the 20th century it lost some prominence as increasing numbers of composers especially in the most influential cultural centers turned to the techniques of 12-tone and serial music

86
Q

Neue Zeitschrift fur Musik

A

“New Music journal”
A music magazine founded in 1840 by Robert Schumann
A tool of young musicians against musical mediocracy
Chopin, Berlioz, Mendelssohn, Brahms and more introduced through this magazine with hundreds of reviews, poetic language, technical terms, imaginary figures
Ended in 1853 with the last article “new path”

87
Q

Nicolai, Otto

A

1810-1849
German composer and conductor of Vienna Philharmonic Orchestra and opera conductor in Berlin
Best known for his opera Die Lustigen Weiber von Windsor (the Merry Wives of Windsor)
Delicate orchestral tone painting in the Mendelssohnian way
Tunefulness and Italianate skill in the ensembles

88
Q

Nietzsche, Friedrich

A

1844-1900
German Philosopher
Perversion of thought lended philosophical justification for the doctrines of Nazism

89
Q

Offenbach, Jacques

A

1819-1880
French composer/ conductor known for his light entertaining operettas
1877 the five act opera Les contes d’Hoffmann

90
Q

Oper und Drama

A

Wagner’s writing that exclaims his music drama highly as the future art
Set the order of art from lowest to highest
His boasting attitude is reflected in the book
He considered the audience “not able to understand his music” and his art is the pioneer for the future art

91
Q

Opera bouffe

A

19th century French type of comic opera very similar to an operetta
Composer of these works: Offenbach

92
Q

Opera comique (Romantic)

A

Opera on a French text with musical numbers separated by spoken dialogue
19th century operas also included serious or tragic elements
Bizet’s Carmen
The “comique” refers only to the presence of spoken dialogue not to Comic or humor like in the 18th century

93
Q

Operetta

A

Developed as a separate genre in the 19th century
17/18th century it was small scale opera
Originator is Offenbach
Popular form of entertainment made of spoken dialogue, song and dance
Strauss: Die Fledermaus
Gilbert and Sullivan is English operetta

94
Q

Paganini, Niccolo

A 
1782-1840
Italian violinist and composer 
Development of technique 
Most famous violin virtuoso 
Significance of Virtuosity as an element of art itself
95
Q

Parry, Hubert

A

1848-1918
English composer and teacher
Oratorios: Judith, Job, King Saul
1880s and 90s most productive years
4 symphonies, symphonic variations, incidental music, an opera Guinevere and many choral works
Published: Studies of the Great composers, The Art of Music, Style in Musical Art and more

96
Q

Piano

A

In the 18th century there were two types: the Viennese with a light and rapid action “nasal sound” and the English piano with a more powerful and sonorous but less bright sound
The English piano eventually developed into the 19th century piano with its percussive and velvety sound

97
Q

Piave, Francesco Maria

A

1810-1876
Poet and librettist
Met Verdi in the early 1840s and wrote libretti for 10 Verdi operas
Macbeth, Rigoletto, La Traviata, La forza del destino

98
Q

Program music

A

Music that attempts to express or depict one or more non musical ideas, images or events
The composer usually indicates the “program” (the subject or subjects being evoked) by a suggestive title or preface which may be quite vague or may be specific or detailed
Tchaikovsky - Romeo and Juliet
Liszt - Consolations
Schumann - 3 Romanzen
Chopin - Tarantelle
The predominant genres of Romantic program music were the program symphony and the symphonic poem, concert overtures, character pieces for piano or small ensemble and occasional pieces
The expressive, the depictive, the narrative
Programmatic writing was well established in instrumental music by around 1700
Passages are puzzling unless the composer’s program is taken into account

99
Q

Puccini, Giacomo

A

1858-1924
Tosca, La Boheme, Madame Butterfly and Turandot
Style is intense lyricism and theatrical flair
Italian verismo or realism - real life situations

100
Q

Reger, Max

A

1873-1916
Particular successful with organ pieces and considered an organist
Reger and Hans Pfitzner are the two main primary Post-Romantic German composers
Harmony is mostly a post-Wagnerian style of extreme chromaticism
Large works confined to the bounds of Baroque and Classical forms

101
Q

Rhapsody

A

A title used by 19th and 20th century composers for a short composition, free in form and expressing a particular mood
Virtually the same as Fantasy
The title seems to refer to the free form of music such as Brahm’s rhapsodies for piano and Gershwin’s Rhapsody in Blue

102
Q

Rimsky-Korsakov, Nikolay

A

1844-1908
Russian naval officer and youngest member of “The Five”
Vivid orchestral colors are especially evident in his best-known works: Capriccio Espagnol, the symphonic suite Scheherazade, and the RUssian Easter Festival Overture
Melodic lines tend to be cast in bold relief with coloristic but unobtrusive accompaniment
Wrote a treatise on orchestration compiled from 1871 to his death
15 operas, fantasy and enchantment Snow Maiden, Sadko Russian legend and mythology
Structure of operas tends to be based on series of static tableaux rather than goal-directed drama, crowd scenes are prominent
Musical style is varied ranging from start, realistic declamation to ornate post-Wagnerian chromaticism

103
Q

Rossini, Gioachino

A

1792-1868
One of the greatest composers of Italian opera buffa
Influenced: Schubert, Weber, Meyerbeer
Began a trend against singer improvisation by writing out vocal ornaments
37 operas
Memorable melodies with simple accompaniment, extreme contrasts, orchestral color and his famed Crescendo (progressive addition of parts and dynamics repetitions of a phrase at a higher pitch level)
Raising the orchestral standard throughout Italy and brought the freedom of opera buffa to opera seria
One grand opera = William Tell

104
Q

St. Petersburg Conservatory

A

Founded in 1862

Many renowned professors and graduates

105
Q

Saint-Saens, Camille

A

1835-1921
French composer who is remembered for a dozen or so operas (Samson et Dalila 1877), instrumental suite, the Carnival of the animals 1886, the symphonic poem Danse Macabre and his cello concerto no 1.
Influential in the French musical world teaching Faure and founding a national music society to encourage French composers
His style is in the romantic tradition of Liszt
Particularly skilled at orchestration and his use of instruments often reveals a delightful sense of humor

106
Q

Sand, George

A

Real name Aurore Dudevant
19th century woman writer
Fell in love with Chopin

107
Q

Sarasate, Pablo de

A

1844-1908
Spanish violinist and composer who is remembered mainly for his virtuoso playing
Numerous composers wrote pieces specifically for him

108
Q

Schiller, Johann von

A

The poet who Enlightenment ideas of humanitarianism and brotherhood inspired Verdi, Schubert, Mendelssohn and Beethoven
Beethoven used Schiller’s Ode to Joy in the finale of the 9th symphony

109
Q

Schindler, Anton

A

1795-1864
Violinist, conductor and writer
Became Beethoven’s secretary in 1820 and all nine of the symphonies under Beethoven’s supervision

110
Q

Schubert, Franz

A

1797-1828
An Austrian composer remembered for his songs, symphonies, chamber music and piano works
Finest examples of Lied every written: Gretchen am Spinnrade, Erlkonig, and song cycles: Die Schone Mullerin and Die Winterreise
More than 600 songs, 8 symphonies
His music bridges the classical and romantic traditions
Harmonies show more chromaticism than that of Mozart and Beethoven and occasionally shifting from major to minor and back
Lovely melodies and the pano accompaniment is elaborated
Poems of great beauty: Heinrich Heine, made both melody and accompaniment fit the words

111
Q

Schubertiade

A

From about 1820 onward the home of Schubert’s friend Josef von Spaun were the scene of informal music-making and Schubert was the main attraction
These became known as “Schubertiades” Many of Schubert’s chamber works were written for home consumption

112
Q

Schumann, Clara

A

1819-1896
Married Robert in 1840
Debut as a pianist at 9 and toured Europe regularly (for more than 50 years)
Most of her time was spent promoting her husband’s music, she played much of his music herself
She also played the music of Brahms, her lifelong friend
Famous works: piano concerto, chamber works and numerous shorter piano works and songs

113
Q

Schumann, Robert

A

1810-1856
German composer remember for his songs and piano music
Greatest masters of Romanticism
Music combines song like melodies with complex rhythms and from time to time, strong dramatic elements
His personality split between a gentle poetic nature and a strong impulsive one
He feared of mental breakdown and eventually died in a mental institution at the age of 46

114
Q

Scriabin, Alexander

A

1872-1915
Russian composer who is remembered for piano music and orchestral works
Novel harmonies foreshadowed the revolutionary atonality of Schoenberg
Virtuoso pianist, earlier words particularly short piano pieces (mazurkas, impromptus, etudes) tradition of Chopin
Gradually he became more experimental especially in longer works, among them 3 symphonies, piano concert, two long orchestral compositions Poem of Ecstasy and Prometheus-The Poem of Fire
In the last, he based the harmony on a single chord C-F#-Bb-E-A-D which is characteristic of his later works in that it proceeded by fourths instead of the conventional thirds (Triadic harmony). Sometimes called the mystic chord
Emphasis on dissonance and lack of reference to a single tonal center
Proceeding 20th century composer after Schoenberg

115
Q

Scribe, Eugene

A

1791-1861
French dramatist and librettist
One of the most prolific and influential librettists of the 19th century
Rossini’s Le Comte Ory
Wrote fro opera comique and later French grand opera
Brought together all the elements that characterize the Romantic novels and dramas popular in the first half of the 19th century: Emotion runs riot, love always passionate, frequent tragic conflicts between races, religions and classes (mostly Middle Ages and renaissance)
Libretto set by Auber, Bellini, Donizetti, Gounod, Halevy, Offenbach, Verdi

116
Q

Shaw, George Bernard

A

1856-1950
Irish dramatist novelist critic and polymath
Collected writings on music well respected

117
Q

Sibelius, Jean

A

1865-1957
Finnish composer and his country’s leading nationalistic composer
Best known for his long works: seven symphonies, symphonic poems, piano works and songs
Largely traditional in the treatment of melody and harmony
Used folk elements but never actually quoted folk songs

118
Q

Smetana, Bedrich

A

1824-1884
Bohemian (Czech) composer who is remembered for his operas, symphonic poems, and other instrumental and vocal works in which he used the traditional subjects and musical idioms of his country
Best known work: The Bartered Bride

119
Q

Societe Nationale de Musique

A

A forum for contemporary music

120
Q

Stabreim

A

German “bar-rhythm” “Alliteration”
Alliteration was the oldest German verse-forming principle
Revived by Wagner in Tristan und Isolde and especially in Der Ring des Nibelungen
Need for heightened poetic utterance that could link the sensuous and the conceptual

121
Q

Stanford, Charles

A

1852-1924
British composer, teacher and conductor
19th century renaissance in English music along with Parry, Parratt and Elgar
Victorian and Edwardian music
Irish folklore, folk music and mysticism
1 - swept away the empty conventions which had debased English church music since Purcell
2- set new standard in choral music with his oratorios and cantatas
3- partsongs and still more in his solo songs with piano he reached near perfection both in melodic invention and capturing the mood of the poem
4- the most powerful influence on British music and musicians paramount teacher of composition

122
Q

Strauss Johann

A

The name of two Austrian composers father and son who both are remembered mainly for their waltzes
Johann Strauss the elder (1804-1849) A violinist, conductor and composer, also many polkas and marches
Johann Strauss the younger (1825-1899) violinist and conductor who became known as “the waltz king” Die Fledermaus and Der Zigeunerbaron

123
Q

Strauss, Richard

A

1864-1949
German composer conductor and pianist
Successor of Wagner and Liszt
Along with Mahler he represents the late flowering of German Romanticism in which subtleties of orchestration are combined with an advanced harmonic style
Elektra, Der Rosenkavalier, Ariadne auf Naxos, Salome

124
Q

Symphonie Fantastique

A

Berlioz
Program music
Idee fixe

125
Q

Scene und Arie

A

Scene and aria

Portion of an opera usually consisting of one or more arias

126
Q

Tausig, Carl

A

1841-1871
Polish pianist and composer
Most gifted and famous of Liszt’s pupils
Playing the piano was grand, impulsive and impassioned
“Fingers of steel”
Played from memory

127
Q

Tchaikovsky, Pyotr Il’yich

A

1840-1893
He always insisted Russian, actual use of folk-song and his deep absorption in Russian life and ways of thought
Lyrical ideal - beautiful self-contained melody give his music permanent appeal
High nationalism 1870-1874 use of folk songs in larger works such as Romeo and Juliet

128
Q

Thalberg, Sigismond

A

1812-1871
German or Austrian pianist and composer
Liszt challenged him as the leading virtuoso in Paris
Alongside Liszt he was the leading virtuoso pianist in Europe

129
Q

Theatre Lyrique

A

Founded in middle 19th century and thrived for about 20 years or so
Produced operas like Gounod’s Faust and Romeo and Juliet
the term “lyric opera” does not indicate a distinct genre though the operas given at the Theatre Lyrique were generally smaller and more intimate than grand opera

130
Q

Thematic transformation

A

Alternation of themes for the sake of changing their character while retaining their essential identity
The resulting theme is likely to be treated with as much independence as the original
This procedure used by Berlioz in Symphonie fantastique and especially by Liszt in his symphonic poems
Wagner’s use of leitmotif is closely related

131
Q

Tomasek, Vaclav Jan Krtitel

A

1774-1850
Bohemian composer and teacher
He was the major figure connecting the Czech Classical tradition of emigre composers and the 19th century nationalist school
Focal point of Prague musical life
He is a figure of Classic-Romantic transition

132
Q

Tonadilla

A

Spanish
Short comic opera that was popular in Spain from about 1750-1850
Replacing the older and more complicated zarzuela
Originated as much as the italian comic opera did that is as a humorous interlude inserted in a serious play or opera that e equally became and independent work

133
Q

Tone poem

A

Similar to symphonic poem (an orchestral piece accompanied by a program, a text, generally poetic or narrative in nature which is meant to be read by the audience before listening to the work)
The term tone poem was preferred by Richard Strauss who brought it to culmination
Strauss was able to manipulate the motive, orchestral invention, and tonal coherence to create longest examples of the genre

134
Q

Tristan chord

A

First chord sounded in Wagner’s Tristan und Isolde and prominent elsewhere in the work
F-B-D#-G#
It can be described as a half-diminished seventh chord, its function in terms of harmonic analysis has been a matter of dispute

135
Q

Verbunkos

A

A Hungarian dance originating in the second half of the 18th century and used in the recruitment of soldiers until the advent of conscription in 1849.

136
Q

Verismo

A

A style of operatic composition prevalent in Italy in the 1890s
Began as a literary movement exemplified by the novels and plays of Giovanni Verga
Leoncavallo’ s Pagliacci 1892
Giordano’s Mala vita 1892
Puccini’ s Il tabarro 1819
Settings are contemporary, characters are often rural and generally impoverished, passions run high

137
Q

Volkstumlichkeit

A

The folk like lied cultivated by composers such as Schulz, Reinhardt and Zelter beginning in the later 18th century

138
Q

Verdi, Giuseppe

A

1813-1901
Italian composer
His ability to write Melodies that communicate a character’s emotions and stir emotion in those who listen
He acquired a command of instrumentation and of musical and dramatic form that enabled him to express, with ever-increasing subtlety and eloquence
Nabucco, Rigoletto, Il Trovatore, La Traviata, Don Carlos, Aida, Otello and Falstaff

139
Q

Veron, Louis

A

19th century journalist, director

Representative voice of the middle class

140
Q

Wagner, Richard

A

1813-1883
Created a new synthesis of music and drama on the largest scale in his vast operas the Ring Cycle
Difficulty in putting these operas up led to him building his own theater in Bayreuth
Increased and more refined use of a greatly augmented orchestra, training of a more dramatically powerful kind of singer, extension of thematic and motivic development, wider range of chromatic harmony
The most controversial figure of the 19th century
His works are the crowing achievement of German Romanticism

141
Q

Weber, Carl Maria von

A

1786-1826
Composer, conductor pianist and critic
Important founder of the Romantic movement in Germany
Der Freischutz in 1821
Formed a new enthusiasm for German opera
Influencer of Wagner

142
Q

Wesley, Samuel Sebastian

A

1810-1876
Composer and organist
Greatest composer of the English cathedral tradition between Purcell and Stanford

143
Q

Wieck, Friedrich

A

Piano teacher of Schumann and father of Clara Wieck

144
Q

Wolf, Hugo

A

1860-1903
Austrian composer
Intensified the expressive vocabulary of the lied to a pitch never since surpassed
Musical sensitivity to poetic values and meanings which he embodied in each separate aspect of song, vocal declamation, keyboard technique, harmonic nuance
Condense the dramatic intensity of opera into the song form

145
Q

Zarzuela

A

A Spanish theatrical genre characterized by a mixture of singing and spoken dialogue
approximated the musical styles and conventions of contemporary opera seria which quickly replaced zarzuela as the favorite court entertainment after 1710.
Around 1760 became nationalistic
19th century revived “national lyric-dramatic genre”

146
Q

Zumsteg, Johann Rudolph

A

1760-1802
Primarily known for his work on cultivating the lied in Germany
Wrote over 300 songs and had a significant influence on Schubert and his contribution to lieder

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