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Comps Prep > Romantic Era > Flashcards

Romantic Era Flashcards

1
Q

What is the real name of Berlioz’s Requiem?

A

Grande messe de morts

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2
Q

What is the opus number of Berlioz’s Requiem?

A

Op. 5

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3
Q

When was Berlioz’s Requiem composerd?

A

1837

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4
Q

What is the orchestration for Berlioz’s Requiem?

A

T solo, SSATTBB, 42(2)44-12.4.0.4. 16 timp, perc, strings; 4 brass choirs = 0442, 0440, 0440, and 0444

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5
Q

What are the movements of Berlioz’s Requiem?

A
  • Requiem et Kyrie
  • Dies irae
  • Quid sum miser
  • Rex tremendae
  • Quaerens me
  • Lacrymosa
  • Offertorium
  • Hostias
  • Sanctus
  • Agnus Dei
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6
Q

What are the recommended chorus numbers for Berlioz’s Requiem?

A
  • 80 sops and altos
  • 60 tens
  • 70 basses
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7
Q

Name 10 characteristics of the Requiem/Kyrie of Berlioz’s Requiem.

A
  • G minor
  • great dynamic range (pppp-ff)
  • no brass choirs or percussion
  • use of grand pauses
  • imit. poly. in voices
  • sopranos and altos combined for most of movement
  • agogic accents in orchestra
  • orchestral and choral forces sometimes sound same phrases and melodies
  • very close writing for choral homophony
  • persistent ascending chromatic half-step lines
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8
Q

Name 12 characteristics of the Dies irae from Berlioz’s Requiem.

A
  • A minor
  • starts without brass or percussion
  • irregular phrase lengths
  • opening melody in lower strings imitated in the choral basses
  • orchestra often plays same material with chorus
  • consistent layering of three independent melodies
  • offbeat plays strong influence on pulse
  • theme and variations form
  • 4 brass choirs and 16 timpani join for ‘Tuba mirum’
  • Tuba mirum starts high in the basses range
  • use of double-dotting
  • Tuba mirum bass melody returns at ‘Judex ergo’
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9
Q

Name 4 characteristics of the Quid sum miser from Berlioz’s Requiem.

A
  • G# minor
  • only men in chorus TTB
  • severely reduced orchestra
  • melody is broken into small bits and shared antiphonally between chorus and orchestra
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10
Q

Name 10 characteristics of the Rex tremendae from Berlioz’s Requiem.

A
  • E Major
  • includes brass choirs (reduced to 2 per instrument) and timpani
  • persistent dotted rhythms
  • irregular phrase entrances
  • orchestra is vigorous throughout
  • even in homophony voices enter at separate times
  • return of grand pause
  • ABA form
  • static, quickly repetitive chords in orchestra (16ths or 32nds)
  • timpani are tuned to pitches in the key of the movement
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11
Q

Name 4 characteristics of the Quaerens me from Berlioz’s Requiem.

A
  • A Major
  • a cappella, SATTBB
  • imitative polyphony
  • most homophony in paired writing
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12
Q

Name 12 characteristics of the Lacrymosa from Berlioz’s Requiem.

A
  • A Minor
  • in 9/8, similar triple meter to Mozart’s
  • parallel octave writing in chorus
  • Lacrymosa text serves as a ritornello, but does not always come back with same music
  • antiphonal writing in chorus over constantly pulsing triples in strings
  • use of pedal points over chromatically shifting chords
  • first half in rough ABA form
  • orchestra plays more minor role, carries little of the developing action and thematic material that the choir does
  • second half in A Major with slightly offset polyphony
  • second half has reduction of brass choirs to just 1 for a bit
  • choir eventually expands to SATTBB in second half, which is exclusively homophonic
  • quick switch to A minor, and then back to A major
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13
Q

Name something unique about Berlioz’s choral writing for his Requiem and other music.

A

Preference for 3-part chorus (sop and alto often singing the same notes)

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14
Q

Name 6 characteristics of the Offertorium in Berlioz’s Requiem.

A
  • Dm, reduced to strings and winds
  • Main theme starts in Violin 1
  • choir plays supportive role for strings, and later the rest of the orchestra
  • constant ritenuto with return to Tempo 1
  • ending has static triplets, followed by pizz single pitches in the strings
  • chorus intones the final ‘amen’ with the orchestra at ppp
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15
Q

Name 3 characteristics of the Hostias in Berlioz’s Requiem.

A
  • Gm, exclusively homophonic
  • little supporting orchestration, only in gaps in harmonic movement or choral rests
  • ends with a small, pizz BbM chord in the strings
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16
Q

Name 6 characteristics of the Sanctus in Berlioz’s Requiem.

A
  • DbM
  • includes optional tenor solo
  • theme first stated in strings
  • use of just a couple of tromb. from brass choirs 3 and 4, as well as two lines for violin 1 and 2 soli
  • Hosanna is fugue, up to 7 parts
  • does not include Benedictus text
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17
Q

Name 6 characteristics of the Agnus Dei in Berlioz’s Requiem.

A
  • Tonally ambiguous beginning
  • fully orchestrated with brass choirs and timp
  • long fermatas and pauses
  • choir enter and continue to sing primarily a cappella
  • specific metronome markings indicated by composer
  • Te decet hymnus text returns with original key and music from the first movement
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18
Q

When did Verdi compose his Requiem?

A

1874

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19
Q

How many movements are in Verdi’s Requiem?

A

7

  • Requiem
  • Dies Irae (split into 9 submovements)
  • Offertorio
  • Sanctus
  • Agnus Dei
  • Lux aeterna
  • Libera me
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20
Q

What are the sub-movements of the Dies irae in Verdi’s Requiem?

A
  • Dies irae
  • Tuba mirum
  • Liber scriptus
  • Quid sum miser
  • Rex tremendae
  • Recordare
  • Ingemisco
  • Confutatis
  • Lacrymosa
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21
Q

What is the orchestration for Verdi’s Requiem?

A

SATB solos, SATB chorus, 3224-4431, 3timp, bd, strings (4 trumpets off stage)

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22
Q

Name 7 characteristics of the Requiem mvmt. from Verdi’s Requiem.

A
  • Am
  • lead in from celli, descending line
  • weeping ‘dona’ motive
  • ‘Te decet’ is imitative polyphony
  • Kyrie starts with tenor solo, with imitative entrances from each soloist, then chorus takes over
  • antiphonal choral exchanges in small phrases
  • ends with ‘Christe eleison’ and no repetition of ‘Kyrie’ text
  • large dynamic range
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23
Q

Name 6 characteristics of the Dies irae of Verdi’s Requiem.

A
  • Gm
  • intense bass drum, doesn’t play on opening motive
  • double-dotted, 1/2 step ascending chorus line
  • offset homophony, basses have wavy and then descending 1/2 step line
  • lots of offbeat oscillation between winds
  • stately homophonic chorus lead into ‘Tuba mirum’
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24
Q

Name 5 characteristics of the Tuba mirum from Verdi’s Requiem.

A
  • Fm
  • march-like rhythms, build through the entire orch.
  • very accented
  • ‘Mors stupebit’ bass solo
  • timpani solo
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25
Q

Name 6 characteristics of the Liber scriptus in Verdi’s Requiem.

A
  • Dm
  • mezzo solo, disjoint melody
  • reduced orchestration
  • random chorus ‘Dies irae’ statements
  • irregular phrase lengths
  • full ‘Dies irae’ text returns but with different music
26
Q

Name 4 characteristics of the Quid sum miser from Verdi’s Requiem.

A
  • Gm
  • solo quartet, somewhat imitative
  • ‘quem patronem’ is very syncopated, mostly MTB solos
  • ends with a cappella
27
Q

Name 4 characteristics of the Rex tremendae from Verdi’s Requiem.

A
  • Cm
  • extended range for descending chorus bass line, continues later in antiphonal writing
  • antiphonal ‘Salva me’
  • imitative ‘Salva me’ in solo quartet
28
Q

Name 4 characteristics of the Recordare from Verdi’s Requiem.

A
  • FM
  • Soprano and Mezzo duet, very imitative
  • offbeat upper strings
  • very ornate a cappella section
29
Q

Name 3 characteristics of the Ingemisco from Verdi’s Requiem.

A
  • tenor solo
  • no trumpets
  • quiet throughout
30
Q

Name 3 characteristics of the Confutatis in Verdi’s Requiem.

A
  • EM
  • bass solo
  • double-dotted rhythms
31
Q

What material returns after the Confutatis in Verdi’s Requiem?

A

Dies irae from the beginning of the 2nd movement

32
Q

Name 4 characteristics of the Lacrymosa of Verdi’s Requiem.

A
  • solo quartet and chorus act like partial fugato
  • Bb minor
  • big pause before ‘pie Jesu’
  • return of ‘Requiem’ text
33
Q

Name 7 characteristics of the Offertorio of Verdi’s Requiem.

A
  • Ab major in 6/8
  • mezzo/tenor duet with antiphonal bass solo
  • grows into polyphonic trio which is ended by a soprano solo
  • ‘Quam olim abrahae’ imitative solo quartet, instrument colla parte
  • ‘Hostias’ has repetitive motive in both tenor and bass
  • return of ‘Quam olim abrahae’ after ‘Hostias’
  • unison writing at ‘Libera animas’
34
Q

Name 7 characteristics of the Sanctus from Verdi’s Requiem.

A
  • FM
  • double chorus
  • opening fanfare with triple ‘Sanctus’
  • 8-voice fugue
  • Benedictus in 8-part imitation
  • Antiphonal long tones in double chorus ‘Hosanna’
  • long tones eventually supported by rapidly ascending/descending chromatic lines in orchestra (eventually syncopated throwing off the pulse in the last 10 bars)
35
Q

Name 2 characteristics of the Agnus Dei from Verdi’s Requiem.

A
  • unison octave delivery of text in dolcissimo, a cappella manner
  • essentially theme and variations form with chorus and orchestra creating variations
36
Q

Name 4 characteristics of the Lux aeterna of Verdi’s Requiem.

A
  • starts again with MTB solos
  • considerable a cappella writing for trio
  • stark pauses after building of intensity
  • return of ‘Requiem aeternam’ iterations
37
Q

Name 6 characteristics of the Libera me from Verdi’s Requiem.

A
  • recitative for soprano
  • recitative for choir
  • return of ‘Dies irae’ material, later with contrafacta
  • a cappella chorus and soprano segment on ‘Requiem aeternam’ text, ends with high Bb for sop. solo (pppp)
  • ‘Libera me’ text comes again in the style of a fugue
  • ends with recit in soprano while choir intone ‘libera me’ twice on unison C’s
38
Q

What is the alternate spelling for Mendelssohn’s Elijah?

A

Elias

39
Q

What is genre and opus number for Mendelssohn’s Elijah?

A

Oratorio and Op. 70

40
Q

How many parts is Mendelssohn’s Elijah in?

A

2

41
Q

Name 2 famous choruses from Mendelssohn’s Elijah.

A
  • ‘Help, Lord! Wilt thou quite destroy us’

- ‘Then did Elijah the prophet break forth’

42
Q

How many movements are in each part of Mendelssohn’s Elijah?

A

1st part = 20 (not including overture and introduction)

2nd part = 24 (including quartet and chorus chorales)

43
Q

When did Mendelssohn write Elijah?

A

1846

44
Q

Name 2 famous arias from Mendelssohn’s Elijah.

A
  • ‘If with all your heart ye truly seek me’

- ‘It is enough’

45
Q

Name a different take on recitative in Mendelssohn’s Elijah.

A
  • Chorus-recitative
46
Q

Name 1 famous small ensemble number from Mendelssohn’s Elijah.

A
  • ‘Lift thine eyes’
47
Q

Name 1 famous quartet from Mendelssohn’s Elijah.

A
  • ‘Heilig, heilig, heilig ist Gott her Herr’

- Unique antiphonal treatment of chorus and quartet

48
Q

What is the orchestration for Mendelssohn’s Elijah?

A

SATB solo, SATB coro, boy solo, 2222-4231, timp, strings, organ

49
Q

What two books of the bible is the text of Mendlessohn’s Elijah from?

A

1 Kings and 2 Kings

50
Q

Name 8 characteristics of the choral writing in Mendelssohn’s Elijah.

A
  • some choral-recit
  • sometimes up to 8 parts
  • use of chorales, similar to Bach
  • fugue (Help! Lord)
  • gender pairing (SSAA, TTBB)
  • often paired with solo recit
  • often end or are interrupted by chorales
  • polyphony leads in and out of homophony like Handel
51
Q

What is the date of composition and the opus number of Brahms’s Requiem?

A

1868 and Op. 45

52
Q

What is the orchestration for Brahms’s Requiem?

A

SB solo, SATB coro, 2222-4231, harp, timp, strings, organ

53
Q

How many movements are in Brahms’s Requiem?

A

7

  • Selig sing, die da Lied tragen
  • Denn alles Fleisch es ist wie Gras
  • Herr, lehre doch mich
  • Wie lieblich sind deine Wohnungen
  • Ihr habt nun Traurigkeit
  • Denn wir haben hie keine bleibende Statt
  • Selig sind die Toten
54
Q

What is the unique, Bach-like structure of Brahms’s Requiem?

A

Chiastic, around ‘Wie lieblich sind deine Wohnungen’

55
Q

What is unique about the ending of the Bass solo movements, 3 and 6?

A

They both end with fugues

56
Q

Name 10 characteristics of ‘Selig sind, die da Leid tragen’ from Brahms’s Requiem.

A
  • no clarinets or violins
  • opening motive similar to Bach’s chorale ‘Wer nur den lieben Gott laesst walten’ ae=umlaut a
  • stile antico
  • orchestra and chorus are antiphonal at times
  • ABA in form
  • F Major (shifts to 3rd DbMajor in B section)
  • use of F pedal point at times
  • Do-Mi-Fa motive of ‘Selig sind’ sets motivic development in many other sections and movements
  • imitative writing
  • uses harp
57
Q

Name 9 characteristics of ‘Denn alles Fleisch es ist wie Gras’ from Brahms’s Requiem.

A
  • Full orchestration
  • BbMinor
  • dramatic imagery
  • sectional construction, quasi variations
  • use of sequence
  • unison writing
  • strong syncopation
  • polyphony leads into homophony, similar to Handel
  • Switches to Bb Major at second part, Allegro non troppo
58
Q

Name 8 characteristics of ‘Herr, lehre doch mich’ from Brahms’s Requiem.

A
  • no harp
  • Bass solo
  • D minor
  • Bass melody is repeated in chorus material, homophonic material
  • in 4 sections
  • 2nd section in stile antico imitation
  • 3rd section is small, Palestrinian imitation
  • 4th section is fugue, non-stretto, Alberti bass accompaniment, Bach-like
59
Q

Name 7 characteristics of ‘Wie lieblich sind deine Wohnungen’ from Brahms’s Requiem.

A
  • only horns from brass, and oddly no harp
  • Eb Major in 3/4
  • choral writing is homophonic, with hints of imitation
  • strings often syncopated
  • element of fugato at conclusion
  • quasi-rondo form
  • consistent fp in orchestration
60
Q

Name 6 characteristics of ‘Ihr habt nun Traurigkeit’ from Brahms’s Requiem.

A
  • G Major
  • Soprano solo, choral material responsorial
  • technical demands and harmony very Romantic
  • choir sings same words over and over
  • strings almost always in syncopation
  • chorus and solo end together
61
Q

Name 8 characteristics of ‘Denn wir haben hie keine bleibende Statt’ from Brahms’s Requiem.

A
  • Same opening word as movement 2, adds to chiastic structure
  • C minor
  • Baritone solo, chorus starts, however
  • solo has similar rhythmic structures as the baritone solo from movement 3
  • chorus homophonic until fugue
  • giant rests for all forces between ‘wo’s’
  • fugue in C Major at ‘Herr, du bist’, ends in homophonic chorale
  • orchestra moves in and out of colla parte
62
Q

Name 6 characteristics of ‘Selig sind die Toten’ from Brahms’s Requiem.

A
  • F major
  • ABA
  • brings back movement 1 material, along with related text
  • syncopated orchestra
  • chorus is primarily homophonic
  • cyclic material in transitional soli sections

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