Romantic MH2X2

Question 1

Harriet Smithson-

Answer 1

Irish Shakespearean actress who inspired the program of Symphony Fantastique (she is represented as the idealized woman “idee fixie”) after she rejected Berlioz’s love interest in 1827.

Question 2

Idee Fixe -

Answer 2

(French, “fixed idea” or “obsession”) The term applied by Hector Berlioz to the melody, representing the idealized woman is transformed throughout his Symphonie Fantastique from the Romantic Period.

Question 3

Program Symphony -

Answer 3

Symphonic composition based on a narrative or a poetic idea, which is explained in an accompanying program that is meant to be read by the listener before or during the performance. Berlioz’s Symphonie Fantastique is the first program symphony from the Romantic period.

Question 4

Thomas De Quincy -

Answer 4

Author of “Confessions of an English Opium Eater” in 1822. Berlioz was inspired by this book writing program for Symphonie Fantastique.

Question 5

Col Legno-

Answer 5

Playing with the violin wooden part of the bow. Used for the first time in Symphonie Fantastique by Berlioz, where it portrays maggots eating a corpse in the mvm5 “The Witches Sabbath”.

Question 6

Etude -

Answer 6

A character piece designed as an exercise to improve the technique or demonstrate the skill of the player. During the 19th century etudes such as Liszt’s Paganini Etude No.3 “La Campanella” became concert pieces.

Question 7

Salons -

Answer 7

Informal recitals during regular gatherings in houses of nobility where people shared their passion for music. Chopin was known for his Salon performances.

Question 8

Nocturne -

Answer 8

(French, “night piece”) Type of character piece, with a slow tempo, flowing accompaniment, and broad lyrical melodies, associated especially with the solo piano music of John Field and Frédéric Chopin.

Question 9

Character Pieces -

Answer 9

A short piece, usually for piano and often in ternary form, that projects a single principal mood or spirit, often conveyed by its title. (E.g., Schumann’s Carnival, Chopin’s Nocturnes)

Question 10

Transcriptions-

Answer 10

An orchestral reduction for piano. Liszt was famous for transcribing orchestral works to piano including Example-Berlioz Symphonie Fantastique.

Question 11

Louis Veron -

Answer 11

Director of The Opera in Paris who set forth the conventions for the Grand Opera.

Question 12

Eugene Scribe -

Answer 12

Librettist for the Grand Opera in Paris. Mastered the well-made play. Tight in structure and clear in motivation.

Question 13

Singspiel -

Answer 13

An operatic genre with spoken dialogues, in german. Example Mozart Die Zauberflöte.

Question 14

Number Opera -

Answer 14

An opera with divided sections that have numbers written in the score. (E.g., Berlioz’s Les Troyens).

Question 15

Schauspiel -

Answer 15

A theatre building in Berlin. When rebuilt after the fire in 1821 the first opera performed there was Freischutz by Weber. First theatre building with modern orchestra pit, and dimmable lights.

Question 16

Aria -

Answer 16

A self-contained piece usually for one voice, typically one in an opera or oratorio. They became grand showpieces in French Grand Opera during the Romantic period

Question 17

Recitative -

Answer 17

sung in the rhythm of ordinary speech, it usually moves the plot forward in an opera or oratorio.

Question 18

Rossini Crescendo -

Answer 18

a particular kind of stretto in which almost identical material is repeated several times in the midst of accelerando and crescendo. The result is a sort of characteristically comical frenzy that really was developed by Rossini. (Basilio’s slander aria)

Question 19

Cabaletta -

Answer 19

the fireworks aria, following a calmer cantabile section and tempo di mezzo (not always present). Characteristic for bel canto era/style.

Question 20

Cavatina -

Answer 20

A brilliant two-section entrance aria for a character in bel canto operas. It is sometimes paired with a cabaletta. Donizetti “Ah! mes amis” La Fille du Régiment.

Question 21

Cantabile -

Answer 21

Rossini’s typical aria structure involved a lyrical introduction (cantabile) and a more intensive, brilliant conclusion (cabeletta). Example-”Una Voce poco fa” is a cantabile with a cabeletta

Question 22

Tempo di mezzo -

Answer 22

Nineteenth-century Italian opera, the middle section of the scene that is change of the mood between the cantabile and the cabaletta; characteristically more free form recitative-like section, Donizetti- “Mad Scene” from Lucia di Lammermoor

Question 23

Ensemble -

Answer 23

Members of the ensemble are named characters singing together Example-Rossini’s “Ma, Signor” (Act I Finale) from Il Barbiere di Seville

Question 24

Chorus -

Answer 24

Group of people singing together, not named characters. Example-Puccini’s “Humming Chorus” from Madame Butterfly

Question 25

Suitcase Aria -

Answer 25

an aria inserted into opera performance by the singer to showcase his/her virtuosity. It was an aria from a different opera and had nothing to do with the action of the performed opera. For example, inserting Una voce poco fa from Rossini’s Il Barbier di Seviglia into different opera.

Question 26

Friedrich Kind -

Answer 26

German dramatist, most famous for writing the libretto for Weber’s Der Freischutz.

Question 27

Melodrama -

Answer 27

Speaking with music playing underneath. Example-”Wolf Glen’s Scene” from Der Freischütz by Weber (Caspar is making the magic bullets for the contest and talking with Samiel. )

Question 28

Artwork of the Future-Gesamtkunstwerk-

Answer 28

“Total Artwork” in German; 19th c - Wagner’s essay written while exiled in Switzerland after uprising in Dresden. Prose espoused his idea of bringing together poetry (i.e., libretto), tone (i.e., music), and dance (i.e., any movement on stage) as the three pillars of opera - the ultimate “Total Artwork.”

Question 29

Music Drama -

Answer 29

Wagner called his operas Music Drama because they were synthesis of music and drama.

Question 30

Leitmotiv -

Answer 30

A short musical motif, chord progression or tune - associated with a particular person, idea, or situation - that functions as part of the drama throughout a musical composition. First associated with Weber - late 19th century, and lager in Wagner’s operas. He uses leitmotifs in the orchestra to comment like a Greek chorus which elevated the role of the orchestra as equal to the performers on the stage. -Ring Cycle has over 200 leitmotifs

Question 31

“Mad” King Ludwig II-

Answer 31

- gives Wagner the money to write the music for the Ring Cycle - Family symbol was the swan - crazy about “Lohengrin” (swan) - built amazing “Disney-like” castles - sponsored a theatre for Wagner in Bayreuth - Financed a house for Wagner in Bayreuth

Question 32

Bayreuth-

Answer 32

A village in Germany where Wagner built a Bayreuth theatre for his operas. The project was sponsored by Mad King Ludwig II. The Theatre had unique acoustic design solutions to make the opera experience even better. Till today it is a theatre that specializes in playing Wagner’s operas. It is viewed like a temple to which Wagner’s enthusiasts pilgrim to worship his creations.

Question 33

Imbroglio -

Answer 33

The moment of greatest plot confusion prior to the inevitable resolution, lots of yelling! I think an example is “Ma signore” from Il Barbiere di Siviglia