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Music > symphony no 6 (2) > Flashcards

symphony no 6 (2) Flashcards

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1
Q

big three of classical period

A

joseph haydn
wa mozart
ludwig van beethoven

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2
Q

how many symphonies did beethoven write

A

9

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3
Q

name some of his other symphonies

A

no 3 in Eb maj : Eroica
no 5 in C min : Fate
no 7 in A maj : Dance
no 9 in D min : Choral

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4
Q

beethoven’s legacy

A
  • expanded orchestra
    > piccolo
    > contrabassoon
    > trombones
    > triangle
    > bass drum
    > cymbals
  • choir in last mvmt of symphony no 9
  • personal expression > freelanced
  • forsee romantic period
    > father of symphony by romantic composers
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5
Q

types of music

A

absolute and programme

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6
Q

absolute music

A

instrumental music not intended to represent or illustrate smth else

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7
Q

example of absolute music

A

mozart symphony no 40

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8
Q

programme music

A

instrumental music that represents an external or non-musical influence such as a poem, story, event, etc.

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9
Q

symphony

A

instrumental genre for full orchestra usually in 4 movements, of which one movement is in sonata form

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10
Q

programme symphony

A

a multi-movement work with descriptive titles for each movement that directs the listener to a pictorial or literary association

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11
Q

pastoral

A

work of literature portraying an idealized version of country life

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12
Q

why did beethoven write a pastoral symphony

A

nature lover, walked a lot in country

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13
Q

is pastoral symphony programme music

A

“more the expression of feeling than painting”

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14
Q

what does beethovens subtext about the music tell us about how he is engaging with the programmatic elements of the work

A

it is an expression of the response of the individual to nature, not of nature itself

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15
Q

what makes name of pastoral symphony unique

A

nickname given by beethoven himself

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16
Q

full title of symphony

A

“Pastoral Symphony, or Recollections of Country Life”

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17
Q

when did he compose it

A

same time as no 5

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18
Q

key of symphony no 6 and why it is notable

A

f major : often associated with calmness, mildness and contemplation

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19
Q

did beethoven often write programme music

A

no, one of few works w programmatic elements

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20
Q

mvmt 1 name

A

Awakening of happy feelings on getting out in the country

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21
Q

1 key

A

f major

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22
Q

1 tempo

A

allegro ma non troppo

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23
Q

1 form

A

sonata form

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24
Q

1 instrumentation

A

2 flutes
2 oboes
2 claris
2 bassoons

2 horns
2 trumpets

violin 1 & 2
violas
celli & double bass

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25
Q

compositional technique he uses in 1

A

motivic development
> uses 4 motifs from opening theme throughout mvmt

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26
Q

sonata form

A

exposition A>B
development
recapitulation A>B

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27
Q

1 exposition

A

A:
> F maj
> violins, oboe, orchestra
> p
Bridge > C maj
B:
> C maj
> vln 1, vln 2, countermelody in bass; theme in vln 1 answered by oboe in 3rds
> codetta

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28
Q

1 development

A
  • motifs from opening theme
    > diff keys
    > varied form
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29
Q

1 recapitulation

A
  • similar to expo
    > minor changes to compensate for F major key (no key change)
  • long coda, develops previous motifs
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30
Q

2 name

A

By the brook

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31
Q

2 key

A

Bb major

32
Q

2 tempo

A

andante e molto mosso

33
Q

2 form

A

sonata form

34
Q

3 name

A

Peasant’s merrymaking

35
Q

3 tempo

A

allegro

36
Q

3 key

A

f major

37
Q

3 form

A

scherzo and trio form

38
Q

3 to 4

A

attacca

39
Q

4 name

A

thunderstorm

40
Q

4 key

A

F minor

41
Q

4 tempo

A

allegro

42
Q

4 form

A

free form

43
Q

4 instrumentation

A

piccolo
2 flutes
2 oboes
2 claris
2 bassoons

2 horns
2 trumpets
alto & tenor trombone

timpani

vln 1&2
violas
celli
double bass

44
Q

what makes mvmt 4 different

A

other mvmts were paintings of feelings, mvmt 4 painting of progression of physical events

45
Q

hence, what is the mvmt an example of

A

how musical features enhance suggested programmatic features

46
Q

how is mvmt 4 different from a typical classical symphony

A
  • programmatic
  • nature
  • expanded orchestra
  • more sound emotion
  • rubato
47
Q

4-1

A
  • distant thunder
    > cellos & basses
    > soft tremolos
48
Q

4-2

A
  • first raindrops
    > vln 2
    > staccato quavers
49
Q

4-3

A
  • chaotic rumblings + scenes of anarchy
    > timpani roll
    > trombones
    > cello quintuplet semiquavers
    VS
    double bass four-group semiquavers
50
Q

4-4

A
  • lightning
    > vln 1
    > arp figures
51
Q

4-5

A
  • strong winds
    > chromatic scale in strings
    > high shrieks in piccolo
52
Q

4-6

A
  • climax
    > diminished 7th chord
    > gradually subsides to pp
53
Q

4-7

A
  • end of storm
    > opening raindrop staccatos augmented in chorale theme in C maj
    > transition to last mvmt
54
Q

mvmt 4 to 5

A

attacca

55
Q

5 name

A

Shepherd’s Song - Happy and thankful feelings after the storm

56
Q

5 tempo

A

allegretto

57
Q

5 key

A

f major

58
Q

5 form

A

sonata-rondo form

59
Q

5 mood

A

contentment and serenity

60
Q

rondo-sonata form

A

A bridge(mod) B bridge(mod back) A
Development
A bridge B bridge A

61
Q

message behind 5

A

gratitude after storm - rain, growth, food

62
Q

how is gratitude shown through the music

A

repetition of A

63
Q

5 introduction

A
  • clarinet > horn echoes
  • “Ranz des Vaches” usually performed by Swiss Alpine herdsmen on Alphorns to drive cattle to/from pastures (title Shepherd’s Song)
64
Q

5 compositional technique used in introduction

A

imitation

65
Q

5 instrumentation in introduction

A
  • clarinet closest sound to horn
  • horn used in trad hunting scenes, call dogs to come back
    > feeling of coming home
  • used oboe and flute in 4 to contrast w 5
66
Q

5 what happens to introduction

A

repeated throughout mvmt

67
Q

5-A

A
  • main theme
  • F major
  • developed from intro
    1. vln 1
    2. vln 2 (down 8ve)
    3. horns
  • high strings + sparse accompaniment (pizz) > crispness of air after storm (pastoral tune)
68
Q

5-bridge1

A

mod to C maj

69
Q

5-B

A
  • second theme
  • C major
  • recollection of theme 2 of expo of mvmt 1
  • dance-like
  • syncopated
  • reminiscent of old country folk dance (Landler)
70
Q

5 -bridge2-A

A
  • return of A is mainly repeat of beginning
71
Q

5- bridge3

A
  • mod to Bb maj
    > development section
72
Q

5- development section

A
  • submediant (Bb) - like in mvmt 1
  • claris and bassoons introduce new theme
  • references to A & B
73
Q

5 - return of A after development section

A
  • elaborated by semiquaver runs accomp pizz strings
  • F major
74
Q

5- bridge and B after development section

A
  • most part repeat of beginning
  • BUT in F maj
75
Q

5- final section A

A
  • stated
  • coda
    > sub F w F# > momentary G minor tonic
    > broad
    > quiet close

Music (11 decks)

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