Test 2 Flashcards
1
Q
The Congress of Vienna
A
- 1815
- Restoration of family
- End of the Enlightenment
- Political repression
- particularly in areas under German and Austrian control
- No civil liberties - New sense of nationalism
- Music represents political ideals
2
Q
Robert Schumann
A
- 1810-1856
- Started as a piano virtuoso, stopped because of injury
- Becomes a music critic to make extra money on top of being a composer
- Neue Zeitschrift fur Musik - a magazine he creates to critique music
- Florestan and Eusebius - two names he writes under
- Florestan - the passionate one, deep thinker
- Eusebius - the dreamer, more melancholy - Married a composer, Clara Schumann
3
Q
Im Wunderschönen Monat Mai
A
In the marvelous month of May,
when all the nuds burst open,
then in my heart
love broke out.
In the Marvelous month of May,
as all the birds sang,
then I confessed to her
my longing and desire.
-Battle between A and F# minor
4
Q
The Character piece
A
- new genre
- very short pieces, maybe as short as a minute
- Written for the home
- New demands for small genres
- Miniature set: short, interconnected pieces
- Small Character pieces - Schumann famous for these
- Carnival
- Eusebius - mimics the deep thought
- Florestan
- Coquette - Flirty
5
Q
Ciphers
A
- Musical code
- in the Carnival pieces
6
Q
Missed Class******
A
?
7
Q
July Monarchy in France
A
- 1831-1848
- Paris as “Capital of the 19th Century”
- “July Revolution”
- Newly built concert halls, new audiences
- Taste for the exotic: operas about far away lands and far away people
8
Q
The 19th Century Virtuoso
A
- Virtuosos in many fields
- Characteristics of musician virtuosos: foreign born, child prodigy
- First “rock stars”
9
Q
Franz Liszt
A
- 1811-1886
- Foreign born (in Hungary to Austrian parents)
- Child prodigy
- Personality: technical whiz, later “mystic”
- Later, concert master in Weimar
- New ways to use the piano
- New scales, modes
10
Q
Un Sospiro
A
Concert etude-a way of showing off extreme skill
-in this case, hand crossing.
11
Q
New Scales
A
- Pentatonic melody (five note scale)
- Octatonic coda (eight note scale)
12
Q
Fryderick Chopin
A
- 1810-1849
- Born near Warsaw, Poland
- Popular in Salons
- Mostly composed piano music
- Nationalism
- Mazurka in Bb
13
Q
The Mazurka
A
- Stylized dance from Mazovia
- Audience appreciates the exotic element
- Mazurka rhythms are very specific
14
Q
Markers of Exoticism
A
- Trills
- Drones
- Augmented seconds
15
Q
Concert life in the 19th century
A
- Rise of the “classics”
- Beethoven reigns supreme - First appearances of the conductor
- the is more room for interpretation in music so conductor was needed - Orchestra has expanded
- New Instruments
- Old instruments can be played in new keys
16
Q
Absolute vs. Program Music
A
- Program (programmatic) music: extramusical context
- Absolute music: no extramusical content, refers only to itself
- Ideological positions, Beethoven’s legacy?
- This refers strictly to instrumental music
- These types of music are not new but before now if didn’t matter, it was all music. The distinction is now recognized and very clear
17
Q
Hector Berlioz
A
- 1803-1869
- Abandoned medicine for music
- Passionate personality
- Critic and conductor
- 1827: sees Harriet Smithson as Ophelia in Hamlet
18
Q
Symphonie Fantastique
A
- Mvt I: Dreams and Passions
- Mvt II: A Ball
- Mvt III: Scene in the Country
- Mvt IV: March to the Scaffold
- Mvt V: Dream of a Witches Sabbath
19
Q
Influence of Beethoven
A
- Beethoven Syphony no. 5: cyclism
- Heroic characteristics in symphonies in C/Cm are direct reference to Beethoven
- Symphony no. 6: programmatic elements, structure
20
Q
Orchestration
A
- Over 100 players
- Ophicleide, bells
- Opening strings (m. 1)
- High clarinet “laughing” (m. 7)
- idee fixe in top of the clarinet’s range (m. 40)
- col legno strings (m. 444)
- Screams of the artist (m. 479)
21
Q
Missed Class
A
===
22
Q
Italian opera in the 19th Century
A
- Italian opera is king
- Literary Subjects
- Bel Canto (Beautiful Voice)
- Rossini, Bellini, Donizetti - Operas that take place in England. Focus on the literary world.
- People go to operas to hear beautiful vocal technique
- Era of the coloratura
23
Q
Gioachino Rossini (1792-1868)
A
- Most Famous composer of the 1810-20s
- Famous for both comic and tragic operas
- Barber of Seville
24
Q
“The Barber of Seville”
A
- Count Almaviva: A young nobleman, in love with Rosina
- Figaro: Barber to Almaviva
- Rosina: A young woman, in love with Count Almaviva
25
Q
New Structures
A
Aria - Scena, Cantabile, Tempo di Mezzo, Cabaletta
Cantabile Cabaletta Scena - récit Cantabile - slow tempo Tempo di Mezzo - medium tempo, modulates, may have chorus Cabaletta - quick tempo
26
Q
Fun Facts
A
- Rossini often self-plagiarized
- Lazy?
- Constraints of the business (no copyright, had to work quickly) - Known for being very prolific and a smart business man
- Lived the end of his life off his royalties not writing
27
Q
Guiseppe Verdi (1813-1901)
A
- Involvement in the Risorgimento
- Viva Verdi! = Viva Vittorio Emanuele Rei D’Italia
- Italian unification
- Music became really political
- Verdi Requiem
- His name, Viva Verdi, became a rallying call for Italian unification
28
Q
Verdi as Dramatist
A
- Focus on character rather than voice
- Same structures as the Bel Canto
- Interested in story telling and keeping the plot going
29
Q
Four Opera Houses
A
- Opera National de Paris - Grand opera
- Opera Comique - defined against the French grand opera tradition
- Theatre-Italien
- Theatre Lyrique - mix of opera styles
30
Q
Grand Opera
A
- Historical Subjects
- 5 Acts, with a Ballet
- Main reason for attending these operas was the spectacle
- Opera no longer bound to aristocracy. There to entertain the larger/growing middle class. Plots reflect this.
-Opera in Italian everywhere but France. French opera never took off outside of France
31
Q
Les Huguenots
A
- Giacomo Meyerbeer (Jewish) - most popular composer in France during this era. Was Wagner’s mentor.
- St. Bartholomew’s day massacre
- Protestants (Huguenots) vs. Catholics
- Raoul Valentine - “Ein feste Burg”
32
Q
Les Huguenots Structure
A
Finale
- Scena
- Tempo d’attacco
- Larto concertato - slow tempo
- Tempo di Mezzo
- Stretta - quick tempo
-Used to be that the King or Queen never failed. That is changing.
33
Q
Opera Comique
A
- Developed after the quenelle des buffoons
- Less spectacle, spoken dialogue, no ballet, different vocal styles.
- After 1870, much more serious
- Not nearly as grand, singers don’t need to have the big voice to fill the theatre
- Subject matter tended to be historical, post 1870 became more psychological.
- Tends to stay within the French genre
34
Q
Carmen
A
- George Bizet
- The most popular opera comique ever written
- Exoticism - writing about far away places/times
- Female: dangerously seductive. Man and woman or just woman dies. - Mix of influences
- Style is not spanish or gypsy.
- Habenera is actually cuban. Bizet wrote what he thought sounded good.
- Bizet with
35
Q
German Opera: Der Freischutz
A
Melodrama - drama with music
36
Q
Singspiel
A
- No tradition of “high” German opera
- “Low” tradition: the Singspiel
- Grew out of medieval mystery plays, melodrama, parody
- Plots: legends and fairy tales
- A lot of popular song in Singspiel - like marches
- The Magic Flute
37
Q
Der Freischutz
A
- Weber
- Max: a ranger, in love with Agathe
- Caspar: a ranger, has sold his soul to the devil (Samiel)
- Agathe: daughter of the head ranger
- Samiel: the “black ranger,” the devil
- normal people having to make supernatural decisions
38
Q
Musical evocations of Evil
A
- “Samiel Chord” (Eb-F#-A-C)
- fully diminished, two tritones (the devil in music) - The devil can’t sing
- Tritone is the devil in music
- No composer before Bach used the tritone
39
Q
Popular elements
A
- Dialogue
- “Melodrama”
- Folk-tunes, marches, etc.
40
Q
German Nationalist Opera
A
- Lead to a :high” German tradition
- Folk tunes in opera
- Related to push for German Unification
41
Q
The Gesamtkunstwerk: Richard Wagner
A
Revolutions of 1848
42
Q
Revolutions of 1848
A
- Popular uprisings in Europe and Latin America
- Germany: middle and working class demand unified country, freedoms - upsetting local rulers
- Eventually fail - People flee German area
- Many sent into exile, including Richard Wagner
- Wagner extremely involved in Revolution (Revolutionary)
- Goes to Switzerland and eventually to France, influencing his music.
43
Q
Richard Wagner
A
- 1813-1883
- Very nationalist, very anti-Semitic
- Ironically, mentored by Meyerbeer - After Beethoven, vocal music was the way of the feature
- Lots of writings on music, politics
- didn’t start getting getting into music until he was a teen
- Loved Beethoven, saw himself as his successor
- Symphony as a genre was through, Wagner went to opera
44
Q
Gesamtkunstwerk
A
- Wagner rejects French opera- rejects the eclecticism of french opera. Wanted everything to be unified and came together in a Gesamtkunstwerk (total work of art)
- “Total work of art”
- “Music-dramas,” “festival-stageworks” rather than “opera.”
- Theatre at Bayreuth (massive), built for Wagnerian Music-Dramas
- Wants no association with French or Italian styles
- Gets rid of Aria and Recit in his operas
- Makes orchestra much more important, and hides them
- Wants audiences to absorb whats on stage and show up early
- Put a ballet first in an opera and the French public was not pleased.
45
Q
Chromaticism
A
- Dissonance resolves to dissonance
- Tristan Chord (F-B-D#-G#) dissonance can feel like a resolution is new.
46
Q
Lietmotif
A
- Signature tune
- New emphasis on the orchestra
- Influence of Beethoven
- Example: the Ring motif and Valhalla motif from The Ring Cycle
- Film scoring comes out of this genre
47
Q
Tristan Chord as Leitmotif
A
- Tristan Preview
- m. 66
- m. 69
48
Q
Nationalism
A
- Music Should reflect national character
- Nation of ethnicity, ethnicity became a profound definition of one’s identity.
- Chopan using folk genre
- Weber quoting folk tunes
- Essential for composers not in central European area, but eastern Europe
- Late 19th early 20th century
49
Q
Russia before the Enlightenment
A
- Russia remained pretty cut off before the Enlightenment
- Pre-enlightenment was in “Mongol Yoke”
- Church frowned on secular music and western music
- most music was chant based
50
Q
Russia post Enlightenment (18th century)
Russian modernization from 1860 to 1861
A
- Peter the Great, “Window on Europe,” modernization
- Changes in dress, calendar
- Beard tax
- Wiped out old calendar to match rest of Europe - Later Tsars, French and Italian opera
- 1861: Tsar Alexander I emancipates the serfs (now free men)
51
Q
Mikhail Glinka (1804-1857)
A
- First internationally popular Russian composer
- previous composers were imitative and set in Russian ways - Trained abroad, wanted to write in a new Russian style
- First Russian composer to gain fame out of Russia
- Pre-fully modernized state of Russia
52
Q
Moguchaya Kuchka
5 Russian composers that brought Russian music to the rest of Europe
A
- The “Mighty Five” or the “Mighty Handful”
- Mily Balakirev (leader)
- Cesar Cui
- Modest Mussorgsky
- Alexander Borodin
- Alexander Borodin
- Nikolai Rimsky-Korsakov - started as amateur, mentored Stravinsky - Amateur composers
- Inspireved by Schumann, Chopin, Liszt, Berlioz
- Saw music as a nationalist endeavor, finish what Glinka started
- Use Russian folk tunes, stories, etc.
53
Q
Modest Mussorgsky (1839-1881)
A
- Civil Servant
- Trained mostly by Balakirev
- Both operas and Instrumental pieces
54
Q
Boris Godunov, “Coronation Scene”
A
- Many Versions
- Idiomatically Russian Music
- Speech rhythms
- folk tunes, “hymn to the sun”
- irregular meter
55
Q
Non-functional chords: Coronation Scene
A
Mussorgsky
- Chords that look totally unrelated to each other
- Ex. Breakdown in measures 3-6 of coronation scene
56
Q
The canon
A
- Beyond Mozart, Haydn and Beethoven
- Mendelssohn’s Bach Revival
- Advent of musicology, mostly a german endeavor
57
Q
Johannes Brahms (1833-1897)
A
- Mentored by Schumann
- Struggled with legacy of Beethoven
- “Beethoven’s Tenth”
- Homage or rebuke?
- more of a rebuke. Brahms wanted to take Beethoven’s work and prove it could have been written without voices in Brahm’s symphony no. 1
58
Q
Influences on Brahms Symphony no. 4
A
- Bach
- Chaconne/Passacaglia
- BWV 150, BWV 1004 - Ground bass , melody in bass that just continues
- Beethoven
- Theme and variations finale (Symphonies now. 3 and 9)
59
Q
Influence of Bach: BWV 1004
A
- Sarabande Rhythm
- Similar rhythms
- Chorale variation
60
Q
Piano Quintet
A
- Sonata form (ish)
- 3(ish) key exposition, third relations (influence of Schubert, Beethoven)
- look at powerpoint for structure
61
Q
The Wagnerians
A
- Beethoven’s Ninth points to opera
- (or program music) - Extramusical content, emotions run high. Expression
- Unstructured genres
- Brahms and co. are too intellectual, conservative
- These are the people that are innovative and moving music forward.
- Tone poems, extended one movement works like prelude
62
Q
The Brahmsians
A
- “Absolute” music
- Structured, “classical” genres
- Wagner and co. are arrogant, diluting music’s power and beauty
- Only later recognized as an innovator
- think that the classics still have something to teach us.
- thought that adding words (programs) to music diluted its power
- Writing in style of Bach
- Musical conservatives
63
Q
Wagnerian Program Music
A
- Strong influence on composers after him
- Not same struggle as with Beethoven
- Saw Wagner as an inspiration - Liszt in Weimar
- Inspired by Wagner, Berlioz - Tone Poem or Symphonic Poem
- orchestral effects
- a piece is a tone poem mainly because of the title
- one movement programatic works
64
Q
Gustav Mahler (1860-1911)
A
- Born Jewish, converted to Catholicism
- not sure how real this was. Could not be catholic in vienna at this time - Got slammed for writing jewish inspired music
- Director of the Vienna State Opera, later NY Phil
- Extended the Beethovenian symphony
- “constructing a world,” voices - Wrote Wagnerian symphonies, some programs some not
- wrote nine symphonies
- doesn’t have much music but what he did write is long
- Style: folksongs, humor, some pop elements
- most famous for his symphonies
65
Q
Kindertotenlieder: Nun will die Sonn’ so hell aufgeh’n
A
- Spare texture
- Post-Wagnerian harmony
- Mahler’s Legacy
- Dissonance that doesn’t resolve
- a lot of music is Mahlerian based
66
Q
The Next Generation: Richard Strauss (1864-1949)
A
- Born to a musical family
- Famous conductor
- Famous for symphonic works, Lieder and opera
- unlike Mahler he composed in all of the major genres
67
Q
Salome
A
- based on a banned play
- Leitmotifs
- Tone clusters, extreme dissonance
68
Q
Strauss’s Legacy
A
- Increasingly conservative composition
- Late Strauss (Capriccio, 1942) - Became the President of the Nazi Reichmusickkamer in 1933
- Wrote official music for the Nazi Party (Olympic Hymn)
69
Q
Was Strauss a Nazi?
A
- Yes
- accepted patronage
- wanted to “clean up” German music
- No
- not an anti-Semite, protected Jews close to him
- never espoused ideology
70
Q
ballet les hugonots
A
queen in bathtub
71
Q
describe a mazurka
A
off rhythm lot of leaps use of half steps, chromaticism -dance from mozovia -exotic-trills/rhythms/drones/augmented 2nds
72
Q
Salon
A
- small music parlor in someone’s home
- private music concerts
- invite only
- Fanny Hensel ran one of the most famous salons in Germany
73
Q
Midevil mystery plays is an
A
element of zings peel which made fun of opera seria
-opera buffa
74
Q
Test
A
Boris Godunov
75
Q
Liszt and Tonality
A
-Octatonic scale
76
Q
know styles
A
- Bel Canto - focus on voice, melisma
- opera buffa
- opera comic
- opera seria - italian
- Grand Opera - will probably play a crowd scene. french. some melisma
most famous composer of early 19th century was rossini
77
Q
Know difference between composers
A
Brahms - piano quintet, no extra musical content
78
Q
Brahms
A
Wrote theme and variations
