WL: Instrumental Music

Question 1

Berlioz: SF

Berlioz: “Requiem Mass”, 1837

Answer 1

• Large number of musicians (429)
  -> HB: Specifies 30 violinists in total
• Ascending (conjunct) scale (then repeated and joined by lower woodwind)

Question 2

Berlioz: SF

Dvorak: “The Water Goblin”, 1896

Answer 2

SIM:
- Programmatic
- Orchestral sections used in contrast*
- Repeated motifs…
DIF:
- HB: Idee Fixe
- *AD: Relentless flowing strings (water) + Staccato woodwind (goblin)
-> Transposed (made minor)
-> Theme played by pizz strings…

• Berlioz also uses pizz strings:
  -> Strauss: “Pizzicato Polka”
• Continuous

Question 3

Berlioz: SF

Grieg: “Morning Mood”, 1875 / Berlioz: Harold in Italy”, 1834

Answer 3

SIM
- Idee Fixe
DIF
- Both in 6/8
EG:
- Pentatonic
- Split/passed through the orchestra
Fantastique: Does that with the second theme (which is split in half, and played by the
HB:
- Grace notes, folk feel

Question 4

Berlioz: SF

Liszt: “A Faust Symphony”, 1857

Answer 4

SIM:
- Disjunct (intro)
-> More tonally ambiguous
- Pits orchestral sections against each other
DIF:
- Starts for strings (vs. woodwind), then focuses on woodwind (vs. strings) -> not polarised, kind of blur into each other

Question 5

Berlioz: SF

Schubert: “Symphony No.9: Mvmt 1”, 1849

Answer 5

SIM:
- Polarised dynamic contrasts
-> quiet woodwinds, loud orchestra (vs. sfz)
- Homorhythmic (strings/trombones vs. full orchestra in the religiosamente section - entirely chordal)

Question 6

Berlioz: SF

Beethoven: “Pastoral Symphony”, 1808

Answer 6

SIM
- Large symphony orchestra
- Tremolo
-> DIF: Between notes, on the cello
- Broken chords
- Imitative entries of jumpy, staccato theme throughout, pitting orchestral sections apart

Question 7

Berlioz: SF

“Symphony No. 7”, 1882
+
Bruckner: “Symphony No. 8: Movement III”, 1887

Answer 7

7)
SIM:
Pedals (tonic, Ab major in SF)
DIF:
AB: Highly extended E pedal in bass and timpani featuring modulations above

8)
SIM:
- Large orchestral chords eg. Dom 7
- Frequent melodic chromaticism
- Major-minor chordal movement
- Quite chordal throughout -> rousing swells

Question 8

Berlioz: SF

Rimsky-Korsakov: “Sheherazade”, 1888

Answer 8

Movement 1: Pizzicato, but more characterised by frequent trills

Movement 3: Chromatic bassline (Russian submediant)

+ Treatise on Orchestration

Question 9

Berlioz: SF

Mendelssohn: The Hebrides, “Fingal’s Cave”, 1830 (same as SF)

Answer 9

• Diminished 7ths (resolved, unlike dim7-dom7-dim7)
• Pedal point (held in the middle of the texture)

Question 10

Berlioz: SF

Smetana: “Ma Vlast”, 1879

Answer 10

• Rapidly undulating melody in the woodwind, accompanied by pizzicato strings -> then taken over by lower strings
  -> River?
• Dotted rhythms

Question 11

Berlioz: SF

Brahms: “Symphony No.1, Mvmt 3”, 1876

Answer 11

SIM:
- Prominent triplets throughout
- Used in cross-rhythms
DIF:
JB: Features triplet polyrhythms by combining features of a 2/4 allegretto section and a 6/8 trio section
HB: An additional expressive tool in the generally varied rhythms of the piece eg. sextuplets, dotted rhythms

Question 12

Berlioz: SF

Beethoven: “Sonata Pathetique, Mvmt 1”, 1798

Answer 12

• Slow introduction, both in Cm
• Recapitulation:
  HB: Starts in G minor rather than C minor
  LVB: The second subject initially plays in the unexpected key of F minor, then moves to the expected key of C minor

Question 13

Schumann: Piano Trio in Gm

Liszt: “Piano Sonata in Bm”

Answer 13

• Frequent passing modulations
  -> Much more unrelated than CS (D-F-Bb)

Question 14

Schumann: Piano Trio in Gm

Joplin: “Bethena”

Answer 14

• German 6th
  -> Harmonic language spanning decades and styles

Question 15

Schumann: Piano Trio in Gm

Berlioz: “Symphonie Fantastique”

Answer 15

• Alteration of a subject melody
  -> Idee Fixe

Question 16

Schumann: Piano Trio in Gm

Haydn: “String Quartet No.2, Mvmt 4”

Answer 16

• Long sustained pedal, but then followed by an articulated pedal

Question 17

Schumann: Piano Trio in Gm

Beethoven: “Archduke Trio”

Answer 17

MVMT 1
- Broken chord figures (including the 2 notes - 1 note pattern common in Schumann’s trio)
- Scalic runs

MVMT 4
- Somewhat contrapuntal
-> Melodic lines passed between instruments rapidly
- It is instructed to be played forcefully, making use of the wider dynamic range of the newer instruments

Question 18

Schumann: Piano Trio in Gm

Haydn: “Piano Trio in G major”

Answer 18

• Strong focus on the piano part
• Violin and cello often doubling
  -> Typical of piano trios of the time, as it was necessitated by the fortepiano’s limited dynamics
• Development to CS, where all instruments play a somewhat equal role

Question 19

Schumann: Piano Trio in Gm

Schubert: “Piano Trio 1”

Answer 19

• Dotted Rhythms
  -> The fast speed and major key lend it a dancing, energetic mood

Question 20

Schumann: Piano Trio in Gm

Haydn “Lamentatione Symphony”

Answer 20

• Descending, conjunct, syncopated melody

Question 21

Schumann: Piano Trio in Gm

Mozart: “Fantasia No.4”

Answer 21

• Common tone tertiary modulation between B and D
  -> Like CS’s (not common-tone) modulation between B-flat and D.

Question 22

Schumann: Piano Trio in Gm

Mozart: “Piano Sonata in Bb”

Answer 22

• Strong, functional harmony eg. Ic-V-I

Question 23

Schumann: Piano Trio in Gm

Brahms: “Piano Trio 1 Mvmt 2”

Answer 23

• Use of staccato and double-stopping in the violin line near the beginning of the movement…
  -> …although not really simultaneously.