WL: Instrumental Music Flashcards
Berlioz: SF
Berlioz: “Requiem Mass”, 1837
- Large number of musicians (429)
-> HB: Specifies 30 violinists in total - Ascending (conjunct) scale (then repeated and joined by lower woodwind)
Berlioz: SF
Dvorak: “The Water Goblin”, 1896
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
Berlioz: SF
Grieg: “Morning Mood”, 1875 / Berlioz: Harold in Italy”, 1834
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
Berlioz: SF
Liszt: “A Faust Symphony”, 1857
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
Berlioz: SF
Schubert: “Symphony No.9: Mvmt 1”, 1849
SIM:
- Polarised dynamic contrasts
-> quiet woodwinds, loud orchestra (vs. sfz)
- Homorhythmic (strings/trombones vs. full orchestra in the religiosamente section - entirely chordal)
Berlioz: SF
Beethoven: “Pastoral Symphony”, 1808
SIM
- Large symphony orchestra
- Tremolo
-> DIF: Between notes, on the cello
- Broken chords
- Imitative entries of jumpy, staccato theme throughout, pitting orchestral sections apart
Berlioz: SF
“Symphony No. 7”, 1882
+
Bruckner: “Symphony No. 8: Movement III”, 1887
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
Berlioz: SF
Rimsky-Korsakov: “Sheherazade”, 1888
Movement 1: Pizzicato, but more characterised by frequent trills
Movement 3: Chromatic bassline (Russian submediant)
+ Treatise on Orchestration
Berlioz: SF
Mendelssohn: The Hebrides, “Fingal’s Cave”, 1830 (same as SF)
- Diminished 7ths (resolved, unlike dim7-dom7-dim7)
- Pedal point (held in the middle of the texture)
Berlioz: SF
Smetana: “Ma Vlast”, 1879
- Rapidly undulating melody in the woodwind, accompanied by pizzicato strings -> then taken over by lower strings
-> River? - Dotted rhythms
Berlioz: SF
Brahms: “Symphony No.1, Mvmt 3”, 1876
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
Berlioz: SF
Beethoven: “Sonata Pathetique, Mvmt 1”, 1798
- 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
Schumann: Piano Trio in Gm
Liszt: “Piano Sonata in Bm”
- Frequent passing modulations
-> Much more unrelated than CS (D-F-Bb)
Schumann: Piano Trio in Gm
Joplin: “Bethena”
- German 6th
-> Harmonic language spanning decades and styles
Schumann: Piano Trio in Gm
Berlioz: “Symphonie Fantastique”
- Alteration of a subject melody
-> Idee Fixe
Schumann: Piano Trio in Gm
Haydn: “String Quartet No.2, Mvmt 4”
- Long sustained pedal, but then followed by an articulated pedal
Schumann: Piano Trio in Gm
Beethoven: “Archduke Trio”
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
Schumann: Piano Trio in Gm
Haydn: “Piano Trio in G major”
- 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
Schumann: Piano Trio in Gm
Schubert: “Piano Trio 1”
- Dotted Rhythms
-> The fast speed and major key lend it a dancing, energetic mood
Schumann: Piano Trio in Gm
Haydn “Lamentatione Symphony”
- Descending, conjunct, syncopated melody
Schumann: Piano Trio in Gm
Mozart: “Fantasia No.4”
- Common tone tertiary modulation between B and D
-> Like CS’s (not common-tone) modulation between B-flat and D.
Schumann: Piano Trio in Gm
Mozart: “Piano Sonata in Bb”
- Strong, functional harmony eg. Ic-V-I
Schumann: Piano Trio in Gm
Brahms: “Piano Trio 1 Mvmt 2”
- Use of staccato and double-stopping in the violin line near the beginning of the movement…
-> …although not really simultaneously.
