Term
EXAMPLE:
T: Symphony No. 6 in D major
(“Le Matin” = “Morning”) |
|
Definition
- Perhaps named by Paul Anton b/c slow introduction evokes sunrise (how?)
C: FJH
N: Austrian
G: Symphony
D: 1761
*Early Esterhazy Years (*=extra credit on exam 2)
SF: Slow introduction
- Sonata form ( also recap omits much of theme 2)
- uses concertante instruments (more soloist roles with instruments in symphony) |
|
|
Term
EXAMPLE:
T: Symphony no. 45 in F# minor (“Farewell”) |
|
Definition
C: Haydn
G: Symphony
N: Austrian
D: 1772 EC: Early Esterhazy Years
SF: 1st movement = Sturm und Drang style
- repeated notes, abrupt stops, minor key, unison themes.
4th movement illustrates FJH’s famous wit: parts drop out, musicians leave
- this is a joke to tell the Esterhaza establishment to disband and go back to Vienna.
Time sig: 3/4 |
|
|
Term
EXAMPLE
T: Symphony No. 92 in G major (“Oxford”) (2nd movement) |
|
Definition
G: Symphony
C: FJH
N: Austrian
D: 1788
EC: Middle Esterhazy years*
2nd movement: See handout on SONATA CYCLE
SF: Form = ABA’ + Coda
A in D Major (V of symphony as a whole) , lyrical
B in D minor (parallel minor of movement) repeated notes sudden dynamics
A’ = A varied and shortened
- Rich orchestration (wind solos) (wind play by themselves w/o strings sometimes)
- How does ending reflect FJH’s famous wit? |
|
|
Term
EXAMPLE: (last Haydn symphony)
T: Symphony No. 104 in D major (“London”) |
|
Definition
T: Symphony No. 104 in D major (“London”)
G, C, N = same as others D: 1795 *EC: Post Esterhazy years
SF:
- Finale’s Sonata form is MONOTHEMATIC =
Based on 1 theme which is presented in tonic as theme and in the dominant as theme 2 (Sub)
- Imitation of bagpipe w/ pedal point, “fiddling” (fiddler plays while bagpipe drones)
- later oboe would take over the bagpipe
- Long, dramatic coda (Skips the second statement of theme 2 in the recap so the coda can be longer) |
|
|
Term
EXAMPLE:
T: String Quartet in E-Flat major, Op. 33 no. 2 (“joke”) |
|
Definition
G: String Quartet
C: FJH
N: Austrian
D: 1779, Middle Esterhazy Years
SF: Finale in sonata-rondo form (new for FJH Quartets): ABACA (I-IV-I-I-I)
- Makes it sonata-rondo because there is a development in the rondo
- both the B and the C portions are in development style
- Rondo theme (refrain) is in ROUNDED BINARY Form
- “Joke” = pauses, play on antecedent - consequent convention (he sets it up to where we don’t really know where they are) |
|
|
Term
EXAMPLE:
T: String Quartet in C major, Op. 76, no. 3(“Emperor Quartet”) |
|
Definition
G: SQ
C: Haydn
N: Austrian
D: 1797, Post-Esterhazy years
SF: 2nd movement = set of variations on tune that FJH composed to honor Emperor Franz II; (emperor of all of Austrian empire)
- tune later used as Protestant hymn, national anthem of Austria, then Germany later
- Each instrument takes turn w/ theme. |
|
|
Term
EXAMPLE
T: Sonata No. 52 in E-Flat major, H. XVI: 62 |
|
Definition
G: Sonata
C: FJH
N: Austrian
D: pub. 1800 (post-Esterhazy years)*
SF: exploits dynamics of fortepiano
- monothematic sonata form |
|
|
Term
|
Definition
G: Oratorio
C: FJH N: Austrian D: 1798, Post-Esterhazy
SF: Slow overture = The Representation of Choas
Very chromatic, remotes modulations
Dissonance resolved irregularly
Recitative for Raphael(arc angel; narrates the story of Genesis) & Chorus (Genesis):
- In the beginning.. and there was light (C major CHORD)
- 1st score published with bilingual libretto |
|
|
Term
- EXAMPLE
T: Variations on “Ah, vous dirai-je, maman” [Ah, I told you, mother] |
|
Definition
G: THEME & Variations
C: WAM
N: German
D: 1778, *Salzburg Years (will be two periods)
SF: Based on “Familiar French Folk Tune”
- Form of theme is Rounded binary
- one variation is in minor
- one variation is slow
Typical of T&V genre |
|
|
Term
EXAMPLE
T: Symphony no. 25 in G minor, K. 183. (“Little”) |
|
Definition
D: 1773 Salzburg Years*
G: Symphony
C: WAM
N: GERMAN
SF: Sturm und drang style
minor key, abrupt stops, repeated notes, remote modulations |
|
|
Term
EXAMPLE
T: Symphony no 41 in C major (“Jupiter”) (last movement) |
|
Definition
G: Symphony
C: WAM
N: GERMAN
D: 1788, Vienna years**
SF: Sonata form, but w/ 5 themes
2 themes in PT (principal)
1 in transition.
2 in Subordinate (described in Textbook, pp. 426-27)
- Complex counterpoint
- Development section: inversion (taking top voices and switching them w/ bottom voices), retrograde (backwards), stretto (quicker entrances of the subject, the rate at which the voices come in is much faster).
- Coda: quintuple invertible counterpoint
- all 5 themes combined, each acts as bass
- “Festive” symphony w/ trumpets, timpani |
|
|
Term
EXAMPLE:
T: Piano Concerto no . 23 in A major, K. 488 |
|
Definition
G: concerto
C: WAM
N: German
D: 1786, Vienna years*
SF: DOUBLE EXPOSITION FORM
- other generic features as above in notes
+ Rich woodwind writing as in WAM symphonies
- alberti bass, common classical keyboard figuration
- Chordal patern sustain harmonies to support melody (Gallant style texture)
- Named for Domenico Alberti (1710-1740) among 1st to develop this texture in sonatas
- didn’t invent it
- written for WAM student, Barbara Ployer |
|
|
Term
|
Definition
G: drama giocoso C: WAM N: GERMAN
D: 1786 , Vienna years***
SF: WAM’s music differentiates characters, each has own style
- Servant to DG, Leporello: Basso buffo, patter style (rondo-like aria)
- Donna(lady) Anna (aristocratic soprano), opera seria style
- Don Giovanni (baritone, scoundrel) adapts to circumstances, musical style changes
- Commendatore (Anna’s father, bass) style is heavier, more sustained (stentorian tones)
- All 4 characters interact in an ENSEMBLE, a section of an opera involving multiple characters, each reacting to a situation |
|
|
Term
EXAMPLE:
T: Die Zauberflöte [The Magic Flute] |
|
Definition
G: Singspiel
C: WAM
N: German
D: 1791, Vienna yrs.*
SF: Libretto by Emmanuel Schikaneder: actor, owner of small suburban theater, which Magic Flute saved from $$ problems by its popularity
- Schikaneder & WAM belonged to the same masonic lodge, so TMF includes symbols of Freemasony, e.g. 3
- 3 is an important symbol. TMF’s overture starts in Eb Major (3 flats)
- Remember Freemasons were secretive organization promoting democracy
- they didn’t address each other by names, had handshakes
- a lot of aristocrats belonged along with middle class
- upper classes are enlightened
- lower classes are simple, comic. E.g.
- Papageno (portrayed by Schikaneder) = the bird catcher
- Papageno wants to find a wife like himself
- Papageno’s music is therefore simple (Aria: Ein madchn oder Weibchen)
- Varied strophic form = each stanza’s music is slightly varied
- WAM played the “varied” Glockenspiel part
- Refrain precedes each stanza |
|
|
Term
EXAMPLE
T: Requiem, K. 626 |
|
Definition
G: Requiem mass
C: WAM
N: GERMAN
D: 1791, Vienna years*
SF: Vivid contrasts of entire score exemplified in the “Confutatis” [Confounded], part of Dies irae [apocalyptic Day of Reckoning]
- Confounded = minor, low, melodic tritones
- Blessed = major, higher range, diatonic |
|
|
Term
EXAMPLE
T: Piano Trio in Eb major, Op. 1, no. 1 |
|
Definition
PT instrumentation?
- Piano, cello, violin
C: LvB
N: German
G: Piano trio
D: 1793-4, Early years*
SF: 1-3
1. instruments more equal than in earlier piano trios
- Violin & cello solos (more independence)
- Beethoven implied genre was worthy of concert rather than domestic performance
2. 4 movements (earlier Piano trios were 2/3)
- saying his PT’s should stand along side of other 4 movement works
- such as symphonies or string quartets
3. 3 movement no minuet & trio, but SCHEZRO (see FJH Op. 33), Became LvB’s trademark |
|
|
Term
EXAMPLE
T: Sonata in C minor, Op. 13 (Pathetique |
|
Definition
G: Sonata
C: LvB
N: G
P: Early*, 1798
SF: 1st movement begins a SLOW introduction (unusual, didn’t happen in WAM or FJH)
- Fragmented, sudden contrasts, improvisatory
- Ensuing sonata form is mostly regular, BUT
1. slow intro returns twice, at beg. Of develop and at Coda
2. key of T2 is unstable, unusual (see score)
- Contrasts between slow intro & allegro =
Suffering vs. resistance to it or triumph over it
(pathetic coming from pathos)
- publisher subtitle referes to sympathy or compassion, strongly felt emotions, especially |
|
|
Term
EXAMPLE:
- T: String Quartet in F major, op. 18 no. 1 |
|
Definition
- G: SQ
C: LvB
N: G
D: 1800 Early
SF: LvB follows sonata cycle
- But in the third movement is ABA, but not minuet and trio.
Is instead scherzo (A) and trio (B)
- Form of the scherzo is likewise traditional:
- rounded binary
- But second party is greatly expanded
Modulates to A-flat, long cadential extension
- Trio is likewise in rounded binaryform, but
1. second part includes music that sounds developmental (extra dvt= trait of LvB)
2. cadences A-flat (third below and above\ |
|
|
Term
EXAMPLE
T: Symphony No. 3 in E-Flat major, Op. 55 (“Eroica” = Heroic) |
|
Definition
G: Symphony
C: LvB
N: GERMAN
D: 1802-5, Middle years***
- Erorica still follows sonata cycle, but is longer than any earlier symphony
- Each movement has “EXTRAMUSICAL ASSOCIATIONS,” Ema’s.
- refer to nonmusical subjects (heroism)
- First movement is a huge sonata form, likened to military battle
- 2nd movement = French military funeral march (memory…)
- 3rd movement scherzo thought to celebrate hero’s achievements
- 4th movement variations based on theme from LvB’s ballet, The Creatures of Prometheus
- in Greek mythology, Prometheus stole fire from Gods to give to mankind
- just as Napoleon intended to spread democracy. |
|
|
Term
EXAMPLE
- T: Piano Concerto no. 5 in E-Flat Major, Op. 73
(“Emperor”) |
|
Definition
G: Piano Concerto
C: LvB
N: German
D: 1809, middle*
SF: LvB establishes new relationship between piano & orchestra with:
1. Opening, improvisatory fantasia, which returns in recap.
2. Normal orchestral exposition, except T2 begins in parallel minor
3. Piano re-enters (chromatic scales) before orchestra resolves Vb9
4. Piano preserves fantasia quality in “strict” sections
5. Piano plays T2 in B minor (enharmonic b9)
- Name = in 1809, Emperor’s family fled from Napoleon’s invading army
- Haydn had protection during his last year of his life
- When the family returned, LvB welcomed the Emperor’s son, Archduke Rudolf (his student & patron) by playing the concerto privately for him
- LvB also dedicated it to A. Rudolf
- 1st public performance given in Vienna, on Emperor’s birthday, played by Carl Czerny, pupil of LvB, composer of many etudes, teacher of Liszt.
- Many modern pianist trace their lineage to LvB. |
|
|
Term
EXAMPLE
T: Diabelli Variations |
|
Definition
G: Theme & Variations
C: LvB N: G
D: 1828 (Published) Already died in 1827, Late*
SF: uses trivial waltz by Anton Diabelli, Viennese publisher and composer, who asked many composers to write 1 variation each on it. (planned to create anthology of many variations by different composers, etc. other people who contributed were Liszt and Schubert)
- LvB initially refused, calling waltz a Schusterfleck = a cobbler’s patch or hodgepodge
Then LvB wrote 33 variations on IT!
- Theme = trivial waltz
- Var. 1 = pompous march (LvB sarcastic)
- Var. 9 = minor, motivic foreshortening (motive is shortened, typical of LvB) (he will take a theme and gradually focus it in smaller portions)
- last 3 summarize 18th C.
- 31: Bach Aria
- 32: Handel Fugue
- 33: Mozart/Haydn minuet |
|
|
Term
EXAMPLE
T: Symphony no. 9 in D minor, op. 125 (“Choral”) |
|
Definition
G Symphony C: LvB
N: G
D: Late 1812-1824
SF:
- 1st movement begins with “nebulous haze”: Tremolos, motives emerge gradually, then coalesce in big tutti statement (influenced Bruckner)
4th movement includes chorus & vocal soloists
- setting of An die Freude (To joy) an ode by Friedrich Schiller, 18th - Century poet & philosopher. (influenced Berlioz, Mendelssohn, Mahler et al.)
- uses CYCLICAL FORM
- a method of unifying sonata-cycle compositions whereby thematic material of one movement is restated (“recycled”) in other movements
- in finale, after “fright fanfare,” themes from earlier movement. Alternate with inst. Recitative.
- events are duplicated when voices enter =
- resembles double exposition form
- cyclical form important for nearly all romantic composers |
|
|
Term
EXAMPLE
T: String Quartet in C-sharp minor, Op. 131 |
|
Definition
G: SQ
C: LvB
N: GERMAN
D: 1826, Late
SF: 7 movements!! Of extreme contrast
1st movement: Fugue (!)
- Subject (melody of contrapuntal piece) stated by each instrument, in turn
- Fugues alternate between
- expositions (where subject is stated) and
- episodes (where modulations occur)
2nd movement
- very simple sonata form that uses one theme, first in tonic and then in secondary key (V/III or v) = monothematic
But key is D major (Neapolitan of C-Sharp minor) !!! |
|
|
