MUAR EXAM 2 - Pieces

Period: 18th C - Classical Composer: Joseph Haydn (1732-1809) Date: 1781
Genre: Chamber music, String Quartet, Finale Form: Rondo Form (A B A C A) - sonata form - repeated A theme throughout Texture: Homophony Tempo: Presto Ensemble: String Quartet - based around a core of bowed strings playing 4 separate parts - no basso continuo
Notes: - tonic key overall - lively, light, happy till the end

Period: 18th C - Classical Composer: Wolfgang Amadeus Mozart (1756-1791) Date: 1788
Genre: Symphony Form: Sonata form - Exposition: - 1st theme: minor mode - played twice - 2nd playing moves modulation towards 2nd key -> (bridge theme:) forceful bridge puts modulation into 2nd key -> abrupt stop - 2nd theme: major mode - divided equally between strings & woodwinds -> repeated with strings & woodwinds swapping parts - no cadence instead brief, new ideas - (cadence theme:) end: short f cadence & series of cadences - dramatic chord: major -> minor key - whole exposition repeated - Development: - 2 dramatic chords -> begins quietly - 1st theme: accompanied the same - modulates -> (contrapuntal passage:) rest of orchestra burst in furiously (exhausts itself) -> stops - piano passage - modulation continued - fragmentation: orchestral echoes gradually smaller portions of 1st theme - another f passage - no modulations - retransition: harmony waiting for something, stops continuously shifting - Recapitulation: - 1st theme: minor mode - original form conveys a new pathos - modulating differently - bassoon playing descending line - bridge theme: longer - cadence -> abrupt stop - 2nd theme: minor mode - replayed in tonic key deepening pathos - many small alterations to exposition - more stable - great power - cadence theme: f - Coda: - strings play new imitative passage p based on 1st theme - repeated cadences f - very short - sounds disheartened and battered - 3 solid chords end it Tempo: Molto allegro (rather fast) Texture: Melody with strict homophonic accompaniment Style: Viennese Classical Ensemble: Orchestra
Notes: - single, quiet chord regrouped & repeated by violas, supported by a very plain bass, with plaintive melody above by violins - sharp contrasts - clear demarcations - dark and uneasy mood: suggests struggle against inescapable constraints - ending: delicate dynamic changes, loud repeated cadences

Period: 18th C - Classical Composer: Wolfgang Amadeus Mozart (1756-1791) Date: 1786
Genre: Piano Concerto Form: Double-exposition form - Orchestra Exposition: - theme 1: major tonic key - strings play p -> repeated by woodwinds -> responded to by entire orchestra f - theme 2: - quiet melody with lots of emotion interrupted - deflection passage: - agitated & emotional - touches on 2 minor keys - cadence theme: - maintains gentle mood - Solo Exposition: expands & illuminates orchestral exposition, piano controls parts and ornaments - theme 1: - bridge: - modulation by piano - theme 2: - deflection passage: - solo virtuoso passage: - intimate & lovely theme 2 on piano - no ornamentation - new theme: - quiet, gentle, thoughtful character - orchestra -> elaborated & repeated by soloist - Development: contrast between orchestra & soloist illuminated here - fragments of new theme by woodwinds discuss/argue with piano - modulates to minor mode keys - retransition: - anxious - short cadenza: - piano withdraws from dialogue & leads to recapitulation - Recapitulation: resembles solo exposition - theme 1: - composite of both expositions shared by orchestra & soloist - bridge: - tonic key - theme 2: - deflection passage: - fermenta: heavy stop after response passage - new theme: repeated - cadenza: - showy cadence at end cheered on by orchestra's response - cadence theme: - quiet of orchestra exposition - ending: - flare-up f that subsides almost immediately Tempo: Allegro (fast) Texture: Homophony Ensemble: Orchestra with piano soloist
Notes: - gentle and songful

Period: 19th C - between Classicism & Romanticism Composer: Ludwig Van Beethoven (1770-1827) Date: 1808 (December)
Genre: Symphony Form: Sonata Form - Motive: 4 note Da-Da-Da-Daaa - Theme: repetitions of motive - Exposition: - 1st theme: minor key - arresting presentation - meter disrupted by 3 fermatas (indefinite holds on notes) - Bridge: major key - horn-call - function to cement new key firmly & usher in 2nd theme - 2nd theme: - new gentle mood - fades quickly - Cadence: - main motive returns -> stops - exposition repeated - Development: - 1st theme: - modulates-> starts section with eruption & returns to minor mode - fermanta - sounds like crack of doom - developed towards climax - rhythm multiplies - Bridge: - modulates between keys - fragmentation: 2 middle pitches isolated suddenly - echoed between high wind instruments and lower strings -> just 1 note - echoing shrinks - Retransition: - tension - prep for recapitulation - hush point - almost unbearable - whole orchestra repeatedly shouts main motive until 1st theme in tonic key - Recapitulation: - same as exposition except 3rd fermenta in 1st theme filled out by slow, expressive solo by oboe - essentially cadenza in a free rhythm - brief rest from continuing rhythmic drive - end - new contrapuntal idea in cadence (4 main pitches played in bridge rhythm & 2 middle notes emphasised by long, downward sequence) - Coda: - action packed - grim minor-mode march - moment of respite from thematic evolutions of main motive - final defiant appearance of original theme -> unexpectantly poignant continuations - affirmative cadences built of main motive Texture: Homophony Tempo: Allegro con brio Ensemble: Orchestra
Notes: - composed for a concert to showcase his own work - rare during his day - ran for 5hrs - huge success - single rhythmic motive - forms 1st theme, initiates bridge, subdued background to lyrical, emerges in 2nd theme, expands in development & coda - Classical device used fro non-Classical ends - gives urgency to piece

Period: 19th C - Early Romantic PeriodComposer: Franz SchubertDate: 1815
Genre: Lied aka Art Song (monody)Form: Through-ComposedTexture: HomophonyTempo: 4/4 staccato, rapidement, triple rhythmStyle: Programme MusicEnsemble: Piano & vocal soloist
Notes:- Schubert's opus 1 & still his most famous lied- Based on famous poem by Johann Wolfgang von Goethe (1749-1832): A father rides his boy, who hears the voice of a murderous demon, home. He impatiently tells him he is being silly but when they reach home the boy is dead. - Music unified by repeated rhythmic figure in piano reps... -continuous hoof beats of horse running - fear of child - apprehension & stress of father- Solo vocalist plays 4 personalities: narrator, child (high, frantic), Erlkonig (ppp) & father (low, stiff, gruff)- Chromatic Harmony - increases tension & changes tone of Erlkonig- Ends in recitative

Period: 19th C - Early Romantic PeriodComposer: Clara Schumann WieckDate: 1843
Genre: Leid aka Art Song (monody) Form: Modified StrophicTexture: HomophonyTempo: 6/8 Style: Romantic MiniatureEnsemble: Piano & vocal soloist
Notes:- Unique pensive mood through words- Cliche filled poem - dreams of love & down-heartened lover- Stanza 3 - strays slightly from simple modified strophic form as gets excited & adds notes- Word painting

Period: 19th C - Early Romantic PeriodComposer: Robert SchumannDate: 1833-35
Genre: Character PieceForm: aa ba b1a1 baTexture: HomophonyTempo: Rubato - Vague, languorous rhythmEnsemble: Piano solo
Notes:- each short piece depicting a masked character - band strikes up -> sad clown arrives -> 2 pantomime figures -> Schumann -> 2 girlfriends -> a Coquette -> composers Paganini & Chopin- Eusebius was Schumann's pen name for his tender, dreamy self

Period: 19th C - Early Romantic PeriodComposer: Frederic ChopinDate: 1831
Genre: Character pieceForm: Ternary FormTexture: HomophonyTempo: Rubato - 2/4 Larghetto Ensemble: Piano solo
Notes:- opening tune has elegance unique to the composer- graceful rhythm - Romantic harmony & pianistic decorations to melodic line- Chromaticism- main tune doesn't really end just plaintive sounds emerge- ends in a coda

Period: Late Romantic PeriodComposer: Pytor Ilyich TchaikovskyDate: 1869 revised 1880
Genre: Concert overtureForm: Sonata Form - Introduction (andante) - hymn theme (pp) - strings -> harp - hymn theme - buildup with drums (f) - preparation (p with crescendo) - Main section (allegro) - vendetta theme (full orchestra: f ends with cymbals->ff->p) - love theme (woodwinds & french horn - cadences with harp - Development - developmental combination: vendetta & hymn combined -> climax with cymbals - hymn theme: trumpets & syncopated cymbals - Free Recapitulation (abbreviated) - vendetta theme: full orchestra - love theme: ends ff - love theme interrupted by vendetta theme (conflict shown in cymbols) - developmental combination (builds to fff - ends with drum roll f) - Coda (moderato) - love theme: broken with funeral drums - new theme: woodwinds - love theme: section a - final cadencesTexture: HomophonyEnsemble: Orchestra
Notes:- very generally followed outline of original play- romantic, surging strings = love of R & J- angry, agitated theme = vendetta between families & fate of R&J- hymn-like theme = kindly Friar Laurence who devises the plan that ultimately goes fatally wrong- Category: programme music

Period: Late Romantic PeriodComposer: Richard WagnerDate: 1851-56
Genre: Music DramaForm: Aria - dialogue - first orchestral climax - second orchestral climax - love motive - empathy motiveTexture: Homophony Style: Romantic GrandoiseEnsemble: Orchestra & vocal soloists
Notes:- 4 parts over 4 nights - covers large portions of the most famous Germanic & Norse legends- Night 1: sets scene for following 3 nights - precious lump of gold at the bottom of the Rhine River is stolen from mermaids of the Rhine by dwarf Alnerch & then stolen from him by the gods -> curse forged into the ring -> makes those (even gods) who possess it renounce love that could save them from corruption- basic theme the moral decline of the world brought by greed for money & hunger for power- The Valkyrie: 2nd night - brother (Siegmund) & sister (Sieglinde already married to Hunding) separated at birth ends in incestuous union - father Wotan powerless to intervene in the duel between Siegmund & Hunding in Act 2 (Siegmund killed) - Act 1: meeting of Siegmund & Sieglinde, Siegmund coincidentally runs into Sieglinde's home in attempts to flee pursuing enemies in a thunderstorm -> Seiglinde sees him unconscious on the floor -> he awakens & they quickly fall in love - 1st drink: Siegmund cries for a drink & Sieglinde gets him 1, orchestra takes over building miniature climax, S & S's leitmotivs, new melody grows with solo cello & other low strings harmonised (blossoming love) - 2nd drink: Sieglinde fills drinking horn with honeyed mead, orchestra intensified version of earlier climax, love wells as share mead & orchestra wells with them, Siegmund deep sigh &orchestra dissonant chord (ill-fated), Sieglinde won't let him go - communion: Sieglinde's last word -> orchestra starts new warm melody -> romantic harmonisation -> drooping scale -> NO cadence but new, ominous leitmotiv in low brasses- General features: - orchestra - carries leitmotivs, accompanies singers, depicts characters thoughts & emotions (psychological depth & complexity) - leitmotivs - transformed slightly with each appearance, shifts psychological portrayal with drama - singers - free-formed declamation like recitative- VERY slow-paced

Period: Late Romantic PeriodComposer: Giacomo PucciniDate: 1904
Genre: Opera SeriaForm: Aria - melody: imagines will see a wisp of smoke from hills (diembodied/floating melody) - aria: varied music mixing with full-fledged melody (close to recitative declamation) -> comes to the point of remeeting Pinkerton sings heart out to new reprise (redoubled bass orchestration & louder) -> orchestra takes up intensified melody again at endTexture: HomophonyEnsemble: Orchestra & vocal soloist
Notes:- derived from a play by David Belasco- Story: as Japan & US open trade in 1850s a young naval officer marries a niave 15yr old geisha then sails away without intending to honour the Japanese ceremony but geisha remains faithful & waits for him then he returns with his real wife & geisha kills herself leaving her & officer's child- Act II: response to maids doubts, Cho Cho San spinning fantasy about Pinkerton's return - Aria dramatises the helpless growth of her fantasy

Period: Late Romantic PeriodComposer: Johannes BrahmsDate: 1878
Genre: Violin ConcertoForm: Rondo - A (tune) - a a b a¹ - spirited gypsy fiddling - solo violin plays in double stops (chords by 2 bow strings simultaneously) - a¹ faster repititions - B (episode 1) - begins emphatic upward scale (high range) by solo violin & downward scale (low range) in orchestra, timpani added -> upward scale (low range) & downward scale (high range) - C (episode 2) - shift of meter - short cadenza x2 - soloist - coda - version of a phrase in march tempo - timpani prominent - ends with 3 loud Texture: HomophonyTempo: Allegro giocoso (jolly)Ensemble: Orchestra with soloists
Notes:- exoticism