MUAR Quiz 2 - Music Pieces

Period: 18th C - ClassicalComposer: Joseph Haydn (1732-1809)Date: 1791
Genre: SymphonyForm: Sonata form (2 themes) - Exposition: - theme 1 - bridge - theme 2 - cadence - Development: - long and eventful - same themes with major differences - retransition (transition between development and recapitulation - Recapitulation: - imaginative rewrite of exposition - exposition repeated - coda (concluding segment of any musical form)Tempo: Allegro moderato (moderately fast) Texture: HomophonicEnsemble: Orchestra - strings, woodwinds, brass
Notes: - Minor key- lacks slow introduction unlike all other London Symphonies- written for the first of his trips to England for the London Symphony- exposition: in minor mode (sober)- recapitulation: goes into major mode (cheerful)

Period: 18th C - ClassicalComposer: Joseph Haydn (1732-1809)Date: 1791
Genre: SymphonyForm: Theme and Variations Form - ∣:a:∣ ∣:b:∣ - a = simple - b = melody melts into counterpoint -> ends peacefully in low register - varies the variations within the variation theme - tonic key - variation 1: - begins with cello solo close to theme, new material in other strings in a higher register (reminder of a) - a₁¹ & b₁ fast violins - variation 2: - enters minor mode - a₂ melancholy -> b₂ blustering -> b₂ apprehensive - short transition passage - variation 3: - a₃ ≣ a (unvaried) - a₃¹ & b₃ more intense version of variation 1 (faster violins) - hush, new harmonisation of a - repeated cadences p and pp -> surprising ff on final chords - coda: - new, expressive harmony - repeated cadences - surprise with ffTempo: Andante cantabile (slow)Texture: HomophonyEnsemble: Orchestra - strings, woodwinds
Notes: - repeated cadences at end - almost sound pompous - formal-sounding - all instruments want to make sure they end it properly; violins and bassoons -> French horns -> rest of orchestra- restful episode contrasting vigorous 1st movement- strings only -> wind increase -> wind alone in coda- basso continuo (CHECK THIS)

Period: 18th C - ClassicalComposer: Joseph Haydn (1732-1809)Date: 1781
Genre: Chamber music, String Quartet, FinaleForm: Rondo Form (A B A C A) - sonata form - repeated A theme throughoutTexture: HomophonyTempo: PrestoEnsemble: Orchestra - no soloist - 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 - ClassicalComposer: Wolfgang Amadeus Mozart (1756-1791)Date: 1788
Genre: SymphonyForm: 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 itTempo: Molto allegro (rather fast) Texture: Melody with strict homophonic accompanimentStyle: 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 - ClassicalComposer: Wolfgang Amadeus Mozart (1756-1791)Date: 1786
Genre: Piano ConcertoForm: 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 emotioninterrupted - 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 immediatelyTempo: Allegro (fast) Texture: HomophonyEnsemble: Orchestra with piano soloist
Notes: - gentle and songful

Period: 18th C - ClassicalComposer: Wolfgang Amadeus Mozart (1756-1791)Date: 1787
Genre: Opera Buffa (comic Italian opera)Form: Aria - singing in short phrases - as Masetto gets worked up => repeated cadences -> orchestra has own cadence -> end of piece in angry rushText: ItalianTexture: HomophonyTempo: RapidEnsemble: Solo with orchestral backing

Notes: - Masetto tells Giovanni will only leave because he has to - very angry and curses Zerlina and Giovanni -> curses only Zerlina- effect = simple man expressing his deep emotions- class conflict: Masetto the peasant vs. Giovanni the aristocrat

Period: 18th C - ClassicalComposer: Wolfgang Amadeus Mozart (1756-1791)Date: 1787
Genre: Opera Buffa (comic Italian opera)Form: Secco recitative - only continuoText: ItalianTexture: HomophonyTempo: conversational rhythmsEnsemble: 2 soloists with harpsichord accompaniment
Notes: - Giovanni invites Zerlina to villa and promises to marry her & make her into a fine lady- continuo accompaniment- dialogue moves forward quickly - sung speechlike

Period: 18th C - ClassicalComposer: Wolfgang Amadeus Mozart (1756-1791)Date: 1787
Genre: Opera Buffa (comic Italian opera)Form: Coda form (3 stanzas) - A A¹ B A¹¹ - A: - Giovanni sings - seductive banter - simple & unforgettable tune - A¹: - Zerlina playing along although hesitates - rhythmic changes & draws out for 2 extra measures - B: - Giovanni pressing ardently - Zerlina drawing back - A¹¹: - Giovanni & Zerlina repeat each other phrase by phrase - actors & words closer togetherText: ItalianTexture: HomophonyTempo: AndanteMeter: 2/4Ensemble: Duet between Giovanni & Zerlina; 2 soloists with orchestral backing
Notes: - music written to make beautiful melodies & further the drama

Period: 19th C - between Classicism & RomanticismComposer: 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 motiveTexture: Homophony Tempo: Allegro con brioEnsemble: 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 - between Classicism & RomanticismComposer: Ludwig Van Beethoven (1770-1827)Date: 1826
Genre: String QuartetForm: A B A Form - A: Scherzo (means joke) - a: - skitters through 3 pitches (A, G and F) - syncopation - b: - 2 pitches - constant use of syncopation - B: Trio - many pitches - scales in many octaves - f at end of each upward scale - followed by p - ff explosion - syncopation countered by relentless beat - A: Scherzo - touches ferocity not touched before - no change as if nothing happened inbetween - traditional contrast between minuet & trio to breaking point - Coda: - brief - ends with final f joltTexture: HomophonyTempo: Vivace (lively)Ensemble: 4 stringed instrumentsMeter: Fast triple

Period: 18th C - ClassicalComposer: Wolfgang Amadeus Mozart (1756-1791)Date: 1787
Notes:- minor mode- written for Prague, 2nd largest city in Austrian Empire- neither wholly comic nor wholly tragic- Italian (name for legendary Spanish libertine, Don Juan)- Don considered a rebel against society- Don's endless escapades & conquests (with women)- Don ignore rules of society, morality and God - kills and rapes ...- he kills the father of 1 of the girls he was trying to rape and in attempt to hide in a graveyard from a pursuer to avenge this death is dragged to hell by the statue above the Commander's grave after not repenting - trombones & offstage demonic chorus- music creates ambivalent feelings for characters eg. satisfaction that Giovanni is taken to hell mixed with sympathy for him- 3 women romantically involved with hero depicted with music with great psychological insight 1. Zerlina: coquettish country girl 2. Donna Anna: steely aristocrat 3. Donna Alvira: sentimental- libretto- ends- Act 1, scene iii: - peasants celebrating marriage of Masetto and Zerlina - Giovanni enters with Leporello & then goes for Zerlina

Period: 18th C - ClassicalComposer: Wolfgang Amadeus Mozart (1756-1791)Date: 1787
Genre: Opera Buffa (comic Italian opera)Form: Coda Form - mean to celebrate innocent love - faster melody in rustic tempo - orchestra adds not so innocent sensuous note after singersText: ItalianTexture: HomophonyTempo: AllegroMeter: 6/8Ensemble: Operatic duet with harpsichord backing
Notes: - Zerlina falls into Giovanni's arms- entire duet leads step by step through Giovanni's seduction line & shows Zerlina falling for it