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| His orchestra in Mannhiem experimented with crescendo and decrescendo |
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| He was a child prodigy who composed for every medium including the operas, The Magic Flute, Don Giovanni, and The Marriage of Figaro |
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| For much of his life, he served the Esterhazy family in Hungary, where he wrote 104 symphonies |
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| He was born in 1770 in Bonn; as an adult he made a living without a patron, experimenting with an increased orchestra and with the sturdier English Piano |
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| This ensemble consists of two violins, a viola, and a violoncello |
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| He was the librettist for The Marriage of Figaro |
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| He wrote the French play on which the above opera is based |
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| It is a piece for orchestra in 3 or 4 movements, the first in sonata-allegro form |
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| It is a piece for solo instrument and orchestra in 3 movements, the first in sonata-allegro form. |
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| It is a piece for 1 or 2 solo instruments, in 3 or 4 movements, the first in sonata-allegro form |
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| It is a piece for 3-7+ instruments in 3 or 4 movements, the first in sonata allegro form. |
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| An A B A pattern, it is often the form of second movements |
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| A comic play sung in Italian, it has recitative adn ensembles, made possible by low male voices. |
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| They are major and minor keys with the same key signature |
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| THey are major and minor keys with the same key note |
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| The High female voice, it is most often assigned to young heroines in operas |
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| It is a pattern in which A stands for the main theme, which then alternates with other themes. THe A theme should return at least 3 times as follows:ABACADA |
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| It is the high male voice which sings young, honorable, aristocratic heroes. |
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| A keyboard instrument popularized in the eighteenth century, it can sustain pitches and crescendo-decrescendo |
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| It is the key note of a piece |
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| It is German comic opera with spoken dialogue |
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| It is the part of an operea Buffa in which all the principal characters sing togethers, sometimes moving the plot. It happens in the middle and at the end of the opera |
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| Serious Italian opera, it has a rigid structure, made up of a series of recitatives and arias, with a set number of arias required for each singer, depending on his place in the hierarchy of the cast. |
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| This type of texture became prominent in the classic period, particularly in instrumental music. |
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| It is a stately dance in 3/4 meter. Its pattern was adopted as the form of third movements of symphonies, Sonatas, and Chamber music when the piece has 4 movements |
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| Beethoven used this form to replace the one in #25 it is a three part form in a fast triple meter |
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| It is the pattern for the first movements of symphonies, chamber music, concertos, and sonatas. It has three parts, the first of which introduces two keys and usually two themes |
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| The parts are-exposition, development, recapitulation |
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| It is the second part of hte pattern described in #27 |
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| It is the low male voice that sings buffoon or comic parts in the opera buffa |
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| He was the Hungarian prince who was Haydn’s patron for about 30 years |
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| It is the term for a chord in which the notes are played in succession to provide a continual stream of sound rather than blocked all together |
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| It refers to rural life and scenes, especially either to the nativity or to an idealized countryside |
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| It was Mozart’s birthplace, and every year a festival featuring his music is held there |
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| A distinguishing characteristic of opera buffa, it means groups of principal singers from duets to all the principals singing together |
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| It is the middle female voice and it is used for supporting female roles in opera |
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| It is the lowest female voice, and it is for older servants in opera |
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| It is the middle male voice and it is used for fathers and for dishonorable aristocrats |
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| It is the lowest male voice and it is used for servants, for priests, and for jesus |
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| It is a form in which a theme, usually of 2 phrases is sounded. It then returns in the exact same length, but it is altered either melodically, harmonically, rhythmically, or modally |
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| It is a showy passage for the soloist appearing near the end of the movement in an instrumental or vocal work. It usually incorporates rapid runs, arpeggios, and snippets of previously heard themes into a fantasylike improvisation |
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| He was court composer to Emperor Joseph ll and his two successors in Vienna. He taught Beethoven, Schuber, Liszt, and one of Mozarts sons |
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