| Berlioz Symphonie fantastique, Finale |
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| Sounds like evil witches, creeping up, then a fight, minor, screeching violins |
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| Mendelssohn Overture to A Midsummer Night’s Dream |
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| Opening winds chords, then rushing violin, Other theme might be the donkey *hee-haw* |
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| Baritone singer, 4 Characters- Erlkonig, Father, son, Narrator |
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| dotted eigth note-16th note rhythm in beginning, baritone, defying God |
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| “Kent Du das Land” Mezzo, slow, mixture of through-composed and strophic |
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| Stephen Foster- Beautiful Dreamer |
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| R. Schumann – Kennst du las Land (MIgnon) |
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| Soprano, lots of chords in accompaniment, not really the melody as soprano is singing. |
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| C. Schumann – Liebst Du Um Schonheit |
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| *sounds like a woman composer*, much more legato, “pretty”, soprano |
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| Chopin – Ballade No. 1 in G minor |
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| (Opening sounds like a clock), “Polish”, in 6/4, speeds up, sounds slightly chaotic |
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| “Grey Clouds” Bass piano tremelo, chomatic, minor |
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| Brahms – Symphony No. 4 in E minor |
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| Opening- ascending line or chords. “Allegro energico e passionato” eventually goes to flute solo over string ostinato |
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| Verdi – Rigoletto – Questa o Quella |
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| Tenor, discussing which woman to sleep with |
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| General Characteristics of the Romantic Period |
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Term from Literature
Subjects in Fantasy and the Supernatural
Nature a frequent theme |
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Size of Orchestra Grows
More varied tone color
length of pieces either very long or very short |
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altered chords
chromatic chords
diminished and augmented chords
minor keys used more
Major keys often represent nostalgia |
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Chromatic Lines
longer phrases
yearning quality
sometimes irregular phrasing |
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treated with greater freedom
often deliberately distorted to follow a program or for self-expression
Ex. Sonata form not following usual modulations, bringing themes back in unexpected orders and keys, diversions and developmental techniques used in sections that are usually thematic and stable |
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| 1 movement orchestral work with extra-musical associaiton (programmatic) |
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| Most traditional genre; 4 movements, more unified, cyclic, some have programs |
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larger orchestra contrasts with virtuoso soloist
“Individual vs. society” |
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| Cities during Romantic Period |
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1st half Paris,
2nd half Vienna |
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| How is the Glen Scene in “Der Freischutz” characteristic of the Romantic Era? |
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| Presence of the devil (Samiel), Keys of the entire scene are fully diminished |
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| has no words and no references to stories or images or any other kind of extramusical idea. |
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| ttempts to render musically an extra-musical narrative. |
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| Essentially repeating music with different words |
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| music that reflects the lyrics sung |
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lyric and intimate expressive combination of music and poetry for voice and piano;
(distinct from popular song, folk song, and operatic aria) |
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A group of poems by one poet, set to music by one composer. Song cycles have a
central idea or mood, and usually a loosely narrative sequence of songs. |
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Johann Schiller, Heinrich Heine, Johann Woflgang von Goethe, Wilhelm
Muller, Eduard Moricke, Joseph von Eichendorff, |
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Paul Verlaine, Charles Baudelaire, Stephane Mallarme.
(Also: Theophile Gautier, Victor Hugo) |
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Franz Schubert, Robert Schumann (2 song cycles:
Frauenliebe und Leben and Dichterliebe), Johannes Brahms (Four Serious
Songs), Hugo Wolf
(Also: Beethoven (song cycle An die Ferne Geliebte [To the Distant Beloved]) Karl Loewe, Mendelssohn, Gustav Mahler, Richard Strauss) |
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Charles Gounod, Gabriel Faure (song cycle: La Bonne chanson),
Ernest Chausson, Henri Duparc
(Also: Hector Berlioz (2 song cycles: Les Nuits d’ete and Irlande), and Claude Debussy) |
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| Tchaikovsky, Rachmaninoff, Mussorgsky (2 song cycles: Sunless, and Songs and Dances of Death) |
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• 9 symphonies
• 22 piano sonatas (Also: Wanderer Fantasie, Impromptus)
• 35 chamber compositions (the Trout piano quintet; Death and the Maiden SQ)
• 6 Masses
• 17 operas
• 600+ Lieder! |
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| 1. Too difficult accompaniments |
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| : Die Schone Mullerin (The Maid of the Mill) and Die Winterreise (Winter Journey |
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| How many octaves did Mozart’s piano have |
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| Who Wrote Neue Zeitschrift fur Musik? |
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| When did the 88-key piano become standard? |
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| What was advantage of “Double Escapement”? |
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| “Studies” each had technical feature, but still expressive pieces of music |
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| Night piece: lyrical, no fixed form |
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| 2 types of Polish dances Chopin composed |
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| 16 polonaises, 61 mazurkas |
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| “beautiful singing” – emphasized long, romantic melodies, legato phrases, good technique, and beautiful singing. Voice always most important |
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| Rossini, Bellini, Donizetti |
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| Where did Verdi get his librettos? |
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| Usually French Literature and Shakespeare |
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| Which Opera did Verdi think was his best? |
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| Viva VERDI meant Viva Vittorio Emanuele, Re D’Italia! |
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| What was Verdi’s greatest tragic opera? Greatest Comic Opera? |
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| Otello- Tragic, Falstaff-comic |
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| “Total art work” Wagner felt it should replace the “concerts in costume” |
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| Wagner lived here- designed the theatre with the orchestra far underneath the stage because the orchestra was so big |
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| Das Rheingold, The Valkyrie, Siegfried, The Twilight of the Gods |
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