| The first great opera by Monteverdi in 1604 |
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| A type of singing that closely resembles spoken words |
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| A soloistic vocal piece that is more concerned with music than text |
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| Romantic music began to exploit the — capabilities of performers |
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| Performers now reached a “—” status with the general public |
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| In addition, the — of the piano increased the capabilities of the performers |
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| This composer: was mainly a performer; played and composed the violin, mandolin, guitar, and orchestra; had very large hands and fingers which made it possible for him to execute what some thought was impossible (some thought this was a gift from the devil) |
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| This composer was: mostly educated in Paris; Taken to Vienna at an early age to study piano; At 11, he began touring Europe playing the virtuoso music of the day, used his good looks to his advantage by performing in ‘profile’; he combined poetic “expressiveness with demonic virtuosity” in his performances |
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| This composer was: originally from Poland, but forced to leave upon Russian takeover; called the “poet of the piano”; when he died, his heart was buried in Poland, as he had requested |
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| This composer’s style included: long, song-like melodies; added dissonance for color; seemed bizarre to traditionalist, but highly organized; liberal use of rubato to increase the dramatic effect of the music; devoted nearly all his attention to piano music to get every conceivable color, sound, and nuance |
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| Short, piano compositions expressing much in a short amount of time |
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| Introspective pieces of improvisatory character |
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| Narrative songs without words |
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| Quiet, eloquent evocations of intimacy and delicate sounds |
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| Studies or exercises to explore a particular pianistic technique |
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| Character pieces, impromptus, ballades, nocturnes, and etudes are also all parts of this composer’s style |
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| This composer: wanted to become the “Paganini of Piano”; He permanently injured his little finger on a “finger development machine” he created, thus ending his performing career; He then turned his focus to composing music for the piano |
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| This composer was: lived from 1813-1901; a master of theatre technique and well versed in the Italian tradition of beautiful singing; a musical and political nationalist; wife and kid later died leaving him heartless to compose for several years |
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| This composer: lived from 1858-1924; leader in this movement, called verisimo; sought to capture reality and express it through the unlikely medium of opera; suffered from early illness and death |
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| This composer: lived from 1813-1883; was a poet before he became a musician; had little formal music education; was impressed by the uncompromising teachings of the German philopsopher, Friedrich Nietzsche, who advocated the pursuit of human perfection by the practice of severe self-discipline; political activist. Loved and married Liszt’s illegitimate daughter, Cosima, and fled to Switzerland in exile for many years. |
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| Mid 19th century French serious opera, emphasizing spectacular visual effects. |
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| Recurring melodic fragment or chord bearing dramatic or emotional significance |
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| Settings of humorous, often multi-syllabic words sung very rapidly, with comic effect |
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