| Variations on a theme by Haydn |
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| Academic Festival overture |
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| Four major romantic symphonies without programs |
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| Symphony No. 9 (From the New World) |
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| Overture-fantasy (Romeo and Juliet) |
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| Symphony no. 6 (Pathetique) |
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| Orpheus in the Underworld |
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| Meyerbe’s first operas set the pattern for musical treatment, using every available technique to dramatize the action and please the public. |
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| Established a ca-can dance for the gods in Orpheus in the Underworld. His work influenced developments in comic opera in England, Vienna, the United States and elsewhere. |
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| Helped establish the opera genre “Lyric Opera” |
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| Began to combine exoticism and romanticism. |
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| Wrote all different types of music, specialized in opera, and even moreso specialized in fucking with the audience’s head via different harmonies. |
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| Known for long, sweeping, highly embellished, intensely emotional melodies. |
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| Established German romantic opera with “Der Freischutz” |
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| Name the four Operas of Wagner’s Der Ring des Nibelungen. |
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| Das Rheingold, Die Walkure, Siegfried, Gotterdammerung |
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| Die Meistersinger von Nurnberg |
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| A scuccessful minstrel troop from the late 19th century. Explored issues of social and political power and of proper and improper behavior through inversions of normal social roles. |
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| THe first Russian composer recognized both by Russians and internationally as an equal of his Western contemporaries. He established his reputation in 1836 with the patriotic, pro-government historical drama A Life For The TSar, the first Russian opera sung throughout. |
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| a virtuoso pianist and prolific composer, who founded the St. Petersburg Conservatory in 1862. |
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| Sought to reconcile the nationalist and internationalist tendencies in russian music. |
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| Part of the Mighty Handful, leader of the Handful |
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| Part of the Mighty Handful, actually a chemist, never finished his works. |
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| Part of the Mighty Handful, became a teacher and had to work very hard to surpass his own students. |
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| Part of the Mighty Handful, composed 14 operas |
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| Part of the Mighty Handful, wrote operas |
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| 1803-1869, French, wrote the five-act opera Les Troyens, wrote the text for it himself. |
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| Mozart (dates/nationality) |
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| Franz Joseph Haydn (dates) |
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| Franz Peter Schubert (dates) |
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| 1813-1901, Italian, THE opera writer of the 19th century. |
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| 1858-1924 Italian Most successful opera composer after verdi. He began writing operas with a continuous flow as opposed to piece after piece. |
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| 1792-1868 Italian By far the most famous/successful composer of the early 1800s. He wrote all different types, and mastered them all as well. |
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| Huge operas where the production was as important as the music. |
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| Used spoken dialogue instead of recitative. |
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| Developed from opera comique, lyric opera is in beween liht opera and grand opera. Its main appeal is through melody, but the subject matter is usually romantic drama or fantasy. |
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| Opera that satirized French society since it was not controlled by the government |
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| A musical theme that occurs whenever a character appears. |
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| Wagner’s concept of combining scenic design, staging, action, and music together to have a collective artwork. |
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| Wagner’s opera house at Bayreuth, Germany |
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| Incorporated WAgner’s ideals for the production of music drama. |
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| Piotr Il’yich Tchaikovsky dates |
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| A simultaneous crescendo and accelerando. |
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| A prayer scene in an Italian Opera (such as the Ave Maria in Othello). |
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| Shared history among a people reflected in art via common storytelling (myths, legends, etc…) |
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| Variety show format. The major form of theatrical entertainment in the US until the talking picture took it over. |
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| Symphonic Poem (tone poem) |
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| A one movement programmatic work with sections of contrasting character and tempo, presenting a few themes that are developed, repeated, varied, or transformed. |
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| The manipulation of thematic material to express diverse moods in a programmatic piece. |
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| Form: brief intro (usually 4 m.), two strains or periods, each repeated; a trio in a contrasting key, most often in the subdominant, with an optional intro and two repeated strains; and then a da capo repetition of the march up to the trio. |
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| A religious song of southern slaves, passed down through oral tradition. |
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