EXAMPLE: T: Symphony No. 6 in D major (“Le Matin” = “Morning”) |
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– Perhaps named by Paul Anton b/c slow introduction evokes sunrise (how?) C: FJH N: Austrian G: Symphony D: 1761 *Early Esterhazy Years (*=extra credit on exam 2) SF: Slow introduction – Sonata form ( also recap omits much of theme 2) – uses concertante instruments (more soloist roles with instruments in symphony) |
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EXAMPLE: T: Symphony no. 45 in F# minor (“Farewell”) |
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C: Haydn G: Symphony N: Austrian D: 1772 EC: Early Esterhazy Years SF: 1st movement = Sturm und Drang style – repeated notes, abrupt stops, minor key, unison themes. 4th movement illustrates FJH’s famous wit: parts drop out, musicians leave – this is a joke to tell the Esterhaza establishment to disband and go back to Vienna. Time sig: 3/4 |
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EXAMPLE T: Symphony No. 92 in G major (“Oxford”) (2nd movement) |
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G: Symphony C: FJH N: Austrian D: 1788 EC: Middle Esterhazy years* 2nd movement: See handout on SONATA CYCLE SF: Form = ABA’ + Coda A in D Major (V of symphony as a whole) , lyrical B in D minor (parallel minor of movement) repeated notes sudden dynamics A’ = A varied and shortened – Rich orchestration (wind solos) (wind play by themselves w/o strings sometimes) – How does ending reflect FJH’s famous wit? |
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EXAMPLE: (last Haydn symphony) T: Symphony No. 104 in D major (“London”) |
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T: Symphony No. 104 in D major (“London”) G, C, N = same as others D: 1795 *EC: Post Esterhazy years SF: – Finale’s Sonata form is MONOTHEMATIC = Based on 1 theme which is presented in tonic as theme and in the dominant as theme 2 (Sub) – Imitation of bagpipe w/ pedal point, “fiddling” (fiddler plays while bagpipe drones) – later oboe would take over the bagpipe – Long, dramatic coda (Skips the second statement of theme 2 in the recap so the coda can be longer) |
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EXAMPLE: T: String Quartet in E-Flat major, Op. 33 no. 2 (“joke”) |
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G: String Quartet C: FJH N: Austrian D: 1779, Middle Esterhazy Years SF: Finale in sonata-rondo form (new for FJH Quartets): ABACA (I-IV-I-I-I) – Makes it sonata-rondo because there is a development in the rondo – both the B and the C portions are in development style – Rondo theme (refrain) is in ROUNDED BINARY Form – “Joke” = pauses, play on antecedent – consequent convention (he sets it up to where we don’t really know where they are) |
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EXAMPLE: T: String Quartet in C major, Op. 76, no. 3(“Emperor Quartet”) |
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G: SQ C: Haydn N: Austrian D: 1797, Post-Esterhazy years SF: 2nd movement = set of variations on tune that FJH composed to honor Emperor Franz II; (emperor of all of Austrian empire) – tune later used as Protestant hymn, national anthem of Austria, then Germany later – Each instrument takes turn w/ theme. |
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EXAMPLE T: Sonata No. 52 in E-Flat major, H. XVI: 62 |
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G: Sonata C: FJH N: Austrian D: pub. 1800 (post-Esterhazy years)* SF: exploits dynamics of fortepiano – monothematic sonata form |
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G: Oratorio C: FJH N: Austrian D: 1798, Post-Esterhazy SF: Slow overture = The Representation of Choas Very chromatic, remotes modulations Dissonance resolved irregularly Recitative for Raphael(arc angel; narrates the story of Genesis) & Chorus (Genesis): – In the beginning.. and there was light (C major CHORD) – 1st score published with bilingual libretto |
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– EXAMPLE T: Variations on “Ah, vous dirai-je, maman” [Ah, I told you, mother] |
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G: THEME & Variations C: WAM N: German D: 1778, *Salzburg Years (will be two periods) SF: Based on “Familiar French Folk Tune” – Form of theme is Rounded binary – one variation is in minor – one variation is slow Typical of T&V genre |
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EXAMPLE T: Symphony no. 25 in G minor, K. 183. (“Little”) |
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D: 1773 Salzburg Years* G: Symphony C: WAM N: GERMAN SF: Sturm und drang style minor key, abrupt stops, repeated notes, remote modulations |
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EXAMPLE T: Symphony no 41 in C major (“Jupiter”) (last movement) |
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G: Symphony C: WAM N: GERMAN D: 1788, Vienna years** SF: Sonata form, but w/ 5 themes 2 themes in PT (principal) 1 in transition. 2 in Subordinate (described in Textbook, pp. 426-27) – Complex counterpoint – Development section: inversion (taking top voices and switching them w/ bottom voices), retrograde (backwards), stretto (quicker entrances of the subject, the rate at which the voices come in is much faster). – Coda: quintuple invertible counterpoint – all 5 themes combined, each acts as bass – “Festive” symphony w/ trumpets, timpani |
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EXAMPLE: T: Piano Concerto no . 23 in A major, K. 488 |
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G: concerto C: WAM N: German D: 1786, Vienna years* SF: DOUBLE EXPOSITION FORM – other generic features as above in notes + Rich woodwind writing as in WAM symphonies – alberti bass, common classical keyboard figuration – Chordal patern sustain harmonies to support melody (Gallant style texture) – Named for Domenico Alberti (1710-1740) among 1st to develop this texture in sonatas – didn’t invent it – written for WAM student, Barbara Ployer |
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G: drama giocoso C: WAM N: GERMAN D: 1786 , Vienna years*** SF: WAM’s music differentiates characters, each has own style – Servant to DG, Leporello: Basso buffo, patter style (rondo-like aria) – Donna(lady) Anna (aristocratic soprano), opera seria style – Don Giovanni (baritone, scoundrel) adapts to circumstances, musical style changes – Commendatore (Anna’s father, bass) style is heavier, more sustained (stentorian tones) – All 4 characters interact in an ENSEMBLE, a section of an opera involving multiple characters, each reacting to a situation |
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EXAMPLE: T: Die Zauberflote [The Magic Flute] |
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G: Singspiel C: WAM N: German D: 1791, Vienna yrs.* SF: Libretto by Emmanuel Schikaneder: actor, owner of small suburban theater, which Magic Flute saved from $$ problems by its popularity – Schikaneder & WAM belonged to the same masonic lodge, so TMF includes symbols of Freemasony, e.g. 3 – 3 is an important symbol. TMF’s overture starts in Eb Major (3 flats) – Remember Freemasons were secretive organization promoting democracy – they didn’t address each other by names, had handshakes – a lot of aristocrats belonged along with middle class – upper classes are enlightened – lower classes are simple, comic. E.g. – Papageno (portrayed by Schikaneder) = the bird catcher – Papageno wants to find a wife like himself – Papageno’s music is therefore simple (Aria: Ein madchn oder Weibchen) – Varied strophic form = each stanza’s music is slightly varied – WAM played the “varied” Glockenspiel part – Refrain precedes each stanza |
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EXAMPLE T: Requiem, K. 626 |
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G: Requiem mass C: WAM N: GERMAN D: 1791, Vienna years*
SF: Vivid contrasts of entire score exemplified in the “Confutatis” [Confounded], part of Dies irae [apocalyptic Day of Reckoning] – Confounded = minor, low, melodic tritones – Blessed = major, higher range, diatonic |
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EXAMPLE T: Piano Trio in Eb major, Op. 1, no. 1 |
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PT instrumentation? – Piano, cello, violin C: LvB N: German G: Piano trio D: 1793-4, Early years* SF: 1-3 1. instruments more equal than in earlier piano trios – Violin & cello solos (more independence) – Beethoven implied genre was worthy of concert rather than domestic performance 2. 4 movements (earlier Piano trios were 2/3) – saying his PT’s should stand along side of other 4 movement works – such as symphonies or string quartets 3. 3 movement no minuet & trio, but SCHEZRO (see FJH Op. 33), Became LvB’s trademark |
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EXAMPLE T: Sonata in C minor, Op. 13 (Pathetique |
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G: Sonata C: LvB N: G P: Early*, 1798 SF: 1st movement begins a SLOW introduction (unusual, didn’t happen in WAM or FJH) – Fragmented, sudden contrasts, improvisatory – Ensuing sonata form is mostly regular, BUT 1. slow intro returns twice, at beg. Of develop and at Coda 2. key of T2 is unstable, unusual (see score) – Contrasts between slow intro & allegro = Suffering vs. resistance to it or triumph over it (pathetic coming from pathos) – publisher subtitle referes to sympathy or compassion, strongly felt emotions, especially |
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EXAMPLE: – T: String Quartet in F major, op. 18 no. 1 |
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– G: SQ C: LvB N: G D: 1800 Early SF: LvB follows sonata cycle – But in the third movement is ABA, but not minuet and trio. Is instead scherzo (A) and trio (B) – Form of the scherzo is likewise traditional: – rounded binary – But second party is greatly expanded Modulates to A-flat, long cadential extension – Trio is likewise in rounded binaryform, but 1. second part includes music that sounds developmental (extra dvt= trait of LvB) 2. cadences A-flat (third below and above |
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EXAMPLE T: Symphony No. 3 in E-Flat major, Op. 55 (“Eroica” = Heroic) |
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G: Symphony C: LvB N: GERMAN D: 1802-5, Middle years*** – Erorica still follows sonata cycle, but is longer than any earlier symphony – Each movement has “EXTRAMUSICAL ASSOCIATIONS,” Ema’s. – refer to nonmusical subjects (heroism) – First movement is a huge sonata form, likened to military battle – 2nd movement = French military funeral march (memory…) – 3rd movement scherzo thought to celebrate hero’s achievements – 4th movement variations based on theme from LvB’s ballet, The Creatures of Prometheus – in Greek mythology, Prometheus stole fire from Gods to give to mankind – just as Napoleon intended to spread democracy. |
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EXAMPLE – T: Piano Concerto no. 5 in E-Flat Major, Op. 73 (“Emperor”) |
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G: Piano Concerto C: LvB N: German D: 1809, middle* SF: LvB establishes new relationship between piano & orchestra with: 1. Opening, improvisatory fantasia, which returns in recap. 2. Normal orchestral exposition, except T2 begins in parallel minor 3. Piano re-enters (chromatic scales) before orchestra resolves Vb9 4. Piano preserves fantasia quality in “strict” sections 5. Piano plays T2 in B minor (enharmonic b9)
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– Name = in 1809, Emperor’s family fled from Napoleon’s invading army – Haydn had protection during his last year of his life – When the family returned, LvB welcomed the Emperor’s son, Archduke Rudolf (his student & patron) by playing the concerto privately for him – LvB also dedicated it to A. Rudolf – 1st public performance given in Vienna, on Emperor’s birthday, played by Carl Czerny, pupil of LvB, composer of many etudes, teacher of Liszt. – Many modern pianist trace their lineage to LvB. |
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EXAMPLE T: Diabelli Variations |
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G: Theme & Variations C: LvB N: G D: 1828 (Published) Already died in 1827, Late* SF: uses trivial waltz by Anton Diabelli, Viennese publisher and composer, who asked many composers to write 1 variation each on it. (planned to create anthology of many variations by different composers, etc. other people who contributed were Liszt and Schubert)
– LvB initially refused, calling waltz a Schusterfleck = a cobbler’s patch or hodgepodge Then LvB wrote 33 variations on IT!
– Theme = trivial waltz – Var. 1 = pompous march (LvB sarcastic) – Var. 9 = minor, motivic foreshortening (motive is shortened, typical of LvB) (he will take a theme and gradually focus it in smaller portions) – last 3 summarize 18th C. – 31: Bach Aria – 32: Handel Fugue – 33: Mozart/Haydn minuet |
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EXAMPLE T: Symphony no. 9 in D minor, op. 125 (“Choral”) |
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G Symphony C: LvB N: G D: Late 1812-1824 SF: – 1st movement begins with “nebulous haze”: Tremolos, motives emerge gradually, then coalesce in big tutti statement (influenced Bruckner) 4th movement includes chorus & vocal soloists – setting of An die Freude (To joy) an ode by Friedrich Schiller, 18th – Century poet & philosopher. (influenced Berlioz, Mendelssohn, Mahler et al.) – uses CYCLICAL FORM – a method of unifying sonata-cycle compositions whereby thematic material of one movement is restated (“recycled”) in other movements – in finale, after “fright fanfare,” themes from earlier movement. Alternate with inst. Recitative. – events are duplicated when voices enter = – resembles double exposition form – cyclical form important for nearly all romantic composers |
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EXAMPLE T: String Quartet in C-sharp minor, Op. 131 |
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G: SQ C: LvB N: GERMAN D: 1826, Late SF: 7 movements!! Of extreme contrast 1st movement: Fugue (!) – Subject (melody of contrapuntal piece) stated by each instrument, in turn – Fugues alternate between – expositions (where subject is stated) and – episodes (where modulations occur) 2nd movement – very simple sonata form that uses one theme, first in tonic and then in secondary key (V/III or v) = monothematic But key is D major (Neapolitan of C-Sharp minor) !!! |
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