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H&L III Test III
| Question | Answer |
|---|---|
| program music | recounts a story; often given in an accompanying text (not vocal music); instrumental music |
| example of program music | Symphonie Fantastique, Op. 14 |
| Part Song | SATB without accompaniment; song for more than one voice |
| example of Part Song | Gartenlieder, Op. 3: No. 6, Im Wald by Fanny Mendelssohn-Hensel |
| Piano Trio | for piano, violin, & cello; 1st & 4th movements set in sonata form (combine traits from Baroque, classical, & Romantic models); 2nd movement-scherzo:subtle rhythmic tricks; 3rd movement-slow movement in ABA form & textures constantly change |
| example of Piano Trio | Piano Trio in G Minor by Clara Schumann |
| Clara Schumann (1819-1896) | stopped composing after Robert's death; concertized; promoted her husband's music; wrote several collections of Lieder; approached songs similar to her husbands; also wrote chamber music |
| example of a piece by Clara Schumann | Piano Trio in G Minor |
| Clara Schumann's approach to music | long piano preludes & postludes; similar figuration used throughout a song; voice & piano as equals |
| Violin Concerto in E Minor, Op. 64 | written for Ferdinand David (friend & concert master of Leipzig Gewandhaus Orchestra); seamless 3-mvmt sequence w/o interruption; unique instrumentation; 3rd mvmt-begins w/ a slow 14-mm bridge, then a fast sonata-rondo in a light, playful style, ABACAB'A; |
| unique instrumentation of Violin Concerto in E Minor, Op. 64 | 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 horn, 1 trumpet, timpani, & strings |
| composer of Violin Concerto in E Minor, Op. 64 | Felix Mendelssohn |
| date Violin Concerto in E Minor, Op. 64 was written | 1844 |
| how is the Violin Concerto in E Minor, Op. 64 distinguishable | violin and orchestra |
| Franz Schubert (1797-1828) | wrote >600 songs for voice&piano; Schubertiades-network of S.'s friends meeting; contracted syphilis-terrible effects from medications, probably had mercury poisoning; met Beethoven on his deathbed-a torchbearer@funeral; used poems from 91 different poets |
| example of a piece by Franz Schubert | Gretchen am Spinnrade |
| Robert Schumann (1810-1856) | 1st important Lieder composer after Schubert; inspired by Niccolo Paganini to become a piano virtuoso; injured his hand-turned to composition & criticism; relationship w/ Clara-legal battle; suffered from hallucinations; |
| example of a piece by Robert Schumann | "Im Wunderschonen Monat Mai" |
| characteristics of Schumann's Lieder | piano should capture a poem's essence, piano & voice are equal partners (long piano preludes, interludes, & postludes), focus on love, & single figuration convey an emotion or idea |
| "Im Wunderschoenen Monat Mai" from Dichterliebe | Lieder; poem by Heinrich Heine; poems arranged to suggest the course of a relationship; opening harmonic ambiguity-tentative feelings; longing & desire-suspensions & arpeggios; lack of harmonic resolution-unrequited love; piano is an equal partner |
| how is "Im Wunderschoenen Monat Mai" from Dichterliebe distinguishable | slow piano; German; sung by a male; piano arpeggios |
| date "Im Wunderschoenen Monat Mai" from Dichterliebe was written | 1840 |
| composer of "Im Wunderschoenen Monat Mai" from Dichterliebe | Robert Schumann |
| "Im Wald" from Gartenlieder Op. 3: No. 6 | part song; Gartenlieder-"garden songs"; Im Wald-"in the woods"; present tense, outdoors, communion w/ nature; poetry by Emanuel Geibel; folksong-like @ times; diatonic melody; strophic; colorful harmonies, surprising modulations, & imitation; ABA' |
| "Im Wald" from Gartenlieder Op. 3: No. 6 is distinguishable | 4 part harmony song |
| date "Im Wald" from Gartenlieder Op. 3: No. 6 was written | 1846 |
| who wrote "Im Wald" from Gartenlieder Op. 3: No. 6 | Fanny Mendelssohn-Hensel |
| song cycle | art songs grouped into collections; single poet or common theme; performed in order; tells a story |
| ex. of a song cycle | Dichterliebe by Robert Schumann |
| absolute music | music with no programmatic or descriptive aspects; music for the sake of music |
| example of absolute music | String Quartet in C-Sharp Minor, Op. 131 |
| String Quartet in C-Sharp Minor | Beethoven's greatest quartet; appeals to connoisseurs; 7 movements w/o breaks; slow tempo & fugal form-unusual for a 1st mvmt; emotional; unusual harmonies; explores a wide range of keys |
| date String Quartet in C-Sharp Minor was written | 1826 |
| composer of String Quartet in C-Sharp Minor | Ludwig van Beethoven |
| distinguishable features of String Quartet in C-Sharp Minor | slow; strings only; lyrical |
| Fanny Mendelssohn-Hensel | 4 yrs older than Felix but very close; played the piano @ family concerts; directed a choral society; early works published under Felix's name; about 400 works (most never published); manuscripts located in American & European libraries |
| Example of a piece by Fanny Mendelssohn-Hensel | Gartenlieder, Op. 3: No. 6 Im Wald |
| Lieder | most prestigious repertoire of art songs; fusion of music & poetry; expression of individual feelings; descriptive musical imagery; elements of folk style; Schumann's Lieder: music should capture a poem's esscence, & piano & voice are = |
| example of Lieder | Gretchen am Spinnrade |
| "Dream of a Witches' Sabbath" from Symphonie Fantastique | program music; fantastic symphony: An episode in the Life of an artist in 5 parts; inspired by Berlioz's obsession w/ Harriet smith; large instrumentation; "fixed idea"; round dance & dires irae together |
| how is "Dream of a Witches' Sabbath" from Symphonie Fantastique distinguishable | not tuneful; spooky |
| who wrote "Dream of a Witches' Sabbath" from Symphonie Fantastique | Hector Berlioz |
| date "Dream of a Witches' Sabbath" from Symphonie Fantastique was written | 1830 |
| Felix Mendelssohn | musical prodigy-played violin,piano, organ, & 1 of the most important conductors in Europe; founded Leipzig Conservatory; conductor of Leipzig Gewandhaus Orchestra; Fanny=sister & best friend; conservative harmonies & classical forms |
| where did Felix Mendelssohn found major musical festivals | founded major musical festivals in Germany & England |
| example of a piece by Felix Mendelssohn | Violin Concerto in E Minor |
| Hector Berlioz | self-taught; won Prix de Rome-met Felix M. who thought B. was 2 avant-garde; spent last yrs in misery; very large instrumentation, not so memorable melodies; primative-sounding harmonies @ times, & masterful orchestration |
| example of a piece by Hector Berlioz | Symphonie Fantastique, Op. 14 |
| art song | voice & piano; strophic form; through-composed miniature drama; German Lied |
| character pieces | suggests a mood, personality, or scene, usually indicated in the title; usually for piano |
| example of a character piece | Sonata Pathetique, Op. 13 |
| Piano Sonata in C Minor, Op. 13 ("Pathetique") | "sonata w/ pathos" or "impassioned sonata" (feelings of pity, compassion, suffering, or tragedy); in Cmin (associated w/ a stormy, passionate character); |
| about the movements of Piano Sonata in C Minor, Op. 13 ("Pathetique") | 3 movements: chromatic mediant & alberti bass (influence by Mozart);1st period; ominous&forboding; lots of accidentals;not very tuneful; lots of tempo markings (ex. grave, allegro di molto e con brio);wider intervals & breaks a lot more rules than Mozart |
| date Piano Sonata in C Minor, Op. 13 ("Pathetique") was written | 1799 |
| who wrote Piano Sonata in C Minor, Op. 13 ("Pathetique") | Ludwig van Beethoven |
| nationalism | common people as the embodiment of the nation; especially during Romantic era |
| example of nationalism | Violin Concerto in E Minor |
| Johann Wolfgang von Goethe | German writer; wrote poems, stage works, & books; his works were set to music by people including Beethoven, Schubert, Schumann, & Wagner |
| ex. of a piece by Johann Wolfgang von Goethe | the poem Faust |
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