Term
| Vivaldi, Concerto: "Spring," first movement. |
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Definition
-Baroque
-Ritornello form and “episodes”
-instruments from the orchestra join the soloist in some of the solo episodes, giving the impression of a concerto grosso
-both movements are also full of echo effects
-Basso continuo (applied to Baroque in general)
-Bird imitations
-written in the key of E major
-the ritornella is made up of two phrases, both of which occur at the beginning of the movement |
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Term
J. S. Bach, Prelude and Fugue for Organ.*
*Be able to distinguish the Prelude from the Fugue |
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Definition
-Baroque
-Played in E minor
-In the Prelude
-the first long pedal low note is pure, simple and flutey. Then the organist uses the stops to make the subsequent pedal notes richer and fuller
-In the Fugue
-the organist uses the stops to set up what seem like two different instruments, one with an oboe-like sound and one with a clarinet-like sound
-these instruments then compete with eachother throughout the piece
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Term
J. S. Bach, St. Matthew Passion, excerpts.
**Be able to identify the various sections of the excerpt |
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Definition
-Baroque
-shows the composer’s mastery at achieving a fusion of seriousness and expressiveness suitable to the biblical text
-the role of narrator for the Gospel story is performed by the “Evangelist” (tenor), who sings in recitative with a simple continuo accompaniment.
-The words of Jesus (bass) are “haloed” by lush string accompaniment.
-The chorus portrays responses of the twelve disciples
-This is most effective when Jesus predicts tha tone of them will betray them...if you listen carefully you will hear eleven questions. The voice of the twelfth disciple-Judas-is missing
-The soprano soloist begins this excerpt in an aria that beautifully reflects the situation that is ultimately the focus of the entire work
-Whole piece is rounded off in peace |
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Term
| Handel, Messiah, Hallelujah chorus. |
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Definition
-Baroque
-Chorus comes as the climax of Part II of Messia
-displays extraordinary ingenuity in combining and contrasting all the possible textures available to him: unison, homophonic, polyphonic, and imitative
-much of the strength of the movement comes from its block alternation of simple tonic and dominant harmonies, as well as its triumphant use of trumpets and drums
-the hallelujah chorus falls into nine relatively symmetrical sections, each featuring a single texture or combination of textures |
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Term
| Haydn, Symphony no. 47, Minuet and Trio. |
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Definition
-Classical
-In G Major
-full of dynamic contrasts and juxtapositions of different instruments |
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Term
| Haydn, String Quartet no. 33, 4th movement. |
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Definition
-Classical
-In the form of Rondo, A B A B A C A B A D A Coda
-Between appearances of the main theme are passages of contrasting material known as episodes
-wrote this movement in the attractive and bouncy meter of 6/8 and in a fast tempo which makes the music particularly lively and fun. But the joke comes in the final measures as the listener has no idea where the ending really is |
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Term
| Haydn, "Surprise" Symphony, 2nd movement (excerpt) |
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Definition
-Classical
-Surprise because of surprise parts
-Slow piece dominated by string instruments |
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Term
| Mozart, Symphony no. 40, 1st movement. |
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Definition
-Classical
-marked by perfect balance and control, a wealth of harmonic and instrumental color, and a brilliant use of formal structure
-takes advantage of the dramatic possibilities of sonata form
-balance between loud and soft, woodwinds and strings, descending and ascending phrases, and minor and major keys
-spices up the sound with chromatic passages and surprise notes
-one of Mozart’s best known works
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Term
| Beethoven, Symphony no. 5, 1st movement. |
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Definition
-Classical-Romantic Transition
-dense and concentrated, not a note or gesture too many in the whole movement
-In sonata form, begins with short-short-short-LONG motive that colors almost every measure of the movement
-throughout the movement, long crescendos and short passages of quiet music serve to increase the intensity and drive. The overall effect is one of great power and compassion |
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Term
| Schubert, Art song (Lied): "The Trout." |
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Definition
-Romantic
-Written to the poem of a German poet, Christian Friedrich Schubart
-gives the melody and its accompaniment an equal share in the musical interpretation of the poem
-begins with a piano introduction based on a “rippling” figure that evokes the smooth flow of a stream. This figure dominates the accompaniment
-first two stanza sung to same music
-The perfect matching of the music to the emotional content and the pictorial makes this song a mini masterpiece
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