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Classical Era Flashcards

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0
Q

Who wrote “Essay on the True Art of Playing Keyboard Instruments” ?

A

C.P.E. Bach

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1
Q

Who is C.P.E. Bach?

A

Second son of J.S. Bach
Played role in creation of modern piano idiom
Dramatic sonata style powerful influence on Classical era
Wrote treatise, “Essay on the True Art of Playing Keyboard Instruments”

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2
Q

Who is Christoph Wllibald Gluck?

A

Liberated outmoded conventions of serious opera, brought it into harmony with thought and feeling of Classical era

Restored the chorus (part of dramatic action)
Minimized contrast between recitative and aria (composed in arioso style)
Made overture important part of score (used themes later heard in opera)
Aimed for “Beautiful simplicity”

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3
Q

What is Sonata-Allegro Form?

A

Used in first movement of Classical Sonata Cycle
3 sections:
Exposition, Development, Recapitulation

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4
Q

Describe the Exposition in Sonata Allegro Form

A

Theme 1 is fast and in the tonic key
Bridge leads to 2nd theme
Theme 2 is in a contrasting key (dominant/relative major)
Closing section (coda)

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5
Q

Describe the Development in Sonata Allegro Form

A

Themes are varied, expanded, contracted, and played in different keys
Sense of tension and restlessness
Dominant preparation leads back to tonic key

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6
Q

Describe the Recapitulation of Sonata Allegro Form

A

Theme 1 and 2 in tonic key
Opposing elements resolved, triumphant resolution
Coda leads to final cadence in tonic key

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7
Q

Describe the Classical symphony

A

4 instrumental families of orchestra (30-40 players): Strings (heart), woodwinds (accompany strings), brass (sustained harmonics), percussion (rhythm)
Haydn/Mozart created dynamic style of orchestral writing, all instruments participated actively, each timbre heard interchange/imitation of themes among group created excitement of “witty conversation”
Abrupt changes in dynamics, sudden accents, dramatic pauses, tremolo and pizzicato, all added drama/tension
Haydn wrote 100, Mozart 40, Beethoven 9

4 movements: Sonata-allegro, Adante/Adagio, Classical, Rondo

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8
Q

Describe the first movement of the Classical Symphony

A

Sonata-allegro form

Slow introduction

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9
Q

Describe the second movement of the Classical Symphony

A

Adante or Adagio
Slow movement in A-B-A form
Shortened sonata or theme & variations
Lyrical songful melody

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10
Q

Describe the third movement of the Classical Symphony

A

Minuet and trio (Beethoven used scherzo and trio)
A-B-A with symmetrical 4 and 8 bar phrases
Tempo stately, lively, whimsical
Scherzo A-B-A faster than minuet, vigorous rhythm

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11
Q

Describe the fourth movement of the Classical Symphony

A

Rondo form, A-B-A-C-A
Lively with spirit of dance
Catchy theme, lent itself to being heard over/over

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12
Q

Describe “Symphony No.104 (London)”

A 
By Haydn
Commissioned by impresario Saloman
Four movements:
1st: Adagio D-
2nd: Adante, A-B-A G+
3rd: Minuet and Trio, A-B-A D+
4th: Sonata-allegro form, spiritoso, D+
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13
Q

Describe the first movement of “Symphony No. 104”

A

Solemn intro in D-
Adagio/Allegro
Fanfare-like motive announced in unison by orchestra
Sets up atmosphere of “strageness and wonder”
Theme I in D+, wonderfully energetic
Theme II same melody as Theme I in A+
- MONOTHEMATIC technique typical of Haydn, opposition between two keys

Slow intro in D-

Exposition - Allegro
Theme 1 in D+, violins lively, 2 motivic ideas
Transitional themes (1 energetic, 2nd descending, modulates to A+)
Theme 2 same melody as theme 1, dominant
Closing theme, two motives, lower light, staccato

Development manipulates motives, minor, expands second motive of theme 1

Recapitulation - Theme 1 returns in D+ in oboe, countermelody in flute
Theme 2 returns to tonic
Closing builds rhythmic activity until end

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14
Q

Describe “The Creation” by Haydn

A

Inspired by “Messiah” when heard at Westminster Abbey
Libretto from Genesis, Milton’s Paradise Lost”, Baron von Swieten translated English into German
Biblical basis The Creation of the world
2 years to write, 2-1.5 hours to perform
Premiered in Vienna 1779, successful
Recitatives, solos, ensemble numbers assigned to 3 archangels:
Gabriel (soprano), Uriel (tenor), Raphael (bass), and Adam (baritone), Eve (soprano)
Archangels’ voices contrast chorus, represent holy Host

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15
Q

Who wrote the Libretto of “The Creation”?

A

Genesis, Milton’s “Paradise Lost”

Baron von Swieten translated English into German

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16
Q

Describe Part I of “The Creation”

A

Uriel’s recitative both secco and acommpagnato
Describes 3 kinds of light - sun, moon, stars
Raphael’s recitatives in C-, chorus begins PP, image of before dawn then shifts to C+ at “Let there be light” (text painting)
Introduces 4th day of creation
Accompanied recitative; loud chords punctuate phrases of text, voice free rhythm
Adagio, with quiet, sustained low strings; voice soft/slow-moving with strings, suggestive of text
Allegro, marked forte, voice punctuated by dotted rhythm pattern, freer delivery

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17
Q

Describe the Chorus and Trio of “The Creation”

A

“The Heavens Are Telling”
Text came from Psalm 19
Polyphonic opening; tenors/basses begin, answered by sopranos and altos, loud/triumphant
Choral passages contrasted with interjections by trio of archangels
Symmetrical 4 bar phrases - 4 voices sing in unison, enter in imitation at times
Trio alternates with orchestra; shift to C- signals night
Climax builds through crescendo, accelerando to end
Final phrase - all voices together in massive chords, majestic cadence

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18
Q

What are Mozart’s 3 styles of opera?

A

Opera buffa - Italian comic
Opera Seria - Italian serious
Singspiel - Light form of German opera, spoken dialogue

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19
Q

Describe the importance of “The Marriage of Figaro”

A

Composed by Mozart
1786, peak of his career
Librettist: Lorenzo da Ponte - dramatic vitality matched Mozart’s
Da Ponte adapted libretto from play by Beaumarchais
- satirized upper classes, allowed servant, Figaro, to outwit master
King Louis XVI read script, proclaimed detestable
Queen Marie Antoinette persuaded him to allow play to be produced
Play forbidden in Vienna
Opera produced at Vienna’s Imperial Court Theatre in 1786
Genius took stereotyped characters of opera buffa, created real human beings who came alive through music

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20
Q

Who was the librettist of “The Marriage of Figaro”?

A

Lorenzo da Ponte

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21
Q

Who wrote Don Giovanni?

A

Mozart

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22
Q

Who wrote “Cosi fan tutte”?

23
Q

Who were the characters in “The Marriage of Figaro”?

Study These Flashcards
A

Count Almavia (baritone) - in love with Susanna
Countess Almavia (soprano) - noble in suffering
Susanna (soprano) - countess maid, in love with Figaro
Figaro (bass) - servent to the Count
Cherubino (mezzo soprano) - countess’ page, in love with her, “trouser roll” (male part son by woman)
Don Basilio (bass) - music teacher/gossip
Mercellina (soprano) - conuntess’ housekeeper
Barbarini (soprano) - daughter of the Count’s head gardner

24
Describe Act I of "The Marriage of Figaro"
Figaro learns Count is in love with Susanna (fiancee), vows to outwit master Dr. Bartolo - wants Figaro to marry Marcellina to cancel debt he can't pay Count advances on Susanna, Basilio tells Cherubino he has a crush on the Countess Figaro praises Count for abolishing practice of noble taking place of servants on wedding night Count banishes Cherubino to Seville
25
Describe Act II of "The Marriage of Figaro"
Countess upset over Count's wandering eye - helps Figaro and Susanna, comes up with idea to subdue him Cherubino disguises himself as Susanna, meet with Count Count opens closet and finds Susanna (not Cherubino) Antonio (gardener) mad that flowers crushed outside window Figaro runs in announcing wedding is ready, pretends he jumped out of the window, faked sprained ankle Marcellina, Bartolo, Barilio burst in with court summons for Figaro Count happy, thinks wedding is delayed
26
Describe Act III of "The Marriage of Figaro"
Susanna promises to meet Count in garden Suspicious because Count's seen her with Figaro, vows revenge Marcellina discovers Figaro is long lost son by Bartolo Marcellina/Figaro hug, Susanna jealous for a bit Countess, with Susanna's help, writes letter to Count inviting him to meet her in garden Susanna, bride, gives letter to Count
27
Describe Act IV of "The Marriage of Figaro"
Countess pretends to be Susanna "Susanna" talks about being in love, Count hears and thinks about himself Cherubino tries to woo Countess who's dressed as Susanna Count chases him away, sends "Susanna" into arbour of trees Figaro understands plan, joins in fun making exaggerated love for Susanna who's dressed as Countess, Count furious Real Countess arrives, reveals trick Everybody happy
28
Describe the Overture from Act I of "The Marriage of Figaro"
Opening theme: D+, lively, prep for wedding Theme 1, PP in strings, broad melody in winds that builds to dramataic climax Scale passages lead to dominant in A+ Theme 2 - more static, uneven rhythms, gentle accents Closing theme - 2 part idea, leads to recapitulation Energetic coda ints at Theme 1, descending scales Powerful closing cadences lead to first scene of opera, Figaro measuring room for marital bed
29
Describe the Aria from "The Marriage of Figaro"
``` Sung by Cherubino A-B-A-C followed by reitative A - quick rhythms in E flat B - more lyrical in B flat A - return to E flat C - begins quietly, builds in E flat, modulates ```
30
Describe the Recitative in "The Marriage of Figaro"
"Ah! Son perduto!"(I'm done for!) Recitative secco, 4/4, minor keys Sung by Susanna, the Count, Basilio
31
Describe the Trio in "The Marriage of Figaro"
Sonata-type with development and recapitulation 4/4 time, B flat + Sung by Susanna, the Count and Basilio
32
Describe the Classical Concerto
Solo instrument and orchestra more important - piano and violin most common solo instruments Concerto grosso and Solo concerto popular
33
Describe the first movement of the Classical Concerto
Sonata-allegro form (Baroque was ritornello) Double exposition - orchestra has exposition in tonic Second exposition solo instrument/orchestra, key change to dominant Soloist elaborates on themes first heard in orchestra, add new material Development displays virtuosity Recapitulation brings themes back to tonic Solo cadenza, fanciful solo passage in manner of brilliant improvisation near end of movement
34
Describe the second movement of the Classical Concerto
Form: Adante/Adagio/Largo Slow/lyrical Soloist has songlike melody Often in key close to tonic
35
Describe the third movement of the Classical Concerto
Form: Rondo/modified sonata-allegro Allegro molto or Presto Shorter than 1st movement Might have cadenza of its own, exciting ending
36
Describe "Piano Concerto in G+, K. 453"
Composed by Mozart Brilliant flourishes and ceremonious gestures Wrote 6 piano concertos in 1784, composed for his student, Barbara von Ployer 3 movements
37
Describe the first movement of "Piano Concerto in G+, K. 453"
Key: G+ Genre: Solo concerto Form: Sonata-allegro ``` Opens with Orchestral Ritornello Theme 1 (refined violins, woodwinds answer), Transitional theme (orchestra), Theme 2 (undulating violins, woodwinds answer), Closing theme (orchestra) ``` Solo Exposition (piano, new theme),woodwind accompaniment, scales/arpeggio figurations in piano, piano plays alone in D+, Theme 2 (piano with strings) Closes in D+ Orchestral tutti leads to development section ``` Recapitulation Theme 1 (strings, woodwinds, piano joins with decorated version of theme), Transitional (orchestra), Piano solo theme, Theme 2 (piano, woodwinds, G+), Cadenza (solo piano, variations on earlier themes, ends in dominant), Closing (final ritornello G+) ```
38
Describe the Classical Piano Sonata
Solo sonata developed by Scarlatti evolved from single-movement to multi-movement "Sonata Cycle" - one movement (first) in Sonata-Allegro form Remaining movements provided contract, through changes in character, key, tempo, meter & formal structure Haydn, Mozart, Beethoven produced numerous piano sonatas
39
Who is Ludwig van Beethoven?
32 piano sonatas, most important/influential works in piano literature Beethoven's stylistic development/evolution as he explored the sonata cycle
40
Whor composed "Moonlight"?
Beethoven, Piano sonata
41
Who composed "Tempest"?
Beethoven, piano sonata
42
Who composed "Les Adieux"?
Beethoven, piano sonata
43
Whoe composed "Appasionata"?
Beethoven, piano sonata
44
Who composed "Pastoral"
Beethoven, piano sonata
45
Describe "Pathetique Sonata" (Piano Sonata in C-, Op. 13)
3 movements 1798 First movement: Sonata-Allegro form, 4/4, C- Grave (solemn) introduction Allegro di molto e con brio Great contrasts in dynamics and register, brilliant scale passages use of tremolo & slowly building crescendo Brief reminded of slow introduction, fast cadence Second movement: Rondo form (A-B-A-C-A), 2/4, A flat + Adagio cantabile Opening theme stated, then repeated octave higher Brief contrasting episode Opening theme returns C section features insistent triplets, builds tension Famous hymnlike movement, shows introspective side
46
Describe Classical Chamber Music
Written for small audience, small number of players "Musical conversation between friends" Patrons sponsored works, performed them themselves Haydn, Mozart, Beethoven wrote large amount of chamber music, helped advance genre Franz Schubert, great Viennese master, contributed works
47
What is a piano trio?
Chamber music, piano, violin, and cello
48
What is a string trio?
Chamber music: first and second violin, cello
49
What is a string quartet?
Chamber music: First and second violin, viola, cello
50
What is a piano quintet?
Piano, violin, viola, cello, double bass
51
What is a string quintet?
First and second violin, viola I and II, cello
52
What is an octet?
Composition for 8 solo instruments
53
Describe "The Trout Quintet"
Composed by Schubert 1819, based off of his lied "The Trout" Instrumentation for Violin, Viola, Cello, String Bass, Piano, gave weight to bass line 5 movements
54
Describe the fourth movement of "The Trout Quintet"
Theme and variations, Andantino, 2/4, D+ Inserted between traditional scherzo and finale 6 variations on charming melody Variation 1 - piano, high range with trills 2 - voila with violin countermelody, piano imitates brief phrases of melody 3 - double bass, accompanied by very fast, virtuosic piano/rhythmic strings 4 - violin and piano, shift to D-, sudden dynamic changes, dialogue between piano and strings, major to minor 5 - cello, exaggerated dotted rhythm, sparse accompaniment, B flat + 6 - violin and cello, quicker tempo, accompanied by piano Gentle closing like the "bubbling" figure of piano accompaniment in original Lied

History 2 (4 decks)

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