Composers/Works - Romantic, 20th cent. Flashcards

(38 cards)

1
Q

Weber

A

Der Freischutz - ca. 1820

  • Spoken text between musical scenes. German Opera
  • Horns in multiple keys, larger instrumentation
  • Clear harmonic cadences
  • Repetitive motives in orchestra
  • Multiple singers, chorus
  • Changing of key signatures (distantly related keys)
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2
Q

Liszt

A

Liszt - Transcendental Etudes - 1820s-30s
• Virtuosic technique
• Chromatic decoration
• Key/character changes define form (usually less repetition of motives)

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3
Q

Berlioz

A

Harold in Italy - 1834
• Fairly clear tonal center, but less clear form
• Specific timpani mallets and tuning changes
• Multiple types of flutes, horns in multiple keys, ob/eng. horn, solo viola
• More programmatic and sectional - tempo/key changes throughout
• Still centered in one key, more brief movement between keys

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4
Q

Chopin

A

Preludes - 1835-39
• Lots of chromatic passing tones to shift tonal centers.
• Looks like the home key, but has lots of chromatic notes to shift harmonies.
• Lots of mode shifting (Duo Chopinesque)
• Some virtuosity, lots of emotion

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5
Q

Schumann -Dichterliebe

A

Dichterliebe - 1840
•Short songs w/piano accompaniment.
• Repetition of text, motives, and some formal repetition as well.
• Modal mixture pre-dominant chords
• Some pieces do not end in the same key of key signature (signature stays the same)
• Chords w/extensions

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6
Q

Schumann - Piano quintet

A

Piano quintet in Eb - 1842
• String quartet + piano
• Lots of changing keys
• Accidentals create lots of shifting harmonies and colorful pre-pre-dominant chords

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7
Q

Schumann - Piano Concerto

A

Piano concerto - 1845
• More traditional harmonies, but shifting key centers
• Chromatic mediants, chromatic pre-dominant harmonies.

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8
Q

Verdi

A

La Traviata - 1853
• Interaction btw vocalists, also interaction with orchestra.
• Careful orchestration
• Very clear V-Is, but some movement between key centers that’s much different from Classical (short departures to vi, key changes, etc)
-Italian opera
-Slower harmonic rhythms, however some decorated chromaticism for effects
-Clear cadences

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9
Q

Wagner

A

Tristan und Isolde - 1857-59
• Leitmotifs (chromatic thing)
• Tons of chromaticism, still functional harmony
• Compare/contrast to Debussy

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10
Q

Brahms - German Requiem

A

German Requiem - 1865-68
• Key of F, but immediate accidentals and non-F functions.
•Harp in different key?
• Choir singing German text with Orchestra (larger orch.)

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11
Q

Brahms 4

A

Brahms Symphony No. 4 - 1885
•Still a lot of tonality (V-I’s) but a handful of tonal shifts/changes. Cadences are less rhythmically clear than classical composers
• Larger instrumentation (4 hns in different keys
• New cadences to new keys all over the place.
• Main theme returns but in different keys
• Some moments of clear, four bar phrasing

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12
Q

Mahler

A

Symphony 1 - 1888
• Slow and emotional
• Divisi strings parts (sometimes 3 bass/cello notes @ same time)
• Lots of small tempo/mood changes
• Repeats and some use of more traditional forms (possibly 2nd mvt. in sonata? Check this)

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13
Q

Debussy - 3 nocturne

A
Nocturnes - 1892
• More chromaticism
• Intricate instrumentation and scoring
• Planing and parallel intervals
• Less focus on "tonic"
• Polyrhythms (2:3)
• Enharmonic key changes
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14
Q

Debussy - prelude faun

A

Prelude to the afternoon of a faun - 1894
•Orchestral work - Intricate instrumentation (piston trumpets, 2 harps)
• Timbral color techniques - tremolos, gliss, mutes
•Chromaticism, lots of tonal changes and key sig. changes.

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15
Q

Debussy - Estampes

A

Estampes - 1903
• Color tones (ˆ6)
• Lots of pedal tones with shifting dominants above
• Obscured melodies and frequent changes in character

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16
Q

Tchaikovsky - Nutcracker

A

Nutcracker - 1892

  • Ballet. Simple meters (dance)
  • Easily recognizable melodies, clear harmonies.
  • Chromatic decoration.
17
Q

Tchaik - Piano Concerto

A

Piano Concerto in Bb- 1874
• Active and robust piano part (rolled chords, 2 hand unison rhythms, cadenzas). Lots of interaction btw. piano and orchestra
• Sonata form with modifications.
• Standard Romantic orch. instrumentation
• Lots of chromatic decoration in piano
• massive chords in both hands together

18
Q

Rimsky Korsakov

A

Scheherezade - 1888

  • Symphonic suite based on 1001 nights.
  • Large brass and percussion sections
  • Soloist moments, colorful orchestration
  • Russian composer writing programmatic work about “Arabian Nights.”
19
Q

Puccini

A

La Boheme - 1893-95

  • Late romantic Italian opera
  • Expanded brass, timp+percussion
  • Lots of meter changes, key changes, fermatas, section changes
  • Evolving harmonic language
  • Lots of back and forth between singers
20
Q

Ives - 3 places in New England

A

3 Places in New England - 1911-14

  • polymetric, polytonal
  • Intricate scoring. Each part playing in different time feel
21
Q

Ives - Unanswered Question

A
The Unanswered Question - 1930-35 (revised)
• Polyrhythmic, polytonal.
• Extreme levels of dynamic.
• Chamber group/orchestra
• Multiple tempos at once
22
Q

Holst

A

First Suite for Military Band - 1909
• 1st movement chaconne (repeated bass pattern in all parts with decorative melodies above)
• Standard wind band orchestration
• Clear harmonic language, homophonic textures. Brass fanfares, march-qualities.

23
Q

Joplin

A

The Easy Winners - 1901
• piano rag. Clear form with repeats and larger formal repetition
• Tonal, moves to relative keys in different sections

24
Q

Ellington tunes

A

Sophisticated Lady - 1933
Dont Get Around Much - 1940
• Jazz standards. 32 bar song forms.
• Clear ii-V-I’s

25
Stravinsky - Rite
Rite of Spring - 1913 • Ballet. Clear themes, but changing often. • Atonality, octatonic. • polymeter, displaced accents, mixed meters.
26
Symphony of Psalms
``` 1930 • Neoclassical. • Much more metric, clean cut. compared to Rite • Still more eerie harmonies • Orchestra plus choir ```
27
Bartok - strings/perc/celeste
1936 • Atonal. • Use of texture, mutes, and subtlety within the ensemble
28
Bartok - string quartet 4
1928 • Movements in arch form • Extended techniques • Utilizes subsets of chromatic scales (penta, heptatonic, octatonic, etc), but does not imply serialism
29
Stravinsky Wind Octet
``` Wind Octet - 1923 • Mixed meter • Note groupings over barlines • Interlocking instrumental parts • Non-traditional harmonies ```
30
Hindemith
``` Symphonic Metamorphosis - 1943 • Somewhat tonal in spots • Small Perc. section with timpani • Repeated sections in the form • Turando scherzo - timpani excerpt, everyone passes around melody/counter melodies ```
31
Schoenberg - Pierrot Lunaire
Pierrot Lunaire - 1912 • Sprechstimme. Small chamber instrumentation • Freely atonal, though utilizes some classical forms/comp. techniques
32
schoenberg Op. 11, no 1
Op. 11, No. 1 - 1909 • Atonal piano pieces, utilize set theory • Earliest of his atonal pieces (abandoning tonality)
33
Schoenberg - Op 33a
Op. 33a - 1928-29 • Piano solo, 12-tone. • Lots of dynamic changes. Atonal
34
Berg - Wozzeck
Wozzeck - 1914-22 • Atonality used to express madness/alienation of characters onstage • Atonal German Opera. • A few moments/hints at tonality. Chromatic sequences • Dense orchestra textures
35
Berg Violin Concerto
Violin Concerto - 1935 • Combines 12-tone technique and some tonality • Very busy sounding - like violin is playing something separate from the orchestra. • Tone rows divided into maj/min triads
36
Copland
Appalachian Spring - 1944 • Shaker melody as thematic material • Quartal harmonies, colorful tonality. Clear melodic material and themes. • Commissioned as Ballet
37
Webern - 5 mvts. for string quartet
5 Movements - 1909 • Atonal, extended playing techniques • Does not follow strict serialism, but utilizes tone rows. • Possible serial dynamics (extreme range)
38
Mendelssohn
Symphony 4 - 1833 - Large instrumentation, but not as huge as late romantic orchestration. - Nice, even phrases. Fits into almost classical forms - Sounds mostly classical - look for larger instrumentation