hebrides overture (2)

Question 1

composer

Answer 1

Felix Mendelssohn

Question 2

composer lifespan

Answer 2

1809-1847

Question 3

stuff abt mendelssohn

Answer 3

• German
• romantic but used classical elements
• artist
• influenced by beetroot and back

Question 4

how did mendelssohn differ from beet man

Answer 4

mendelssohn: classical romanticist
beethoven: romantic classicist

Question 5

what type of piece is the work

Answer 5

concert overture

Question 6

concert overture

Answer 6

work in one movement for orchestra that is often based on a literary or non-musical topic and almost always in sonata form (structured), aiming to create a general impression rather than follow an extra-musical programme

Question 7

origin of work

Answer 7

• visited Scotland (hated it (weather & bagpipes))
• boat ride to Hebrides islands > Staffa Island > Fingal’s Cave
• seasick but overwhelmed
• theme popped into head

Question 8

title

Answer 8

Fingal’s Cave

Question 9

nickname

Answer 9

Hebrides Overture

Question 10

tempo

Answer 10

allegro moderato

Question 11

notable stuff abt fingal’s cave

Answer 11

• acoustics
• cathedral-like

Question 12

other concert overtures by mendelssohn

Answer 12

Calm sea and prosperous voyage
The Fair Melusina
A Midsummer’s Night Dream

Question 13

what type of instrumentation is it

Answer 13

standard classical symphony orchestra

Question 14

instrumentation

Answer 14

2x
flutes
oboes
clarinets
bassoons

horns
trumpets

timpani

violin 1&2
viola
cello
double bass

Question 15

form

Answer 15

sonata form

Question 16

key

Answer 16

b minor

Question 17

how does the work begin

Answer 17

opening motif

Question 18

opening motif

Answer 18

• b min
• sequential application in 3rds (b-D-f#)
• second inversion chords create restlessness
• lower instruments introduce (celli, violas, bassoons)

Question 19

what happens to opening motif (rest of first theme of exposition)

Answer 19

• higher strings take
• lower instruments play semiquaver swells = sea swells

Question 20

what happens after theme A of exposition

Answer 20

bridge that modulates

Question 21

second theme of exposition

Answer 21

• D major > calmness of sea
• orchestration similar to opening motif (celli/bassoons introduce) > unity

Question 22

second theme in recapitulation

Answer 22

B major not D major (tonic major)

Question 23

development

Answer 23

• extensive development of motives of 2 themes (specifically opening motive of 1)
• diff keys (incl Bb & f)
• fanfare introduced by woodwinds NOT brass
  > combined with opening motive
• march-like rhythm introduced

Question 24

recapitulation

Answer 24

theme A (b min) > SHORTENED; V pedal point
bridge
theme B (B MAJ - tonic major)
clarinet soloists
coda
> ends w 3 pizz chords that reference opening motif

Question 25

classical features

Answer 25

harmony texture melodic material form tone colour/instrumentation

Question 26

harmony as classical

Answer 26

- modulations to relative keys - use of tonal harmony - strongly influenced by Beethoven

Question 27

texture as classical

Answer 27

- mainly homophonic w some polyphonic

Question 28

texture as meaning

Answer 28

- complicated layering of instruments/music > grandeur of sea

Question 29

melodic material as classical

Answer 29

- motivic development - clearly defined melodies

Question 30

form as classical

Answer 30

- sonata form (classical structure)

Question 31

tone colour/instrumentation as classical

Answer 31

- standard classical orchestral setting

Question 32

romantic features

Answer 32

programmatic melodic & harmonic material form & genre dynamics & tempo

Question 33

programmatic as romantic

Answer 33

- use of descriptive title & subtitle - new focus on nature - suggests seascape > grandeur of cave > swelling > light on water > waves breaking on cliffs

Question 34

melodic & harmonic material as romantic

Answer 34

- lyrical melodies - some use of chromatic harmonies - second inversion chords

Question 35

form & genre as romantic

Answer 35

- concert overture (foreshadowing of tone poem) - use of sonata form but special

Question 36

how is use of sonata form special in this case

Answer 36

more free and varied > tonic is minor > expo not repeat > development > recap connected by ascending chromatic scale > tonic major in recap instead of tonic for second theme > instrument change in recap (clarinets in 3rds) > long coda w tempo change (animato) > 3 soft pizz chords

Question 37

dynamics & tempo as romantic

Answer 37

- very wide range of dynamics (pp-ff) - extensive use of rubato

Question 38

programmatic elements

Answer 38

- restlessness/solitude - swelling of waves - murmuring of sea - grandeur of setting - crashing/fury of waves - evokes senses

Question 39

restlessness/solitude

Answer 39

- minor key - 2nd inversion chords - lower instruments

Question 40

swelling of waves

Answer 40

semiquaver runs

Question 41

murmuring of sea

Answer 41

- tremolo in strings - many cresc/dim - range of dynamics

Question 42

grandeur of natural setting

Answer 42

- wide range of dynamics - free development of melodic material

Question 43

crashing/fury of waves

Answer 43

sf chords full orchestra

Question 44

evocative

Answer 44

complex texture and layering of instruments and music

Question 45

how did romantics move in terms of structures/forms

Answer 45

moved away from symphony > programmatic (story influenced structure) > programme symphony > concert overture > tone poem

Question 46

how does a concert overture differ from a normal overture

Answer 46

overture as opening to larger work (opera), concert overture IS larger work

Question 47

how is unity created

Answer 47

continuous use of motives, like in bridge passages

Question 48

is fingal's cave programmatic

Answer 48

NO - does not tell story BUT - captures impression; has programmatic ELEMENTS - different name

Question 49

what was concert overture replaced by?

Answer 49

symphonic/tone poem