Midterms Flashcards
(18 cards)
Aphrodite
Composer: Sappho
Dates: 612 BCE
Genre: solo lyric (voice and lyre)
Notes: about Aphrodite, only fragments of her work remain, melody likely followed speech patterns, in Aeolian dialect, created Sapphic stanza (4 line stanzas, first 3 lines 11 syllables, 4th shorter), reputation for impassioned poetic style
O Virgo ac Diadema
Composer: Hildegard von Bingen
Dates: 1098-1179
Genre: chant sequence
Notes: about Virgin Mary, paired double versicles (1a/b, 2a/b… 6a/b) in melody, not text, not completely syllabic, artificial prose as opposed to regular accent patterns and rhyme schemes, maybe not intended as sequence from the outset, nun, was interested in theology, medicine, plants, all compositions were for church, compilation of compositions were meant to prove her divine inspiration, gifted seer (so she could maintain her authority, her work came from “above,” not herself)
Madrigal VI
Morte – Che vôi? – Te chiamo
Composer: Maddalena Casulana
Date: 1570
Genre: madrigal
Notes: comment about women’s ability to write music in dedication of work, from her second book of madrigals a4, words by Serafino Aquilano, friend of Josquin Desprez, dramatic dialogue, polyphonic voices in first section, together for final verse, educated in Florence, first printed published work by woman in Europe, wrote madrigals, Orlando di Lasso conducted her works, knew her exceptional role of composer woman
Aria of the Shepherd from La Liberation di Ruggerio
Composer: Francesca Caccini
Date: 1625
Genre: balletto-opera
Notes: only surviving stage work, performed as part of a celebration, based on “liberation” of lovesick knight from infatuation with sorceress by another sorceress, fully professional career as salaried musician, served ruling family of Tuscany in Italy, Florence for a while, not much music survived, was teacher too, from family of singers
Hor che Apollo
Composer: Barbara Strozzi
Date: 1664
Genre: cantata for soprano, two violins, and continuo
Notes: last surviving publication, singer-composer in act of performing and improvising, no strict structure in poetry, indications for trills, dynamics, tempo, recitative contrasted with arioso and ritornellos, seven statements of ostinato, born in Venice, surrounded by intellectuals in childhood, actively sought out career composing, preferred shorter songs/cantatas, not operas, wrote more than 100 solo works, were all published in her time, dedicated to aristocratic patrons, mostly for solo soprano, many texts written for her
Kyrie from Missa Prima, Op. 18
Composer: Isabella Leonarda
Date: 1696
Genre: Kyrie from mass
Notes: from Novara, Italy, family of minor nobility, became a nun at convent of Sant’Orsola (Ursuline, teaching order), probably took lessons with Gasparo Casati, wrote more than 200 works for church use, only a quarter using liturgical texts, special dedication to Virgin Mary, set only Kyrie, Gloria, and Credo in Masses, not Eucharistic portions of Ordinary, personal identification with text reflected in music
Crucifixus from Missa Prima, Op. 18
Composer: Isabella Leonarda
Date: 1696
Genre: Crucifixus from mass
Notes: from Novara, Italy, family of minor nobility, became a nun at convent of Sant’Orsola (Ursuline, teaching order), probably took lessons with Gasparo Casati, wrote more than 200 works for church use, only a quarter using liturgical texts, special dedication to Virgin Mary, set only Kyrie, Gloria, and Credo in Masses, not Eucharistic portions of Ordinary, personal identification with text reflected in music
La Flamande from Suite in d minor for harpsichord
Composer: Elisabeth-Claude Jacquet de la Guerre
Date: 1707
Genre: harpsichord suite
Notes: harpsichord virtuoso, celebrated for improvisations, educated by King Louis XIV’s mistress, wrote in every style popular in France at the time, introduced Italian style of music to France, first woman to have opera performed by Paris Opera, unmeasured prelude, allemande with varied repeat of each section, highly ornamented
Chaconne et son double from Suite in d minor for harpsichord
Composer: Elisabeth-Claude Jacquet de la Guerre
Date: 1707
Genre: harpsichord suite
Notes: harpsichord virtuoso, celebrated for improvisations, educated by King Louis XIV’s mistress, wrote in every style popular in France at the time, introduced Italian style of music to France, first woman to have opera performed by Paris Opera, unmeasured prelude, allemande with varied repeat of each section, highly ornamented
Adagio from Sonata for Flute and Continuo
Composer: Anna Amalia, Princess of Prussia
Date: lived 1723-1787
Genre: flute sonata
Notes: complicated relationship with father, had to study music in secret with siblings, wrote this for her brother who played flute (Frederick the Great), held position as Abbess after trying to marry a soldier, held soirees for musicians, collected lots of music (particularly J. S. Bach), hired one of Bach’s students (Kirnberger) as her Kappelmeister, took lessons with him
Allegro from Sonata in A for piano
Composer: Marianna von Martines
Date: 1765
Genre: piano sonata
Notes: taken under wing of Pietro Metastasio, held popular salons, was well known as a keyboardist, rococo style, homophonic texture, many sequences, published in both harpsichord and piano anthologies
Morgenlied eines armen Mannes
Composer: Maria Theresia von Paradis
Date: 1786
Genre: Lied (check)
Notes: she was blind, wrote this song set (12 total) while touring, Sturm und Drang characteristics, emotional text, flat minor key, changes to relative major and back, contrasting dynamics, restless 16ths in piano, ended career teaching, helped found methods for other blind children to learn, worked with Riedinger to compose without seeing
Der Erlkönig
Composer: Corona Schröter
Date:
Genre: Lied
Notes: first setting of Goethe’s poem Der Erlkönig, wrote this from perspective of someone sitting by the fire passing time, toured Europe as a family, she sang, moved to Weimar with Goethe, was actress and singer in Anna Amalia’s court, studied with Johann Adam Hiller who thought women should sing too to praise God
Nocturne in B-flat
Composer: Maria Agata Szymanowska
Date: pub. 1852
Genre: piano nocturne
Notes: barcarolle accompaniment, vocal melody, two fantasy sections, parallel minor, nationalistic character in second section, extended coda, had broad touring career, first Polish pianist of stature, renowned, compositions influenced Chopin
Schwanenlied, from Sechs Lieder für eine Stimme mit Begleitung des Pianoforte, Op. 1
Composer: Fanny Hensel
Date: 1846
Genre: Lied
Notes: first volume published under her name (not Felix’s), text by Heinrich Heine, resembles lullaby, about a swan, two strophes, second modified (provides climax), piano postlude after each strophe, wrote a lot but didn’t publish in order to maintain her family’s view of what a woman should do
Er ist gekommen durch Sturm und Regen, Op. 12
Composer: Clara Wieck Schumann
Date: 1841
Genre: Lied
Notes: about woman in love, piano accompaniment shows storm of rain and agitation, “He has come in storm and rain,” published in joint collection with Robert, confusion of who wrote which by publishers (but Robert notated authorship in his version)
Allegro moderato from Trio in G minor, Op. 17
Composer: Clara Wieck Schumann
Date: 1846
Genre: piano trio
Notes: first extended composition in traditional four movements, after studying Classical masters with Robert and performing trio literature of Beethoven and Schubert, received very good reviews, clear-cut sonata form, opening melody in G minor (lyrical), second theme in B-flat major (syncopated), only published work in this style and form, ambivalence towards writing, child prodigy
Variations on a Theme by Robert Schumann, Op. 20
Composer: Clara Wieck Schumann
Date: 1853
Genre: piano variations
Notes: birthday gift for Robert, published after meeting Brahms, composed after a 7-year break, ambivalence towards composing, child prodigy
