Quals Q and A, part 2 Flashcards
(130 cards)
1
Q
G. Gabrieli style
A
abrupt contrasts; short sections; contrasting forces; poly choirs of differing voices; contrasting meters; spacial separation; disallowed use of continuo by pupil, Schütz
2
Q
Schütz Opus 1
A
Collection of 19 Italian madrigals, all for 5 voices (SSATB) except #19 (8 vcs) written as a “graduation” from study with G. Gabrieli in Venice; Poetry by Marini
3
Q
Ride la primavera: composer; voicing; form; relationship to text; key text painting; style; related to which madrigalists
A
Schütz; 8 voices; 8 points of imitation not exactly related to text lines; “bella” (fair) “ride” (spring) “l’antico verno” (hard winter–surprise E major cadence) “eternal” melisma = positive, dissonance = negative; style = painting a series of scenes; ea
4
Q
Vom Himmel hoch: composer; date; source material; genre; from collection; voicing/instrumentation; form; based on model from where; instrumental style; key
A
Praetorius; 1619; Christmas hymn by Luther after a German song; Polyhymnia caduceatrix; SSAB with 4 instruments; Four chorale phrases plu introduction: Sinfonia (instrumental, no CF), Chorus (CF1 a cappella, CF2 down P4 imitative, CF3 up P4 imitative) Sin
5
Q
What is Syntagma musicum?
A
Treatise by Praetorius in 3 volumes (1615, 1618, 1619); detailed info in performance practice for new Italian style
6
Q
Verspers of 1610 (Monteverdi): number of psalms, motets, hymns, and magnificats; unusual features relative to other Vesper collections
A
5,5,1,2; obbligato instruments; us of ps tone CF in psalms and Magnificat; virtuoso character; large scale structures; varying voicing between movements; variety of styles and techniques; extremely long
7
Q
Important collections of Vespers
A
Willaert (1550); added Marian antiphons, falsobordone in late 16th century; reduced psalms to 8 around 1600; Monteverdi reduced psalms to 5 (Marian feast psalms) and added 5 motets, hymn, and 2 magnificats (one for 1st/2nd Vespers); more flexible
8
Q
General characteristics of Renaissance Vesper psalms
A
not meant to show virtuosity; text intelligibility is important; functional; no instrumental doubling; natural divisions of psalms invited alternatim performance
9
Q
What motet, hymn, and response texts are mixed with Psalms in the Monteverdi Vespers?
A
Song of Songs (Nigra sum, Pulchra es); Duo Seraphim (inscluding Sanctus); Audi coelum; Sancta Maria (including litany of saints); Ave Maris Stella (hymn); Domine ad adiuvandum (response)
10
Q
Laboravi clamans: composer; date; voicing; original/performing key; genre; compositional techniques; form; text and relationship of text/music; featured in what text?
A
Rameau; before 1722; SSTTB; F (Eb); motet; figured bass, 4 fugues (with considerable overlap); Psalm 69:3 (I am weary with crying, my throat is sore, my eyes grow dim as I wait for God’s help) but music does not sound labored, so not closely related; Trea
11
Q
Rameu’s sacred output; grand style preferred by whom?
A
4 motets (the other three are grand with soloists, organ, orchestra, chorus, recits, duets, etc.; approximately 10 movements); King Louis XIV
12
Q
High points of Rameua’s Treatise.
A
all music drives from harmony, which arises from natural principles of math and physics (science); based on theories of Zarlino and Descartes’ empirical methodology; two chord formations which give rise to all others: triad (M/m consonance) or 7th chord (
13
Q
Rameu’s definition of a fugue
A
a certain continuance of melody which is repeated at will and in whatever voice one whishes but with more circumspection than in imitation, according to the following rules…
14
Q
Zefiro torna: composer; date; voicing; compositional techniques/contrast with others in collection; poet/text genre/form; characteristics of quatrains; characteristics of sextuplet
A
Monteverdi; Madrigals Book 6 (composed 1607, published 1614 in Mantua); SSATB; NOT a continuo madrigal (unlike most in Book 6); Sonnet by Petrarch 14 lines, 2 quatrains and sextuplet, Caesura divides two sections; lively 3, nature lines imitative, enjambm
15
Q
Describe Monteverdi’s books of madrigals
A
1: 1587, conventional and sentimental; 2: 1590, mastery of old style (word painting); 3: 1592, virtuoso (female) singers (Mantua) and Greek ideals, more passionate poetry, more dissonance; 4: 1603, Epigrammatic style; 5: 1605, CONTINUO MADRIGALS and intro
16
Q
Difference between a glee and a catch; similarities
A
catch was a round for 3 or more voices written in only a single part, where the interplay of the parts in canon created humorous words and meanings; Glee was more homophonic but equally irreverent setting; lewd/bawdy texts a reaction to the Puritanism of
17
Q
Development of Glee club
A
1741, Madrigal Society; 1761, The Gentlemen’s Catch Club (all noblemen); 1787, first Glee Club
18
Q
Hail Bright Cecilia: Composer, date, genre; Who is St. Cecilia; how/when was she celebrated by whom; form; instrumentation/voicing; librettist; meaning of text
A
Purcell; 1692; ode; patron saint of music; 1683-1703 with special service, ode, and banquet sponsored by Musical Society of London; 13 movements; instrumental symphony, soli, chorus, lots of duets and trios; 2 trumpets, timp, 2 ob, 2 recorders, bassoon, s
19
Q
Chracteristics of Purcell odes:
A
begin with symphony (Fr. Overture, usually); end with dramatic choir; middle sections soli, instr, solo ensembles, chorus, etc.; similar orchestration; obbligato instruments; 4 part chorus (rarely divides); frequen duets; unified harmonic framework (begin
20
Q
Passacaglia was associated with what?
A
love
21
Q
How many odes did Purcell write? For what purposes?
A
25; 4 for St. Cecilia; others for birthday/welcome for Queen
22
Q
How many movements in Bach magnificat? How many verses from Luke? Sung for what?; Original key; composed when?; instrumentation; movements; BWV
A
12; 10 (Luke 1:46-55); Vespers; Eb; composed during first year in Leipzig (1723); fullest orchestra available to Bach (including 3 trumpets, 2 flutes, 2 oboes, timpany, strings (2210), bassoon, organ, continuo); solo movement for each voice part; BWV 243
23
Q
What was the Lutheran tradition for Vespers?
A
In German to the “tonus peregrinus” (harmonized) at Saturday and Sunday Vespers; elaborate Latin version for Christmas, Easter, and other feasts
24
Q
Describe the GP in Bach’s Magnificat
A
2 sections, 1st 3 block chordal statements alternating with florid polyphony (reminiscent of Monteverdi); D Major, 4/4; Voices enter on dissonances one at a time; First 2 glorias rise, last one descends in stretto canon; 2nd section–sicut erat (recap of
25
Movements of Bach Magnificat:
Magnificat (full, ritornello); Et exultavit (S2); Quia respexit (S1 with oboe d'amore); Omnes generationes (full); Quia fecit (bass); Et misericordia (alto/tenor duet 12/8); Fecit pontentiam (full, concerted fugue); Deposuit potentes (T); Esurientes imple
26
Jesu, meine Freude: composer, date, catalog number, genre and purpose, text source, other source material and composer/form, lyricist, movements, key, accompaniment; word painting?
Bach; 1723; BWV 227; chorale motet (funeral); Romans 8:1-2, 9-11; Chorale by Johann Cruger (mus) and Johann Franck (text) stollen/stollen/abgesang form; 11 mvts (5 for 5 voices), 8 are in E minor; 18th century a cappella meant free use of available instru
27
Bach motet performance practice (according to who?)
Ehmann: 1-a cappella; 2-with continuo only; 3-instruments colla parte; Trios should be solos?
28
Describe the form of Bach's Jesu, meine Freude
11 movements, 8 in E minor; palindrome by voicing, 5 pt. double fugue central movement (Romans 8:9, turning point: you, however, are not in the realm of the flesh, but in the spirit); Alternate chorale vs. (odd movements) with Bible verses (even movements
29
Jesu, der du meine Seele: composer, date, catalog number/place in output; genre; source material; form; instrumentation; compositional elements
Bach; 1724; BWV 78, 14th Sunday after Trinity in the 2nd Jahrgang; hymn melody by Rist; 12 stanzas of 8 lines; flute, oboes, vlin 1,2, vla, SATB chorus, SATB soli, continuo; CF accompanied by passacaglia bass
30
Describe similarities among the 2nd year cycle of Bach's cantatas
open with chorale fantasy and close with 4-pt chorale harmonization; middle are paraphrases of chorale text
31
Bach locations, dates, jobs, cantatas
Arnstadt (1703-07, organist); Mülhausen (1707-08, organist, earliest cantatas, 4), Weimar (1708-17, organist/concertmaster, first use of recit & aria, Neumeister texts, da capo, Court of Duke of Weimar); Cöthen (1717-1723, court music director, ca. 30 can
32
The German chorale is very similar to what other genre with what exception?
English anthem; final chorale
33
Describe the B minor Mass by Bach: structure; voicing, composition/compilation dates; orchestration; voicing; special techniques
Missa (K&G, 1733, Dresden), Symbolum Nicenum (Credo, with Crucifixus central), Sanctus (Christmas, 1724), Osanna (incl. Benedictus, Agnus Dei, and Dona nobis pacem); Compiled 1748-49); 2 fl, 3 ob, 2 bsn, horn, 3 tr, timp, strings, continuo; SSAATTBB with
34
What is the structure of the Credo of Bach's B Minor Mass?
1-2 Credo (stile antico, CF) and Patrem (concertato fugue) mirror 8-9 Confiteor (stile antico, CF) and Et exspecto (concertato fugue); 3 and 6 are related Et in unum Dominum/Et in Spiritum Sanctum (solo movements); 4 and 6 are related, Et incarnatus and E
35
What triads are organized by the key areas in the Missa of the B minor Mass?
B minor (B, D, F#m), D (D, A, D) and G (G, Bm, D)
36
Compare the Agnus Dei from Bach's B Minor Mass in its final version to its earlier incarnation.
Bach revised almost half of the movement, using new thematic material
37
How is the Crucifixus of the B Minor Mass different from its use in Cantata 12?
`More empfindsam style of continuo and more subtle instrumentation of the upper parts (Christoph Wolff)
38
According to Jacobs, what are the influences on the Baroque oratorio?
German Passion, Verse Anthem, Ode; NOT Italian Opera (where chorus is not important)
39
Describe Solomon: composition year; composer; voicing and instrumenation; major characters and ideas (real life connections); parts/acts; choruses; scripture source; role of chorus; number of choruses
1748; Handel (1685-1759); Double Chorus, large orchestra (with concertino/ripieno divisions) strings, continuo, fl, ob, bsn, horns, tr, drums; Solomon (female MS), His Queen, Queen of Sheba, 2 harlots, Zadok (priest); Solomon may depict George II, Golden
40
Describe the Masque from Solomon: form; relationship of solo to choir; major influence; Major choruses
Four parts: Lulling measure, battle, hopeless love, calm weather after storm; Each section introduced by Solomon anticipating chorus music; plan developed from Purcell's theatre masques; Music Spread thy voice around (Andante 3/4); Shake the Dome and Pier
41
Give an example of a canon by Mozart; influence, text topic/librettist; date; voicing; performance challenges
Nascoso e'il mio sol; based on one by Caldara; text by Mozart about a lost love; ca. 1788; 4 part equal voices; chromatic and difficult with large range; no prescribed ending
42
Describe Tenebrae factae sunt: composer; date; genre; voicing; accompaniment; other settings; form; texture and tempo
Michael Haydn; 1796; motet; SATB; a cappella?; SSA and organ; ABCDC (separated by rest with fermata); homophonic and slow
43
Discuss the career of Michael Haydn
1737-1806; court musician in Salzburg; replaced Mozart as cathedral organist in 1781; Mozart copied much of his short pieces; studied Fux and wrote quite a bit of stile antico
44
What is a fuging tune?
combination of metrical psalmody and contrapuntal technique; an English creation growing out of Morley's definition of fuge
45
Describe Honor to the Hills: composer, publication date; voicing; genre and origin; later arrangement; key; verses; cadences
Jeremiah Ingalls; 1805; TTB; Spiritual folk song/contrafactum of Captain Kidd; Alice Parker--God Is Seen; D minor; 9 verses; open fifth cadences (mostly)
46
What is "Christian Harmony"? How is is similar/dissimilar to others?
One of the 1st publications to include sacred and secular; texts from hymnbooks of various denominations; includes entire texts; 137 compositions; Similar in vocal part writing and range, choice of keys (few sharps or flats), 3:2 proportion major:minor, u
47
Describe Northfield: genre; form; composer; date; melody placement; cadences; text
fuging tune (AAB); Ingalls; ca. 1800; melody in tenor; open fifths throughout; text by Isaac Watts (How long, dear Savior, o how long shall this bright hour delay / Fly swift around, ye wheel of time, and bring the welcome day)
48
Describe I Am the Rose of Sharon: genre; composer; text source; compositional techniques; melody placement; key; form
Anthem; Billings; Song of Solomon 2:1-5, 7-8, 10-11; Responsorial technique; melody in tenor during homorhythmic sections; A major; through composed
49
Discuss William Billings career and stylistic tendencies
born in Boston, Singing School teacher/tanner; Open and parallel 5ths and 8ves; occasional dissonance/superiority of melody over harmony; frequently repeated sections; frequent changes of tempo and meter
50
Discuss the history of the Moravian church coming to America.
First oragnized in Bohemia (1457), persecuted after 1648, 1722 refuge in Saxony with Count Zinzendorf (established "love feast", "song hour", segregated system of choirs, book of Daily Texts); missionaries landed in Savannah 1735, left for Bethlehem, PA i
51
What is a love feast?
music almost continuous during "love feast"--particular theme expressed in continuous anthems, hymns, duets, and solo songs compiled for the occasion; scheduled for special days and anniversaries
52
What is a song hour?
Moravian service consisting entirely of hymns on a single subject sung by congregation with organ; held several eveings per week
53
Describe typical Moravian anthems and their composers.
SSAB with organ in Classical-era style: balanced melodic phrases, simple rhythms, clear homophonic textures; Geisler (German); Pystaeus and Oerter (first American composers); Dencke (First concerted anthem); PETER (most famous, from Europe, lived in all M
54
How were Moravian choirs segregated?
sex, age, marital status
55
Describe Glorious Apollo: composer; date; voicing; genre; purpose
Webbe; ca. 1784; TTB (solo?); glee; Open each meeting of the Glee Club in London (founded 1787)
56
Describe Webbe's glees and the rest of his compositional output
Three types: drinking songs/pastorals/serious (better poetry); over 200 pieces in 9 volumes including catches, glees, canons, and rounds
57
When/where was the height of the glee's popularity? What was it typically scored for? Typical form
1780's/90s, England; male voices (with male alto) AABA (solo, chorus, solo chorus)
58
Describe Die Harmonie in der Ehe: composer; date; lyricist; larger work; voicing/instrumentation (compare to others in the set); character; probable inspiration; text topic; form;
Haydn; 1796; Götz; Mehrstimmige Gesänge (13 part songs); SATB w/figured bass (keyboard ad lib for 1-9, written out for 10-13); 1-9 are lighter/whimsical while 10-13 are serious and religious; probably inspired by English music, attempt to write a German m
59
Describe Missa brevis in F major by Haydn: date; place in Haydn's output; solos; incipits; methods of compression (4); related to late-Baroque Vienese tradition (3)
1749; first mass (probably while a choir boy at St. Stephens in Vienna); 2 soprano solos (Joseph and his brother Michael); no incipit for Gloria or Credo (old method); homophony, absence of fugue (his only fugueless mass)/quick homophony/simultaneous text
60
Describe Missa in angustiis: composer; date; relationship to other masses; purpose; commissioner; alongside what other major work; instrumentation (why?); voicing; notable characteristics
Haydn; 1798; part of last 6 masses; among Name Day Feast for Princess Maria; Esterhazy; Creation; 3 tr, timp, organ (no winds) due to Esterhazy dismissing the winds; SATB with SSATB soli (S/B are especially challenging); figured bass and continuo, soloist
61
How does Chusid analyze Missa in angustiis?
vocal symphony; divisions by syphonic form correspond to the natural separation of movements in the service: Kyrie-Glora (dm/D/Bb to V of Dm/D)/Credo (D/G/bm to D)/Sanctus-Benedictus-Agnus Dei (D/dm to D/G to D)
62
How does the Credo of the Lord Nelson Mass reflect old techniques? New techniques?
Fugue/canon/antiphonal/clarini trumpets/organ instead of winds/influenced by Gregorian chant; sonata forms within movements/more independent orchestra/virtuosity (especially operatic S/B soloists)
63
What are the 12 haydn masses and their dates?
Missa Brevis in F (1750), Great Organ Mass (1766), St. Cecilia Mass (1770), St. Nicholas (1772), Little Organ (1775), Mariazell (1782)////Paukenmesse (1796), Heilig (1796), Nelson (1798), Theresa (1799), Creation (1801), Wind-band (1802)
64
Describe Die Schöpfung: genre; date; composer; librettist; based on; style; inspired by; characteristics; fugues; tonal scheme
oratorio; 1798; Haydn; van Swieten; Milton's Paradise Lost and Genesis; Handelian, clothed in Viennese orchestration and harmony; written after Haydn's second trip to London; secco and accomp recits (secco "relax the ear" after choruses and modulate), eac
65
How does orchestration in Creation differ from Haydn's symphonies? What is the orchestration? Voicing?
first use of double bassoon; trombones; higher quality clarinet writing (only used in late symphonies and very conservatively); doesn't use old rules of doubling; unique articulations (slurred pairs of eighths with crescendo and staccato on second); chaos
66
How does Haydn use text painting in Creation?
Music depicts the symbol before the words are sung; accomp recits are the most descriptive
67
Describe Missa Brevis in D by Mozart: K#; Mass#; voicing; instrumentation; fugues; style characteristics; form; use of text
194; #7; SATB chorus with SATB soli; no violas, 2 vln, continuo (organ) "Vienese trio"; no fugues (2 fugatos, both repeated); mostly homorhythmic; no polytextual sections; basically sonata form within each movement
68
Describe the Josephinian reforms; aim; results; specific limitations; goals (3); end
aimed at eliminating Baroque piety in favor of enlightening people; caused the "pause" in Haydn's mass output and in Mozart's (c min 1783 to Requiem 1791); included no orchestral accompaniment in service (1782); goals: liturgical simplicity, trend toward
69
Mozart's bishop and added restrictions:
Colleredo; no mass longer than 45 minutes including the Epistle sonata and offertory or motet
70
Describe Mozart's Mass in C minor: K#; composition date; where in career; unique inspiration; voicing; instrumentation; influences; compositional techniques; what was never finished; what was reused
427; 1782-83; just after moving to Vienna (escaping Colloredo); only one not commissioned or requested; double SATB chorus with SSTB soli; fl, 2 ob, bsn, 2 hns, 2 tr, 3 tb, strings, timp, org; infl. By Handel and Bach (learned at von Swieten's house on Su
71
Describe the movements of the Mass in C minor by Mozart
Kyrie, 7 Gloria, 2 Credo (Et incarnatus est for sop solo and 3 obbligati) sonata/ritornello structure SSATB (contrasting madrigalian counterpoint with homorhythmic phrases), Sanctus double fugue (Expo 1, Expo 2, stated together with inverted Countersubjec
72
Describe the Vesperae solennes de confessore: texts; location; K#; Date; voicing; orchestration; compositional tendencies; solos
5 psalms and Magnificat; Salzburg; 339; SATB chorus/SATB soli; 2 tr, 3 trb, timp, 2 vlns, continuo (tbones double ATB), NO VIOLAS; Violins ornamental around melody; chorus mostly homophonic; imitative passages are rare and short except Laudate Pueri; not
73
Describe movements from Vesperae solennes de confessore
3/4 C maj, return to tonic for GP (not original melody, that happens 12 bars later); Confitebor--Eb 4/4 SATB; Beatus Vir 3/4 G (SATB) homo; Laudate Pueri 2/2 fugue; Laudate Dominum F 6/8 sop solo; Magnificat C 4/4 Adagio
74
Describe the Missa Solemnis by Beethoven: Opus; date; commissioner/purpose; movements; use of harmony; composed alongside…; challenges
123; 1819-1823; B's patron, Rudolph of Austria installation as Archbishop of Olmütz (not finished in time); 5 movements; for structure and expression; extreme ranges and difficulty (suggest "struggle against imposing odds")
75
How is the Missa Solemnis like Haydn?
dramatic; orchestra = voices; solos emerge from choral texture or sing as group; trumpets and drums in Agnus (like Paukenmesse); Fugal endings of Gloria/Credo; Sonata forms; Longer Benedictus, shorter Sanctus; traditional text painting
76
What was Beethoven's first mass? When? Why? Reception?
Mass in C (op. 86); 1807; Esterhazy family, birthday of Princess; they hated it
77
9th Symphony Finale: opus, date, commissioner, poet, form, first,
125; 1824; Philharmonic Society of London (premiered in Vienna); Schiller; Sonata? Rondo? Variations with episodes; choral symphony
78
Describe the sections of the 9th symphony finale
Expo 1 (Dm intro, DM theme, modulate to A?); Expo 2 (Dm intro, DM theme, 2nd theme to Bb); Devel (orch fugal episode moves from Bb to DM); Recap (DM double fugue in 6/4 DM); Coda (DM string runs, close with homophonic shouts)
79
Describe Beati Quorum Via: composer, date, larger work/op/other movements, voicing, text source; written for; key; Time Sig; Form
Stanford; Three Motets, op. 38, Justorum animas and Coelas ascendit Hodie; SSATBB; Psalm 119:1; Trinity College Cambridge Choir; Ab; 3/4; ABCAB
80
What is Stanford's contribution to English choral music? Other output? Students
new standard for English choral music since Purcell; beginning of English choral Renaissance; Service in Bb, oratorios, cantatas, operas, motets, partsongs, orch, piano, organ etc.; Teacher of RVWilliams, Holst, Bliss, Howells
81
Requiem in C minor (Cherubini): date; commissioner; voicing/instrumentation; movements; other requiem?; later employed by?
1815; French government of Restoration in commemoration of death of Louis 16; SATB/0222.2230 timp, str (no flute, no soloists); 7 movements (not a cantata mass); Dm (1836) for TBB for his own funeral (because he was criticized for use of women's voices in
82
In Cherubini's Requiem, where do the violins first play? What are the short movements? Who might he have influenced and why? How does it end? Major (non-musical) themes?
Sequence; Gradual and Sanctus/Benedictus; Faure--Pie Jesu begins with sopranos in unison; C maj (despite being in C minor firmly up to that point); judgment/redemption
83
Cherubini sequence highlights: 9 movements
Dies Irae rhythmic canon SA/TB (Haydn Lord Nelson Credo?); Tuba trumpets/timp; Liber canon/Rex trumpets; Recordare (CM quiet) Confutatis canonic; Ora supplex quiet homo; Lacrimosa Largo syllabic; Pie Jesu quiet, ends with dona eis Requiem Amen.
84
Berlioz Requiem: date; opus; commissioner; voicing/instrumentation; texture
1837 (fairly early in his life); 5; French government for dead of 1830 Revolution; STB chorus (altos only in Sanctus), Tenor solo, huge orch 4.2.2.4.8.12.4.0.4, 16 timp, 2 bd, 4 gongs, 10 cym, strings, 4 separate brass ensembles; mostly chordal fugues in
85
Mass in G (Schubert): date; voicing; place in output; genre; orch; unique about Credo; intended use; Key areas
1815; SATB with STB soli; 2nd of 6 masses plus German Mass, early are short, last two are long; missa brevis; 4 strings (no cello); no soloists, no meter/tempo changes; ordinary Sunday, not for special ceremonies; all movements in G or D except Agnus in E
86
Talk about Schubert's career
Born in Vienna (Vienna Boys Choir); vc. Changed at 15; studied with Salieri in teens
87
German Requiem: op, composer, start date/finished date; voicing; orchestration; text source; composer philosophy; text/music relationship; unifying devices
45; Brahms; 1857-1868; SB soli, SATB chorus; orch; Luther's Bible; "Mass for the Living"; motet style--segment of text related to distinct musical idea; thematic development, motives, counterpoint; relationships to Schütz (probably coincidence)
88
Schicksalslied: op, date, other similar works, poet, form
54; 1871; Nanie, Gesang der Parzen, Alto Rhapsody (TTBB); Hölderlin; Two parts: A) Sonatina (bipartate, no development); B) Sonata Allegro (3/4, Doch uns starts Ex/Dev/Recap) with Coda (orch recap of opening)
89
Schaffe in mir, Gott: op/#; Date; larger work (other work); voicing; movements; text source; overall form
29/2; 1897; Zwei Motetten (Chorale and fugue "Es ist das Heil und Kommen her"); SATBB (last movement SAATBB); 3 movements according to text, Schaffe/Verwirf/Trüste; Psalm 51:10-12; canon/fugue/canon/fugue (last movement in two sections)
90
Schaffe in mir, key features by movement
1. melody in sop, canon in aug in bass, 1st 5 notes imitated throughout; 2. fugue sub. In tenor, CS P4 down, canon/stretto/inversion/aug/rhythmic displacement/pedals; 3a. mensuration canon, TBB canon at M7 between T/B2, then SAA canon same as TBB, then TB
91
List Brahms motets; include composer they imitate
29--Bach; 37--Palestrina (SSAA 3 Latin); 74--Schein (Warum); 109--Schütz (double chorus)
92
How is Schaffe old/new?
Old: counterpoint; New: 19th century harmony, chromaticism, few cadences, disguised canons
93
How many masses by Bruckner?
3 great (Dm, Em, Fm), 3 lesser, Requiem
94
Who is the strongest influence on Bruckner's Requiem?
Mozart
95
Mass in Em: date; voicing; orchestration; what is missing; thematic influences; associated with what movement?
1866; SSAA/TTBB; wind band (0220.4230); no soloists, strings, timpani, organ, flute, or bassoon; gregorian chant; Cecilian Movement
96
How is the orchestra used in Bruckner's Mass in Em? (6)
Chordal to accentuate text; colla parte (imitative sections); obbligato; ostinato; independent ritornello; chordal and broken chord accompaniment figures
97
Describe the Cecilian Movement: founder; date; Goals (4); How does Bruckner Em relate?
Franz Xavier Witt; 1868; 1. use of chant in liturgy, 2. interst in Palestrina techniques, 3. wind instruments for accompaniment, 4. hymns in vernacular; stressed syllables agogic accents (Palestrina's Missa Brevis Sanctus); G/C need intonations; inst. sup
98
Verdi Requiem: Date, memoriam of, written after what, Lacrymosa borrowed from what; orchestration
1874; Alessandro Manzoni (Italian novelist); Aida; Don Carlos; 3224.4431(ophicleide) strings, timp, bd, 4 offstage tr
99
Unique feature of Libera Fugato from Requiem?
Uses 11 of 12 pitches
100
Faure Requiem: purpose; difference from previous Requiems/why; date; orchestration
burial service at La Madeleine (Paris/succeeded Saint-Saens); 1888; no sequence, adds antiphon (In Paradisum), tenderness and hope "I wanted to do something different", begins and ends with "Requiem", added Offertory and Libera me 2-4 years later; May ref
101
Elijah: composer; date; first oratorio by this composer?; librettist; language; Parts and Scenes; Beginning vs. Part I, Scene 3; Missing what typical character; Climax is where; Topic of P1S3?
Mendelssohn; 1846; St. Paul; Schubring; German, but first performed in English (Bartholomew, tr.); 2 parts, 3 scenes/6 scenes; begins with recit (then overture), P1S3 opens with same music as opening recit; no narrator; climax is the appearance of God (Pa
102
Der Jäger Abschied: Op/No; composer; translation; Key; Meter; Date; form; texture; accompaniment; lyricist; topic;
50/2; Mendelssohn; The Huntsman's Farewell; Eb; 3/4; 1839-40; strophic; homophonic; brass quintet (4 horns/trombone) colla parte, optional; Eichensdorff; Lovely forest/World in confusion, farewell to forest/Forest vows are true everywhere--be consistent (
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Belshazzar's Feast: Composer; Date; Genre; Place in composer's output; commissioner; lyricist/text source; voicing; instrumentation; sections
Walton; 1929-31; Dramatic Oratorio; first choral piece; BBC; Sitwell (Isaiah, Daniel, Psalms 137 and 81, Revelation); Double SATB chorus, Baritone solo; huge orchestra including organ/huge percussion/2 brass bands; 3 sections (a cappella and orchestra alo
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De profundis (Schoenberg): op.; Date; voicing; text; fits into compositional output; compositional techniques; row characteristics; use of row/transpositions; sprechstimme; dedication; commissioner
50B; 1950; SSATBB a cappella w/sprechstimme; Psalm 130 (in Hebrew, despair to assurance); last completed piece; 12-tone, not serial, mostly hexachords; Eb-A-G#-E, D-Bb-G-Bnat, C-Gb-F-C# (tritones resolve down, frequent thirds, first four notes are singabl
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Psalm 90 (Ives): Date/re-composed; fits into Ives output; voicing/instrumentation; five sonorities; form/compositional techniques
1895/1923; one of 13 (only piece ever satisfied with); SATB, organ, 4 tubular bells; eternities (9-chord w/7)/creation (stacked 5ths)/God's wrath against sin (CM7/DM)/Prayer and Humility (2 chords)/Rejoicing in Beauty and Work (2 chords, bells); Palindrom
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Webern Cantata #1: Op; Date; Between what works; movements/voicing; compositional techniques; orchestration; lyricist; quote of explanation
29; 1940; Das Augenblickt and Cantata #2; 3 movements (chorus/orch; sop solo/orch; chorus/sop solo/orch); 12-tone, Klangfarbenmelodie; large orchestra including harp, celesta, perc, str, winds; Hildegard Jane; "a series of melodies subject to tone color v
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Describe Webern's compositional aesthetic
small, concise forms; compressed; derives themes/forms from least possible musical material
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How is Webern's Cantata #1 Neo-Baroque?
fugue-like linear lines (rows), concerted, cantata, 3-mvt. form, mentions Bach-like text in letter, word painting (wide leaps), unified utterance (Doctrine of Affect), Luhring: based on Kyrie of B minor?
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How does Webern use the row in Cantata #1, first movement?
4 rows going on simultaneously (never more); last 2 notes of a row are enjambed with first 2 notes of next row in cycle; 4 statements, cycle completes and begins anew; orch intro (half cycle), chorus/orch (full cycle), orch conclusion (half cycle)
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Rejoice in the Lamb: op, date, composer, genre, commissioner, lyricist/poem, voicing/instrumentation, sections, unifying feature, text themes
30; 1943; Britten; Festival Cantata; Walter Hussey for 50th anniversary of St. Matthew's Church, Northampton; Christopher Smart (Jubilate Agno); SATB/SATB soli/organ/perc?; 10 sections; Hallelujah (C/end); Worship of God by all living things in their own
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War Requiem: Composer; date; commissioner; poet; groups/texts; unifying feature; influences
Britten; 1962; dedication of St. Michael's Cathedral (Canterbury); Wilfred Owen; SATB/sop/full orch/Latin Tenor-Bass solos/Chamber Orch/Owen (and DNP) Boys Choir/Organ/Latin Text; tritone (F#/C); Mozart (Lacrymosa), Verdi (Libera), Berlioz/Verdi (Dies), F
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Hymn to the Virgin: composer, date, voicing, key, tempo, form; compositional techniques; text; meter; fits into output
Britten; 1930; double chorus a cappella; a minor; andante lento; AAB (strophic with altered 3rd verse); antecedent/consequent Chorus I/Chorus II; Chorus 2 always Latin, Chorus 1 mixed (macaronic text); meter shifts to match text; first choral work (age 17
113
Symphony of Psalms: Composer; Date; Dedicatee; Voicing/instrumentation; Text; Compositional techniques by movement
Stravinsky; 1930; BSO 50th Anniversary; SATB w/orch (no vln or vla, 2 pianos, harp, low strings, winds, brass, perc); Psalms: 38:13-14, 39:2-4, 150; I: octatonic, punctuating Em/arpeggios, 2-note theme, interlinked 3rds; II: dbl. fugue, winds 4 statements
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Requiem Canticles: composer; date; dedicatee (and in reality); movements; construction; instrumentation; compositional techniques (like other pieces); ending; form
Stravinsky; 1966; Helen Seegers (Stravinsky); 9 (6 vocal, 3 instrumental); symmetrical (like Jesu Meine Freude); strings prelude, (Exaudi/Dies/Tuba), winds interlude, (Rex/Lacrimosa/Libera), percussion postlude; spoken chorus (Introitus), ends like Les No
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Describe use of serialism in Requiem Canticles.
aesthetic of objectivity; ritualistic chanting; 2 complete series; hexachords important, some notes reordered; loose usage; creates two tonal centers (FCBAA#D/C#D#G#F#EG)
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Influences on Requiem Canticles?
Verdi: Libera Me (spoken chorus chants over sung homophonic chords in SATB soli); Tuba for Bass solo (Mozart) with trumpet fanfare (traditional)
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Les Noces: translation; Composer; Date; genre; voicing; instrumentation; text; parts; compositional device; aesthetic goal
The Wedding; Stravinsky; 1914-17; Ballet Scenes; SATB/SATB soli/4 pianos, percussion; adapted by Stravinsky from Russian folk collections; 2 parts, 4 tableaus: Bride's lament, Bridegroom's house, Bride's departure (lament of mothers), Wedding Feast; multi
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Apparebit Repentina Dies: Composer; date; genre; voicing/instrumentation; inspiration; text source/form; movements
Hindemith; 1947; Cantata; SATB/brass (4.2.3.1, suggested by the text); Harvard Symposium on Music Criticism; 7th century poem, scans (no rhymes) 15 syllables per line in couplets (beginning with consecutive letters of the alphabet); 1-Day of Wrath, motto/
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How is Apparebit Repentina Dies Neo-Baroque? Neo-Medieval?
passacaglia, contrapuntal double fugue, instrumental obbligati, recitative, chorale ending, motivic recurrence; text, hocket, motto beginning
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Stabat Mater: Penderecki: Date, genre, voicing, dedicated to, later used in, models, form; unifying feature; compositional devices (3)
1962; Sequence; 3 SATB choirs; Krakow Philharmonic Choir; St. Luke Passion (1965); Josquin/Obrecht/Ockeghem; 5-pts, based on text (one sentence per section); 1/3/5 unified by chant melody; syllables split between voices like Klangfarbenmelodie, unison/dif
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Le Roi David: Composer, date, genre (stated/true); original plan; final instrumentation; voicing/instrumentation; text source; unifying device; parts; role of chorus; unusual feature; backward looking?; number of choruses/sources
Honegger; 1921; Symphonic Psalm/Dramatic Oratorio; incidental music for a ply by Rene Morax; 1923--SATB/SAT soli; strings added, harp, organ, more winds, and brass; Samuel, Kings, Psalms, Job, Isaiah; chorale melody in Dance before the Ark and Death of Da
122
Lux Aeterna: Composer; Date; voicing; pitch techniques; rhythm techniques; text usage; challenges
Ligeti; 1966; SATBx4; Begins on unison F4 (SA) and fans out; precisely notated to obscure pulse; fragmented as to be incomprehensible; clusters throughout, extreme ranges
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Epitaph for Moonlight: date; composer; intended for; voicing; text source; meaning; compositional techniques; notation
1968; Schafer; youth choir (educational); SATB with 4 solos (optional bells); 7th graders' synonyms for moonlight; epitaph for symbolic properties of moonlight died with the space program; phonetic use of text (Strav), onomotopoeic; relative pitch
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Missa brevis (Kodaly); Date; original voicing/instrumentation/revised; dedicated to; movements; compositional techniques; tonal center; typical final sonority; influenced by/how
1942; chorus/organ/orchestra (1944); wife for 35th anniversary; 8 (Introit/K/G/C/S/Bene/AD/Ite missa est); quasi-orchestral (first four introduce material, last four recap material); D (major/minor/mixolydian); I6/4; Beethoven Mass in C (motivic recurrenc
125
Musicians wrestle everywhere; Date; Composer; genre; voicing/instrumentation; poet; texture; compositional devices; style period; final cadence on?; Madrigalian characteristics?
1945; Elliott Carter; madrigal (Carter's word); SSATB (strings optional); Emily Dickinson; freely polyphonic; close rhythmic counterpoint, cross accents, strong syllables accented, voices constantly changing accentuation; Neo-Classical (1936-48); C (never
126
Life of Honegger
Born Swiss, lived French; Product of Swiss-German protestant family; Early--King David, Middle--Joan of Arc, Late--Christmas Cantata (well-known Fr/Ger/Eng carols polyphonically)
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Ligeti aesthetics
Mostly non-electronic; traditional orchestral and choral media to explore vast sound possibilities; traditional notation and exact composer control
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Epitaph fits into Schafer's output?
"new choralism", accessible, but almost no traditional notation; programmatic elements, some indeterminacy (time for sections, indefinite pitch, etc.)
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Choral works by Kodaly (3 majors)
Psalmus Hungaricus (1923), Te Deum (1936), Missa Brevis (1942)
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Elliott Carter career
Studied with Boulanger, pieces for SSAA and male voices; choral music before 1947 only
