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1

Music 1500 In-Class Materials

(Ives)

ragtime Jazz("imitation") bluesearly notation [ritornello form] [sonata form,etc.]

electronic music

rap

COWELL

neo-classicismbasso-continuo

TIMELINE OF SELECTED COMPOSERS and TERMS

CountryMedieval Renaissance Baroque Classic Romantic Modern

1000 1420 16001500 1680 1750 1790 1820 1860 1900 1940 1960 1980

(Schutz)

J.S. BACH

HANDEL

HAYDN---MOZART

BEETHOVEN

SCHUBERT

R. SCHUMANNMENDELSSOHN

WAGNERBRAHMS

R. STRAUSS

SCHOENBERGWEBERN

(Hindemith)-----GERMANY/

AUSTRIA

FRANCE

ITALY

ENGLAND

UNITEDSTATES

RUSSIA

POLAND

CZECH./HUNGARY

PEROTIN

MACHAUT

(Dufay)

DESPREZ

(Lully) BERLIOZ DEBUSSY(Ravel)

MONTEVERDI

CORELLIVIVALDI (Salieri)

ROSSINI

VERDI

PUCCINI

WEELKESPURCELL

(Vaughn Williams)

BRITTEN

CHOPIN PENDERECKI

LISZTSMETANA

DVORAKBARTOK LIGETI

TCHAIKOVSKYSTRAVINSKY----

COPLAND(Gershwin)VARESE

CAGE ZWILICH

NEW GENRES

and TERMS

organum Mass

motet madrigal

lute-songpolyphony begins

opera

trio-sonata

suite

concerto-grosso

solo-concertocantataoratorio symphony

string-quartet

sonata

4-mvt.-design

art-songLied

song-cyclemusikdrama

symphonic-poem"character piece"

chance music

atonal music

serialismimpressionismexpressionism

program-symphonyballet rock

neo-Romanticism

GESUALDO

PROKOFIEV

music printing

(J. Strauss)

SOUSA

BIZET

PACHELBEL

(Foster)

(Paganini)

JOPLIN ARMSTRONG

2000

verismo

LEONCAVALLO

v

BARBER

minimalism

1300

BERNSTEIN

DE LA GUERRE

alternative

Polyphony begins c.1000

HILDEGARD

C. SCHUMANN

GLASS

CRUMBSTILL

techno

Chant by Anonymous Monks until

PALESTRINA

From Chapter 1 (also know the String, Woodwind, Brass, & Percussion families and their associated instruments)

ELEMENT Basic Related Terms Rhythm: (beat, meter, tempo, syncopation) Dynamics: (forte, piano, [etc.], crescendo, decrescendo) Melody: (pitch, theme, conjunct, disjunct) Harmony: (chord, progression, consonance, dissonance, key, tonality, atonality) Tone color: (register, range, instrumentation) Texture: (monophonic, homophonic, polyphonic, imitation, counterpoint) Form: (binary, ternary, strophic, through-composed)

From Chapter 2 (Non Western)

Related Terms Indonesia: Gamelan, Bonang, Gender Africa: Call & Response, Improvisation, Polyrhythm Japan: Koto, Shamisen Mexico: Mariachi, Flamenco Guitar Middle East: 'Ud, Darabukkah India: Sitar, Tabla

2

From Chapter 3 (Medieval)

MUSIC in the MIDDLE AGES (approx. 450-1450)

500 1000 1200 1300 1450

ImportantGENRES

FORMS

STYLE TRAITS

FeaturedCOMPOSERSandWORKS

monophonicPOLYPHONYestablished

Late Medieval music becomes increasingly complex due to experiments in RHYTHM and HARMONY

"ARS ANTIQUA" "ARS NOVA"

"Gregorian"CHANT ORGANUM

MASS (Ordinary/Proper)

Primarily vocal music based on design of the text

HILDEGARD of BINGEN

O Successores

PÉROTINAlleluia: Nativitas

MACHAUTMissa Notre Dame

ANONYMOUS MONKSAlleluia: Vidimus Stellam

Secular DANCE MUSIC and SONGS

Polyphonic MASS

MOTET

(chant)

(chant)

(organum) (polyphonic Mass)

EVENTSFall of Roman Empire

Establishment of Western Church across Europe

The "Black Plague"The Crusades

[French: at Notre Dame Cathedral in Paris]

"100 Year's War" (England vs. France)

Feudalism

Music Guide

6

Haec diesfrom Chant to Organum to Motet

The Haec dies chant (c. 800—from the Easter Day Proper of the Catholic Mass) was later transformed polyphonically and rhythmically into organum (c. 1200, by

adding a new voice-part above the chant) and motet (c.1250, by adding a 3rd voice-part and syllabic words to the two highest voices).

The opening section of the monophonic chant version may be graphed as follows:

Ha-----------------------------(ec)--di------------------------------es,

(a melisma) (a melisma)

(Translation: "This is the day"—refers to Easter as THE day of the Resurrection)

Anonymous: Haec dies

1

The opening section of the 2-voice organum version may be graphed as follows:Anonymous: Haec dies

In this 2-voice organum version (probably written by Pérotin at the Notre Dame Cathedral in Paris), the LOWER VOICE sings the notes of the Haec dies chant VERY SLOWLY (on long-held notes), while the UPPER VOICE is a faster-moving/newly-composed melody with metrical rhythms and harmonies derived from Medieval popular dance music.

one long-held note ! another held note

(etc.)

Ha(ec)-----------------------------------------------------------------------------------------

2

(etc.)1

O mittissima Virgo Maria, Posce tuum fi-li-um,Ut nobis auxilium Det et remedium Contra domonumFallibiles astuciasEt horum nequicias.

O sweetest Virgin Mary, Beg your Sonto give us help and remediesagainst the demons' deceptionsand their inequities.

Virgo virginum,Lumen luminum,Reformatrix hominum,Que portasi Dominum,Per te Maria,Detur venia,Angelo nunciante,Virgo es post et ante.

Virgin of virgins,light of lights,Reformer of men,who bore the Lord,Through you, Mary,let grace be givenas the Angel announced:You are a Virgin before and after.

Haec dies. This is the day.

Anonymous: O mitissima—Virgo—Haec dies

This LOW part is the Haec dies CHANT melody

HighVoice

TenorVoice

Middle Voice

1

2

3

This is an early example of a motet. It features three different Latin texts, sung simultaneously. The low "tenor" part presents the Haec dies chant melody in a recurring 5-note RHYTHMIC OSTINATO, while the upper voices move on faster rhythms.

Tenor Rhythm Pattern: (ostinato)

Chant

Organum

early Motet

(Text:) O mit-tis- si- ma Vir-go Ma-ri-a. . .

(Text:) Vir-go vir-gi-num, Lumen lumi-num . . .

c. 800

c. 1200

c. 1250

Music Guide

7"Agnus Dei" from Missa Notre Dame

by Guillaume de MACHAUT (c 1300–77)

Guillaume de Machaut was the most important French composer of the late Middle Ages. Around 1350, he composed the Missa Notre Dame ("Mass to Our Lady [the Virgin Mary])"—which is historically important because it was was the first polyphonic setting of the entire Mass Ordinary written by one composer. Its rhythms are very complex and disjointed, and its harmonies often sound strange and dissonant to modern ears (the music is "modal"—not tonal). The four voices are highly independent (there is no imitation).

Agnus Dei, qui tollis peccata mundi, miserere nobis.Lamb of God, who takes away the sins of the world, have mercy on us.

Agnus Dei, qui tollis peccata mundi, miserere nobis.Lamb of God, who takes away the sins of the world, have mercy on us.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.Lamb of God, who takes away the sins of the world, grant us peace.

Text and Translation

(In this prayer, the words "Agnus Dei" refer to Jesus as God's "sacrificial lamb".)

The opening texture of this work may be graphed as follows:

1

2

4

3

A- - - - - - - - - - - - - - - - - - - - gnus - - - - - - - - De - - - - - - - - - - - - - - - - - - - - - - - - - i

A - - - - - - - - - - - - - - - - - - - - - - - - - gnus - - - - De - - - - - - - - - - - - - - - - - - - - - - - - - - - i

A - - - - - - - - - - - gnus- - - - - - - - - - - - - - - - - - De - - - - - - - - -- - - - - - - - - - - - - i

(A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .)

c. 1350

Polyphonic Mass

3

From Chapter 4 (Renaissance)

MUSIC in the RENAISSANCE (c1450-1600)

1450 1500 1570 1600

Important

GENRES

FORMS

STYLE TRAITS


The Renaissance style is characterized by IMITATIVE Texture, WORD-PAINTING, and a smoother, more "personal" approach to both sacred and secular idioms than heard in the Middle Ages.

MASS (sacred)-- Mass Ordinary/Mass Proper

Primarily vocal music based on design of the text-- IMITATION (echoed entrances) was an important feature

PALESTRINAPope Marcellus Mass

WEELKESAs Vesta Was From Latmos Hill Descending

JOSQUIN DESPREZAve Maria...virgo serena

DANCE MUSIC (for lute, viols, recorders, etc.)

MOTET (sacred)

(motet)

(Mass)

(English madrigal)

EVENTSProtestant Reformationbegins (1517)

England defeats the Spanish Armada (1588)

Catholic "Counter-Reformation"

Elizabethan Age in England

Vocal

MADRIGAL (secular)

GESUALDOMoro lasso

(Italian madrigal—late)

Instrumental

SONGS (secular)

Music Guide

8

Ave Maria . . . virgo serenaby Josquin DESPREZ (c 1440–1521)

Music Guide

9

Josquin Desprez was the greatest composer of the mid-Renaissance. This motet in honor of the Virgin Mary begins with a section that is polyphonic and imitative (you can clearly hear how each successive voice echoes the previous voice); however, in the course of the work Josquin cleverly uses the four vocal lines in many other types of textures. The vocal writing is smooth and the harmonies are more consonant (sweet-sounding) than works from the Middle Ages.

Gra- -ti--a ple - - - - - - - - - na

Gra- -ti--a--

A - VE MA- RI - - A - -

Tenors

Sopr.

Altos

Basses

Sopranos

Tenors

Basses

Altos A - VE MA- RI - - A - -

A - VE MA- RI - - A - -

A - VE MA- RI - - A - -

Gra- -ti--a ple - - - - - - - - - na

Gra- -ti--a ple - - - - - - - - - na

The CANONIC texture at the start of this motet may be graphed as follows:

Ave Maria gratia plena dominus tecum, virgo serena...Ave cuius conceptio, solemni plena gaudio... coelestia terretria nova replet laetitia...Ave cuius nativitas nostra fuit solemnitas...ut lucifer lux oriens verum solem praeveniens...Ave pia humilitas, sine viro fecunditas...cuius annuntiatio nostra fuit salvatio...Ave vera virginitas, immaculata castitas...cuius purificatio nostra fuit purgatio...Ave praeclara omnibus angelicis virtutibus...cuius assumptio nostra glorificatio...O mater Dei, memento mei. Amen.

Text and Translation

Hail Mary full of grace, the Lord is with you serene Virgin...Hail, you whose conception, full of great jubilation fills heaven and earth with new joy...Hail, whose birth brought us joy...as the dawn's light shines before the true sun appears...Hail, pious humility, fruitful without a man...whose Annunciation brought us salvation...Hail true virginity, immaculate chastity... whose purification brought our cleansing...Hail, glorious one in all angelic virtues...whose Assumption was our glorification...O Mother of God, remember me. Amen.

Mass

Motet

"Agnus Dei (I)" from Pope Marcellus Massby Giovanni da PALESTRINA (c. 1524–94)

Ag - nus De - - - i

Ag - nus De - - - i

Ag - nus De - - i

Ag - nus De - - - i

Ag - nus De - - - - i

Soprano

Alto

Tenor 1

Tenor 2

A - - - -gnus - - - De - - i

Bass 1

Bass 2 (etc.)

Ag - nus De - - - - i

De - - - - - - i

A - - - -gnus - - - De - - - i

The opening texture of this work may be graphed as follows:

(etc.)

(etc.)

(etc.)

(etc.)

(etc.)

TEXT: Agnus Dei, qui tollis peccata mundi. Miserere nobis (Translation: Lamb of God who takes away the sins of the world, have mercy on us.)

by 1510

1567

Palestrina—the greatest master of late Renaissance sacred music—worked at the Vatican in Rome. This Mass is for 6 voice parts a cappella (no instrumental accompaniment), and has a fuller, richer sound than heard in the music of Josquin. The flowing vocal melodies are seamless, smooth, and consonant. The six-voice choir is divided in half occasionally to create antiphonal effects (one group answers another). The musical sections are longer than those heard in previous works.

Music Guide

10

As Vesta Was From Latmos Hill Descendingby Thomas WEELKES (c. 1575–1623)

Music Guide

11

WORD-PAINTING DEVICES:

Madrigal

Moro, lassoby Carlo GESUALDO (c. 1560–1613)

1601

Madrigal1611

This work is a primary example of an English madrigal from the late Renaissance. It is for five unaccompanied solo voices and features many obvious instances of word-painting (illustrating the meaning of specific words through musical symbolism). The texture is usually imitative, the tempo is quick and in a steady meter, and the style is clearly secular in nature. This piece is from a collection of madrigals entitled The Triumphes of Oriana—dedicated to Queen Elizabeth I (whose nickname was "Oriana." Other characters referenced in the poetry are from Greek/Roman mythology: Vesta (sister of Zeus, virgin goddess of the hearth and home), and Diana (Roman goddess of chastity). In this madrigal, when Vesta and Diana come down from Latmos Hill, all of their attendants abandon them, and run to the "rising" Queen Elizabeth ("Oriana").

As Vesta was from Latmos Hill descending

She spied a maiden Queen the same ascending

attended on by all the shepherd's swain,

to whom Diana's darlings

came running down amain.

First TWO by TWO

Then THREE by THREE

TOGETHER.

Leaving their goddess ALL ALONE, hasted thither,

And mingling with the shepherds of her train

With mirthful tunes her presence entertain.

Then sang the shepherds and nymphs of Diana

Long live fair Oriana!

Musical line GOES DOWN rapidly on "descending", and GOES UP on "ascending"

Rapid musical "RUNS" (many notes in fast series)

Texture reduced to TWO singers at a time

Then 3 singers . . .

Then ALL SING TOGETHER

One female singer sings this ALL ALONE ...

Now the singers "mingle" in imitative counterpoint

This section is VERY, VERY LONG!

TEXT/TRANSLATION:

Moro, lasso al mio duolo,Wearily I die from my agony,

E chi mi può dar vita ,Yet she, who could give me life,

Ahi , che m'ancide e non vuol darmi aita,Alas, she gives me death instead of help,

O dolorosa sorte,O excruciating fate,

Chi dar vita mi può, ahi, mi da morte .She who can give me life, alas, gives me death.

Low voices depict the man's torment

through slow tempo, agonizing harmonies

High soprano (representing the woman) enters at much faster, happier tempo on "vita" (life).

Intensely dissonant harmonies on "Ahi!"

More excruciating harmonic clashes

The painful harmonies wander aimlessly, reaching a sense of relief only at the final

cadence.

WORD-PAINTING DEVICES:

TEXT:

Gesualdo, the Prince of Venosa, was as overly-passionate in his life as he was in his music. One night, when he discovered his wife and her lover in an adulterous embrace, he murdered them both. While in exile for the rest of his life, he wrote repenitent Catholic sacred music and intensely anguished secular works such as Moro, lasso—a late Italian madrigal based on poetry that is much more serious and tragic than that seen in English madrigals. In order to vividly depict the meaning of the words, Gesualdo often changes the texture, tempo, and harmonic basis of this work. You will notice many moments of extreme dissonance, especially on the words "Ahi" (an anguished "Ah" in English), and "dolorosa" ("extremely painful" in English). This dissonance is achieved through the use of chromaticism—the technique of using pitches that are foreign to the "mode" or "key" of the piece.

4

From Chapter 5 (Baroque)

MUSIC in the BAROQUE (c1600-1750)

STYLE TRAITS

The Baroque style is characterized by an intense interest in DRAMATIC CONTRAST and expression, greater COUNTRAPUNTAL complexity, and the RISE OF INSTRUMENTAL MUSIC.

1600 17001650 1720 1750

Forms based on oppositionFORMS

MULTI-MOVEMENT DESIGNS

based on oppositionRITORNELLO

BINARY

Contrapuntal Forms

CANON and FUGUE

SUITE (Keyboard Suite & Orchestral Suite)

Important

GENRESOPERA

BAROQUE VOCAL GENRES

MASS and MOTET

ORATORIOCANTATA

Sacred

Secular CONCERTO (Solo Concerto & Concerto Grosso)

BAROQUE INSTRUMENTAL GENRES

SONATA (Trio Sonata)

FeaturedCOMPOSERSandWORKS CORELLI

Trio Sonatas

MONTEVERDIL'Orfeo(opera)

J.S. BACHCantata No. 140

PURCELLDido and Aeneas

(opera)

"Little" Fugue in G minor

VIVALDIThe Four Seasons

(concerto)HANDELMessiah

(oratorio)

OtherConcepts

Basso Continuo

Violin family developed in Italy;Orchestra begins to develop

Rise of Instrumental Music

AriaRecitative

Forms Commonly Used in Baroque Music • Binary Form: A vs B • Ritornello Form: TUTTI • SOLO • TUTTI • SOLO • TUTTI (etc)

with only

basso continuo accompaniment

Music Guide

12"Tu sei morta" from L'Orfeo

by Claudio MONTEVERDI (1567–1643)

Music Guide

13

Opera

by Henry PURCELL (c. 1659–95)

1607

Opera1689

"Dido's Lament" from Dido and Aeneas

Purcell—the greatest English composer of his day—died tragically at the age of 36. He wrote in a variety of musical genres: sacred music, secular choral music, chamber music, songs, and stage works. This excerpt from his opera, Dido and Aeneas, contains the most famous Baroque aria-- "When I Am Laid in Earth"—commonly referred to as "Dido's Lament."

The story of Dido and Aeneas is taken from the ancient Greek epic poem The Aeneid by Virgil. After being defeated in the Trojan War, Aeneas is told by the gods to go to a safe port and rebuild his fleet. When he is thrown off course by a storm that wreck his ship off the coast of northern Africa, he falls in love with his rescuer Dido, the Queen of Carthage. Eventually, wicked sorceresses hoping to achieve Dido's downfall send a false messenger to tell Aeneas that his gods command him to leave Carthage immediately and speak to no one. Thus, he leaves Dido dumbfounded and distraught. Knowing she can never trust or love anyone ever again, Dido sings this tragic lament to her servant Belinda, then she kills herself, as Aeneas sails away.

Monteverdi—the first great composer of the Baroque, is primarily known for his early opera L'Orfeo. This work is based on the tragic Greek myth of Orpheus—a mortal shepherd with a god-like singing voice. (In Greek mythology, Orpheus was the son of Calliope, the muse of epic poetry, and the sun-god, Apollo). Orfeo marries his childhood sweetheart, Euridice, then during the wedding reception, she goes off in search for a flower garland for her hair, only to be bitten fatally by a poisonous snake. Euridice is then taken to the underworld—the land of the dead.

In this listening excerpt, Orfeo has just received the tragic news, and in desperation he vows to go down to Hades himself in order to convince Pluto (the god of darkness) to return Euridice to life. Orfeo's request is granted eventually, but only under the condition that he not gaze upon Euridice's face until she gets above ground. Unfortunately, Euridice stumbles while climbing the treacherous stairway leading out of Hades, and when Orfeo glances back to see if she is all right, she is lost to him forever.

Tu sei morta, sé morta mia vita, ed io respiro;

Tu sé da me partita, sé da me partita per mai piu, mai piu non tornare, ed io rimango?

No! No! che se i versi alcuna cosa ponno,n'andrò sicuro á più profondi abissi,

e, intenerito il cor del re de l'ombre,meco trarotti a riverder le stelle,

o se ciò negherammi empio destino,rimarrò teco in compania di morte.

Addio terra, addio cielo, e sole, addio.

You are dead my precious life, yet I still breathe.You are taken from me, you've left me forever,

never to return, yet I remain here ?No! No!, if my songs have any power within them

I will go down to the abyss of death,There, I will melt the heart of the King of Shadows,

and bring you back with me to see the stars again.Or if it's my cruel destiny,

I'll remain there with you in the company of the dead.Goodbye earth, goodbye sky and sun, farewell. . .

TEXT/TRANSLATION:

Thy hand, Belinda, darkness shades me,On thy bosom let me rest;

More I would, but death invades me;Death is now a welcome guest

- Sparse- No apparent meter

When I am laid, am laid in earth,May my wrongs create no trouble in thy breast.

Remember me! . . . But,ah! forget my fate,Remember me ! . . . But, ah, forget my fate.

RECITATIVE

A- Aria has a steady METER;

- Low bass-note "OSTINATO"

ARIA

Binary Form B

Basic DESIGN of this excerpt:

with fullorchestra

During the aria section, this descending ostinato figure repeats over and over in the bass, reflecting Dido's unending despair.

Music Guide

14Trio Sonata in D major, Op. 3, No. 2

by Arcangelo CORELLI (1653–1713)

Music Guide

15

Trio Sonata

Spring from The Four Seasonsby Antonio VIVALDI (1678–1741)

1689

Solo Concertoc. 1725

A diagram of the basic imitative texture of the 4th movement:

[Note: In the title of this work, "Op." is an abbreviation for "Opus", which means "Work" in Latin—the "No. 2" means that Op. 3 is a set of trio sonatas, and this is the second of the set.]

Corelli, who worked in Rome during the middle Baroque period, was one of the first composers to write for the modern violin family, and the first to write more music for instruments than for voices. He is especially known today for his concerto grossos and trio sonatas. HisTrio Sonata in D major has the following multi-movement structure:

Most of the movements of this work feature direct imitation between the violins (and sometimes even the cello of the basso continuo joins in on the imitative dialogue).

BASSO CONTINUO (a keyboard instrument and a low string instrument)

Violin 1

Violin 2

(canonic imitation)

(etc.)

Vivaldi is one of the greatest composers of the Late Baroque era. Among his nearly 800 works are over 500 concertos and at least 50 operas. His best-known work is a set of four 3-movement concertos (Fast–Slow–Fast design) collectively called The Four Seasons. Each concerto in the set features solo violin(s) with orchestra and basso continuo and programmatically illustrates one season of the year.

The 1st movement of the Spring concerto, features a ritornello design (solo violins vs. orchestra):

PROGRAMMATIC IDEAS:

• Tutti ("played by full group") theme in E major (I) represents the joy of spring.

• Echoed bird calls played by solo violin with two violins from orchestra.

• Tutti theme (2nd part) returns in E Major

• Tutti theme (2nd part) returns in B major (V)

• Tutti theme (2nd part) returns in C# Minor (vi)

• Tutti theme (2nd part) returns in E Major

• Running notes in solo violin represent the brook.

• Tremolos in strings represent thunder as flashy runs in solo violin depict lightning.

• Echoed bird calls by solo violins return.

• Tutti theme (1st part) returns; moves to B (V)

• More echoed bird calls by solo violins.

Thunder & lightning

The brooks flow

The birds resume . . .

RITORNELLO 1

SOLO 2

SOLO 3

SOLO 5

RITOR. 5

w/ orch

RITORNELLO DESIGN:Joyful spring has arrived

The birds greet it with their cheerful song

Joyful spring . . .

Joyful spring . . .

Joyful spring . . .

Joyful spring . . .

Joyful spring . . .

The birds . . .

SOLO 1

RITORNELLO 6

RITOR. 2

RITOR. 3

RITOR. 4

SOLO 4

The overall three-movement design of the Spring Concerto:

Movement 1: Movement 2: Movement 3: Movement 4: SLOW, 4/4 meter FAST, 4/4 meter SLOW, 3/2 meter FAST, 6/8 meter

Joyful spring has arrived, the birds greet it with their cheerful song, and the brooks flow in the gentle breezes with a sweet murmur. The sky is blackened and thunder and lightning announce a storm. After they fall silent, the birds again take up their melodious song.

And in the flower-rich meadow, to the gentle murmur of bushes and trees, the goatherd sleeps, his faithful dog at his side. [Note: The viola accents simulate a dog barking.]

To the festive sounds of a rustic bagpipe, nymphs and shepherds dance in their favorite spot.

1st movement: FAST, 4/4, E major

2nd movement:SLOW, 3/4, C# minor

3rd movement:FAST, 12/8, E major

5

Music Guide

16Canon in D major

by Johann PACHELBEL (1653–1706)

Music Guide

17

Canon

"Little" Fugue in G Minorby Johann Sebastian BACH (1685–1750)

c 1700

Fuguec.1709

The initial canonic texture of this work may be graphed as follows:

o

oo

oo

o

oo

etc.

2

3

4

1

etc.

Leader

Follower 1

Follower 2

Follower 3

x - x - x -

* * * * *x - x - x -

o

oo

oo

o

oo

o

oo

oo

o

oo

o

oo

oo

o

oo

o

oo

oo

o

oo

o

oo

oo

o

oo

o

oo

oo

o

oo

BASSO CONTINUO (plays an ostinato—a short figure repeated over and over)

Pachelbel was a German composer of the middle Baroque period and an important predecessor to the contrapuntal tradition of J.S. Bach. His over 200 compositions include organ works, keyboard works (fugues, toccatas, suites), concertos, cantatas, motets, arias and Masses. Of these, his most famous work is the so-called "Pachelbel canon"—also called the "Canon in D" (date of composition unknown).

In a canon (a special kind of imitation) each follower must strictly imitate whatever the leader does. Notice how the vertical texture is constantly changing, and how each voice is always doing something different than the others (a technique called counterpoint).

A Diagram of the Opening Section of this Fugue:

1

2

3

Countersubject

free counterpoint

XXXX

XXXX(HIGH)

4

(MEDIUM)

(LOW)

(Very LOW PEDALS)

Countersubject

SUBJECT Countersubject

free counterpoint

free counterpointSUBJECT

SUBJECT

SUBJECT

J. S. Bach was probably the greatest organist who ever lived. His works for organ are highly complex, yet expressively beautiful. One of the best-known examples from Bach's organ works is the "Little" Fugue in G minor (c 1709), which employs an intricate fugal texture for four different musical lines performed by one player using both hands on the keyboard and both feet on the low-sounding organ pedals. The main melody (the "subject") of the fugue begins in the upper voice and gradually works it way down on four successive entrances until it is finally stated by the low bass pedals. You should notice very intricate melodies, several different things happening at the same time, and the subject being passed around from "voice" to "voice" of the organ. Although the subject is originally sounded in a minor key, Bach occassionally places the subject in a happier-sounding major key for variety.

• Movement 1: Ouverture (slow AB intro, ends with fast 4/4 section in concerto grosso format—with woodwind trio solo group accomp. by strings and basso continuo)

• Movement 2: Courante (fast, lively dance in 3/2 meter; ternary form; tutti)

• Movement 3: Gavottes 1 & 2 (moderate peasant dance style in 2/4; tutti; Gavotte 1=AB; Gavotte 2=ABA)

• Movement 4: Forlane (a lilting Italian binary dance in 6/4 meter; tutti)

• Movement 5: Menuets 1 & 2 (moderately slow, elegant courtly dance in 3/4; Minuet 1=AB; Minuet 2=ABA)

• Movement 6: Bourrées 1 & 2 (moderately fast peasant dance in 2/4; Bourrée 1=AB; Bourrée 2=ABA)

• Movement 7: Passepieds 1 & 2 (fast, simple dance in 3/4 meter; both are AB form)

Music Guide

18Orchestral Suite No. 1 in C major

by Johann Sebastian BACH (1685–1750)

Music Guide

19

Suite


c.1717-23

Concerto Grosso

1721

Brandenburg Concerto No. 5

BACH composed at least four so-called "orchestral suites" (collections of dance movements for orchestra). Although the date of Suite No. 1 is unknown, scholars believe it was written in 1718—during the second phase of Bach's career (1717-23), while he served as Chapelmaster and Director of Chamber Music at the court of Prince Leopold in Cöthen.

Suite No. 1 has seven movements, and features a string orchestra (Violins I, Violins II, Violas), basso continuo, and a 3-instrument solo group of two oboes and bassoon (used in movements 1 and 6 only). The "Forlane" movement is modeled after French depictions of the carnivals of Venice.

The 7-movement structure of Orchestral Suite No. 1:

In 1721, BACH dedicated a set of six concertos to the Margrave of Brandenburg, hoping to further his standing with the young German aristocrat. (Scholars believe that these works were actually written several years earlier.) Despite his efforts, Bach was never offered a position by the Margrave.

Each of the six concertos calls for a different group of instruments:

• No. 1 in F: Concerto Grosso (solo group= 2 horns, oboe, violin piccolo); (orch= 2 oboes, bassoon, strings, continuo)

• No. 2 in F: Concerto Grosso (solo group= trumpet, recorder, oboe, violin); (orch= strings, continuo) • No. 3 in G: "Ensemble Concerto"/no soloists (orch= 3 violins, 3 violas, 3 cellos, continuo)

• No. 4 in G: Concerto Grosso (solo group= violin, 2 recorders); (orch= strings, continuo) • No. 5 in D: Concerto Grosso (solo group= flute, violin, harpsichord); (orch= strings, continuo)

• No. 6 in F: "Ensemble Concerto"/no soloists (orch= 2 violas, 2 viola da gamba, cello, continuo)—NO VIOLINS!

The Brandenburg Concerto No. 5 is a fine example of a BAROQUE CONCERTO GROSSO— in this case featuring a small group of soloists (flute,violin and harpsichord) pitted against the full orchestral ensemble (called the "tutti"). Through RITORNELLO design, the orchestra alternates brief entrances with each of the soloists, then alternates entrances with various combinations of the solo instruments, creating a multitude of different textures and arrangements:

Movement 1 Movement 2 Movement 3

FAST, 2/2 meter SLOW, 4/4 meter FAST, 4/4 meter

D major B minor D major Ritornello Form 3 solo insts (no orch) Ritornello Form

The overall 3-movement design of Brandenburg Concerto No. 5:

BASSO CONTINUO (harpsichord and a low bass instrument)

Solo Group:flute,

violin,harpsichord

Small

TUTTI

BIG

playsRitornellomaterial

TUTTI Solo Group:flute,

harpsichord,violin

Small

TUTTI

BIG


TUTTI Solo Group:harpsichord,

violin,flute

Small

TUTTI

BIG


TUTTI Solo Group:harpsichord

featured as main soloist

Small

TUTTI

BIG


TUTTI

etc.

Music Guide

21Messiah

by Georg Frideric HANDEL (1685–1759)

Oratorio1741

Handel, one of the greatest Baroque composers, worked in Germany, Italy, and England (where he was the court composer for King George I). He composed many theatrical, orchestral, chamber, keyboard, and choral works. The most famous is Messiah— a 53-movement oratorio composed in just three-and-one-half weeks (!), and first performed on Christmas Day 1741, with the King prominently present in the church.

Messiah is designed in three large-scale parts:

PART I (movements 1-21): focuses on prophecies and the birth of Christ PART II (movements 22-44): focuses on the suffering, Crucifixion, and Resurrection of Christ PART III (movements 45-53): focuses on Book of Revelation prophecies of the 2nd coming of Christ

(Excerpt) No. 3: "Ev'ry Valley Shall Be Exalted"

Text: Word-Painting Devices:

(Excerpt) No. 44: "Hallelujah"

Solo aria

Chorus

In this solo aria (based on an Old Testament prophecy of the birth of Christ—Isaiah 40:4), the orchestra initiates the first melodic phrase, which is echoed by the tenor soloist, initiating the ritornello form. Note the extremely long phrases and the technical difficulty of the solo voice part. As is common in Handel's arias, each line of the text is repeated many times.

Ev'ry valley shall be exalted This "exaltation"(of the prophecy of Christ's birth)is depicted by long, elaborate lines (one line has almost 50 notes sung on 1 breath)and ev'ry mountain and hill made low

Jagged vocal lines for "mountains" and "crooked", a low note on the word "low", and a long "smooth" note on the word "plain".

the crooked straight

and the rough places plain

This chorus, with its exaltations of praise for Christ's birth, has become a perennial Christmas favorite. The texture is highly polyphonic and imitative—even fugal at times, although Handel uses homophonic and monophonic textures to accentuate the most important words in the text. (Handel states the words "and He shall reign forever" monophonically—in essence, telling the King of England in a way that could not be missed that a more powerful King has ultimate dominion.) The powerfully festive orchestra, which even includes brass and percussion, adds to the majestic aura of the work. Handel adapted the text from the Revelation of St. John.

Hallelujah!

ORCH. INTRO

CHORUS (HOMOPHONIC)

for the Lord, God Omnipotent reigneth. (MONOPHONIC)

Hallelujah! Hallelujah! . . .

for the Lord, God Omnipotent reigneth. Hallelujah! Hallelujah! . . .

(MONOPHONIC then FUGAL)

(HOMOPHONIC)

(POLYPHONIC & IMITATIVE)

The kingdom of this world is become the kingdom of our Lord, and of his Christ!

(HOMOPHONIC)

And He shall reign forever and ever. (FUGUE—POLYPHONIC)

King of Kings, and Lord of Lords!. . . (HOMOPHONIC)

And He shall reign forever and ever. (POLYPHONIC)

(partsreversed)

King of Kings, and Lord of Lords!. . .

(HOMOPHONIC then POLYPHONIC)

In an unprecedented move, the King of England stood up at this moment to acknowledge the greater power of "Christ the King"

And He shall reign forever and ever. (HOMOPHONIC)

Hallelujah! (Sustained chords after pause)

Music Guide

20Cantata No. 80


Cantata1715-24

For most of his compositional life, Bach was employed by German Lutheran churches;thus, much of his work is sacred music. Among the most notable of his sacred works are over two hundred cantatas (multi-movement settings for voices and orchestra). Bach's cantatas were written to be performed during Lutheran church services; thus, they are not as long as oratorios (which alone can be the complete music for an evening's concert). Bach's CANTATAS use solo singers, chorus, various duets, interspersed with orchestral interludes. One of Bach's most famous cantatas is Cantata No. 80 (1715–24)— an 8-movement work based on Martin Luther's chorale melody "Ein' Feste Burg..." ("A Mighty Fortress Is Our God"):

Mvt.I: Chorale fugue (Chorus & Orchestra) Luther's Chorale tune is the subject of a 4-voice fugue enclosed in a 2-voice canon; then Bach splits Luther's tune into an intricate "head vs. tail" 4-voice double canon

Mvt.II: Aria/Duet (double fugue for Soprano and Bass soloists with Orchestra & Basso Continuo accomp.)Mvt.III: Recitative (for solo Bass with Basso Continuo accompaniment)

Mvt.IV: Aria (for solo Soprano)Mvt.V : Chorale (Chorus & Orchestra—chorale tune sung in unison)

Mvt.VI: Recitative (for Tenor soloist with Basso Continuo accompaniment)Mvt.VII: Duet (for Alto and Bass soloist with Orchestra & Basso Continuo accompaniment)

Mvt.VIII: Chorale (Chorus & Orchestra)—homophonic CHORALE setting (4-part chorale in church hymn style)

Opening of the CHORALE TUNE:"A Mighty Fortress Is Our God"

(focused on D major) "Let God's word abide without further contemplation."

(focused on D major) "He is securely on our side with His spirit and strength."

(D major then suddenly to F# major!) "Though others may deprive us of life, wealth, honor,

child, or wife...We will not complain; it gains them nothing,"(returns solidly in D major) "for God's kingdom must prevail."

A

A

B

8TH MOVEMENT: A hymn-like setting of the CHORALE, sung by full chorus (new words)/doubled by insts.

1ST MOVEMENT: a 4-voice FUGUE sung by the chorus —"Subject" derived from the chorale—in counterpoint vs. a 2-voice CANON in the instruments. (Note: Movements 1 and 8 are also binary forms.)

Translation:

A mighty fortress is our God,a good defense and weapon:

He helps free us from all the troubles

that have now befallen us.

Our ever evil foe,in earnest plots against us,

with great strength and cunninghe prepares his dreadful plans.

Earth holds none like him.

Text:

Ein feste Burg ist unser Gott,ein' gute Wehr und Waffen;

er hilft uns frei aus aller Not,

die uns jetzt hat betroffen.

Der alte böse Feind,mit Ernst er's jetzt meint,

gross Macht und viel List,sein grausam Rüstung ist;

auf Erd' ist nivht seingleichen.

A

A

B

"Tail" of the chorale tune"Head" of the chorale tune

6

From Chapter 6 (Classic)

MUSIC in the CLASSIC ERA (c1750-1820)

STYLE TRAITS

The Classic style is characterized by SYMMETRY, BALANCE and STANDARDIZATION of ensembles, genres and forms.

1760 1800 1820

Standardized Forms based on Keys and Themes

FORMS

4-MOVEMENT DESIGN

Important

GENRESOPERA

CLASSIC VOCAL GENRES

MASS and MOTET

ORATORIOCANTATA

Sacred

Secular CONCERTO (Solo Concerto)

CLASSIC INSTRUMENTAL GENRES

SONATA (Piano Sonata)


HAYDNSymphony No. 94

MOZART

The Marriage of Figaro, Don Giovanni

(operas)

BEETHOVEN

Symphony No. 5

OtherConcepts

Standardized Orchestra (mostly strings, woodwinds)

Reqiuem(Mass)

Eine kleine Nachtmusik(serenade)

1775

STRING QUARTET

Piano Sonata Op. 13(sonata)

Quartet in C minor (string quartet)

SERENADE

SONATA FORM

RONDO FORM

MINUET & TRIO FORM

SCHERZO & TRIO FORM

SONATA-RONDO FORM THEME & VARIATIONSFast-Slow-Dance-Fast

(symphonies and string quartets)

1790

Symphony No. 40

SYMPHONY

Symphony No. 6Symph. No. 9

Symphony No. 3

A COMPARISON OF CLASSIC INSTRUMENTAL GENRES

If a multi-movement work is performed by then, the work is called a

Orchestra SYMPHONY

A small group of winds and/or strings SERENADE

2 Violins, Viola & Cello STRING QUARTET

A Pianist (playing alone) PIANO SONATA

A [Solo Instrument] with PIANO Accompaniment [ ] SONATA

a SOLO VIOLIN with PIANO accomp. = a VIOLIN SONATA; whereas, a SOLO FLUTE with PIANO accomp. = a FLUTE SONATA

A [Solo Instrument] with ORCHESTRAL Accompaniment [ ] CONCERTO

a SOLO PIANO with ORCHESTRA accompaniment = a PIANO CONCERTO; whereas, a SOLO FLUTE with ORCHESTRA accomp. = a FLUTE CONCERTO

---------------------------------------------------------- Other generic Classic chamber groups are referred to as Trios, Quintets, (etc.)

and these usually follow the Classic four-movement design.

7

Standardized Classic FOUR-MOVEMENT Instrumental Design

Movement Tempo (usual character) Form Harmonic Tonal Center

1st Fast (strong) Sonata Form "Home" key (I)

2nd

Slow (lyrical) (various) Another key (usually IV)

3rd

Moderate (3/4 dance) Minuet & Trio "Home" key (I) (Trio can be in another key)

4th

Very Fast (light/cheerful) Rondo Form "Home" key (I)

-------------------------------------- Although four movements was the standard for many Classic genres, some Classic sonatas may have fewer than four movements, and a few

late Classic symphonies and quartets have more than four movements.

Standardized Classic Forms

• Sonata Form (a debate between opposing keys; resolved in the recapitulation) EXPOSITION • DEVELOPMENT • RECAPITULATION

• Theme and Variations Form: THEME • VARIATION 1 • VARIATION 2 • VARIATION 3 (et cetera)

• Minuet and Trio Form MINUET • TRIO • MINUET

• Scherzo and Trio Form SCHERZO • TRIO • SCHERZO

• Rondo Form A B A C A or A B A C A B A

• Sonata-rondo Form (rondo form with sonata form key opposition/resolution)

Music Guide

22Symphony No. 94 in G major

by Franz Josef HAYDN (1732–1809)

Symphony1791

The overall 4-movement design of Symphony No. 94 :

• Andante (Slow)

• Theme & Variations

• C Major

• 2/4

• Adagio/Vivace

(Slow Intro)/ (Fast)

• Sonata form

• G Major

• 3/4 6/8

Movement 1 Movement 2 Movement 3 Movement 4• Allegro molto

(Medium)

• Minuet & Trio

• G Major

• 3/4

• Allegro (Fast)

• Sonata form

• G Major

• 2/4

Haydn was the first major composer of Classic era. After several obscure positions, he had the good fortune to be hired as court composer for a Hungarian Prince—Nicolas Esterházy. In the 1770s and 80s—under the Prince's friendly patronage—Haydn became the best-known composer in Europe, gaining renown especially for his symphonies (104), string quartets (68) and piano sonatas (40). When the Prince died, Haydn was awarded a pension and released from service. Soon afterward, he was invited to London for two extended residencies (1791–92 and 1794–95), during which he wrote twelve symphonies (Nos. 93-104). Among these is the famous "Surprise" Symphony (1791), which derives its name from the startling entrance of the timpani in the second movement.

The THEME and first three VARIATIONS of the 2nd movement:

THEME

(each section is repeated)

Violins play quiet staccato theme in major;

surprise (ff ) chord on repeat of "A". Section "B" repeated with flute and oboe.

VARIATION1

A B


Theme begins as before, but after a few

measures the high violins add a new "countermelody" above the Theme.

VARIATION2

A B

(only "A" section is repeated)

"A" Theme begins powerfully MINOR, then it is quietly echoed by violins in

MAJOR. Strong "B" section has violins with rapid descending runs.Ends with

quiet passage for violins alone.

new countermelody

VARIATION3

A B


"A" Theme begins lightly—oboe with 4 repeated notes, in MAJOR . On repeat

of "A", flute and oboe play countermelody against the violin theme.

"B" continues in similar fashion.

A B

Music Guide

24Eine kleine Nachtmusik

by Wolfgang Amadeus MOZART (1756–91)Serenade

1787

The overall 4-movement design of Eine kleine Nachtmusik

Movement 1 Movement 2 Movement 3 Movement 4

Eine kleine Nachtmusik, (which in German means "A Little Night Music") was written as a nighttime entertainment piece for the Austrian Emperor, Franz Josef II. Each of its four movements is beautiful and famous.

• Allegro (Fast)

• Sonata form

• G Major

• 4/4

• Andante (Slow)

• 5-part Rondo

• C Major

• 2/2

• Allegretto (Medium)

• Minuet & Trio

• G Major

• 3/4

• Allegro (Fast)

• Sonata-rondo

• G Major

• 2/2

A

(repeated)

MINUET

BA'

(repeated)

(repeated)

A

BA'

C

D

roundedbinarydesign

(A) (BA')

(returns with no repeats)

TRIO

MINUET

sweeter

G Major (I)

D Major

(repeated)

The 3rd movement is a delightful example of Classic Minuet and Trio form.

Croundedbinarydesign

(C) (DC')

G Major (I)

EXPOSITION

D Major

other keysDEV.

RECAP.

G Major

Exposition repeats

GMajor

D Major

G Major

The 1st movement is an excellent example of Classic Sonata Form .

Theme 1

Theme 2

Closing Theme

transition

Theme 1transition

Theme 2

Closing Theme

Themes 1 & 2developed

Theme 1

Theme 2

Closing Theme

CODA

8

Music Guide

25Symphony No. 40 in G minor

by Wolfgang Amadeus MOZART (1756–91)

Symphony1788

The overall 4-movement design of Symphony No. 40


• Molto allegro

(Fast)

• Sonata form

• G Minor

• 4/4

• Andante

(Slow)

• Sonata form

• E-flat Major

• 6/8

• Allegretto

(Medium)

• Minuet & Trio

• G Minor

• 3/4

• Allegro assai

(Fast)

• Sonata form

• G Minor

• 2/4

other keys

DEV.

RECAP.

G Minor

G Minor

G Minor

The 1st movement is an outstanding and dramatic example of Sonata Form.

Theme 1

Theme 2

Closing Theme

transition

Theme 1transition

Theme 2

Closing Theme

Themes 1 & 2developed

Theme 1

Theme 2

Closing Theme

CODA

EXPOSITION

During the summer of 1788, Mozart wrote three complete symphonies in just six weeks—a feat unequaled in compositional history. More importantly, these three works (his last three symphonies Nos. 39, 40 and 41) are his greatest contributions to the genre. The Symphony No. 40 in G minor is his best-known symphony—a monumental statement of both dramatic content and Classic elegance.

The 3rd movement's Minuet and Trio blatantly depicts aristocratic oppression.

A

(repeated)

MINUET

BA'

(repeated)

(repeated)

A

BA'

C

D

roundedbinarydesign

(A) (BA')

binary design (C) (D)

(returns with no repeats)

TRIO

MINUET

fugal

agitated

sweet

sweeter

agitated

fugal

G Minor

G Minor

G Major

winds & strings

winds, strings, horns

full orchestra

full orchestra

(repeated)

Music Guide

27Don Giovanni


Opera1787

CHARACTER RELATIONSHIPS:

ZERLINAA peasant girl

(soprano)

DONNA ANNA The Commendatore's daughter

(soprano)

engaged to be married

DON OTTAVIO (tenor)

THE COMMENDATORERetired military leader, murdered by Giovanni when attempting to defend his daughter after

the Don's assault. He eventually returns from the grave to condemn Don Giovanni to Hell.

(bass)

DON GIOVANNI (baritone)Aritocrat with an insatiable desire to control and abuse others. Refuses to repent and is ultimately sentenced to eternal damnation.

DONNA ELVIRA(soprano)One of Giovanni's former conquests. She truly loves him

and tries to convince him to change his ways.

LEPORELLODon Giovanni's reluctant servant

(bass) sexually assaults

her at the start of the opera

seduces/rapes her

at her own wedding reception

MASETTO (bass)Zerlina's fiancée

It's their wedding day

He mocks her and rejects her affections

Music Guide

26The Marriage of Figaro


Opera1786

CHARACTER RELATIONSHIPS:

incessantly pursuesSusanna scheme with Countess to outwit the Count

It's their wedding day, but the Count has other plans

FIGARO Former "barber", now Count's valet

(bass)

ANTONIO (bass)Count's drunken gardener; Susanna's uncle

CHERUBINOCount's pubescent page boy; agrees to impersonate Susanna as part of scheme

(soprano)

SUSANNA Countess's chamber maid

(soprano)

COUNTESS [Rosina] (soprano)COUNT ALMAVIVA (baritone)

DON CURZIOJudge

(tenor)

DR. BARTOLOOld physician; Rosina's former guardian who she dumped at the

alter to marry the Count. Unknowing father of Figaro.

(bass)

MARCELLINA Old maid who files lawsuit to

marry Figaro, only to discover she is his mother !

(mezzo-soprano)

united with Count against Figaro

eventually learns he is their love-child

BARBARINAAntonio's teenaged daughter

(soprano)

Music Guide

28Requiem Mass in D minor


Mass1791

A few months before his death in December 1791, Mozart was visited at home by a masked messenger, speaking on behalf of an anonymous patron. The man offered to pay

Mozart a large sum of money for composing a Requiem Mass (a Mass for the Dead). The only conditions for payment—finish quickly and tell no one what he was working on. Mozart,

in desperate need of money, took the commission. Ironically, Mozart died while attempting to complete the work. (This scenario is vividly portrayed in the feature film, Amadeus—although it is untrue that the Italian

composer Antonio Salieri had anything to do with the commission of this work or its completion—The work was originally completed by Mozart's pupil, Franz Xaver Süssmayr.) Documentary evidence has proven that

the anonymous patron was Count Walsegg of Vienna, who eventually passed off Mozart's Requiem as his own work (as a public tribute to his recently deceased wife).. For a work intended to be performed at a

funeral service, Mozart's Requiem is intensely dramatic, often foreboding and reflective of Mozart's views of his own inequities.

Movements of Mozart's REQUIEM MASS—those completed or sketched by Mozart appear in bold type:

INTROIT: 1. Requiem aeternam (completely scored for orchestra and chorus by Mozart)

KYRIE: 2. Kyrie

SEQUENCE: 3. Dies Irae 4. Tuba Mirum 5. Rex tremendae 6. Recordare 7. Confutatis 8. Lacrimosa

OFFERTORY: 9. Domine Jesu 10. Hostias

SANCTUS, BENEDICTUS, AGNUS DEI (no sketches have been found for these movements)

Texts and Translations of Selected Movements from Mozart's REQUIEM MASS

1. "REQUIEM AETERNAM" (Introit) Requiem aeternam dona eis, Domine,

et lux perpetua luceat eis.Te decet hymnus, Deus, in Sion,et tibi redetur votum in Jerusalem.Exaudi orationem meam.Ad te omnis caro veniet.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.

Lord, grant them eternal rest,and let the perpetual light shine upon them.Thou shalt have praise in Zion, oh God,and homage shall be paid to Thee in Jerusalem.Hear my prayer.All flesh shall come before Thee.Lord, grant them eternal rest,and let the perpetual light shine upon them.

(Translation:)

3. "DIES IRAE"

Dies irae, dies illasolvet saeclum in favilla,teste David cum Sibylla.Quantus tremor est futurus,quando judex est venturuscuncta stricte discussurus.

This day, this day of wrathshall consume the world in ashes,as foretold by David and the Sibyl.What trembling there will be in the futurewhen the Judge will cometo weigh everything strictly.

(Translation:)

4. "TUBA MIRUM"

Tuba mirum spargen sonumper sepulchra regionumcoget omnes ante tronum.Mors stupebit et natura, cum resurget creaturajudicanti responsura. Liber scriptus proferetur in quo totum continetur,unde mundus judicetur...

The trumpet, scattering its awful sound across the graves of all lands, summons all before the Throne.Death and nature shall be stunned when manking arisesto render account before the Judge...The written Book shall be brought which contains allwhereby the world shall be judged...

(Translation:)

7. "CONFUTATIS MALEDICTIS"Confutatis maledictictis flammis acribus addictis,voca me cum benedictis.Oro supplex et acclinis,cor contritum quasi cinis, gere curam mei finis.

When the damned are cast away to the searing flames,call me to be with the blessed.Bowed down in supplication I beg Thee,my heart as though ground to ashes,help me in my last hour.

(Translation:)

8. "LACRIMOSA"Lacrimosa dies illa Qua resurget ex favillaJudicandus homo reus.Huic ergo parce, Deus, Pie Jesu Domine,Dona eis requiem.

(Translation:)

Mournful is that dayWhen from the dust shall riseGuilty mankind to be judged.Therefore spare him, O God.Merciful Jesus, LordGrant them rest.

• Allegro di molto (Fast)

• Sonata form

• C Minor

• 4/4

Music Guide

29Piano Sonata in C minor, Op. 13

by Ludwig van BEETHOVEN (1770-1826)

Sonata1797-8

The overall 3-movement design of Piano Sonata Op. 13

Movement 1 Movement 3Movement 2

• Adagio cantabile (Slow)

• Rondo (ABACA)

• A-Flat Major

• 3/8

• Allegro

(Fast)

• Rondo (ACABABA)

• C Minor

• 2/2

The second movement is a fine example of five-part rondo form. This work—like many Classic piano sonatas—has only three movements. (Notice that a "Minuet and Trio" movement is not included in the large-scale design).

Beethoven composed 32 piano sonatas that revolutionized the genre. Among the most famous of these are the "Moonlight" Sonata (Op. 27, No.1; c.1800-1) and the "Pathétique" Sonata (Op. 13)—an intensely dramatic and profound work (hence the nickname "Pathétique", which means "full of pathos.")

"Op." stands for "Opus"—Latin for "work." An opus number is assigned by the publisher of the work.

Main theme

1st Episode

Main theme

2nd Episode

Main theme

CODA

A(repeated)

A-flat Major (I)

B E-flat Major (V)

A A-flat Major (I)

C A-flat Minor

A(repeated)

A-flat Major (I)

The Rondo form of Movement 2:

Bb Major

Bb Major

9

"Op." stands for "Opus"—Latin for "work." An opus number is assigned by the publisher of the work.

Beethoven was particularly innovative in his string quartets (for 2 violins, viola and cello), as displayed in this exciting example from one of his early works in this genre (Op. 18, No. 4—the fourth of a set of six complete string quartets.

The fourth movement "finale" is a large-scale sonata-rondo form (a fusion of the most essential aspects of Classic sonata form (Exposition, Development, Recapitulation) and rondo form (ABACABA).

Music Guide

30

String Quartet in C minor, Op. 18 No. 4by Ludwig van BEETHOVEN (1770-1826)

Quartet1798-1800

The overall 4-movement design of String Quartet Op. 18, No. 4

Movement 1

The Sonata-Rondo form of Movement 4:

• Allegro (Fast)

• Sonata form

• C Minor

• 4/4

• Andante

(Slow)

• Ternary form

• C Major

• 3/8

Movement 2

• Allegretto (Medium)

• Minuet & Trio

• C Minor

• 3/4

Movement 3

• Allegro (Fast)

• Sonata-rondo

• C Minor

• 2/2

Movement 4

Rondo implications Sonata-form implications

Rondo theme

1st Episode

2nd Episode

Rondo themeabbr. return

Rondo theme

1st Episodetransposed

return

(extension)

A

B

C

A'

A'

B

A"

C Minor fast and powerfulEXPOSITION

slower and sweeter

DEVELOPMENT

Ab Major to Eb Major

C Minor fast and powerful

C Major

C Minor fast and powerful

RECAPITULATION

slower and sweeterG Major to C Major

uses material from A B and CC Minor/C

CODA

imitative ("cat and mouse")

Symphony No. 1 in C major Op. 21 (scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) I: Adagio molto; Allegro con brio II: Andante cantabile con moto III: Menuetto IV: Adagio; Allegro molto e vivace

Symphony No. 2 in D major Op. 36 (scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) I: Adagio molto; Allegro con brio II: Larghetto III: Scherzo: Allegro IV: Allegro molto

Symphony No. 3 in E-flat major Op. 55 (scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings) I: Allegro con brio II: Marcia funébre: Adagio assai (funeral march "in memory of a great man") III: Scherzo: Allegro vivace IV: Finale: Allegro molto

Symphony No. 4 in B-flat major Op. 60 (scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings) I: Adagio; Allegro vivace II: Adagio III: Allegro vivace [minuet] IV: Allegro ma non troppo

Symphony No. 5 in C minor Op. 67 (scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings— but in 4th movement: piccolo, contrabassoon, 3 trombones are added) I: Allegro con brio II: Andante con moto III: Allegro [scherzo] IV: Allegro

Symphony No. 6 in F major Op. 68 ("Pastoral") (scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) Titles of movements in this work are in German—not Italian (see English translations, below) I: Awakening of cheerful feeling on arriving in the country II: Scene by the brook: Andante molto mosso III: Merry Gathering of country-folk: Allegro [scherzo] IV: Thunderstorm; Tempest: Allegro V: Shepherd's Song; Happy, thankful feelings after the storm: Allegretto

Symphony No. 7 in A major Op. 92 (scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) I: Poco sostenuto; Vivace II: Allegretto III: Presto; Assai meno presto [scherzo] IV: Allegro con brio

Symphony No. 8 in F major Op. 93 (scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings) I: Allegro vivace e con brio II: Allegretto scherzando [includes funny musical reference to Mälzel's metronome] III: Tempo di menuetto IV: Allegro vivace

Symphony No. 9 in D minor Op. 125 ("Choral") (scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, cymbals, bass drum and strings) I: Allegro ma non troppo, un poco maestoso II: Molto Vivace—Presto—Molto Vivace [scherzo] III: Andante moderato IV: Allegro assai (adds SATB vocal soloists and full chorus on Schiller's "Ode to Joy")

Music Guide

31Overview of the Nine

Beethoven Symphonies

("Eroica"/initially dedicated to Napoleon)

1799

1801-2

1803-4

1806

1804-8

1807-8

1811-12

1813

1822-25

Music Guide

32Symphony No. 5 in C minor


Symphony1807-8



• Allegro con brio (Fast with vigor)

• Sonata form

• C Minor

• 2/4

• Andante con moto (Slow)

• Double Variation

• A-flat Major

• 6/8

• Allegro

(Fast)

• Scherzo & Trio

• C Minor

• 3/4

• Allegro

(Fast)

• Sonata form

• C Major

• 4/4

No break between 3rd & 4th movements

EXPOSITION

E-flat Major

DEVELOPMENT

RECAPITULATION

Exposition repeats

Other keys

E-flat Majorclosing theme

introduction

CODA

Theme 1

Theme 2

Theme 2

Theme 2

C Minor

C Minor vs. C Major

closing theme

introduction

Theme 1

Theme 2

C Minor

Theme 1

Theme 1

closing theme

retransition

introduction returns leading to final Coda which ends in C minor

Theme 1

Theme 2

C Minor

C Major (!)

New Theme

introduction

The 1st movement's turbulent Sonata Form:

The 4-note motive developed throughout this 4-movement work

Beethoven unified the four movements of this work into a cohesive whole by deriving all significant thematic material from a single 4-note MOTIVE, and by putting the overall emphasis on the last movement . He underlines this by moving from the third to the fourth movement without a pause, by an ongoing battle between C minor and C major, and by the addition of piccolo, contrabassoon and trombones in the final movement. In the process, this work makes a powerful statement about overcoming oppresion through raw determination.

Beethoven was the master of many Classic genres, yet he is probably best known for his tremendously innovative symphonies. His Symphony No. 5in C minor may be the most famous piece of "Classical" music ever written. Amazingly, this work was written after Beethoven had gone deaf!

Since Beethoven had been deaf for many years when he wrote this symphony, he had to rely on the "inner ear" of his mind to compose this daring work. The most

important features of this work are:

• the 4th movement's initial restatement of themes from each of the first three movements, as a means

of unifying the work. • the unusual addition of solo singers and large chorus during the last movement. (Beethoven's way

of allowing his orchestra to "speak".) • the unusual order and structure of the movements:

Music Guide

33Symphony No. 9 in D minor


Symphony1822-25

MOVEMENT 1: D minor Tragic, Chaotic, Restless, Introductory

SLOW SONATA FORM

MOVEMENT 2: D minor Folk-like style, yet powerful

FAST SCHERZO & TRIO

MOVEMENT 3: B-flat major Serene, fluent melody—hopeful

SLOW TERNARY FORM

(D minor) (D major)

MOVEMENT 4: D major Full of Surprises !!!

FAST THEME & VARIATIONS FORM

• This movement starts with a frantic, chaotic introduction• Then, the DOUBLE BASSES, acting as the "grandfather" of the orchestra (perhaps the voice of Beethoven

himself), "talk" to the rest of the orchestra in RECITATIVE STYLE in an attempt to settle them down.• The DOUBLE BASSES "ask" the orchestra to try to play "something" worthwhile—so they play a QUOTE

FROM THE START OF THE 1ST MOVEMENT.• The DOUBLE BASSES quickly reject that theme and ask for something "lighter"—so then the orchestra

plays a QUOTE FROM THE START OF THE 2ND MOVEMENT.• The DOUBLE BASSES reject that theme as well, asking for something more serene and beautiful—so the

orchestra plays a QUOTE FROM THE START OF THE 3RD MOVEMENT. • The tune from the 3rd movement must be close to what the DOUBLE BASSES are looking for, because

they do not immediately reject that theme. When the DOUBLE BASSES do ask for something better, the orchestra plays a new tune written by Beethoven. The DOUBLE BASSES "sing" the tune, then

initiate a series of variations on it.

• Several minutes later, when the variations reach their climax, Beethoven suddenly goes back to the

beginning of the 4th movement, with its frantic, chaotic introductory material.• This time, the confusion is interrupted by a BARITONE (singer)—not the DOUBLE BASSES. The baritone

sings the same music as the DOUBLE BASSES had played, but now Beethoven's melody is set to the words of Schiller's famous song of social rebellion—the "Ode to Joy"—urging the audience to rise

up above their drudgery and celebrate JOY (FREEDOM) • Now, Beethoven starts a new set of variations with SOLO SINGERS, FULL CHORUS and ORCHESTRA.

Translation of "The Ode to Joy" (1795) by Friedrich Schiller (1759-1805):

[Baritone solo] O friends, let's have no more of these sounds. Let us sing more cheerful songs, more full of joy!

Joy, bright spark of divinity, Daughter of Elysium, Fire-inspired we tread Thy sanctuary. Thy magic power reunites all that custom has divided, all men become brothers under the sway of thy gentle wings.

Whoever has created an abiding friendship, or has won a true and loving wife, all who can call at least one soul

theirs, join in our song of praise; but any who cannot must creep tearfully away from our circle.

All creatures drink of joy at nature's breast. Just and unjust alike taste her gift; She gave us kisses and the fruit of the vine—a tried friend to the end. Even the worm can feel contentment, and the cherub stands before God!

Gladly, like the heavenly bodies which He set on their courses, through the splendor of the firmament; thus,

brothers, you shoulkd run your race, as a hero going to conquest.

You millions, I embrace you. This kiss is for all the world! Brothers, above the starry canopy there must be a loving Father. Do you fall in worship, you millions? World, do you know your Creator? Seek him in the heavens!

Above the stars must He dwell.

10

From Chapter 7 (Romantic)

Secular

Sacred

MUSIC in the ROMANTIC ERA (c1820-1895)

STYLE TRAITS

The Romantic style is characterized by FLAMBOYANCE and HEIGHTENED PERSONAL EXPRESSION.

1815 1870 1890

Standard Classic Forms used more freely(many Romantics avoid standard Classic forms)FORMS

SYMPHONYImportant

GENRESOPERA & MUSIKDRAMA

ROMANTIC VOCAL GENRES

MASS and MOTETORATORIO

CONCERTO (Solo Concerto)

ROMANTIC INSTRUMENTAL GENRES


SCHUBERT BRAHMS

OtherConcepts

Expanded, colorful Orchestra (strings, woodwinds, brass and some percussion)

Erlkönig(Lieder)

1840

STRING QUARTET

ART SONG (Lieder) BALLET

PROGRAM SYMPHONY

SYMPHONIC POEM

alsoCHARACTER PIECE

Symphony No. 3(symphony)

BERLIOZSymphonie fantastique

(program symphony)

ROSSINIBarber of Seville(comic opera)

BIZETCarmen

(opera)

WAGNERRing of the Nibelungs

(Musikdrama)

CHOPINNocturne in E-flat

(character piece)

PUCCINILa Bohéme

(verismo opera)

SMETANAThe Moldau

(symphonic poem)

TCHAIKOVSKYThe Nutcracker

(ballet)

1830 1860

Ternary (ABA) form was often used

ROMANTIC PROGRAMMATIC INSTRUMENTAL GENRES

A . . . . . . is called a

single-movement, programmatic work CHARACTER PIECE

for solo PIANO

multi-movement, programmatic work PIANO CYCLE for solo PIANO

single-movement, programmatic work SYMPHONIC POEM

for ORCHESTRA

multi- movement, programmatic work PROGRAM SYMPHONY for ORCHESTRA

multi- movement, programmatic work BALLET

for DANCERS and ORCHESTRA

---------------------------------------------------------- Programmatic music can also appear in other types of instrumental works, as well as in the

instrumental accompaniments of vocal genres (songs, song, cycles, operas, etc.).

11

"My father, my father, don't you hear

the Erlking whispering promises to me?"

"Be still, my child; it is just the wind rustling the dead leaves."

"My handsome boy, will you come with me?

My daughters shall wait upon you;My daughters lead the nightly dance,

and they'll rock you and dance and sing you to sleep."

"My father, my father, don't you see

the Erlking's daughters in the shadows?"

"My son, I see it clearly; the old willows look so gray."

I love you! Your beautiful figure delights me.

If you will not come with me willingly, I'll take you by force!"

"My father, the Erlking has hold of me

and he is hurting me!!"

The father shudders, riding on even faster.He holds the groaning child in his arms.

He reaches the town weary and anxious.But in his arms . . . the child was dead.

Music Guide

34Erlkönig

by Franz Peter SCHUBERT (1797–1828)1815Lied

During his brief 18-year compositional career, the Austrian composer Franz Schubert wrote 1000 works, including 9 symphonies, 15 string quartets, 15 piano sonatas, 6 Masses, 5 song cycles and approximately 630 German solo songs ("Lieder") for voice and piano. Over 250 of these were written between 1815 and 1816, including Erlkönig. which is based on a text written by the famous German Romantic poet Johann Wolfgang von Goethe.

This highly dramatic song requires one singer to perform the parts of four distinct characters: the narrator, a father, his son and The Erlking ("King of the Elves"—a spectre of death in folklore). Over the course of just 4 minutes, this song takes the listener on an intense ride that accelerates in tempo, increases in volume, and rises in pitch and harmony until its tragic conclusion.

Mein Vater, mein Vater, und hörest du nicht,

Was Erlenkönig mir leise verspricht?"

"Sei ruhig, bleibe ruhig, mein Kind;In dürren Blättern säuselt der Wind."

"Willst, feiner Knabe, du mit mir gehn?

Meine Töchter sollen dich warten schön;Meine Töchter führen den nächtlichen Reihn

Und wiegen und tanzen und singen dich ein."

"Mein Vater, mein vater, und siehst du nicht dort.

Erlkönig's Töchter am düstern Ort?"

"Mein sohn, mein Sohn, ich seh' es genau:Es scheinen die alten Weiden so grau."

"Ich liebe dich, mich reizt deine schöne Gestalt;

Und bist du nicht willig, so brauch' ich Gewalt."

"Mein Vater, mein Vater, jetzt fasst er mich an!

Erlkönig hat mir ein Leids getan!"

Dem Vater grauset's, er reitet geschwind,Er hält in Armen das ächzende Kind,

Erreicht den Hof mit Mühe und Not;In seinem Armenr das Kind . . . war tot.

Who rides thru the night and the wind?It is a father with his child.

He holds the boy close within his arm,He clasps him securely to keep him warm.

My son, why do you hide your face in fear?"

Father, don't you see the Erlking

with his crown and train?"

"My son, it's just a streak of mist."

Dear child, come away with me!I'll play the prettiest games with you.

Many-colored flowers grow along the shore.My mother has many golden garments!"

Wer reitet so spät durch Nacht und Wind?Es ist der Vater mit seinem Kind;

Er hat den Knaben wohl in dem Arm,Er fasst ihn sicher, er hält ihn warm.

"Mein Sohn, was birgst du so bang dein Gesicht?"

"Siehst, Vater, du den Erlkönig nicht?

Den Erlenkönig mit Kron' und Schweif?"

"Mein Sohn, es ist ein Nebelstreif."

"Du liebes Kind, komm, geh mit mir!Gar schöne Spiele spiel' ich mit dir,

Manch bunte Blumen sind an dem Strand,Meine Mutter hat manch gulden Gewand."

Narrator:

Father:

Son:

Erlking: (to the boy)

Father :

Son: (in fear)

Father:

Son: (more afraid)

Father :(very concerned)

Son:

(in utter despair)

Narrator:



C Major

D Minor

Eb Major

D Minor

G Minor

G Minor

Bb Major

B Minor

C# Minor

(Piano Introduction—triplet rhythms represent the horse's hooves)

Music Guide

35Symphony fantastique

by Hector BERLIOZ (1803–69)1830

Program Symphony

Berlioz was one of the most daring composers in music history. His Symphonie fantastique ("Fantastic Symphony"—or more accurately "Symphonic fantasy") was written in 1830— only a few years after Beethoven's Ninth Symphony. The work is highly innovative in its use of orchestral color and programmatic imagery. The entire five-movement symphony tells a story of a young man's infatuation and ultimate obsession over a beautiful but disinterested woman. Distraught over this woman, the man decides to kill himself with an overdose of opium. In a sequence of five vivid and increasingly morbid drug-induced dreams, the man is haunted by the memory of the woman (she is represented by a melodic idèe fixe—a theme which is gradually altered and distorted as the man's view of his "beloved" becomes more and more negative). The work was partly autobiographical, for Berlioz was similarly enfatuated with an English actress, Harriet Smithson, who rejected him and incited him to prove himself to her through this symphony. (Eventually, Harriet did marry him!). To clarify the story, Berlioz provided printed "program notes" for his audience—the first such instance in Western music history.

The five movements (dreams) are as follows:

1) Reverie (Passions) : man falls in love "at first sight" (idèe fixe is beautifully rendered) 2) A Masked Ball: After she rejects him, he attends a costume ball, where he sees her with another man. 3) A Scene in the Country: Venturing into the country to forget his troubles, he witnesses a shepherd slowly being rejected by a shepherdess. 4) March to the Gallows : He dreams he has murdered his beloved and is condemned to death by guillotine. He is taken from prison and paraded through a crowd gathered to watch his execution. As the drum rolls, his head is placed on the block. The blade gets closer and closer—faster and faster. Then, at the last moment, he hears his beloved's idée fixe. As his head is cut off, a victory theme signals that he should now be free of his torment. (Not the case, as we see in movement 5.)

The woman emerges as a witch who haunts the man for eternity. Berlioz makes a macabre gesture by contrapuntally combining the sacred "Dies irae" chant from the Requiem Mass, with the occult witches' dance, based on the "idèe fixe."

5) Dream of a Witches' Sabbath Larghetto

Allegro

Bells

Dies Irae

Witches' Dance

Witches' Dance and Dies Irae

Foreboding images in the orchestra

Idèe fixe in clarinet when woman appears. Orchestra shrieks a "howl of

joy." Woman mocks the man in a parody of the ballroom dance from the

2nd movement.

Tubas and Bassoons play a grotesque

version of the "Dies Irae" chant from the Requiem Mass (indicating that the man is

dead).

Witches' Dance theme stated and fugally

manipulated. The Witches' Theme is eventually combined contrapuntally with

the sacred Dies Irae chant.

Mvt. Form Main Key1 Sonata form C Major2 Waltz and Trio A Major3 Ternary (ABA) F Major4 Ternary (ABA') G minor5 Through-composed C Major (E-flat)

=============H H H Hq q.& w Q E H H H HIdèe fixe

w Q

Music Guide

38Nocturne in E-flat Major

by Frédéric CHOPIN (1810–49)

CharacterPiece

1830-31

Music Guide

39Étude in C minor

The Polish composer Chopin was one of the great piano virtuosos of the Romantic period. He wrote 13 songs, two piano concertos, a work for 4-hand piano, a work for 2 pianos, and 6 chamber works; however, he is primarily known for the approximately 150 single-movement piano miniatures known as character pieces. These programmatic pieces have picturesque titles such as "Nocturne" ("night piece"), "Prelude," "Étude" or names of nationalistic Polish dances such as "Mazurka" or "Polonaise."

The Nocturne in E-flat Major, Op. 9, No. 2 is one of Chopin's most beautiful works for solo piano. Romantic expression is enhanced through the use of rubato— freely "giving-and-taking" with the speed of the piece.

Main Theme

repeated and ornamented

B-flat Major

melancholy, florid runsA E-flat Major

2nd Theme

Coda

B more expressive

Main Theme returnsmore ornamentedA E-flat Major

B-flat Major2nd Theme returns B as before

Main Theme returnsmore ornamentedA E-flat Major

touches of A-flat minor harmonies

The rondo-like design of the Nocturne in E-flat Major , Op. 9, No. 2:

by Frédéric CHOPIN (1810–49)Character

Piecec. 1831

The Polish composer Chopin was one of the great piano virtuosos of the Romantic period. He wrote 13 songs, two piano concertos, a work for 4-hand piano, a work for 2 pianos, and 6 chamber works; however, he is best known for the approximately 150 single- movement piano miniatures known as character pieces. These programmatic pieces have picturesque titles such as "Nocturne," "Prelude," "Étude" ("study piece" or "technical exercise") or names of nationalistic Polish dances such as "Mazurka" or "Polonaise."

The Russian takeover of Warsaw in 1831 may have inspired Chopin to compose the "Revolutionary" Étude in C minor, Op. 10, No. 12, which is one of Chopin's most dramatic and technically demanding works for solo piano. Romantic expression is intensified through the use of rubato—freely "giving-and-taking" with the speed of the beat.

Main Themepassionate and flamboyant (spectacular runs)A C minor

Contrasting Section

Coda

B

Main Theme returns

A

restless tonality

powerful conclusion

Dramatic Introduction

Bridge passage (relieves tension momentarily)

C minor

C minor

repeated and embellished

Transition based on intro material

more chromatic

The rondo-like design of this work:

B

A

• "one cold and tranquil . . ." (Flutes quietly play a "rippling theme" over pizzicato strings) • "the other warm and gushing . . ." (Clarinets play a descending theme) • "their waves unite and sparkle in the morning sun" (Triangle sounds their merger)

• "both brooks join into one stream . . ." (The violins enter on the "Moldau" theme—played in minor; later, the horns start a crescendo) • "the river runs through the forests in which are heard the joyous sounds of the hunt . . ." (Loud repeated notes from the horns); rippling flute idea of intro continues;

(Moldau theme returns in major) • "it flows through the countryside where peasant weddings are celebrated with singing and dancing." (Oboe plays material from the Moldau theme —in major; gets quieter and slower) (Strings and woodwinds play together on a polka-like theme) (Horns and percussion join the polka, followed by a lowering of both pitch and volume) • "Water fairies dance in the moonlight . . ." (Strings set the mood in a new key; woodwinds quietly enter on a new theme) (Strings take a slow-moving melody, as flutes recall the rippling introductory material) • "on the nearby rocks soar castle ruins, as witnesses of the war-like fame of yesteryear." (Horns gradually initiate a slow march that grows in intensity)

(Moldau theme returns in major)

• "The Moldau swirls through the St. John's Rapids, winding through the cataracts, making a path for its foaming waters through the rocky chasm." (Repeated noted in the horns; percussion and piccolo add to the dramatic turbulence)

• "It flows on in a wide stream through Prague . . ." (Moldau theme played by full orchestra)

• "It passes the time-honored Vysehrad castle . . ." (Smetana quotes the "Vysehrad" theme from the first symphonic poem of the MA VLAST cycle)

• "Finally, the river disappears beyond the poet's gaze, flowing majestically into the Elbe." (orchestra gradually fades out, then the final chords punctuate the ending)

A

A

C

D

A

Intro

Coda

Music Guide

40The Moldau

by Bedrich SMETANA (1824–84)Symphonic Poem

1874

Smetana— the first significant composer from Bohemia (today, north-eastern Czech Republic)— gained fame as both a conductor and a composer. His music has strong nationalistic political overtones, as seen in his character pieces for piano, his operas, and, especially, in his cycle of 6 symphonic poems—Ma Vlast ("My Country;" 1874-79). The most famous of the set is The Moldau, dedicated to the majestic Czech river that is a national landmark. The work programmatically depicts the river's course from its source high in the mountains, through Prague (the Bohemian capital), and finally to its fusion with the Elbe river. Here, Smetana infers that while the Czech's may be under foreign domination (by the Austrian Empire), the river will always be free, and it is thereby a symbol of hope.

(Translation of programmatic comments provided by the composer:)

"This composition depicts the course of the river Moldau, starting with its two springs . . ."

12

Music Guide

41Symphony No. 3 in Fby Johannes BRAHMS (1833–97)

Symphony1883



• Allegro con brio (Fast)• Sonata form• F major• 6/4

• Andante (Slow)• Rondo form • C Major• 4/4

• Poco allegretto (Medium)• Scherzo & Trio

• G Minor• 3/8

• Allegro (Fast)• Sonata form• F Minor/Major• 2/4

Although the Viennese composer Johannes Brahms lived during the late Romantic period, he still chose to write in standard "Classic" genres (like symphony, sonata, string quartet, etc.) which had fallen into disuse by most other Romantic composers. Among Brahms' greatest works are his four Romantic symphonies, which are important examples of "absolute music" (non-programmatic). Brahms was so determined to preserve Beethoven's symphonic legacy that he became extremely self-critical. For example, although he started work on his first symphony in 1855, he revised it for over twenty years before deeming it worthy of public performance.

In this listening example from Brahms' Symphony No. 3, you should notice less flamboyance than seen in the works of other late Romantic composers, such as Wagner. Nevertheless, Brahms' style is highly expressive, and certainly more "Romantic" than the music of Beethoven or Mozart.

The 3rd movement's Scherzo and Trio form:

A(repeated)

SCHERZO

B(repeated)

(repeated)

(repeated)

AB

C

D

rounded binary design

(A) (B) (A)

TRIO

SCHERZO

happier

melancholy

sweeter

strings & winds

compelling strings

full orchestra

full orchestra

A abbreviated

D Minor

other keys

D Minor

D Major

A

binary design (C) (D)

Coda

D Minor (Horn, Oboe)

D Major

D Minor

rounded binary design

(A) (B) (A)

• Molto Vivace (somewhat lively)• Scherzo & Trio• E Minor• 3/4

• Adagio—Allegro (Slow—Fast)• Sonata form• E minor• 2/4

• Largo (Slow)• Rondo form • D-flat Major• 4/4

• Allegro con fuoco (Fast with fire)• Sonata form• E Minor• 4/4

Antonín Dvorák is the most renowned Czech composer—known for his symphonies, orchestral dances, songs, chamber music, and an opera. (Dvorák was closely associated with Johannes Brahms, who saw to it that Dvorák's music was widely published and performed.) Towards the end of his career, Dvorák was appointed Professor of Composition at the Prague Conservatoire in 1891, but soon accepted an offer to be the Director of the National Conservatory of Music in New York. Leaving his family at home in Bohemia, Dvorák stayed for three years in the United States, spending summer holidays in Spillville, a Czech-speaking community in Iowa.

It is from this period that some of his best-loved music comes, most notably the Symphony No.9 ("From the New World"), which makes use of themes influenced by American Indian folk melodies (from the Song of Hiawatha) and Negro spirituals (such as "Swing Low, Sweet Chariot" as heard in movement 1). Dvorák later admitted, something of their melancholy can be attributed to the homesickness he felt during his time in America.

Music Guide

44Symphony No. 9 ("From the New World")

by Antonín DVORÁK (1841–1904)

Symphony1892

The overall 4-movement design of Symphony No. 9("From the New World")


The 1st movement's Sonata Form:

Theme 1

transition

EXPOSITION

("Swing Low" Theme developed)

DEVELOPMENT

RECAPITULATION

E Minor

other keys

Coda

Slow Introduction

Theme 2 G Minor to G major

Closing Theme G major

Theme 1

transition

E Minor

Theme 2 E Minor to E major

Closing Theme E major

E Minor

("Swing Low")

("Swing Low")

Music Guide

45The Barber of Seville

by Giocchino ROSSINI (1792–1868)Opera

1816

Main Characters:COUNT ALMAVIVA

ROSINAFIGARO

DR. BARTOLO

he wants to marry her

he is the town barber who helps the Count win Rosina's hand

Rosina's guardian; he also wants to marry her

DON BASILIOBusy-body music teacher;

Dr. Bartolo's informant

("Lindoro")

Music Guide

46Carmen

by Georges BIZET (1839–75)Opera

1875

Today, Carmen is the most popular of all operas; however, its premiere performance was such a dismal failure that it is believed to have led to Bizet's death three months later at age 37. The work is now part of the repertory of every opera company, and it has been the basis for commercials, virtuoso piano transcriptions, movies, and a Broadway musical. It is easy to see why it is so popular: It has so many good tunes and it is extremely dramatic and sensual.

Main Characters:CARMEN

DON JOSÉ

ZUNIGA

Drops José for a bullfighterhe becomes obsessed with Carmen

Don José's commanding officer

MICAELA

a gypsy who works in a cigarette factory

a corporalESCAMILLO a famous Toreador

a sweet country girl

Don José's girl friend

a Captain

Don José's rival

Music Guide

48The Nutcracker

by Peter Ilyitch TCHAIKOVSKY (1840–93)

Ballet1892

Tchaikovsky's The Nutcracker, based on a story by E. T. A. Hofmann, is perhaps the most famous and best-loved of all modern ballets. In this story, a young brother and sister (Fritz and Clara) have just fallen asleep on Christmas Eve, with the images of a wonderful Christmas party still spinning in their heads. At midnight, Clara is awakened from her sleep as the magical nutcracker she received as a Christmas gift from her Godfather comes to life. (The nutcracker was actually the Godfather's nephew who had been turned into a nutcracker by the curse of an evil Mouse Queen). The Nutcracker brings Fritz' toy soldiers and all of Clara's dolls to life (each performing a unique dance) in order to amass an army to battle the seven-headed Mouse King. Eventually, the Nutcracker is victorious, and through Marie's love he is changed back into his handsome human form. (Note: The Nutcracker is a ballet that is danced to, but the well-known Nutcracker Suite is a compilation of the greatest dance movements from this ballet, designed to be performed by an orchestra in concert—WITHOUT the dancers.)

March of the Tin Soldiers

Dance of the Sugar Plum Fairy

Dance of the Reed Pipes

Waltz of the Flowers

[ABA form] Trumpets and plucked strings mark the "A" section; brass and woodwinds echo in the "B" section. The return of "A" is highlighted by a wave-like background using the entire spectrum of the string family.

[ABA form] A celesta (a small keyboard instrument with a bell-like tone) represents the fairy in the "A" section. A swirling gesture in the woodwinds show the fairy's flight in the "B" section, followed by the colorful return of "A".

[ABA form] A pair of flutes signifies the dancing reed pipes in the "A" section". Percussion and strings mark the contrasting "B" section, followed by a literal return of "A".

[ABA form] A colorful harp introduction depicts a lovely flower-ballerina, who then leads the way in a romantic Viennese waltz, featuring French horns.

Selected Highlights from The Nutcracker:

The Nutcracker Suite

1. Ouverture2. March (of the Tin Soldiers)

3. Dance of Sugar Plum Fairy4. Trepak (Russian Dance)

5. Arabian Dance6. Chinese Dance

7. Dance of the Toy Flutes8. Waltz of the Flowers

Music Guide

52La Bohéme

by Giacomo PUCCINI (1858–1924)

Main Characters:

RODOLFO (Writer)

MIMI (Seamstress)

they fall madly in love but cannot stay together because of her illness Marcello(Painter)

Schaunard (Musician)

Colline (Philosopher)

Benoit (landlord)

Musetta (Marcello's lover)

Rodolfo's roomates

Verismo Opera1896

Music Guide

53Pagliacci

by Ruggero LEONCAVALLO (1858–1919)Verismo Opera

1892

CANIO PAGLIACCIO

NEDDA (Canio's wife)

COLUMBINA (Pagliaccio's wife)

TONIO TADDEO

SILVIO

(members of a travelling troupe)

Their "real life" identities

Their names when acting within the play

She really has an affair with the villager, Silvio

(married)

In the play, Taddeo and Columbina have a blatant affair, which compels Pagliaccio to murder Columbina.

(a clown; married to Columbina)

(also a clown)(a hunchback who also loves Nedda, but she rejects him)

(plays the part of )



THE MAIN CHARACTERS

13

Music Guide

51

Music Guide

54The Stars and Stripes Forever

by John Phillips SOUSA (1854–1932)

March1896

Music Guide

55Also Sprach Zarathustra

by Richard STRAUSS (1864–1949)

Symphonic Poem1895-96

Sousa wrote many of the most beloved American military marches during his long tenure as Director of the United States Marine Corps Band. His most famous composition is The Stars and Stripes Forever, which in the minds of many Americans should be the U.S. national anthem.

The large-scale BINARY FORM (A B) of this work may be diagrammed as follows:

AThis large-scale "A" section also

has its own BINARY form

THEME 1 : March-like; loud, played by trumpets and piccolo (repeated)

(repeated)

THEME 2: Stronger; snare drum rolls add dramatic flair

BThis large-scale

"B" section has its own

RONDO form

THEME 3 (Quiet): Lyric; smaller group with snare drum accompaniment

THEME 3 returns (Quiet): Lyric theme by full group with piccolo

THEME 3 returns (LOUD): Lyric theme by full group with piccolo

CONTRASTING EPISODE: Powerful trombones

CONTRASTING EPISODE: Powerful trombones

(a)

(b)

(a)

(b)

(a)

(b)

(a)

Richard Strauss (not to be confused with Johann Strauss, Jr.—the Viennese "waltz-king") was the most powerful force in German Romantic music after Wagner. Strauss was a highly successful conductor who primarily composed operas, includingthe daring and expressionistic Salome (1903-5) and Elektra (1906-8). He also wrotemany famous symphonic poems, including Don Juan (1888-9), Don Quixote (1896-7), and Also Sprach Zarathustra. Unfortunately for him, towards the end of his long and illustrious career, he fell under the control of Adolf Hitler's regime.

Also Sprach Zarathustra ("Zarathustra Also Spoke") is based on quotations describing an envisioned German "super–race" from an unfinished book by the German philosopher, Friedrich Nietzsche. Strauss's tone poem requires an enormous orchestra comprised of 3 flutes, oboes, clarinets and bassoons, 4 trumpets, 6 horns, 3 trombones, 2 tubas, 6 percussion instruments, 2 harps, a large string orchestra and an organ. In the opening prologue entitled "Sunrise," Nietzsche urges the German people to transform themselves from "night-walkers" to "day-walkers;" hence Strauss' minor/major musical references depict "the dark" vs. "the light."

Segment 1: At the start, the organ's "C" is so low in pitch that it is almost inaudible. (The note is felt more than heard.) The trumpets soon introduce STRAUSS's "nature theme," which alternates between major and minor keys as it suddenly crescendos and diminuendos.

Segment 2: Timpani add tremdous impact to the sound, followed by the resurgence of the trumpets (who now reverse the major/minor harmonies).

Segment 3: Timpani enter again, and the trumpets play an extended version of the theme.

Segment 4: The music gradually gains power and dynamic volume, until at the end all instruments are playing at full volume. At times, the brasses are so loud that the massive sound of the organ cannot be heard distinctly.

The VARIATION design of this short excerpt from the Prologue is as follows:

ART MUSIC in the MODERN ERA (c1890-present)

STYLE TRAITS

MODERN ART-MUSIC is largely characterized by experimental approaches, and a blending of all styles from all eras

1890 1975 2000

Some MODERN composers have made use of traditional forms, but highly unusual forms are also

common.

FORMS

Important

GENRES


DEBUSSY

OtherConcepts

Afternoon of a Faun(Symphonic Poem)

1940

SCHOENBERGPierrot lunaire

(song cycle)

CAGE4' 33"

(chance music)

COPLANDAppalacchian Spring

(Ballet)

VARESEPoème électronique

(musique concréte)

GLASSEinstein on the Beach

(opera)

1910 1950

Survivor From Warsaw(secular cantata)

STRAVINSKYThe Rite of Spring

(Ballet)

BERNSTEINWest Side Story(musical theatre)

ImpressionismExpressionism

SerialismAtonality

MinimalismChance Music

Electronic Music MIDI

Neo-Classicism

Neo-Romanticism

Some composers still explored traditional genres such as:

SYMPHONY OPERA STRING QUARTET

More daring composers experimented with completely new types of compositions, sounds, forms and techniques.

ZWILICHConcerto Grosso 1985

(quotation music)

14

At night, the moon drenches thirsting eyes and a flood wells up on their still horizon. Tremulous sighs

travel up through the swell. Waves of wine for thirsting eyes gush forth from the moon at night.

The poet, deep in devotion, grows drunk of the holy drink. His head turns in ecstasy to the heavens

and reeling, he slips and slurps the "wine" that slakes his thirsting eyes.

(Instrumental Coda)

Arnold Schoenberg (mentor of the "2nd Viennese School " of composers) was one of the

first to venture into the strange world of musical expressionism. This style is harsh,

highly dissonant, shocking and non-traditional, taking the extreme German/Austrian Romanticism of Wagner and Strauss and extending it to the breaking point. The excerpt

is part of a song cycle for soprano and orchestra entitled Pierrot lunaire ("The Sick Moon;"). This work is a morbid and psychotic display of a "lunatic" (one whose passions are controlled by the moon). The singer uses

a technique called Sprechstimme (a half-sung, half-spoken, eerie style of singing invented by Schoenberg).

The music is atonal (it has no "home" key). Be sure to listen for the unusual colors in the orchestra and voice.

Music Guide

58Pierrot lunaire

by Arnold SCHOENBERG (1874–1951)Song Cycle

1912

A

B

A

No. 1: "Mondesdrunken" (Moondrunk)

Lento—Vivace

(Slow—Very Fast)

Sonata Form

E major—A-flat major

Music Guide

62Afro-American Symphony

by William Grant STILL (1895–1978)

Music Guide

63

Symphony

by Aaron Copland (1900–90)

1931

Ballet1944

Still began writing large-scale works in the early 1920s. In 1931, the Rochester Philharmonic Orchestra performed his Afro-American Symphony—the first symphony by a Black composer to be performed by a leading orchestra. Still was also the first Black American to conduct a major orchestra, the first to have an opera performed by a leading theatrical company, and one of the first to write for radio, films and television. In all, he composed over 50 works, including five symphonies, 6 symphonic poems, 6 orchestral suites, 7 operas, 4 ballets, 10 miscellaneous vocal works, 5 piano pieces, 3 band works, several works for small

chamber ensembles, and incidental music for the theatre, film and television. Most of these works are based on Afro-American and American folk themes.

In regards to the Afro-American Symphony, Still wrote "I wanted to demonstrate how the blues, so often considered a lowly expression, could be elevated to the highest musical level." The first movement of this work is a sonata form, based on a 12 bar-blues structure. The second movement is a based on a sad blues

theme. The third movement is a scherzo on a spiritual-like theme with colorful, syncopated Afro-American rhythms. The finale begins with a slow, languishing introduction, leading to a fast, lively main section.

The overall 4-movement design of the Afro-American Symphony:

Animato

(Fast; Animated)

Scherzo & Trio Form

A-flat major

Adagio(Slow)

Ternary FormF major

Moderato Assai(Medium)

Sonata FormA-flat major


Simple Gifts" from Appalachian Spring

Aaron Copland was the first American art composer to become famous in his own lifetime. Copland's style espoused a new "American " sound, and many of his works are based on traditional American folk or sacred melodies. Though Copland was conservative for a 20th-century composer, he was still innovative in his use of jazz rhythms and colorful orchestration.

One of the Copland's most famous works is Appalachain Spring (1944), a ballet which depicts the daily activities of a bride and her farmer husband. The listening example is a theme and variations setting of the lovely Shaker hymn "Simple Gifts":

Theme : Played by SOLO CLARINET over a simple accompaniment

Variation 1 : Played by OBOE, higher in register and slightly faster in tempo.

Variation 2 : Violas play the tune at half speed; strings play in imitation.

Variation 3 : Trumpets and Trombones powerfully play the tune twice as fast.

Variation 4 : Slow and quiet; woodwinds are featured.

Variation 5 : Full orchestra plays a majestically rich version of the theme

Outline of the "Theme and Variations" structure of this excerpt

height of

dramatic

tension

motive dies in its tracks

Music Guide

64Adagio for Stringsby Samuel BARBER (1910–81)

Misc.Orchestral

1936

Samuel Barber was one of the leading post-World War II composers from the United States. His music is rich and expressive, in a style often called neo-Romanticism (since it is closer in gesture to the late Romantics than to the 20th-century experimental schools). Barber wrote operas, piano works, songs, symphonies, concertos and other orchestral works; however, his most famous work is the Adagio for Strings (1936)—a one-movement work for string orchestra. Barber originally composed this work as the 2nd movement of his String Quartet (Op. 11; composed 1936), but the movement was so well-received that he immediately rearranged it as a stand-alone piece for full string orchestra. The work sorrowfully depicts the relentless and ultimately fruitless struggle of its main motive against some unidentified oppressive force. The formal design of this work is reminiscent of Wagner's Prelude to Act I of Tristan und Isolde.

The Adagio for Strings first gained widespread fame when it accompanied the national radio pronouncement of the death of President Franklin D. Roosevelt in 1945. More recently, this mournful work endeared itself to a new generation through its cathartic use in the Vietnam War film, Platoon (1988).

A graphic outline of this work:

The main motive of this piece tries to

move forward, but time after time its

progress is impeded by some unidentified, oppressive force. Each successive

attempt is increasingly higher in pitch and more intense in emotion, but eventually

the motive slowly dies in its tracks—never

quite reaching its tonal "home".

Music Guide

65by Leonard BERNSTEIN (1918–90)

MusicalTheatre

1957

West Side Story

Leonard Bernstein was one of the most talented and beloved musicians of this century—and one of the few musicians to successfully bridge the artistic gulf between art music and popular culture. He enjoyed a long, illustrious career as a composer, conductor, pianist, author and lecturer. He conducted and recorded with most of the major orchestras in the world, yet perhaps his most memorable achievement came in December 1989—just months before his death—when he led a massive group of singers/instrumentalists in a performance of Beethoven's Ninth Symphony in Germany to mark the fall of the Berlin Wall.

West Side Story (1957)—Bernstein's most famous composition—is one of the great landmarks of musical theatre (and the biggest selling record album of all time). The story is a modern adaptation of Shakepeare's Romeo and Juliet—set in the slums of New York, depicting the violent conflict between two rival gangs (the American-born "Jets"—led by Riff, and the Puerto Rican "Sharks"—led by Bernardo) and its effect on the love relationship of Tony (a former Jet) and Maria (sister of the Sharks gang leader). In the weel-known "Tonight" ensemble, Tony and Maria express their blossoming love, while the ensemble foretells of the gang clash that will also transpire that evening.

• Orchestral Introduction: (staccato and syncopated rhythms)

• The Gangs: "The Jets/Sharks are gonna have their day tonight . . ."

• Anita (Bernardo's girlfriend): "Anita's gonna get her kicks tonight . . ."• Tony: (on lyrical "Tonight" tune) "Tonight, tonight won't be just any night. Tonight there will be no morning star . . ."

• Orchestral Interlude: (fortissimo)

• Riff: (to the Jets) "I'm counting on you to be there tonight . . ."

• Maria: (on lyrical "Tonight" tune combined with gang music) "Tonight, tonight won't be just any night. Tonight there will be no morning star . . ."

• All voices join together: on sustained high notes on "Tonight" for conclusion of the scene

"Tonight" Ensemble from WEST SIDE STORY

Main Theme

Closing Section

Whole-tone/chromaticPentatonic/chromatic

Contrasting Theme

Music Guide

56Prelude to "The Afternoon of a Faun"

by Claude DEBUSSY (1862–1918)

SymphonicPoem1894

Main Theme

CODA

A

B

A'

Secondary Theme

Main Theme

Impressionism was a direct reaction against the excessive Romanticism of Wagner and his followers. Debussy fostered subtlety, flowing moods and color in this new impressionistic style, which is well-represented by his Prelude to The Afternoon of a Faun— a programmatic symphonic poem depicting the images of the literary poem "Afternoon of a Faun" by Mallarmè. This poem evokes the dreams and erotic fantasies of the pagen forest creature "PAN"— a half-man, half-goat. Awakened from his sleep, the creature begins to play a flute ("pan-pipes"), while trying to recall whether he actually carried off two beautiful nymphs or just dreamed of doing so. Exhausted, he falls back asleep, under a tree in the meadow on a lovely spring afternoon. Debussy's musical "poem" is in a free ternary (ABA) form. You will notice the free-flowing rhythms, colorful wind-predominated orchestration, subtle shadings of dynamics, and sensual harmonies. The main melodic idea of the work (played by a solo flute) gently floats back and forth at its own pace.

Music Guide

57by Igor STRAVINSKY (1882–1971)

Ballet1913

The Rite of Spring

The Russian-born composer Igor Stravinsky is considered by many to be the most important composer of the 20th century. He is particularly noted for his daringly innovative ballets— especially, The Rite of Spring. This work explores strange new tone orchestral tone colors, and uses harsh, percussive accents, complex off-beat rhythms, and ususual harmonies that shook the world of western art-music.

The Rite of Spring depicts prehistoric society, with specific focus on the arrival of spring and its celebration through the violent pagan ritual of sacrificing a young virgin to the gods. It was Stravinsky's intent to highlight the violence of human societies—both past and present; thus, it is ironic that during the premiere performance of The Rite of Spring in Paris, there was a riot in the audience (between those who were disgusted by Stravinsky's revolutionary new sound, and those who wanted to hear it but could not because of all the commotion in the concert hall.)

Specific excerpts from this ballet:

"Introduction" (opening of the Ballet)

Title of Section Important style traits heard

Colorful orchestration, gradually grows in intensity until reaches full chaos. Stravinsky layers sounds, then uses OSTINATO effects to give TONAL stability

Powerful accents played in irregular metric patterns by the orchestra. (Here, Stravinsky uses the entire group as a "large percussion instrument.")

"Dances of the Adolescents"

"Ritual of Abduction" (sacrificing the virgin)

Music Guide

59by Arnold SCHOENBERG (1874–1951)

Cantata1946

A Survivor from Warsaw

A Survivor from Warsaw is a vivid secular cantata for narrator, chorus and orchestra in

Schoenberg's more sophisticated atonal /serial style. The English text was fashioned by

Schoenberg himself, based on a direct report from one of the few survivors of a concentrationcamp in Poland during World War II. (Schoenberg fled Nazi Germany, then worked at UCLA

for the last 15 years of his life.) You will notice the colorful orchestration and the singer's useof Sprechstimme. For centuries, theHebrew prayer sung at the end of the work has been recited

by martyred Jews during their last agonizing moments.

(TEXT:) I cannot remember everything. I must have been unconscious most of the time; I remember only

the grandiose moment when they all started to sing, as if prearranged, the old prayer they had neglected for

so many years —the forgotten creed! But I have no recollection how I got underground to live in the sewers of Warsaw so long a time. The day began as usual. Reveille when it was still dark--get out whether you slept or

worries kept you awake the whole night: you had been separated from your children, from your wife, from your parents, you don't know what happened to them; how could you sleep?

They shouted again "GET OUT! THE SERGEANT WILL BE FURIOUS!" They came out; some very slow,

the old ones, the sick men, some with nervous agility. They fear the sergeant. They hurry as much as they can. In vain! Much too much noise, much too much commotion and not fast enough! The Feldwebel shouts:

"Achtung! Still gestanden! Na wird's mal, oder soll ich mit dem Gewehrkolben nachhelfen? Na jut; wenn durchaus haben wollt!" (Translation: "Attention! Stand still! How about it, or should I help you along with the

butt of my rifle? All right, Jew, if you really want to have it!") The sergeant and his subordinates hit everyone:

young or old, strong or sick, guilty or innocent--it was painful to hear the groaning and moaning. I heard it though I had been hit very hard, so that I could not help falling down. We all on the ground who

could not stand up were then beaten over the head. I must have been unconscious. The next thing I knew a soldier was saying "They are all dead!" Whereupon the sergeant ordered to do away with us. I lay there

half-conscious. It had become very still--fear and pain--Then I heard the sergeant shouting "Abzälen!"

("Count-off"). They started slowlly and irregularly: one, two, three, four, "Achtung." The sergeant shouted again: "Rascher! Nochmals von vorrn anfangen! In einer Minute will ich wissen wieviele ich zur Gaskammer

abliefere! Abzählen!" (Translation: "Faster! Once more start from the beginning! In a minute I will know how many I am going to send off to the gas chamber! Count off!")

They began again, first slowly: one, two, three, four, became faster and faster, so fast that it finally sounded like a stampede of wild horses, and all of a sudden, in the middle of it, they began singing

SHEMA YISROEL:

Shema Yisroel Adonoy elohenoo Adonoy ehod. Veohavto es Adonoy eloheho behol levoveho oovehol nafsheho oovehol meodeho. Vehoyoo haddevoreem hoelleh asher onohee metsavveho hayyom al

levoveho. Veshinnantom levoneho vedibbarto bom beshivteho beveteho oovelehteho baddereh

ooveshohbeho oovekoomeho.

(Translation: "Hear, O Israel, the Lord our God, the Lord is One! And thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy might. And these words, which I command thee this day,

shall be in thy heart. And thou shalt teach them diligently unto thy children, and speak of them when thou sittest in thy house, and when thou goest on the way, and when thou liest down, and when thou risest up.")

Music Guide

66The Banshee

by Henry COWELL (1897–1965)

Avant GardePiano1925

The American composer Henry Cowell spent most of his compositional life exploring the coloristic potential of the piano. He was the first composer to use tone clusters (a large mass of notes played as a block by the pianist's forearm or a long solid object). He was also one of the first to explore the possible sounds that can be made when the player strums the piano strings directly.

These types of coloristic effects are heard in Cowell's The Banshee. In Irish folklore, the Banshee is a spirit sent to lead a dead soul to the afterlife; however, the Banshee is so uncomfortable in the mortal dimension, that it screams in anguish while performing its task. The varied sounds in this work are achieved by two players on the piano: one holds down the "damper" (sustaining) pedal, while the other stands in the crook of the piano and manipulates its strings (by nail, by palm, by finger, etc.) to produce a myriad of curious sounds.

Music Guide

67Sonata No. 2

by John CAGE (1912–92)

PreparedPiano1948

U.S. composer John Cage (the son of an inventor and a student of Henry Cowell and Arnold Schoenberg), has strongly impacted the way many modern musicians think about their art. He was one of the pioneers of "prepared piano" technique, which is the process of changing the sound of the piano by stratigically placing objects (nuts, bolts, washers, pieces of bamboo and weather stripping, etc.) between the strings inside the piano, creating a myriad of different sounds—metallic, wooden, and some completely indeterminant. This technique is

heard in Cage's Sonata No.2 from Sonatas and Interludes for Prepared Piano.

Biographer Peter Yates, describes the significance of these works as follows:

"Writing a large piece that is a journey creates the effect of an epic without being ponderous or monolithic. The Sonatas and interludes are lacking that feeling of the self-consciously monumental statement that accompanies so many grand works. Instead its epic nature affects you gradually over time as you follow the continuity of events, from point to point in the journey, until you emerge from the other side -- transformed. And it is not just the listener who is transformed. By the time he had finished writing these twenty short pieces, John Cage was not the same composer; he had changed. As he emerged from the other side of this adventure, his technical stance (a tendency towards quietness, the individual sound and silence, the subtle modulations of phrase) and his spiritual stance (a tendency towards quietness, silence, poverty) were permanently altered. The Sonatas and Interludes is not just a string of pieces, it is a passage in Cage's life."

15

Music Guide

68by John CAGE (1912–92)

ChanceMusic1952

4' 33"

John Cage made a career questioning the very essence of music, especially through his work in the area of "chance music"—music which leaves some (or perhaps all) of its elements "up to chance" in a "live" performance situation. The most famous example of chance music is Cage's revolutionary 4'33" ("4 minutes, 33 seconds"; 1952)—a three-movement work for based completely on silence from the performer. The full title of this piece specifies that it can be played by "any instrument(s)—tacet" ("tacet" is a term traditionally used to indicate that the performer is silent for the movement or section). (During its premiere performance in August 1952, the work was "performed" by pianist David Tudor, who simply opened/closed the lid covering the piano keys to indicate the start/end of each movement.) Though the concept may seem odd, the piece is not about silence at all; the noises from the audience and the surounding environment randomly make the "piece." Cage has turned the tables, so that the performer(s) becomes the audience, and the audience becomes the performer.

The titles (timings) of the three-movement structure of 4'33" : I: 1'40" II: 2'23" III: 0:30"

Music Guide

69Poème électroniqueby Edgard VARÈSE (1883–1965)

ElectronicMusic1958

The French-born composer Edgard Varèse spent most of his compositional life in the U.S. His work reflects an unending interest in exploring new colors from traditional and untraditional sound sources. One of his early compositions—Ionisation (1931), was the first piece of Western art music written solely for percussion instruments.

In the 1950's, with the advent of computer technology, Varèse became one of the first musicians to write "electronic music" (which at that time meant a work written entirely in a tape-recording studio). His 8-minute Poème électronique (written when he was 75 years old!) contains many innovative new sounds that were very difficult to achieve with available technology. His source material included both electronically-manufactured sounds as well as natural sounds such as sirens, bells, etc. Using a procedure known as musique concréte, the natural sounds were manipulated via electronic oscillators and filters to create entirely new sounds, then transferred to reel-to-reel tape—a painstaking process for a piece of this length and variety. In its original context, Poème électronique also used spatial effects by strategically playing sounds through some or all of the 425 loudspeakers placed throughout the Philips Radio Corporation pavillion at the 1958 World's Fair in Brussels.

Music Guide

70Ensembles for Synthesizer

by Milton BABBITT (born 1916)

Total SerialMusic1962-64

American mathematician-musician Milton Babbitt studied composition under Arnold Schoenberg at UCLA, and then served on the mathematics and music faculties of Princeton University for many years. The mathematical complexities of Babbitt's music are difficult for musicians and non-musicians to grasp. Nevertheless, Babbitt defends a composer's right to experiment, even if the result is music that is incomprehendable to the audience. In a famous article entitled "Who Cares if You Listen?" (High Fidelity magazine, 1957), Babbitt argues that since scientists do not restrict their experiments to the common person's threshold of understanding, then why should musicians?

Since the 1960s, Babbitt has been a pioneer in exploring synthesized sound. An outstanding example of his work in this genre is Ensembles for Synthesizer, which is comprised of several short sections of different tone colors, pitches, rhythms, dynamics and textures. The extremely intricate rhythms and dynamic contrasts of this work can be achieved by synthesizer, but not by humans. It is somewhat ironic that this type of "totally-controlled" music can often sound the same as randomly constructed "chance music."

Music Guide

71by Krzystof PENDERECKI (born 1933)

Avant GardeOrchestral

1960

The Polish composer Krzystof Penderecki is one of the greatest musical innovators of the 20th century, and a leading proponent of expressionism. In his earliest works (late 1950s), he used multi-serial techniques in the manner of the French avant-garde composer Pierre Boulez. In the 1960s, he was one of the first composers to explore untraditional sounds from traditional instruments.

This technique is best heard in Threnody to the Victims of Hiroshima (a "Threnody" is a mourning piece in memory of someone who has died). This expressionistic tone poem performed by an ensemble of 52 string instruments. By using unusual tapping, plucking, bowing and fingering techniques, as well as tone clusters, Penderecki achieves sounds that seem to be generated by synthesizers or percussion instruments.

Threnody to the Victims of Hiroshima

U.S. composer, George Crumb is a composition Professor at the Univ. of Pennsylvania, and is noted as a leading advocate of the U.S. experimental avant-garde movement in the 1960s, 70s and 80s. His best-known works are Ancient Voices of Children (1970; a song-cycle for soprano, boy soprano, mandolin, electric piano, toy piano, harp and percusssion instruments— based on poems by Federico García Lorca), and Black Angels .

In Black Angels, Crumb gets special sounds from a traditional string quartet by electronically amplifying the instruments with reverb to produce surrealistic, dreamlike effects. His score calls for unusual bowings, glissandos, and string snaps. Performers also play maracas, tam-tams and water-tuned crystal goblets, as well as speak, whisper and shout in German, French, Russian, Hungarian, Japanese and Swahili.

Music Guide

73by George CRUMB (born 1929)

ElectrifiedQuartet

1970

Black Angels

The work consists of 13 movements "Images", in the tripartite large-scale design: Part 1, "Departure" descent of the soul from grace (Nos. 1-6) Part 2, "Absence," annihilation (Nos. 7-12) Part 3, "Return," redemption (No. 13)

Crumb also uses symbolism for "Good" vs. "Evil": Numerology: Good (3, 7); Evil (13) "Good": natural sounds of insects, triadic harmonies, crystal glasses. "Evil" symbols: "Dies irae" (from Requiem Mass), tritone (highly dissonant harmonic interval), "devil's trill" (rapid bowings and finger movements)

Music Guide

74by Steve REICH (born 1936)

MinimalistChamber

1979

Violin Phase

The "out of phase" concept of Reich's Violin Phase: (hypothetical representation)

Violin 4

1 2 3 4 5 6 1 2 3 4 5 (etc.)

Violin 1

1 2 3 4 5 6 1 2 3 4 5 6 (etc.)

Violin 2

1 2 3 4 5 6 1 2 3 4 5 6 (etc.)

Violin 3

1 2 3 4 5 6 1 2 3 4 5 6 (etc.)

American composer Steve Reich is one of the leading figures in the late 20th-century compositional movement called minimalism, in which a small amount of rhythmic/melodic material is gradually manipulated to generate larger musical sections.

Violin Phase (conceived in 1967; published in 1979 for either four "live" violins or for one violinist with three additional tracks recorded out of phase) is one of the earliest examples of minimalism. This work is based on the ostinato repetition of a six-beat/one measure motive (see below), which is stated simultaneously in four violin parts—each at a slightly different rate of speed ("out of phase"). At the start of the piece, all four parts are perfectly sychronized, creating the sound of a single player; however, as the work progresses, the listener perceives the phase shift first as reverb, then as echo, then as canonic imitation, and then as new melodic, rhythmic and harmonic material that continually surfaces.

ROCK & ROLL

MODERN POPULAR MUSIC (c1890-resent)

1890 1960 2000

FeaturedSTYLES and ARTISTS

RAGTIMES.Joplin

1940

"Delta" BLUESR. Johnson

SWINGEllingtonBasie

1930 1950 19701920

EVENTSGAY 90s

World War I

Roaring 20s

78 RPM records

Depression

World War II"Cold" War Vietnam

Fall of USSR

MUSICTECHNOLOGY

45sRadio

TVLP records

Cassettes

Computers

Ree-to-Reel tape

MIDI MP3CDs

Music VideosInternet

"Classic" BLUESB. Smith

"HOT" JAZZArmstrong

Afro-American related styles

Anglo-American & British related styles "BIG BAND"

GoodmanMiller

Gershwin

ORCHESTRALJAZZ

"BOOGIE-WOOGIE"

ParkerGillespie

BEBOP

Davis

"COOL" JAZZ

Brubeck

M. WatersH. Wolf

RHYTHM & BLUES

FUSIONColtraneDavis

Presley

Little Richard"ACID" ROCK

Beatles

SOULBrown

"FREE" JAZZColemanColtrane

Cream

Hendrix

HEAVY METAL

PUNK

NEW AGE

ALTERNATIVE

TECHNO

DISCOFUNK

RAP

16

Music Guide

76

Overview of Jazz-Related Styles

(c. 1900-60)

Date Composer Work Style Traits

1902 Scott JOPLIN (1868–1917)— "The Entertainer" /"Maple Leaf Rag"

1927 Louis ARMSTRONG (1900–71) and His "Hot 5"—"Hotter Than That"

c. 1930 Bessie SMITH (1894–1937)— "Lost Your Head Blues"

1942 Duke ELLINGTON (1899–1974)— "The "C" Jam Blues

1945 Charlie PARKER (1920–1955)— "KoKo"

1959 Dave Brubeck Quartet— "Take 5"

Very fast; intensely improvised variations over the implied harmonies of Cherokee (a famous big-band swing tune); syncopated rhythms; call & Response. Each of the performers, including the drummer, is required to play improvised solo sections.

ABA structure; syncopated rhythms; "call and response" implications.

Improvised Theme & Variations structure; syncopated rhythms; scat singing; fast "driving" beat ; "call and response". (See Music Guide 77)

Improvised variations on a STROPHIC verse structure; syncopated rhythms; "call and response" between cornet and singer; word-painting. (See Music

Guide 78)

Improvised variations on a standard 12-bar blues. syncopated rhythms; some Call & Response; bent "Blue" notes."Big Band" style. (See Music Guide 79)

"Laid-back" response to bebop style; consists of improvised solos (primarily by alto saxophonist Paul Desmond) over a five-beat ostinato pattern (hence the title "Take 5"); subtle syncopations and smoother melodic & harmonic style than found in other Jazz styles. (Brubeck was classically trained—in fact, for a time, he studied music theory and composition with Schoenberg.)

This example is on CD4/Track 55 of The Kamien 4-CD set

RAGTIME

"CLASSIC" BLUES

"HOT" JAZZ

"COOL" JAZZ

SWING

BEBOP

(West Coast style)

John Coltrane (1926-67)Mixture of Jazz and Rock elements (Tenor saxophonist Coltrane worked closely with another fusion innovator—trumpeter Miles Davis)

FUSIONearly

1960s

In the 1960s, despute severe ridicule, both Coleman and Coltrane bravely promoted a new, completely free-improvised, non-harmonic approach to Jazz.

"FREE" JAZZ

1960s Ornette Coleman (1926-67)

Music 1500: Main Terms to Focus On in Each Segment of the Class . . .

Note: This list is provided for basic understanding the lecture material--it is NOT the only material that you need to

know for exams (still do the assigned reading, listening and online assignments)

Elements: Rhythm, Dynamics, Melody, Harmony, Texture, Tone Color, Form (know the subterms & definitions)

Instruments of the Orchestra: Know String, Woodwind, Brass, Percussion families and their associated instruments

Non-Western:

- Africa: "Call-and-response", improvisation, polyrhythm

- Japan: Koto, Shamisen

- Indonesia: Gamelan (especially from Bali)--Bonang

- Latin America: Marachi

- Middle East: 'Ud, Darabukkah

- India: Sitar (also "tala" and "raga")--from textbook p.12

6 historical style eras in chronological order: Middle Ages, Renaissance, Baroque, Classic, Romantic, Modern

Middle Ages (main terms and examples):

- Chant (Music Guide 6) --anonymous monks

- Organum (Music Guide 6)--Perotin

- Motet (Music Guide 6)

- Mass Ordinary=Kyrie, Gloria, Credo, Sanctus, Agnus Dei (Music Guide 7)--Machaut

- Estampie (Music Guide 5)

- Main Composers: Anonymous Monks, Perotin, Machaut

17

Renaissance (main terms and examples):

- Imitation

- Word-painting

- Motet (Music Guide 8) --Josquin Desprez

- Madrigal (Music Guide 10 & 11)--Weelkes, Gesualdo

- Main Composers: Josquin Desprez, Palestrina, Weelkes, Gesualdo

Baroque (main terms and examples):

- Basso continuo (keyboard + bass accompaniment seen in Baroque examples)

- Ostinato (seen in Music Guides 13 and 16)

- Recitative (Music Guide 13)

- Aria (Music Guide 13)

- Counterpoint (in particular, see Bach examples)

- Canon (Music Guide 16)--this example also uses "ostinato"

- Opera (Music Guides 12, 13) --Monteverdi, Purcell

- Trio Sonata (Music Guide 14) --Corelli

- Solo Concerto (Music Guide 15) --Vivaldi

- Concerto Grosso (Music Guide 19) --Bach

- Ritornello Form (Music Guide 15)

- Binary Form (Music Guide 13)

- Suite (Music Guide 18) --Bach

- Fugue (Music Guide 17) --Bach

- Cantata (Music Guide 20) --Bach

- Oratorio (Music Guide 21) --Handel

- Main Composers: Monteverdi, Purcell, Corelli, Vivaldi, JS Bach, Handel

Classic (main terms and examples):

At least four of Beethoven's 9 symphonies are socio-political in nature:

-Symphony 3 (Napoleon references)

-Symphony 5 (Battle between aristocratic oppression and hope for the common person)

-Symphony 6 (common German folk are the heroes of this symphony)

-Symphony 9 (struggle to get orchestra to "speak" out against oppression and complacence--adds singers to give

a 'voice" to the orchestra)

Mozart: Major socio-politically-driven operas are "The Marriage of Figaro" and "Don Giovanni";

His final work was ironically a "Requiem Mass"

3 Major Classic composers: Haydn, Mozart, Beethoven (all eventually worked in Vienna)

- Haydn was the greatest instrumental composer in Europe at that time (104 symphonies)

- Mozart was famous as a child prodigy, became a threat to the social status quo

- Mozart is primarily known for his political OPERAS and his CONCERTOS

- Haydn and Mozart were close friends although Mozart was MUCH younger

- Mozart died at age 35 in 1791, but Haydn lived until 1809 (77 years old)

- Beethoven (17 years old) came to study briefly with Mozart in 1787 (for musical/political reasons)

- When Beethoven returned to Vienna in Jan 1792, he discovered that Mozart had died the month before,

so Beethoven had to study with Haydn (who was much older and without the political fire of Mozart)

- In his late 20s/early 30s, Beethoven became the greatest performing pianist of his time

- At the height of his performing powers, Beethoven lost his hearing, and turned to composition (c1802)

- All of Beethoven's mature works including his greatest symphonies (#3,5,6,9) were written after he was deaf

Overview of the 4 major Classic forms (textbook, p. 55-58)

- Sonata Form (common Classic 1st movement design; Music Guide 25)

- Theme & Variations (Music Guide 22)

- Minuet and Trio (common Classic 3rd

movement design; Music Guide 24, 25)

- Rondo (common Classic LAST movement "finale" design; Music Guide 29, 30)

18

Overview of Classic genres (textbook chart, p. 51)

- Sonata (Music Guide 29)--Beethoven

- Symphony (Music Guides 22, 25, 32, 33)—Haydn, Mozart, Beethoven

- Serenade (Music Guide 24)--Mozart

- String Quartet (Music Guide 30)--Beethoven

- Concerto (Music Guide 23)—Mozart, remember that concertos have only 3 movements

- Opera (Music Guides 26, 27)-Mozart

- 4-movement design (textbook chart p. 50)

Romantic (main terms and examples):

Programmatic music becomes very popular, especially

- Program Symphony (see Music Guide 35)--Berlioz

- Symphonic Poem (see Music Guide 40)--Smetana

- Character Piece (see Music Guides 38, 39)—Chopin, Schumann

- Ballet (see Music Guide 48)--Tchaikovsky

- Symphonies written by Brahms are "absolute music" (see Music Guide 41)

- Dvorak used black-American spiritual tunes and native-American themes in his

Symphony No. 9 "From the New World" (see Music Guide 44)

- Songs and Opera also become extremely colorful and dramatic in their story-telling

- Lieder (German song--see Music Guide 34)

- Romantic Comic Opera (see Music Guide 45)--Rossini

- French Grand Opera (see Music Guide 46)--Bizet

- Musikdrama (see Music Guides 49, 50, 51)--Wagner

- Verismo opera (see Music Guide 52)--Puccini

Early 20th

-century art music (main terms and examples):

Huge contrast between Austrian/German and French styles (Schoenberg vs. Debussy)

- Impressionism (see Music Guide 56)--Debussy

- Expressionism (see Music Guide 58, 59, 60)--Schoenberg, Webern

- Atonality (see Music Guide 58, 59, 60)--Schoenberg, Webern

- Sprechstimme (see Music Guides 58 & 59) Schoenberg

- Serialism (see Music Guides 59)--Schoenberg

- Ballet (see Music Guides 57 and 63)--Stravinsky, Copland

- Jazz elements also used by Still and Bernstein (see Music Guides 62 and 65)

- Conservative movements in American art music: Copland & Barber (see Music Guides 63 and 64)

Modern music (main terms and examples):

Highly-experimental "avant-garde" approaches since 1950--primarily led by composers from US and Poland

- Tone Clusters (see Music Guide 66)--Cowell

- Prepared Piano (see Music Guide 67)--Cage

- Chance Music (see Music Guide 68)--Cage

- Musique concrete and electronic music (see Music Guides 69 and 70)--Varese, Babbitt

- Unusual uses of traditional instruments (see Music Guides 71, 73, 74)--Penderecki, Crumb, Reich

- Minimalism (see Music Guide 72)--Glass

Jazz/Blues (main terms and examples):

Ragtime ("honky-tonk" piano music by Scott Joplin) an important pre-Jazz style c.1890

Jazz began in New Orleans--a truly "American" art form

- Hot Jazz (see Music Guide 77)-- Armstrong

- Classic Blues (see Music Guide 78)-- Bessie Smith

- Swing (see Music Guide 79)-- Ellington

- Bebop (see Music Guide 76)-- Parker

- Cool Jazz (see Music Guide 76)-- Brubeck

- Fusion (mixture of jazz and rock styles; see Music Guide 76)--Coltrane

- "Free" Jazz (see Music Guide 76)--Coleman

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