DAngelo Milford

April 27, 2015

Music History 3A

Music History Unit 5 Timeline

Franz Schubert (1797-1828)Schubert was the first great master of the Romantic Lied and a prolific composer in all

genres. He wrote over six hundred Lieder, many of which were first performed for friends in home concerts known as Schubertiads. Schuberts ability to capture the mood and character of a poem and make the music its equal in emotive and descriptive power, along with the sheer beauty of his music and the pleasure it gives to those who perform it, have endeared Schuberts songs both to his contemporaries and to generations of singers, pianists, and listeners. His songs set the standard that later song composers strove to match.

1814 C.E. Franz Schubert, Gretchen am Spinnrade (Gretchen at the Spinning Wheel)1815 C.E. Heidenrslein (Little Heath-Rose)1815 C.E. Erlknig (The Erl-King)1816 C.E. Das Wandern (The Wanderer)1819 C.E. Trout Quintet1822 C.E. Franz Schubert, Unfinished Symphony1823 C.E. Die schne Mllerin (The Pretty Miller-Maid)1823-1828 C.E. Moments musicaux (Musical Moments)1824 C.E. String Quartet in A Minor1824 C.E. String Quartet in D Minor (Death and the Maiden)1825 C.E. Great Symphony No. 9 in C Major1826 C.E. String Quartet in G Major1827 C.E. Schubert, Winterreise (Winters Journey)1827 C.E. Impromptus1828 C.E. Schwanengesang (Swan Song)1828 C.E. Fantasy in F Minor1828 C.E. Schubert, String Quintet in C Major

1828 C.E. String Quintet in C MajorRobert Schumann (1810-1856)

Robert Schumann was an influential music critic and outstanding composer, especially of piano music, songs, chamber music, and symphonies. He studied piano from age seven and soon began to compose. After university studies in law, Schumann devoted himself to becoming a concert pianist, studying in Leipzig with Friedrich Wieck, his future father-in-law. When an injury to Schumann's right hand cut short his performing career, he turned to composition and criticism. In his career as a composer, he ofter focused on one medium at a time; piano music until 1840, then songs that year, symphonies in 1841, chamber music in 1842-43, oratorio in 1843, dramatic music in 1847-48, and church music in 1852.

1834-1835 C.E. Robert Schumann, Carnaval1834-1844 C.E. Leipzig Neue Zeitschrift fr Musik (New Journal of Music) 1840 C.E. Schumann, Dichterliebe (A Poets Love)1851 C.E. Robert Schumann completes Symphony No. 4

Felix Mendelssohn (1809-1847)One of the leading German Romantic composers was Felix Mendelssohn. He blended

influences from Bach, Handel, Mozart, Beethoven, and his own contemporaries in music that combined contrapuntal skill and formal clarity with Romantic expression, beautiful melodies, and interesting, often unpredictable rhythms. A virtuoso performer on both piano and organ, Mendelssohn emphasized fluent technique over bravura display, preferring the older style of virtuosity typical of Mozart and Clementi to the new virtuosity of his own day, which he viewed as a kind of acrobatics without substance.

1825 C.E. Octet for Strings, Op. 201827 C.E. String Quartet in A Minor, Op. 131827 C.E. Seven Character Pieces1828-1832 C.E. Meeresstille und glckliche Fahrt (Becalmed at Sea and Prosperous

Voyage)1829 C.E. String Quartet in Eb Major, Op. 121830 C.E. Felix Mendelssohn, Songs without Words, Book I1830 C.E. Symphony No. 5 (Reformation)1831 C.E. No. 1 in G Minor1832 C.E. The Hebrides (Fingals Cave)1833 C.E. Felix Mendelssohn , Symphony No. 4 (Italian)

1836 C.E. St. Paul1837 C.E. No. 2 in D Minor1840 C.E. Lobgesang Symphony No. 2 (Song of Praise)1842 C.E. Symphony No. 3 (Scottish)1843 C.E. Felix Mendelssohn founds Leipzig Conservatory1844 C.E. Mendelssohn, Violin Concerto1846 C.E. Elijah

Fryderyk Chopin (1810-1849)Fryderyk Chopin composed almost exclusively for piano. His entire output comprises

about two hundred solo piano pieces, six works for piano and orchestra composed for his concert appearances as a young virtuoso, some twenty songs, and four chamber works. He is revered for idiomatic writing that opened new possibilities for the piano and appealed to amateurs and connoisseurs alike. The genres he cultivated range from the tude and prelude, associated with teaching , and types suitable for amateurs, such as dances and nocturnes, to longer, more challenging works, including ballades, scherzos, and sonatas, for his own performances and for other advanced players.

1829-1832 C.E. Opp. 101831 C.E. Fryderyk Chopin settles in Paris1831 C.E. Mazurka in Bb Major, Op. 7, No. 1 1832-1837 C.E. Opp. 251835 C.E. Nocturne in Db Major, Op. 27, No. 21836-1839 C.E. Chopin, Preludes

Franz Liszt (1811-1886)Franz Liszt was the most astounding piano virtuoso of his era and one of its most

important composers. He had an enormous impact on music, in a variety of roles. As the foremost piano virtuoso of his time, Liszt devised new playing techniques and textres for piano music. As a composer, he introduced innovations in form and harmony and invented the symphonic poem. As a conductor, he championed Bach, Beethoven, and other composers from the past, alongside Berlioz, Wagner, and other contemporaries. As a teacher, he invented the masterclass, in which students play for each other as well as for the teacher, and bother approaches that remain standard practice today.

1822 C.E. Franz Liszt begins career as virtuoso pianist1837-1838 C.E. Album dun voyageur (Album of a Traveler

1838-1861 C.E. Liszt, Annes de plerinage (Years of Pilgrimage), Books 1-21845-1849 C.E. Un sospiro (A Sigh)1848 C.E. Liszt appointed court music director at Weimar1850-1855 C.E. Prometheus1852-1854 C.E. Mazeppa1853 C.E. Sonata in B Minor1853-1854 C.E. Orpheus1854 C.E. Faust Symphony1854 C.E. Franz Liszt, Les Prludes (The Preludes)1855 C.E. Piano Concerto No. 1 in Eb Major1856 C.E. Dante Symphony1857-1872 C.E. St. Elisabeth1866-1872 C.E. Christus

Hector Berlioz (1803-1869)Hector Berlioz, who created more than a dozen works that have gained the status of

musical classics and who wrote the nineteenth-century bible on orchestration, played flute and guitar but never learned how to play piano. Berliozs Symphonie fantastique and other symphonic works made him the leader of the Romantic movements radical wing. All subsequent composers of program music would be indebted to him. He enriched orchestral music with new resources of harmony, color, expression, and form. His orchestration initiated a new era in which instrumental color rivaled harmony and melody as an expressive tool for composers.

1830 C.E. Hector Berlioz, Symphonie fantastique1834 C.E. Harold en Italie (Harold in Italy)1837 C.E. Berlioz, Requiem (Grande Messe des Morts)1839, revised ca. 1847 C.E. Romo et Juliette1840 C.E. Grande symphonie funbre et triomphale (Grand Funeral and Triumphant

Symphony)1843 C.E. Treatise on Instrumentation and Orchestration1855 C.E. Te Deum1856-1858 C.E. Hector Berlioz composes Les Troyens

Gioachino Rossini (1792-1868)

If asked who was the most famous and important living composer, most people in Europe around 1825 would have answered not Beethoven but rather Gioachino Rossini. He was the most popular and influential opera composer of his generation, in part because he blended aspects of opera buffs and opera seria into both his comic and his serious operas, making them all more varied, more appealing, and more true to human character. The new conventions he established for Italian opera would endure for over half a century.

1813 C.E. LItaliana in Algeri (The Italian Woman in Algiers)1816 C.E. Gioachino Rossini, Il Barbiere di Siviglia (The Barber of Seville)1816 C.E. Otello1818 C.E. Mos in Egitto (Moses in Egypt)1823 C.E. Semiramide1829 C.E. Rossini, Guillaume Tell (William Tell)

Vincenzo Bellini (1801-1835)Vincenzo Bellini was a younger contemporary of Rossinis who came to prominence

after Rossini had retired from opera composition. Bellini preferred dramas of passion, with fast, gripping action. His favorite librettist, Felice Romani, did not limit action to recitative passages but built it into the arias and provided opportunities for lyrical moments within the recitatives. He is best known for long, sweeping, highly embellished, intensely emotional melodies.

1831 C.E. La Sonnambula (The Sleepwalker)1831 C.E. Vincenzo Bellini, Norma1835 C.E. I Puritani (The Puritans)

Gaetano Donizetti (1797-1848)One of the most prolific Italian composers during the second quarter of the century was

Gaetano Donizetti, who was compared oratorios, cantatas, chamber and church music, about one hundred songs, and several symphonies in addition to some seventy operas. Donizetti, like Rossini, had an instinct for the theater and for melody that effectively captures a character, situation, or feeling. His comic operas often mix sentimentality with comedy. In his serious operas, Donizetti constantly moves the drama forward, occasionally averting cadences that would entice applause and thus sustaining dramatic tension until a major scene is finished.

1830 C.E. Anna Bolena1832 C.E. Lelisir damore (The Elixir of Love)1835 C.E. Gaetano Donzetti, Lucia di Lammermoor1840 C.E. La Fille du regiment (The Daughter of the Regiment)

1843 C.E. Don PasqualeCarl Maria von Weber (1786-1826)

The work that established German Romantic opera was Der Freischtz by Carl Maria von Weber. What made Der Freischtz so daring for its time was not only Webers unusual orchestration and harmonies, but also his idea of putting ordinary people center stage, talking and singing about their concerns, their loves, and their fears. Webers association of motives and keys with particular characters or events exercised an enormous influence on later composers of opera. Webers use of tritone-related and third-related harmonies, diminished seventh chords, and strings tremolos to evoke mystery, danger, and the supernatural contributed to the establishment of these associations as conventions followed by countless Romantic composers and still used by composers for film and television.

1821 C.E. Carl Maria von Weber, Der Freischtz (The Magic Rifleman), in Berlin1823 C.E. Euryanthe1826 C.E. Oberon

Richard Wagner (1813-1883)The outstanding composer of German opera, and one of the crucial figures in

nineteenth-century culture, was Richard Wagner. Several of his ideas had an enormous impact on all of the arts, notably his belief in the interrelationships between the arts and his view of the art as a kind of religion. All of his important compositions are for the stage. After bringing German Romantic opera to a new height, he reconceived the very nature of opera as a drama based in music but incorporating all the other arts. In his later works, he developed a rich chromatic idiom and a system of conveying meanings through motivic associations which influenced composers for generations.

1842 C.E. Rienzi1843 C.E. Richard Wagner, Der fliegende Hollnder (The Flying Dutchman)1845 C.E. Tannhuser1850 C.E. Lohengrin1850 C.E. The Artwork of the Future1851, revised 1868 C.E. Opera and Drama1857-1859 C.E. Wagner composes Tristan und Isolde1862-1867 C.E. Die Meistersinger von Nrnburg (The Meistersingers of Nuremberg)1876 C.E. Wagner, premiere of complete Ring cycle1882 C.E. Parsifal

Giuseppe Verdi (1813-1901)Giuseppe Verdi was the dominant figure in Italian music for the fifty years after Donizetti,

as central to Italian opera as Wagner was to German opera. The first of his twenty-six operas was produced in 1839 when he was twenty-six, the last in 1893 when he was eighty. His music has been called the epitome of Romantic drama and passion. He worked within the traditions of his predecessors but during his long life continually refined his techniques. The secret to Verdis popularity was his ability to capture character,feelings, and situation in memorable melodies that sound both fresh and familiar.

1842 C.E. Nabucco1849 C.E. Luisa Miller1851 C.E. Rigoletto1853 C.E. Giuseppe Verdi, Il trovatore and La traviata1855 C.E. Les vpres siciliennes (The Sicilian Vespers)1859 C.E. Un ballo in maschera (A Masked Ball)1862, revised 1869 C.E. La forza del destino (The Future of Destiny)1871 C.E. Aida1887 C.E. Verdis Otello premieres1893 C.E. Falstaff

Giacomo Puccini (1858-1924)The most successful Italian opera composer after Verdi was Giacomo Puccini. Puccini

created a highly individual personal style by blending Verdis focus on vocal melody with elements of Wagners approach, notably the use of recurring melodies or leitmotives, less reliance on conventional operatic forms, and a greater role for the orchestra in creating musical continuity. In Puccinis operas, arias, choruses, and ensembles are usually part of a continuous flow rather than set off as independent numbers.

1884 C.E. Le villi1893 C.E. Manon Lescaut1896 C.E. Giacomo Puccini, La bohme1900 C.E. Tosca1904 C.E. Puccini, Madama Butterfly1926 C.E. Turandot

Piotr Ilyich Tchaikovsky (1840-1893)

The leading Russian composer of the nineteenth century was Piotr Ilyich Tchaikovsky. Tchaikovsky sought to reconcile the nationalist and internationalist tendencies in Russian music, drawing models from Beethoven, Schubert, Schumann, and other Western composers as well as from Russian folk and popular music. He wrote a great deal of music for the stage, including incidental music, ballets, and operas. He was the most prominent Russian composer of the nineteenth century, both in his country and in the West. He combined his Russian heritage with influences from Italian opera, French ballet, and German symphony and song.

1876 C.E. Swan Lake1877-1878 C.E. Symphony No. 4 in F Minor1878 C.E. Violin Concerto1879 C.E. Piotr Ilyich Tchaikovsky, Eugene Onegin1888 C.E. Symphony No. 5 in E Minor1889 C.E. The Sleeping Beauty1890 C.E. The Queen of Spades1892 C.E. The Nutcracker1893 C.E. Piotr Ilyich Tchaikovsky, Sixth Symphony (Pathtique)

Modest Musorgsky (1839-1881)Widely considered the most original of the Mighty Five, Musorgsky earned a living as a

clerk in the civil service and received most of his musical training from Balakirev. The realism so prominent in nineteenth-century Russian literature echoes especially in Boris Godunov, in the way Musorgsky imitated Russian speech, in his lifelike musical depiction of gestures, and, in the choral scenes, the sound and stir of the crowds. Musorgskys harmony is essential tonal, projecting a clear sense of key, but in many respects it is highly original, even revolutionary. Some passages seem more modal than tonal, and dissonances may be left hanging or resolve in unconventional ways.

1867 C.E. Night on Bald Mountain1872 C.E. The Nursery1872-1880 C.E. Khovanshchina (The Khovansky Affair)1874 C.E. Premiere of Modest Musorgskys Boris Godunov1874 C.E. Modest Musorgsky, Pictures at an Exhibition1874 C.E. Sunless1875 C.E. Songs and Dances of Death

Johannes Brahms (1833-1897)

Johannes Brahms was the leading German composer of his time in every field except opera and an important influence on twentieth-century music. Brahms matured as a composer just as the classical repertoire came to dominate concert life. By the time he was twenty, three-fifths of the music played in orchestral concerts was by dead composers, and by the time he was forty, that proportion had risen beyond three-quarters. Brahms fully understood what it meant to compose for audiences whose taste were formed by the classical masterpieces of the last two centuries: one had to create pieces that were like those already enshrined in the repertoire in function and aesthetic yet were different enough to offer something new and attractive.

1861 C.E. Piano Concerto No. 1 in D Minor1861 C.E. Variations and Fugue on a Theme of Handel, Op. 241863 C.E. Variations on a Theme of Paganini, Op. 351864 C.E. Johannes Brahms, Piano Quintet, Op. 341868 C.E. Wiegenlied (Lullaby)1868 C.E. Ein deutsches Requiem (A German Requiem)1873 C.E. Variations on a Theme of Haydn, Op. 56a1876 C.E. Symphony No. 1 in C Minor, Op. 681877 C.E. Symphony No. 2 in D Major, Op. 731878 C.E. Violin Concerto in D Major, Op. 771881 C.E. Piano Concerto No. 2 in Bb Major, Op. 831883 C.E. Symphony No. 3 in F Major, Op. 901885 C.E. Brahms, Fourth Symphony

Richard Strauss (1864-1949)Richard Strauss was a dominant figure in German musical life for most of his career. He

was celebrated as a conductor, holding positions in the opera houses of Munich, Weimar, Berlin, and Vienna, and conducting most of the worlds great orchestras during numerous tours. As a composer, he is remembered especially for his tone poems (his preferred term for symphonic poems), most written before 1900; his operas, all but one of which came later; and his Lieder.

1888-1889 C.E. Don Juan1888-1889 C.E. Tod und Verklrung (Death and Transfiguration)1888, revised 1891 C.E. Macbeth1894-1895 C.E. Till Eulenspiegel1896 C.E. Also sprach Zarathustra (Thus Spoke Zoroaster)

1897 C.E. Don Quixote1897-1898 C.E. Ein Heldenleben (A Heros Life)

Gustav Mahler (1860-1911)Gustav Mahler was the leading Austro-German composer of symphonies after Brahms

and Bruckner and one of the great masters of the song for voice and orchestra. Mahler made his living as a conductor, renowned for his dynamism, precision, expressivity, and tyrannical perfectionism. Composing mainly in the summers between busy seasons of conducting, Mahler completed nine symphonies, leaving a tenth unfinished, and five multimovement works for voice with orchestra (for which he also prepared versions with piano). He revised most of his works repeatedly, including the first seven symphonies, retouching the orchestration but not changing the substance of the music.

1884-85, revised 1891-96 C.E. Lieder eines fahrenden Gesellen (Songs of a Wayfarer)

1884-88, revised 1893-96, 1906, and 1910 C.E. First Symphony1888-94, revised 1906 C.E. Second Symphony1892-1901 C.E. Des Knaben Wunderhorn (The Boys Magic Horn)1895-96, revised 1906 C.E. Third Symphony1899-1900, revised 1906 and 1910 C.E. Fourth Symphony1901-1904 C.E. Gustav Mahler, Kindertotenlieder (Songs on the Death of Children)1901-1905 C.E. Fifth, Sixth, and Seventh Symphonies1906 C.E. Eighth Symphony1908 C.E. Das Lied von der Erde (The Song of the Earth)1909 C.E. Ninth Symphony

Bedrich Smetana (1824-1884)Like the Russians, Bedrich Smetana is better known outside of his native land for his

instrumental music than for his operas, no doubt because instrumental music can leap over the language barrier. He was influenced by the innovations of the New German School, particularly by Liszt. He sought to create a national music in his String Quartet No. 1 and in his cycle of six symphonic poems collectively titled M vlast.

1872-1879 C.E. Bedrich Smetana, M vlast (My Country)1876 C.E. String Quartet No. 1, From My Life

Antonn Dvork (1841-1904)

Like the Russians, Antonn Dvork is better known outside of his native land for his instrumental music than for his operas, no doubt because instrumental music can leap over the language barrier. He was influenced by the innovations of the New German School, particularly by Wagner. He wrote nine symphonies, four concertos, numerous dances and other works for orchestra, and many chamber works, piano pieces, songs, and choral works. Many of his pieces are in an international style.

1878 C.E. Antonn Dvork, Slavonic Dances, Op. 461880 C.E. Symphony No. 6 in D Major1883 C.E. Husitsk1884-1885 C.E. Symphony No. 7 in D Minor1889 C.E. Symphony No. 8 in G Major1890-1891 C.E. Dumky Piano Trio1893 C.E. Antonn Dvork, New World Symphony1893 C.E. String Quartet No. 12 in F Major (American)1894-1895 C.E. Cello Concerto in B Minor

Edvard Grieg (1843-1907)At the same time that the Mighty Five were forging a distinct Russian idiom, Edvard

Grieg was writing a series of songs, short piano pieces, and orchestral suites that emulated the model melodies and harmonies as well as the dance rhythms of his native Norway. His piano style, with its delicate grace notes and mordents, owes something to Chopin, but the all-pervading influence in his music is that of Norwegian folk songs and dances, reflected in his modal turns of melody and harmony; frequent drones in the bass or middle register; and the fascinating combination of 3/4 and 6/8 rhythm in the Sltter.

1867-1901 C.E. Lyric Pieces1868, revised 1907 C.E. Piano Concerto in A Minor1875 C.E. Peer Gynt Suite

DAngelo Milford

April 27, 2015

Music History 3A

Music History Unit 5 Listening Journal

1814 C.E. Gretchen am Spinnrade (Gretchen at the Spinning Wheel)The composer is Franz Schubert. The form and genre is Lieder. The piano suggests

the spinning wheel by using a constant rising and falling sixteenth-note figure in the right hand, and the motion of the treadle by using repeated notes in the left hand. These figures also convey Gretchens agitation as she thinks of her beloved. Often the piano introduces the songs mood and central image in a short prelude before the voice enters. The author used this as an example because it was Schuberts first Lied set to a text by Goethe and it became one of his most famous, prized for its dramatic and empathetic portrayal of a young womans first feelings of love. 1816 C.E. Il barbiere di Siviglia (The Barber of Seville), Act II, scene 5: Cavatina, Una voce poco fa

The composer is Gioachino Rossini. The form and genre is comic opera. The orchestral introduction presents ideas that will reappear later. There is no opening recitative, but the first part of her cantabileas she narrates being serenaded by and falling in love with Lindorois broken into small phrases punctuated by orchestral chords. When she swears to outwit her guardian, the style briefly changes to a comic patter song, which is preceded and followed by elaborate embellishments and runs as she vows to marry Lindoro. The author used this as an example because it conveys Rosinas character through changes of style.1821 C.E. Der Freischtz, Act II, Finale: Wolfs Glen Scene

The composer is Carl Maria von Weber. The form and genre is opera. The scene begins with soft tremolos and chromatic harmony laced with diminished seventh chords. Trombones and clarinets low in their range and a descending chromatic line in cellos and basses add to the gloom. An unseen ghostly chorus sings, juxtaposing soft recitation on F# with loud cries of Uhui!, accompanied by the diminished seventh chord. The author used this as an

example because the Wolfs Glen Scene, during which the seven bullets are cast, incorporates elements of the melodrama.1830 C.E. Symphonie fantastique, Fifth movement: Dream of a Witches Sabbath

The composer is Hector Berlioz. The form and genre is program symphony. It begins slowly and mysteriously with muted strings playing a diminished seventh chord tremolo and tritones in the bass, both associated with the diabolical. Soft flutters in the strings and louder figures in the winds and brass suggest the convergence of the ghosts, wizards, and monsters described in the program. As if from a distance, and then gradually approaching, a clarinet begins a distorted, mocking version of the ide fixe in a fast 6/8, embellished with grace notes and trills. The author used this as an example because the fifth and final movement depicts a Dream of a Witches Sabbath, presenting transformations of the ide fixe and two other themes, first singly, then in combinations.1831 C.E. Norma, Act I, scene 4, excerpt: Casta diva

The composer is Vincenzo Bellini. The form and genre is opera. When Norma prays to the moon for peace with the Romans, her vocal line seems to be in constant motion, creating a deeply expressive and unpredictable melody. The secret of such melodies is that an underlying simple structure, often stepwise motion, is embellished with ever-changing figuration that draws our attention and plays with our expectations. The author used this as an example because Bellini is known for long, sweeping, highly embellished, intensely emotional melodies and this is among the most famous.1834-1835 C.E. Carnival, Excerpts

The composer is Robert Schumann. The form and genre is character pieces. The titles of the set and its twenty short movements evoke a masked ball during carnival time, he period of parties, parades, masquerades, and feasting before the penitential season of Lent. The varied images evoked by the titles parallel the strong contrasts between movements, each of which features distinctive ideas and textures that give it a highly individual character. The author used this as an example because it was one of Schumann's most popular sets of character pieces.

EusebiusHis piece is the slowest and least dancelike in the entire set. Over an almost

entirely chromatic bass, moving for the most part in even quarter note, the right hand traces undulating patterns in odd-numbered divisions of seven, five, and three. The twisting melody

avoids the arch shape common to many tunes and instead constantly winds backs on itself. The music begins soft and thin-textured, builds in dynamics and density, and then recedes again.

FlorestanFlorestan is a total contrast: a fast waltz in G minor, marked Passionato, with

sforzandos on offbeats and cascading arpeggios, depicting Florestan as a passionate virtuoso. It is mercurial, rapidly changing his moods, is suggested by the alternation of the first phrase with a sudden turn to an Adagio figure, and then the return of the opening phrase.

CoquetteThe appearance of Coquette may explain Florestans distraction. Her flirtatious

charm is suggested by a lilting dotted rhythm in a fast waltz tempo, and her effect on Florestan by the sudden fortissimo figures in octaves on the second beat of the measure, as if his heart were pounding in his chest. Teasingly, her music starts with a little cadential figure colored by dissonant augmented fifths.1835 C.E. Nocturne in D-flat Major, Op. 27, No. 2

The composer is Fryderyk Chopin. The form is nocturne. The genre is character piece. In this nocturne, the accompanimental figuration aches over two octaves and capitalizes on the pianos natural resonance by using wide spacing in the bass and closer spacing in the middle range. The melody also ranges widely, featuring large leaps and florid embellishments that are inspired by vocal coloratura but beyond the capacity of most voices. The author used this as an example because Chopin composed this and issued them with a dedication to Countess Thrse dApponyi, wife of the Austrian ambassador in Paris.1841 C.E. Symphony No. 4 in D Minor, Op. 120, First movement

The composer is Robert Schumann. The form and genre is symphony. From a bare opening A in octaves, the melody of the slow introduction emerges and is gradually developed. Throughout the movement, the first theme is often accompanied by a rhythmic figure of an eighth and two sixteenth notes. The entire exposition is based on the first theme, as the transition, second theme, and brief closing theme each present new variants with contrasting characters and moods. The author used this as an example because the Fourth Symphony represents Schumanns most radical rethinking of the symphony.1845-1849 C.E. Trois tudes de concert: No. 3, Un sospiro

The composer is Franz Liszt. The form and genre is tude. It addresses the technical problem of how to project a slower moving melody outside or within rapid broken-chord figurations. At the beginning, the pedal sustains harmonies while the two hands brave

treacherous leaps over each other to pick out a pentatonic tune. Later on, the melody appears in the right hand in the middle of the texture, while the left arpeggiates below and above it. The author used this as an example because it illustrates Liszts virtuosic technique.1846 C.E. Elijah, Chorus: And then shall your light break forth

The composer is Felix Mendelssohn. The form and genre is oratorio. In Elijah, Mendelssohn employed a wide variety of styles and textures for choral movements, as Handel had done in his oratorios; evoked the style chorales, which Bach had used in his Passions; and used unifying motives and links between movements to integrate the work into a cohesive whole, following the practice of his own time. The author used this as an example because the final chorus of Elijah is Handelian in spirit, with a powerful homorhythmic opening, vigorous fugue, culminating statement of the fugue theme in chordal harmony, and contrapuntal Amen, while contrasts of minor and major and touches of chromaticism draw on more recent styles.1853 C.E. La traviata, Act III, scene and duet

The composer is Giuseppe Verdi. The form and genre is opera. The scene follows the structure Rossini had standardized for duetsscena (recitative), tempo dattacco (opening section), slow cantabile, tempo di mezzo (contrasting dramatic section), and fast cabalettayet each element is in a new style characteristic of Verdi. Instead of recitative punctuated by the orchestra, the scene presents a complete musical texture in the orchestra, a skipping melody in four-measure phrases, over which Violetta and her maid engage in recitative-like dialogue. The author used this as an example because many features of Verdis mature works are embodied in this.1857-1859 C.E. Tristan und Isolde Excerpts: Prelude, Conclusion of Act I, scene 5

The composer is Richard Wagner. The form and genre is opera. Desire is evoked in Tristan und Isolde from the very beginning of the Prelude as Wagner uses chromatic harmony and delayed resolutions to convey an almost inexpressible yearning. The opening motive, a rising sixth followed by a chromatic descent, suggests longing. The harmony is constantly churning, shifting keys, altering chords chromatically, and blurring progressions by means of nonchord tones. The author used this as an example because it has become a monument of music as secular religion, a notion Wagner endorsed and one that pervades much musical activity in the later nineteenth century.1878 C.E. Slavonic Dance No. 1 in C Major (Furiant), Op. 46, No. 1

The composer is Antonn Dvork. The form and genre is dance for piano four hands or orchestra. The first dance is a furiant, a couple dance in triple meter and four-

measure phrases that typically begins with hemiolas, as if the first two measures of each phrase were three duple measures instead. Later the dance moves in a steady triple time like the Austrian lndler. The Czech word furiant means proud, swaggering man, and one mid-nineteenth century description of the dance suggests that the hemiolas at the beginning were intended to imitate the swagger of a proud farmer, with his chest puffed up, hands on hips, and elbows out as he stomps his feet. The author used this as an example because it was one of the most widely known of Czech dances that Dvork was highlighting his ethnicity on.1885 C.E. Symphony No. 4 in E Minor, Finale

The composer is Johannes Brahms. The form and genre is symphony. Like Beethoven, Brahms first presents his bass line as a melody in the upper register and only works it into the bass after several variations. When the ostinato finally reaches the bass, the melodic figuration is a sarabande rhythm exactly like Bachs and subsequent variations often parallel Bachs from dotted rhythms to bariolage (rapidly alternating stopped and open strings). The author used this as an example because the finale of Brahms Fourth Symphony is a chaconne, a form that reflects Brahms fascination with Baroque music.1893 C.E. Symphony No. 6 in B Minor (Pathtique), Third movement

The composer is Piotr Ilich Tchaikovsky. The form and genre is symphony. The movement opens with twittering staccato triplets that alternate between strings and winds. The rapid triplet motion, soft dynamic, and light orchestration lend this opening the sound of a scherzo; the triplets and scherzo character will continue throughout the A section, occasionally punctuated with louder outbursts and fuller textures. The author used this as an example because this movement would make a perfect culmination for a symphony.1897 C.E. Don Quixote, themes and variations 1 and 2

The composer is Richard Strauss. The form and genre is tone poem. Strauss presents the two principal themesthe first on Don Quixote, the second on Sancho Panza in two separate sections. In Don Quixote, der Ritter von der traurigen Gestalt, the solo cello states the knights theme in D minor, echoed and joined by solo violin and English horn. The theme soars, then gradually sinks, then soars again, in a musical analogy to Don Quixotes ever-frustrated but always renewed idealism. Then bass clarinet and tenor tuba present Sancho Panzas theme in F major, using a turning gesture and wide leaps to suggest the lumbering, roly-poly servant on his donkey. The author used this as an example because the wry humor and cleverness in Don Quixote lie not so much in the apt depiction of real things as in the play with musical ideas.

1904 C.E. Madama Butterfly, from Act IThe composer is Giacomo Puccini. The form and genre is opera. As the excerpt

begins, Pinkerton invites Butterfly into their new home, using Puccinis normative style, unmarked by any of the special qualities that make the others distinctive. This style is European in sound, with lyrical melodies and the standard harmonic vocabulary of the late nineteenth century, tonal yet often chromatic. The orchestra plays the music that accompanied Butterflys entrance earlier in the act: a simple, sweet, diatonic melody, immediately varied in sequence a step higher, harmonized with major triads and chromic chords that resolve normally. The author used this as an example because all of these characteristics such as a highly individual personal style by blending Verdis focus on vocal melody with elements of Wagners approach, notably the use of reoccurring melodies or leitmotives, less reliance on conventional operatic forms, and a greater role for the orchestra in creating musical continuity are evident in the scene of Butterflys marriage to Pinkerton in Madama Butterfly.