| At the Esterhazy court,haydn passed nearly 30 years in circumstances almost ideal for his development as a composer. |
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| This was ideal for Haydn because he didn’t have an opportunity to compare himself to others which allowed himto create his own individual style. |
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| Inorder to catch the joke we must understand the form, the genre and the convention that underlie them. How can such a statement be related to Haydn’s ideal circumstances at Esterhaza and how does it thena lso apply to a paying musical public. |
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| he began with the convention of rondo in string quartet and then would vary or alter it in a way that the intelligent listener would be able to tell what he did. for example, he ends the piece with fragmentation and assymetrical rests. |
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| haydn’s Compositional style: |
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1. used familiar with added contrast
2. reliance on conventions creates listener expectations, makes surprises possible.
3. Content clarifies form
4. Haydn combines economy of material with constant novelty. |
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| Haydn’s mature symphonic style: |
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| Haydn’s mature symphonic style became the universal representation of the new stats of the public symphony. In them the various demands of popular entertainment and the learned aesthetic theory of the Enlightenment tenuously found common ground and in each work haydn strieks a new and finely judged balance between a popular style and a progressive musical language. |
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| What did Mozart learn from JC bach in terms of concerto writing? |
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| He learned how J.C. Bach enriched his keyboard/symphonic works with Italian opera features: songful theme, tasteful appogiatura and triplets & harmonic ambiguities. Ex. Bach sonatas to Mozart piano sonatas |
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| How was mozart’s career different from Haydn’s? |
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| Mozart started as a child prodigy and spent his mature years as a free agent Vienna while Haydn remained stationary under Esterhazy princes. |
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| Opera buffa and opera seria elements interact in Don Giovanni? |
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Opera buffa elements:
1.leporello laments with quick scales and bare octaves=comic tone
2. no more servant= skipping melody, bass tones and short notes.
3. When hearing footsteps speaks in comic patter
4. bent tones and speech like
opera seria elements:
1.comparing himself to gentleman: smooth, elegant w/ horn
2. crescendos and key change
3. Anna: serious liens with welevated dramatic music when trying to find out who he is.
4. Commendatore’s entrace: tremolo and rushing scales.
5. Dead father: chromatic and long rests. |
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| In what respects was Beethoven’s financial situation different from that of Haydn and Mozart? How did his financial circumstances affect his compositional output and style? |
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| During phase 1 of his career, Beethoven was able t make a living without ever being bound to a single employer through a hired position. in phase 2 of his career, he had 3 nobles provide him an annuity to stay in Vienna. since had so much support, he was free to be ambitious in his style and could take time to develop his pieces with sketches. |
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| Beet’s 3 periods dated, described, and examples? |
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Early Period:1770-1802
This is where Beethoven finds his voice and aimed composition for amateurs He used strong contrasts, frequent octaves, thick textures,and abrupt dynamics. ex. piano sonata in C minor Op.13 (pathetique)
Middle period(1803-1814)
he experience a loss of hearing. He had an opportunity to revise. His work is reflected his own struggle in his life: narratives. His pieces had a greater length. ex. Symphony No. 3 in E-flat Major, Op. 55 (Eroica)
Late period [1815-Death)
geared towards connoisseurs to study(scores, not parts). here, he gained a more introspective charater. He has had contrast, continuity, variation, new sonorities [pizzicato/sul-ponticello] imitation/fugue, and increased number of movements. ex. String Quintet in C# minor op.131. |
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| Name 5 unusual features of the 9th symphony. |
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1.form- recits and expo
2.length: longer than eroica
3.use of solo singers and chorus:
he is using it for a finale
4. choral ode (schiller’s specifically)
5. uses operatic techniques & contraputnal techniques (accomp recit & double fugue. |
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| What did Beethoven learn from Haydn and Mozart? |
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| He learned of musical entrepreneurship and counterpoint from Haydn. |
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| What Beethoven do differently from Haydn and Mozart. |
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He didn’t aim for wide appeal because sometimes he wrote music that wasn’t always readily understood.
He never had to work for a patron
made hunk of his money in piano performance but more from composition vs. Mozart/Esterhazy. Another fact is that all of his sonatas had a psychological target. |
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| Describe the forms and techniques that Schubert used in lieder, citing illustrative examples in your textbooks. |
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| In Schubert’s Lieder he used modified strophic form for contrast/change as found in Der Lindenbaum from Winterreise. However for longer narrations like Erlkonig, a thorough composed form is used. The accompaniment of Schubert’s pieces demonstrates/illustrates the setting/situation by using a walking pattern in Das Wanderer and used 16th notes for spinnning wheel, Gretchen am Spinnrade. |
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| Name and describe at least three genres of piano composition that originated in the nineteenth century. Cite examples of each and name the composer associated with them. |
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1. Mazurka: a type of polish folk dance in triple meter characterized by accents ont he 2nd or 3rd beat by dotted figures on 1st beat. ex. Mazurka in B-flat major Op.7 no 1, F. Chopin.
2.Nocturne: type of short piano piece popular during the romantic period marked by embellished melody, sonorous accompaniment and a contemplative mood
Nocturne Op 27 no 2, chopin.
3. Characteristic Piece: music for piano that depicts/suggests a mood, personality or scene usually indiacted in its title.
ex. Florestan from Carnaval set, R. Schumann. |
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| How is Liszt’s music different from Gottschalk? How similar? What were the audiences like? |
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Their music is different in that Liszt’s musical influences were Hungaira, Viennese, parisian and inspired by Chopin. Gottschalks influences are the NewWorl, The Caribbean and the West Indies. Liszt pushed the parameters of virtuosic playing for the pianist but Gottschalk’s work was apporachable for amateurs. Liszt quoted operas while Gottschalk while Gottschalk quote popular songs.
Similar?
They are siialr in that they used diverse cultural influences to inform their melodies and rhythms. They are simiar int ha their pian o music requires a level of virtuosity.
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Audiences?
Liszt’s audiences treated him like a rockstar with their hysteria which resulted i nlove affairs from his tours. Gottschalk also was a touring msuican had audiences as borad as liszt. He toured france switz, spain, us and carribean. Liszt went to portugal, Ireland, turkey, romania, and russia. |
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| Name and describe at least three genres of piano composition that originated in the nineteenth century. Cite examples of each and name the composer associated with them. |
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1. Mazurka: a type of polish folk dance in triple meter characterized by accents ont he 2nd or 3rd beat by dotted figures on 1st beat. ex. Mazurka in B-flat major Op.7 no 1, F. Chopin.
2.Nocturne: type of short piano piece popular during the romantic period marked by embellished melody, sonorous accompaniment and a contemplative mood
Nocturne Op 27 no 2, chopin.
3. Characteristic Piece: music for piano that depicts/suggests a mood, personality or scene usually indiacted in its title.
ex. Florestan from Carnaval set, R. Schumann. |
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| Compare the orchestral output of Berlioz and either Schubert or Mendelssohn |
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| When compared to Mendelssohn’s orchestrrla output, Berlioz seems more radical. For example, in the 5th movement of his Symphonie Fantastique is unified through presentation of idee fixee under different guises while mendelssohn use of his theme is held ot having a recapitulation in his Italian Symphony that encompasses them all. Mendelssohn’s emphasis is on tuneful meldies represent ideas or character scenes, while Berlioz’s music incldues an instrumental msuic drama. Berlioz’s use of orchestration is equated with the use of harmony while Mendelssohn’s opening exposition and closing ritornello are omitted from his violin concerto’s first movement. |
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| Discuss the reliance on the past and the incorporation of newer style sin choral music of the nineteenth century. |
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| In 19th century choral music, all composers emulated the old greats. For example, Mendelssohn used the chorale and fugue of Bach bu he used his style by linking movemens and challenging harmony (chromaticism a& major to minor in final chorus) Dmitri Bortnyansky used Orthodox chant in his Russian church music— and the emphasis of acapella music of Palestrina in the cecilian movement. 3rdly sulzer of the reform movement incorporated new(modern style) by writing service music for solo and choir. |
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| Describe the impact of middle class audiences on piano music and song intendeed for performance in the home and int he concert hall. Include a discussion of Chipin and Liszt and how their music re3flect the social changes of the nineteenth century |
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| Due to manufacturing improvements and increased availability, pianos were a staple in all households and capable of chief expressivity close to orchestras. Women were the primary players of this instrument. Chopin and Liszt were the teachers of these women which gives reason to their output of piano music. the tuneful melodies found in chopin’s nocturns shows chopin’s aim for wide appeal as so, the liszt’s piano transcriptions of Beethoven symphonies shows Liszt’s effort bringing unfamiliar concert works itno the home music making realm. Even though, Chopin and Liszt’s etudes primary purpose could be for home music-makign they were also used for virtuoso concert performances. In Britian and North america, drwing room ballads and parlor songs with conventiional figures and small range served as the approachable repertoire that could be sung at home. Ex. Stephen Foster, Jeanie with the light brown hair |
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