Intro to Music Unit 2-3

Chp 23-Lg 13 Bach: Cantata No. 140, Wachet auf (Sleepers, Awake), Nos. 4 Unison chorale

*Date: 1731, performed in Leipzig *Basis: Chorale (3 stanzas) by Philipp Nicolai *Performed by: American Bach Soloists, Jeffrey Thomas, director **Melody: Tenors sing chorale melody in unison, set against moving countermelody n strings *Harmony: Bright major key (E-Flat) *Form: 3-part bar form (A-A-B), with instrumental ritornellos between vocal sections *Texture: Slow-moving vocal line; faster strings and "walking" bass line

Chp 22-LG 12 Purcell: Dido and Aeneas, Act III, Opening

*Date: 1689 *Genre: Opera, English *Basis: Virgil's Aeneid *Performed by: Lorraine Hunt Lieberson; Philharmonia Baroque Orchestra, Nicholas McGegan, conductor *Characters: Dido, queen of Carthage (soprano); Belinda, Dido's serving maid (soprano); Aeneas, adventuring hero (baritone); Sorceress, Spirit, Witches *Melody: Jaunty, playful tune *Rhythm/meter: Sprightly tempo, in triple meter; use of Scotch-snap dotted figures *Harmony: Major key, with chromatic foreshadowing of Lament *Form: Strophic form, with instruments, solo voice, then chorus *Performing forces: String orchestra, with solo voice and chorus

Chp 19-LG 8 Palestrina: Gloria, from Pope Marcellus Mass

*Date: Published 1567 *Genre: Gloria, from his setting of the Mass Ordinary *Performed by: The Sixteen, Harry Christophers, director *Melody: Shifts between high- and low-range voices *Rhythm/meter: Slow duple meter, weak pulse *Harmony: Full, consonant harmony *Texture: Monophonic opening; then homorhythmic, with some polyphone; frequent changes in the density of voices *Form: Through-composed (no major section repeated), with some short ideas exchanged between voices *Expression: Focus on the clarity of words *Performing forces: 6-part choir, a cappella *Text: Hymn of praise; second movement of the Ordinary of the Mass

Chp 45-LG 37 Wagner: Die Walkure (The Valkyrie), Act III, Finale Scene 3: Wotan and Brunnhilde

Same info as above except... *Melody: 3 recurring themes (leitmotifs); endless melody; forceful descending trombone melody *Rhythm/meter: Broad, duple meter; majestic *Harmony: Rich, chromatic harmony *Texture: Continuous orchestral sound *Expression: Melodies signify magic fire, magic sleep, slumber, Siegfried; dramatic invocation of Loge, god of Fire; long closing, ff to ppp *Performing forces: Bass (Wotan) with orchestra; focus on trombones (calling Loge); woodwinds and French horns (in magic fire music); harps (in magic sleep music) and brass (Siegfried theme)

Chp 42-LG 33 Mendelssohn: Overture to A Midsummer Night's Dream

*Date: 1826; incidental music in 1842 *Genre: Concert overture *Performed by: Cleveland Orchestra, George Szell, conductor *Melody: Light, dancelike first theme; lyrical second theme; and rowdy third theme *Rhythm/meter: Fast duple meter;energetic throughout *Harmony: E major, with a shift to the minor *Texture: Airy and largely homophonic *Form: Sonata allegro, with 3 themes and an extended coda *Performing forces: Orchestra, with pairs of woodwinds and brass *Expression: Descriptive of the characters and plot in Shakespeare's play

Chp 44-LG 36 Verdi: Rigoletto, Act III, excerpts

*1st Performance: 1851, Venice *Librettist: Francesco Maria Piave *Basis: Le roi s'amuse, a play by Victor Hugo *Major Characters: The Duke of Mantua (tenor); Rigoletto, the Duke's jester, a hunchback (baritone); Gilda, Rigoletto's daughter (soprano); Sparafucile, an assassin (bass); Maddalena, Sparafucile's sister (contralto) ~~Aria *Melody: Soaring tenor line, with accented notes *Rhythm/meter: Lilting triple-meter, "oom-pah-pah" accompaniment; some rubato *Form: 2 strophes, framed by an orchestral ritornello that unifies the aria *Expression: Stirring music, with broadly contrasting dynamics ~~Quartet *Melody: Dialogue between characters; then a simpler, square melody, "Bella figlia." *Rhythm/meter: Allegro, with agitated movement *Expression: Each character reveals his/ her emotion *Performing forces: Quartet (Duke, Maddalena, Gilda, Rigoletto)

Chp 14-LG 2 Gregorian Chant: Kyrie

*Date: 10th Century *Genre: Kyrie plainchant, from the Ordinary of the Mass *Performed by: Schola Cantorum of Amsterdam, Wim van Gerven, director *Melody: Conjunct, wavelike motion, small range; neumatic, then melismatic *Rhythm: Free-flowing rhythm, nonmetric *Texture: Monophonic *Form: AAABBBCCC' *Performing forces: A cappella choir, alternating between two groups (antiphonal) *Text: Greek Prayer for mercy

Chp 18-LG 7 Josquin: Ave Maria...virgo serena (Hail Mary...gentle Virgin)

*Date: 1480s? *Genre: Latin motet *Performed by: La Chapelle Royale, Philippe Herreweghe, director *Melody: High vs. low voices, singing in pairs; opening phrase quotes a chant *Rhythm/meter: Duple meter, with shift to triple, then back *Harmony: Consonant; hollow-sounding cadences *Texture: imitative polyphony, with moments of homorhythm *Form: Sectional according to the strophes of the poem (each begins "Ave") *Expression: Personal plea from composer at the end *Performing forces: Four-voice choir; a cappella *Text: Rhymed, strophic prayer to the Virgin Mary

Chp 23-Lg 13 Bach: Cantata No. 140, Wachet auf (Sleepers, Awake), Nos. 7 Chorale

*Date: 1731, performed in Leipzig *Basis: Chorale (3 stanzas) by Philipp Nicolai *Performed by: American Bach Soloists, Jeffrey Thomas, director *Melody: Chorale prominent in soprano line; fanfare-like opening *Harmony: Inspirational major key (E-Flat) *Form: 3-part bar form (A-A-B) *Texture: Homorhythmic; all parts move together *Performing forces: 4-part chorus (SATB) and orchestra

Chp 23-Lg 13 Bach: Cantata No. 140, Wachet auf (Sleepers, Awake), Nos. 1 Chorale fantasia (chorus and orchestra)

*Date: 1731, performed in Leipzig *Basis: Chorale (3 stanzas) by Philipp Nicolai *Performed by: American Bach Soloists, Jeffrey Thomas, director *Melody: Sopranos have slow-moving chorale melody; opening rising line = watchmen's motive; long melisma on "Alleluja" *Rhythm/meter: Insistent dotted rhythm in orchestra, begun in ritornello 1 *Harmony: Uplifting major key (E-Flat) *Form: 3-part bar form (A-A-B), based on chorale tune structure *Texture: Alternation between instrument groups; complex, imitative polyphony in lower voices *Performing forces: 4-part choir (SATB), with strings, double reeds, horn, bassoon, organ, violino piccolo *Text: Music depicts the text (watchmen, wake-up call)

Chp 24-LG 14 Handel: Messiah, Nos. 18 Part I: Christmas Section/ 18. Soprano aria, "Rejoice greatly"

*Date: 1742 *Genre: Oratorio, in 3-parts *Performed by: Boston Baroque, Martin Pearlman, conductor, Karen Clift, soprano *Melody: Lyrical lines, with a long melisma on "rejoice"; slower second part begins in a minor key *Form: 3-part (da capo, A-B-A'), with shortened last section; instrumental introduction (ritornello)

Chp 24-LG 14 Handel: Messiah, Nos. 44 Part II: Easter Section/ 44. "Hallelujah Chorus"

*Date: 1742 *Genre: Oratorio, in 3-parts *Performed by: Boston Baroque, Martin Pearlman, conductor, Karen Clift, soprano *Texture: Varies from homorhythmic (all voices together) to imitative polyphony; fugal treatment, with overlapping voices *Expression: Varied dynamics for dramatic effect *Performing forces: SATB chorus, with voices in alternation, accompanied by orchestra

Chp 35-LG 25 Mozart: Don Giovanni, excerpts

*Date: 1787 *Genre: Opera buffa *Librettist: Lorenzo da Ponte *Characters: Don Giovanni, a licentious young nobleman (baritone), Leporello, Giovanni's servant (bass), Donna Anna, a noblewoman (soprano), Commendatore, the commandant; father of Donna Anna (bass), Don Ottavio, fiance of Donna Anna (tenor), Donna Elvira, a lady deserted by Giovanni (soprano), Zerlina, a peasant girl (soprano), Masetto, a peasant, fiance to Zerlina (bass) *Performed by: Kiri Te Kanawa, soprano; Ruggero Raimondi, bass baritone; Paris National Opera Orchestra, Lorin Maazel, conductor ~~Act I, SCENE 5 ~~Aria (Donna Elvira, with Don Giovanni and Leporello) *Melody: Short orchestral intro, the disjunct aria outlining triads, with many leaps; wide-ranging cadenza near end *Rhythm/meter: Accented duple meter *Form: Two main sections, each repeated with variation (A-B-A'-B') *Performing forces: Short orchestral intro, then alternates between soprano aria, orchestra and interjections from Don Giovanni and Leporello *Expression: Anger is emphasized by sudden dynamic shifts, quick tempo, and changes in range ~~Recitative *Melody: More static lines, speechlike *Rhythm: Quick notes, delivered freely *Performing forces: Accompanied by continuo instrument only ~~Catalogue Aria (Leporello) *Melody: Opening section, fast and patter-like (syllabic text setting); 2nd section is more lyrical *Rhythm meter: Opening Allegro in duple meter; then slower, minuet-like Andante in 3/4 *Form: Two main sections (Allegro, Andante), some repeated text with varied music ~~Act I, SCENE 9 ~~Duet (Don Giovanni, Zerlina) *Melody: Elegant tune in regular two- and four-measure phrases *Rhythm/meter: Graceful duple meter; closing section in a quick 6/8 *Form: Two sections, repeated and varied, with phrases exchanged between the singers; followed by a closing duet

Chp 36-LG 26 Mozart: Dies irae, from Requiem

*Date: 1791 *Genre: Requiem Mass *Performed by: Boston Baroque, Martin Pearlman, conductor *Melody: Dramatic choral opening, then operatic solo versus; final verse has choral outcry. *Rhythm/meter: Forceful, accented duple meter; closing has strong dotted-rhythmic idea *Harmony: Alternation between minor (opening and closing) and major; some harsh combinations *Texture: Largely homophonic *Form: Set in 8 versus, each treated with different performing forces *Expression: Mood shifts from fear (loud, accented) to wonderment to a quiet plea for salvation *Performing forces: Chorus, solo voices, and orchestra; choral opening and closing; verses 3-7 focus on solo voices *Timbre: Trumpets and timpani prominent; bass voice/trombone duet in verse 3 *Text: Rhymed Latin poem with eight 3-line verses; clear text declamation with some word-painting

Chp 45-LG 37 Wagner: Die Walkure (The Valkyrie), Act III, Opening Scene 1: Ride of the Valkyries

*Date: 1856; first performed 1870, in Munich *Genre: Music drama: second in a cycle of four (The Ring of the Nibelung) *Characters: Wotan, father of the gods (bass-baritone); Brunnhilde, his favorite daughter (soprano); Valkyries, the nine daughters of Wotan *Melody: Swirling strings and woodwinds, then famous "Ride" leitmotif ascends, repeated many times *Rhythm/meter: Lively dotted rhythm in 9/8 for the "Ride" leitmotif *Harmony: Leitmotif heard in both minor and major *Texture: Polyphonic, combines main theme and swirling idea *Expression: Excited mood; great dynamic contrasts; evokes battle cries and flying warriors *Performing forces: Huge orchestra featuring brass (8 french horns, bass trumpet, various sized trombones, Wagner tubas and contrabass tuba); woodwinds (piccolos, English horn, and bass clarinet); large percussion section (cymbals, triangle, glockenspiel, gong); and strings (including 6 harps)

Chp 42-LG 34 Grieg: Peer Gynt, Suite No. 1 (Op. 46), excerpts

*Date: 1875-76 (play); 1888 (suite) *Genre: Incidental music to a play by Henrik Ibsen *Performed by: New York Philharmonic, Leonard Bernstein, conductor ~~Morning Mood *Melody: Dreamy melody in an inverted arch shape, with decorative grace notes *Rhythm/meter: Lilting 6/8 meter *Harmony: E major, with many harmonic inflections; static chords *Texture: Homophonic *Form: 3-part (A-B-A') plus coda *Expression: Grows to a loud climax; swells in dynamics, then dies away *Performing forces: Pastoral instruments (flute, oboe, horn) are prominent ~~In the Hall of the Mountain King *Melody: Ghostly melody in two phrases, with a rising accented line *Rhythm/meter: Duple-meter march; short staccato notes and offbeat accents *Harmony: B minor *Texture: Homophonic *Form: A single theme repeated over and over *Expression: Huge crescendo and accelerando to a dramatic ending *Performing forces: Pizzicato strings and staccato woodwind effects; offbeats in brass and percussion

Chp 48-LG 40 Faure: Libera me, from Requiem, Op. 48

*Date: 1887-89 (revised 1893, 1900) *Genre: Mass for the Dead *Performed by: La Chapelle Royale, Ensemble Musique Oblique, Philippe Herreweghe, conductor *Melody: Baritone solo is lyrical, wide-ranging; chorus sings the melody in unison *Rhythm/meter: Pulsating ostinato accompanies opening and closing; shift to 6/4 meter in the middle (Dies irae) *Harmony: D minor; some expressive chromaticism *Texture: Homophonic solo and choral writing *Form: 3-part A-B-A' *Expression: Sensitive dynamics; serene mood *Text: Roman Catholic Mass for the Dead, Office for the Dead, and Burial Service *PErforming forces: BAritone solo, SATB chorus, chamber orchestra (brass, strings, harp, timpani, organ)

Chp 47-LG 39 Puccini: Madame Butterfly, "Un bel di"

*Date: 1904 *Librettists: Giuseppe Giacosa and Luigi IIlica *Basis: Play by David Belasco, from short story by John Luther Long, derived from Pierre Loti's tale Madame Chrysantheme *Setting: Nagasaki, Japan, at the beginning of the 20th century *Principal characters: Cio-Cio-San, or Madame Butterfly (soprano); Suzuki, her maid (mezzo-soprano); B. F. Pinkerton, lieutenant in the U.S. Navy (tenor); Sharpless, U.S. consul at Nagasaki (baritone); Goro, marriage broker (tenor); Prince Yamadori (tenor); Kate Pinkerton, American wife of Pinkerton (mezzo-soprano) *Melody: Soaring line, alternating with speechlike section; reaches several climaxes *Rhythm/meter: Slow and dreamy, then more agitated rhythmically *Harmony: Rich accompaniment; some unison writing *Expression: Dreamlike, the passionate and emotional; rising dynamic lines *Performing forces: Sparse accompaniment at the opening by a solo violin

Chp 55-LG 47 Berg: Wozzeck, Act III: scene 4, interlude, and scene 5

*Date: 1917-22; premiered 1925 *Genre: Opera, in 3 acts *Basis: Expressionist play by Georg Buchner *Characters: Wozzeck, a soldier (baritone); Marie, his common-law wife (soprano); Marie and Wozzeck's son (treble); Captain (tenor); Doctor (bass); Drum Major (tenor) ~~Scene 4: By the pond *Melody: Use of Sprechstimme (speechlike melody); disjunct line *Rhythm/meter: Movement alternates between metric and free-flowing *Harmony: Both tonal and atonal language; dissonant and chromatic *Expression: Intensely emotional vocal line, supported by dissonance and surging dynamics *Timbre: Eerie mood created by a celeste and unusual instrument combinations; colorful orchestral effects ~~Interlude in D minor *Rhythm/meter: Very slow tempo *Harmony: Lush, chromatic chords; a dissonant climax *Timbre: Strings, then brass, woodwinds, and timpani in a forceful climax ~~Scene 5: Children playing in front of Marie's house *Melody: "Off-key" children's song, then speechlike lines; disjunct, "jumping" melody from Marie's son *Rhythm: Lilting 12/8 meter, then pulse is more obscured *Harmony: Sweetly dissonant *Expression: Quietly surreal closing, powerfully emotional *TImbre: Children's voices accompanied by colorful orchestra

Chp 63-LG 58 Bernstein: West Side Story, excerpts

*Date: 1957 *Genre: Musical Theater *Characters: Maria,Tony,Anita,Riff,Bernardo ~~Act I: The Dance at the Gym, Mambo *Melody: Disjunct, syncopated riffs (short ideas) *Rhythm/meter: Fast-paced Afro-Cuban dance; highly rhythmic with much syncopation *Harmony: Sweetly dissonant *Texture: Dense and polyphonic *Expression: Frenetic Latin dance with excited voices and hand clapping *Timbre: Brass and Latin rhythm instruments (bongo drums, cowbells) featured *Text: Lyrics by Stephen Sondheim ~~Tonight Ensemble *Melody: Speechlike exchanges; soaring lines in the love duet *Rhythm/meter: Fast, accented, and rhythmic dialogue; ominous 3-note ostinato; duple-meter love song in regular phrases, with gentle, offbeat accompaniment *Harmony: Some unison singing; tonal but modulating *Texture: Complex and polyphonic; simultaneous lines *Form: 32-bar popular song form (8-bar sections, A-A'-B-A'', starting at 1:26) *Expression: Breathless gang dialogue *Performing forces: Men's chorus as gangs; Maria (soprano) and Tony (tenor), with orchestra

Chp 68-LG 62 Williams: Imperial March, from The Empire Strikes Back

*Date: 1980 *Genre: Film score *Performed by: Skywalker Symphony, John Williams, conductor *Melody: Accented, disjunct melody; two-measure phrases *Rhythm/meter: Quadruple meter, with repeated rhythmic ostinati *Harmony: G minor theme, with some chromaticism *Form: Theme and variations *Expression: Menacing and marchlike *Performing forces: Full orchestra; brass is featured

CHp 69-LG 63 Tavener: A Hymn to the Mother of God

*Date: 1985 *Genre: Hymn *Performed by: Choir of St. John's College, Cambridge, Christopher Robinson, conductor *Melody: Stepwise and very narrow range; clear syllabic text setting *Rhythm/meter: Free rhythm, varying groups of rhythmic patterns; unmetered *Harmony: Diatonic and modal, parallel triads and other third-related "stacked" intervals; contrasting and slightly more chromatic harmonies in second section *Texture: Homorhythmic and parallel motion in each choir; polyphony is achieved through rhythmically displaced canon between the two choirs *Form: A-B-A' *Expression: Mystical and almost chantlike *Performing forces: Twelve voices in two choirs, each SAATBB *Text: Greek Orthodox hymn, attributed to St. John Damascene

Chp 70-LG 64 Adams: Doctor Atomic, excerpts

*Date: 2005 *Genre: Opera *Setting: Los Alamos, New Mexico, 1945 *Librettist: Peter Sellars *Characters ~~Act I, scene 3, aria: "Batter my heart" *Melody: Jittery figurations and repeated notes in the ritornellos; lyrical vocal line with many dotted descending motives *Rhythm/meter: Ritornello is animated; vocal sections are slower, with shifting meters; dotted (short-long) figure prominent in the voice *Harmony: Triadic, with sustained chords below the vocal line *Texture: Dense in the ritornello; homophonic in vocal sections *Form: A-A-B structure, framed by ritornellos *Expression: Nervous quality in the ritornellos, with wide dynamic swells; an overall dark mood, with an expressive sighing motive *Text: Holy Sonnet XIV, by John Donne ~~Act II, scene 3, chorus: "At the sight of this": *Melody: Short choppy phrases with declaimed text, much repetition of ideas *Rhythm/meter: Syncopated, with many offbeat accents *Harmony: Sharply dissonant *Form: Verse/refrain structure with repeated sections and text *Expression: Fiery mood; mysterios electronic sounds *Timbre: Prominent timpani and brass *Performing forces: Chorus and Orchestra *Text: Bhagavad Gita, Chapter 11

Chp 15-LG 3 Notre Dame School: Gaude Maria virgo (Rejoice, Virgin Mary)

*Date: Early 13th century *Genre: Organum *Performed by: Lionheart *Melody: Short, repeated ideas exchanged between the upper voices. *Rhythm/meter: Simple pattern of long-short-long-short in upper voices over the slow-moving bottom voice(Tenor) *Harmony: Open, hollow-sounding cadences on the intervals of fifths and octaves *Texture: 3-part polyphony, alternating with monophonic chant *Expression: The opening words "Gaude Maria" are drawn out in a long melismatic setting *Performing forces: A cappella; soloists sing organum; choir sings chant *Text: prayer in praise of the Virgin Mary

Chp 14-LG 2 Hildegard of Bingen: Alleluia, O virga mediatrix

*Date: Late 12th century *Genre: Alleluia plainchant, from the Proper of the Mass on feasts for the Virgin Mary *Performed by: Oxford Camerata, Jeremy Summerly, director *Melody: Unaccompanied, conjunct line with some expressive leaps and melismas *Rhythm: Free and nonmetric, following the flow of words *Texture: Monophonic *Form: 3-part structure (Alleluia-verse-Alleluia), performed responsorially *Expression: Dramatic leaps of a fifth; high-range climaxes on important words *Performing forces: A cappella choir, alternating soloist and choir *Text: Prayer to the Virgin Mary, written by Hildegard

Chp 25-LG 15 Billings: David's Lamentation

*Date: Published 1778 *Genre: Anthem *Performed by: Hilliard Ensemble, Paul Hillier, director *Melody: Mostly stepwise, moving through various voices. *Rhythm/meter: DUple meter, regular rhythmic patterns *Harmony: Consonant *Texture: Homorhythmic, 4-part chorus, with solos and duets *Form: A-B-B *Expression: Simple declamation of spiritualism *Performing forces: SATB voices *Text: Paraphrase of 2 Samuel 18:33

Chp 22-LG 12 Purcell: Dido and Aeneas, Act III, Recitative Lament

*Same info as above except... *Melody: Recitative with half-step movement; more lyrical aria Rhythm/meter: Free recitative; slow aria in triple meter *Harmony: Aria is based on a repeated chromatic ground bass *Form: Aria is in two sections, each repeated (A-A-B-B), over the ground bass *Performing forces: Baroque-period instruments with solo voice