Romantic Music

SCHUMANN, Carnaval (Carnival; 1834-1835) Chiarina (Little Clara) Listening

1. 0:00 1. Phrase A, ascending and descending, dotted rhythm, phrase A louder with melody in octaves and conclusive ending. 2. 0:21 2. a. Phrase B, softer beginning, dotted rhythm, melody with repeated high note. 2. 0:30 2. b. Phrases A and A' return. Repeat of part 2 0:50 Part 2 is repeated.

WAGNER, Die Walküre (The Valkyrie; 1856) Listening

Act I, Love Scene, Conclusion Love Scene 0:00 (Sieglinde pushes Siegmund's hair back from his brow and looks at him with astonishment.) Sieglinde Wie dir die Stirn so offen steht, der Adern Geäst in den Schläfen sich schlingt! Mir zagt es vor der Wonne, die mich entzückt! Look how your forehead broadens out, and the network of veins winds into your temples. I tremble with the delight that enchants me.Love Scene 0:19 Valhalla, French horns, . Ein Wunder will mich gemahnen: den heut zuerst ich erschaut, mein Auge sah dich schon!It brings something strange to my mind: though I first saw you today, I've set eyes on you before.Siegmund Ein Minnetraum gemahnt auch mich: in heissem Sehnen sah ich dich schon! A dream of love comes to my mind as well: burning with longing I have seen you before.Sieglinde Im Bach erblickt' ich mein eigen Bild und jetzt gewahr ich es wieder: wie einst dem Teich es enttaucht, bietest mein Bild mir nun du! In the stream I've seen my own likeness; and now I see it again. As once it appeared in the water so now you show me my likeness.Love Scene 1:28 Love, voice. Siegmund Du bist das Bild, das ich in mir barg. You are the likeness that I hid in myself. Love, French horn, . Sieglinde O still! Lass mich der Stimme lauschen: mich dünkt, ihren Klang hört' ich als Kind. Hush! let me listen to your voice. Its sound, I fancy, I heard as a child,Doch nein! Ich hörte sie neulich, als meiner Stimme Schall mir widerhallte der Wald.but no! I heard it recently— when the echo of my voice sounded back through the forest.Siegmund O lieblichste Laute, denen ich lausche! O loveliest sound for me to hear!Love Scene 2:24 Volsung, low strings, , together with Sword, bass trumpet, . Sieglinde Deines Auges Glut erglänzte mir schon: The fire in your eyes has blazed at me before:Love Scene 2:34 Valhalla. French horns, , then strings, so blickte der Greis grüssend auf mich, als der Traurigen Trost er gab. An dem Blick erkannt' ihn sein Kind. schon wollt' ich beim Namen ihn nennen! PauseSo the old man gazed at me in greeting when to my sadness he brought comfort. By his look his child recognized him, I even wanted to call him by name.Wehwalt heisst du fürwahrAre you really called WoefulSiegmund Nicht heiss ich so, seit du mich liebst: nun walt ich der hehrsten Wonnen! I am not called that since you love me: Now I am full of purest rapture.Sieglinde Und Friedmund darfst du froh dich nicht nennen And "Peaceful" may you not, being happy, be namedSiegmund Nenne mich du, wie du liebst, dass ich heisse: den Namen nehm ich von dir! Name me what you love to call me. I take my name from you.Sieglinde Doch nanntest du Wolfe den Vater Siegmund Ein Wolf war er feigen Füchsen! Doch dem so stolz strahlte das Auge, wie, Herrliche, hehr dir es strahlt, der war: Wälse genannt. But did you name Wolf as your father A Wolf he was to craven foxes! But he whose proud eyes shone as grandly as yours, you marvel, his name was "Volsa."Sieglinde War Wälse dein Vater, und bist du ein Wälsung, stiess er für dich sein Schwert in den Stamm, so lass mich dich heissen, wie ich dich liebe: Siegmund: so nenn ich dich! If "Volsa" was your father and you are a "Volsung," it was for you he thrust his sword into the tree— so let me call you by the name I love: Siegmund (Victor)—so I name you.Siegmund Siegmund heiss ich und Siegmund bin ich! Bezeug es dies Schwert, das zaglos ich halte! Wälse verhiess mir, in höchster Not Siegmund I am called and Siegmund I am, let this sword, which I fearlessly hold, bear witness. Volsa promised me that in deepest distressfänd' ich es einst: ich fass es nun! Heiligster Minne höchste Not, sehnender Liebe sehrende Not brennt mir hell in der Brust, drängt zu Tat und Tod:I should one day find it. Now I grasp it. Holiest love's deepest distress, yearning love's scorching desire, burn bright in my breast, urge me to deeds and death.Love Scene 5:20 Voice, downward Notung! Notung! so nenn ich dich, "Needy," "Needy," I name you,Schwert. Notung, Notung! neidlicher Stahl! Zeig deiner Schärfe schneidenden Zahn: heraus aus der Scheide zu mir!sword. "Needy, Needy," precious blade, show your sharpness and cutting edge: come from your scabbard to me!Love Scene 5:50 Sword, the trumpets, . (With a powerful effort, Siegmund pulls the sword from the tree, showing it to astonished and delighted Sieglinde.) Love Scene 6:07 Volsung, trumpets, . Siegmund, den Wälsung, siehst du, Weib! Als Brautgabe bringt er dies Schwert: so freit er sich die seligste Frau; dem Feindeshaus entführt er dich so. Fern von hier folge mir nun,You see Siegmund, the Volsung, woman! As wedding gift he brings this sword; so he weds the fairest of women; he takes you away from the enemy's house. Now follow me far from here,Love Scene 6:41 Spring, voice. fort in des Lenzes lachendes Haus: into springtime's smiling house. dort schützt dich Notung, das Schwert, wenn Siegmund dir liebend erlag!For protection you'll have "Needy" the sword, even if Siegmund expires with love.Sieglinde Bist du Siegmund, den ich hier sehe, Sieglinde bin ich, die dich ersehnt: die eig'ne Schwester gewannst du zu eins mit dem Schwert! Are you Siegmund whom I see here I am Sieglinde who longed for you: your own sister you have won and the sword as well.Siegmund Braut und Schwester bist du dem Bruder, so blühe denn Wälsungen-Blut! Wife and sister you'll be to your brother. So let the Volsung blood increase!Love Scene 7:39 Sword, brasses, . Passionate orchestral conclusion. (He draws her to him with passionate fervor.)

VERDI, Rigoletto (1851) Act III aria: La donna è mobile Listening

Duke's aria 0:00 Orchestra introduces Duke's melody. Duke's aria 0:10 Duke La donna è mobile Qual piuma al vento, Muta d'accento E di pensiero. Woman is fickle Like a feather in the wind, She changes her words And her thoughts. Duke's aria 0:22 Sempre un amabile Leggiadro viso, In pianto o in riso, È menzognero. La donna è mobile, ecc.Always a lovable And lovely face, Weeping or laughing, Is lying. Woman is fickle, etc. Orchestra. Duke's aria 1:10 Duke's melody repeated with different words. È sempre misero Chi a lei s'affida, Chi le confida Mal cauto il core! The man's always wretched Who believes in her, Who recklessly entrusts His heart to her!Duke's aria 1:21 Pur mai non sentesi Felice appieno Chi su quel seno Non liba amore! La donna è mobile, ecc.And yet one who never Drinks love on that breast Never feels Entirely happy! Woman is fickle, etc.Duke's aria 2:04 Duke's melody in orchestra, decrescendo.

WAGNER, Die Walküre (The Valkyrie; 1856) Background

Die Walküre (The Valkyrie) is the second and most widely performed of the four music dramas in Wagner's gigantic cycle Der Ring des Nibelungen (The Ring of the Nibelung). Despite its gods, giants, dwarfs, and magic fire, the Ring is really about Wagner's view of nineteenth-century society. He uses Nordic mythology to warn that society destroys itself through lust for money and power. It is fitting that Wagner first sketched the plot of the Ring in 1848, the year that brought Marx's Communist Manifesto and revolutions throughout Europe. Act I: Love scene (conclusion) Wagner builds the first act of Die Walküre to an overwhelming climax in the passionate love scene which concludes it. To grasp this scene fully, it's helpful to know what has happened earlier in the Ring. A Nibelung dwarf, Alberich, has stolen gold belonging to the Rhine maidens, mermaids in the Rhine River. From this gold, the dwarf fashions a ring that can bestow immense power on anyone who wears it and is willing to renounce love. The dwarf, in turn, is robbed of his prize by Wotan, king of the gods. (Wednesday comes from Wotan's day.) Soon Wotan himself is forced to give up the ring; he then lives in fear that Alberich will get it back and use it to destroy him. Hoping to protect himself, he surrounds his castle, Valhalla, with a bodyguard of heroes. His daughters, goddesses called Valkyries, swoop over battlefields on horseback and bear away the dead bodies of the bravest warriors. The Valkyrie of the opera's title is Brünnhilde, Wotan's favorite daughter. Seeking to create a hero who can help him regain the ring, Wotan takes a human wife and fathers the Volsung twins—a son, Siegmund; and a daughter, Sieglinde. The twins know their father as Wälse, unaware that he is the god Wotan. They are separated as children when a hostile clan kidnaps Sieglinde and kills their mother. Siegmund becomes an outlaw and Sieglinde is eventually forced to marry the warrior-chief Hunding, whom she hates. During the wedding feast in Hunding's home, Wotan appears, disguised as an old man dressed in gray. He thrusts a magic sword into the tree around which the house is built, and proclaims that the weapon belongs to the one who can draw it out. Hunding and his followers try but are unable to withdraw the sword. The first act of Die Walküre begins as Siegmund, weaponless and pursued by enemies, unwittingly takes refuge in the house of Hunding, who is away hunting. Sieglinde and Siegmund almost immediately fall in love, unaware that they are brother and sister. Hunding returns and soon realizes that the stranger—who identifies himself as Wehwalt (Woeful)—is an enemy of his clan. He says that Siegmund is his guest for the night, but the next day they must do battle. Sieglinde gives her husband a sleeping potion and tells Siegmund that her shame and misery will be avenged by the hero who can withdraw the sword from the tree. As they embrace passionately, the door of the hut suddenly opens, allowing the moonlight of a beautiful spring night to shine on them. The following excerpt occurs at the end of the love scene, when Siegmund and Sieglinde gradually become aware of their amazing resemblance to each other and finally realize that they are brother and sister. Since her beloved no longer wants to be called Wehwalt, Sieglinde renames him Siegmund (Victor). With a powerful effort, Siegmund withdraws the sword from the tree and the lovers rapturously embrace. (The offspring of this unlawful union will be Siegfried, the human hero of the Ring cycle. In the mythology and folklore of many lands, heroes are often born of incestuous love.) In the excerpt which we'll study, Wagner creates a continuous musical flow that depicts the surging passions of the lovers through frequent changes of tempo, dynamics, and orchestral color. Typically, the vocal lines range from speechlike to highly melodic and closely reflect the inflections and meaning of the text. For example, the word Notung (Needy)—the name of the sword—is powerfully emphasized when it is sung to the downward leap of an octave.

MENDELSSOHN, Concerto for Violin and Orchestra in E Minor First Movement: Allegro molto appassionato Background

Mendelssohn's Violin Concerto in E Minor, Op. 64, was inspired by his friendship with the concertmaster of his orchestra, the famous violinist Ferdinand David. "I should like to make a violin concerto for you next winter," Mendelssohn wrote. "One in E minor runs in my head and its beginning gives me no rest." With David as soloist, the Violin Concerto met with great success at its premiere in 1845. Ever since, its unique fusion of lyricism and virtuosity has made it one of the best-loved concertos. The concerto's three movements are played without pause, in a characteristic linking technique used by romantic composers. Mendelssohn's love of balance is reflected in the cooperation and interplay between soloist and orchestra. Themes pass from one to another, producing a beautiful contrast of tone color and expression. At one moment, the violinist plays a melody while the orchestra discreetly accompanies; at another, the woodwinds present thematic fragments while the soloist has dazzling running passages. This piece is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 French horns, 2 trumpets, timpani, 1st violins, 2d violins, violas, cellos, and double basses. First Movement: Allegro molto appassionato (very impassioned allegro) Though Mendelssohn is usually considered a conservative composer, a "classical romantic," his opening movement departs from classical concerto form. Traditionally, the opening movement of a concerto began with an extended section for orchestra. But Mendelssohn's first movement begins with the soloist, who presents the main theme. This ardent, expansive melody is heard high above a murmuring string accompaniment. The orchestra then expands the violin's theme and introduces a new, flowing melody that begins the bridge section of this sonata-form movement. Toward the end of the bridge, the excitement is gradually relaxed to prepare for the second theme, a tranquil woodwind melody which the soloist accompanies with a single sustained tone. This unusual combination of instruments produces a delicate, intimate sound. Following this, the violin reclaims the spotlight and sings the tranquil theme while the woodwinds support it. The cadenza has a new function in this movement. In classical concertos, the cadenza was improvised by the soloist and played near the end of the movement. Here, the composer has written it out and placed it at the end of the development section as a transition to the recapitulation. Mendelssohn wanted the cadenza to be an integral part of the movement, not merely something tacked on to display the soloist's virtuosity. Listen for the magical moment when the violinist's rapid arpeggios are joined by the orchestra softly playing the first theme of the recapitulation. _________________________________________________________________ Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64, I Hilary Hahn, violin; Oslo Philharmonic; Hugh Wolf, conductor (P) 2002 Sony Music Entertainment

SCHUBERT, Erlkönig (The Erlking; 1815) Listening

Piano introduction, rapid octaves, , bass motive, minor key Song 0:23 Narrator 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. Who rides, so late, through the night and the wind It is the father with his child. He holds the boy close in his arms, He clasps him securely, he holds him warmly. Song 0:56 Father, Low register "Mein Sohn, was birgst du so bang dein Gesicht" "My son, why do you hide your face so anxiously" Song 1:04 Son, Higher register "Siehst, Vater, du den Erlkönig nicht Den Erlenkönig mit Kron und Schweif" "Father, don't you see the Erlking The Erlking with his crown and his train" Song 1:20 Father, Low register "Mein Sohn, es ist ein Nebelstreif.""My son, it is a streak of mist." Song 1:29 Erlking, Coaxing tune, , higher register, major. "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 gülden Gewand." "Dear child, come, go with me! I'll play the prettiest games with you; Many colored flowers grow along the shore, My mother has many golden garments." Song 1:54 Son, Outcry, , minor. "Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht" "My father, my father, and don't you hear The Erlking whispering promises to me" Song 2:07 Father, Low register "Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind." "Be quiet, stay quiet, my child; The wind is rustling in the dead leaves." Song 2:17 Erlking, Playful tune, , major. "Willst, feiner Knabe, du mit mir gehen Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein." "My handsome boy, will you come with me My daughters shall wait upon you; My daughters lead off in the dance every night, And cradle and dance and sing you to sleep." Song 2:36 Son, Outcry, , higher than before, minor. "Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort" "My father, my father, and don't you see there The Erlking's daughters in the shadows" Song 2:48 Father, Lower register "Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau." "My son, my son, I see it clearly: The old willows look so gray." Song 3:06 Erlking "Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt." "I love you, your beautiful figure delights me; And if you're not willing, I shall use force." Song 3:18 Son, Outcry, , highest yet. "Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!" "My father, my father, now he is taking hold of me! The Erlking has hurt me!" Song 3:31 Narrator Dem Vater grauset's, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh' und Not;The father shudders; he swiftly rides on, He holds in his arms the groaning child, He reaches the courtyard weary and anxious:Recitative 3:56 In seinen Armen das Kind war tot.In his arms, the child was dead.

TCHAIKOVSKY, Romeo and Juliet, Overture-Fantasy (1869) Background

Romantic composers felt an artistic kinship with Shakespeare because of his passionate poetry, dramatic contrasts, and profound knowledge of the human heart. Shakespeare's plays inspired some of the finest nineteenth-century compositions. Among these were Macbeth and Othello, set as operas by Verdi; and A Midsummer Night's Dream, depicted in incidental music by Mendelssohn. Romeo and Juliet inspired both a "dramatic symphony" by Berlioz and a concert overture by Tchaikovsky. Tchaikovsky composed Romeo and Juliet at twenty-nine, near the beginning of his musical career. Although it is now one of the best-loved works, Romeo and Juliet was a dismal failure at its premiere in 1870. "After the concert we dined. . . . No one said a single word to me about the overture the whole evening. And yet I yearned so for appreciation and kindness." Tchaikovsky decided to revise the overture. He composed a new theme to represent Friar Laurence, adopting a suggestion made by his friend Balakirev. Despite this, the work remained unappreciated. Only about twenty years later, after further revisions, did it achieve worldwide popularity. Like Shakespeare's play, Tchaikovsky's Romeo and Juliet glorifies a romantic love powerful enough to triumph over death. Tchaikovsky captures the essential emotions of Shakespeare's play without defining the characters or the exact course of events. Highly contrasted themes are used to express the conflict between family hatred and youthful love. Tchaikovsky also depicts the gentle and philosophical Friar Laurence, intermediary between the lovers and the harsh outside world. Romeo and Juliet is a concert overture consisting of a slow introduction followed by a fast movement in sonata form. (Tchaikovsky's title—Overture-Fantasy—implies that he treated the musical material in a free and imaginative way.) We can enjoy Romeo and Juliet as an exciting orchestral piece without knowing the play. However, a new dimension is added to our listening experience when we associate the music with the drama. Tchaikovsky opens the overture with the Friar Laurence theme, a solemn, hymnlike melody. As the slow introduction unfolds, brooding strings set an atmosphere of impending tragedy. The clash of swords and the anger of the feud between the Montagues and the Capulets are suggested by the violent first theme of the allegro. Syncopations, rushing strings, and massive sounds create enormous excitement. The second theme of the exposition, a tender love theme, is expressively scored for English horn and muted violas. When the love theme returns in the recapitulation, it has a new, exultant character, as Tchaikovsky envelops the listener in opulent sound. There are long crescendos as the melody is led higher and higher to ever more passionate orchestral climaxes. In the coda, Tchaikovsky transforms the love theme into a song of mourning, while timpani softly beat the rhythm of a funeral march. Then, a new hymn and a tender reminiscence of the love theme suggest that Romeo and Juliet are reunited in death. This piece is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, harp, 1st violins, 2d violins, violas, cellos, and double basses. _________________________________________________________________ Tchaikovsky: Romeo and Juliet, Overture-Fantasy New York Philharmonic; Leonard Bernstein, conductor Originally released 1963. All rights reserved by Sony Music Entertainment

SMETANA, The Moldau (1874) Background

SMETANA, The Moldau (1874) "Today I took an excursion to the St. John Rapids where I sailed in a boat through huge waves. . . . The view of the landscape was both beautiful and grand." Smetana's trip inspired his famous symphonic poem The Moldau, which depicts Bohemia's main river as it flows through the countryside. This orchestral work, part of the cycle Má Vlast (My Country), is both a romantic representation of nature and a display of Czech nationalism. The Moldau was written in three weeks shortly after Smetana became deaf, but its fresh, optimistic mood gives no hint of the composer's anguish and despair. Smetana wrote the following program to preface his score: The composition depicts the course of the river, beginning from its two small sources, one cold the other warm, the joining of both streams into one, then the flow of the Moldau through forests and across meadows, through the countryside where merry feasts are celebrated; water nymphs dance in the moonlight; on nearby rocks can be seen the outline of ruined castles, proudly soaring into the sky. The Moldau swirls through the St. John Rapids and flows in a broad stream toward Prague. It passes Vysehrad (where an ancient royal castle once stood), and finally the river disappears in the distance as it flows majestically into the Elbe. The Moldau falls into contrasting musical sections that represent different scenes and episodes described in the program. Hunting along the riverbank is suggested by horn fanfares; a peasant wedding by a rustic polka, the Bohemian dance; and a moonlit night by shimmering woodwinds and a serene melody in high muted strings. An expansive folklike theme that recurs several times symbolizes the river. Smetana unifies the symphonic poem with running notes evoking the movement of water, sometimes rippling, sometimes turbulent. This piece is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, triangle, cymbals, harp, 1st violins, 2d violins, violas, cellos, and double basses. _________________________________________________________________ Smetana: The Moldau New York Philharmonic; Leonard Bernstein, conductor Originally released 1966. All rights reserved by Sony Music Entertainment

PUCCINI, La Bohème (1896) Excerpt from Act I Listening

Speechlike dialogue 0:00 Flute melody. (Rodolfo closes the door, sets his light on the table, and tries to write. But he tears up the paper and throws the pen down.) Rodolfo Non sono in vena. Rodolfo (Speechlike) Chi è la Mimi Scusi. Rodolfo Una donna! I'm not in the mood. (A timid knock at the door.) Who's there Excuse me. A woman!Mimi's theme, , in orchestra. Mimi Di grazia, me si è spento il lume. Rodolfo (opens the door) Ecco. I'm sorry...my light has gone out. Here. (Mimi in the doorway, with a candlestick and a key) Mimi Vorrebbe . . . Rodolfo S'accomodi un momento. Mimi Non occorre. Rodolfo La prego, entri. Would you . . . Come in for a moment. There's no need. Please . . . come in. (Mimi enters, has a fit of coughing.) Rodolfo Si sente male Mimi No . . . nulla. Rodolfo Impallidisce! Mimi È il respir...quelle scale... You're not well No . . . it's nothing. You're pale! I'm out of breath...the stairs...Speechlike dialogue 1:04 Oboe (She faints, and Rodolfo is just in time to support her and help her to a chair. The key and the candlestick fall from her hands.) Rodolfo Ed ora come faccio Now what shall I do Pizzicato violins. (He gets some water and sprinkles her face.) Così. Che viso d'ammalata!So. How ill she looks!Speechlike dialogue 1:28 Staccato muted strings. (Mimi comes to.) Rodolfo Si sente meglio Mimi Sì. Rodolfo Qui c'è tanto freddo. Segga vicino al fuoco. Are you better now Yes. It's so cold here. Come and sit by the fire. (He helps her to a chair by the stove.) Rodolfo Aspetti...un po' di vino. Mimi Grazie. Rodolfo A lei. Wait...some wine. Thank you. Here.Mimi Poco, poco. Rodolfo Così. Mimi Grazie. Rodolfo (Che bella bambina!) Just a little. There. Thank you. (What a lovely creature!) Mimi (rising) Ora permetta che accenda il lume. È tutto passato. Rodolfo Tanta fretta. Mimi Sì. Now, please, relight my candle. I'm better now. Such a hurry! Yes. (Rodolfo lights her candle for her.) Mimi Grazie. Buona sera. Rodolfo Buona sera. Thank you. Good evening. Good evening. (Mimi goes out, then reappears at the door.) Speechlike dialogue 2:21 A little faster. Tuneful vocal melody. Mimi Oh! sventata, sventata, la chiave della stanza dove l'ho lasciata Rodolfo Non stia sull'uscio: Il lume vacilla ai vento. Oh! foolish me!...where have I left the key to my room Don't stand in the door: The wind makes your light flicker. (Her candle goes out.) Mimi Oh Dio! Torni ad accenderlo. Heavens! Will you relight it (Rodolfo rushes to her with his light, but when he reaches the door, his candle goes out, too. The room is dark.) Rodolfo Oh Dio! Anche il mio s'è spento. Heavens! Now mine's out, too.Mimi Ah! E la chiave ove sarà Rodolfo Buio pesto! Mimi Disgraziata! Rodolfo Ove sarà Mimi Importuna è la vicina... Rodolfo Ma le pare! Mimi Importuna è la vicina... Rodolfo Cosa dice, ma le pare! Mimi Cerchi. Rodolfo Cerco. Ah! And where can my key be Pitch-dark! Unlucky me! Where can it be I'm a bothersome neighbor... Not at all. I'm a bothersome neighbor... What do you mean Not at all! Search. I'm searching. (They both grope on the floor for the key.) Mimi Ove sarà Rodolfo (finds key, pockets it) Ah! Mimi L'ha trovata Rodolfo No. Mimi Mi parve... Rodolfo In verità! Mimi Cerca Rodolfo Cerco. Where can it be Ah! Did you find it No. I thought... Truthfully! Are you hunting I'm hunting for it. Speechlike dialogue 3:40 Orchestra alone, tempo slows (Guided by her voice, Rodolfo pretends to search as he draws closer to her. Then his hand meets hers, and he holds it.) Mimi (surprised) Ah! Ah! (They rise. Rodolfo continues to hold Mimi's hand.) Rodolfo's aria 4:01 Rodolfo's aria. Rodolfo Che gelida manina, Se la lasci riscaldar. How cold your little hand is! Let me warm it for you. Cercar che giova Al buio Non si trova. Harp Ma per fortuna È una notte di luna, E qui la luna l'abbiamo vicina. Aspetti, signorina, Le dirò con due parole chi son, Chi son, e che faccio, come vivo. VuoleWhat's the use of searching We'll never find it in the dark. But luckily There's a moon, And she's our neighbor here. Just wait, my dear young lady, And meanwhile I'll tell you In a word who and what I am. Shall I (Mimi is silent.) Chi son Chi son Son un poeta. Che cosa faccio Scrivo. E come vivo Vivo. In povertà mia lieta Scialo da gran signore Rime ed inni d'amore. Per sogni e per chimere E per castelli in aria L'anima ho milionaria.Who am I I'm a poet. My business Writing. How do I live I live. In my happy poverty I squander like a prince My poems and songs of love. In hopes and dreams And castles in air, I'm a millionaire in spirit. Rodolfo's aria 6:23 Talor dal mio forziere Ruban tutti i gioielli Due ladri: gli occhi belli. My hoard of treasure Is stolen by two thieves: A pair of beautiful eyes. V'entrar con voi pur ora Ed i miei sogni usati, Ed i bei sogni miei Tosto si dileguar! Ma il furto non m'accora Poichè, poichè v'ha preso stanza La speranza.They came in now with you And all my lovely dreams, My dreams of the past, Were soon stolen away. But the theft doesn't upset me, Since the empty place was filled With hope.Or che mi conoscete Parlate voi, deh! parlate. Chi siete Vi piaccia dirNow that you know me, It's your turn to speak. Who are you Will you tell me

MUSSORGSKY-RAVEL, Pictures at an Exhibition, The Great Gate of Kiev (1874) Arranged for Orchestra by Maurice Ravel (1922) Background

The son of a wealthy landowner, Modest Mussorgsky (1839-1881) was educated in a military academy and became an army officer when he was seventeen. After two years he left the army to devote himself to music. But the emancipation of the Russian serfs in 1861 caused financial hardship for his family, and Mussorgsky had to find a job. He became a government clerk in St. Petersburg and remained in that position for most of his life. Though a competent pianist, Mussorgsky had little training in composition. He taught himself, except for occasional advice from Balakirev—one of the Russian five. Mussorgsky was plagued by severe psychological problems and eventually became an alcoholic. When he died at forty-two, he left relatively few compositions. These include the symphonic poem Night on Bald Mountain (1867), some songs, and the opera Boris Godunov (1874). Pictures at an Exhibition (1874) originated as a cycle of piano pieces inspired by pictures in a memorial exhibition honoring Mussorgsky's recently deceased friend, the Russian architect and artist Victor Hartmann (1842-1873). Apart from the introduction, Promenade, ten pieces of the set have descriptive titles related to specific drawings and paintings by Hartmann in the exhibition: (1) Gnome—Promenade, (2) The Old Castle—Promenade, (3) Tuileries: Dispute between Children at Play, (4) Bydlo (Polish Oxcart)—Promenade, (5) Ballet of the Unhatched Chicks, (6) Samuel Goldenberg and Schmuyle—Promenade, (7) The Marketplace at Limoges, (8) Catacombs: Roman Burial Place—Promenade: Con mortuis in lingua mortua (With the Dead in a Dead Language), (9) The Hut on Hen's Feet: Baba-Yaga, (10) The Great Gate of Kiev. The introduction, Promenade, reappears in varied forms to unify the cycle and to represent Mussorgsky's changing moods as he walks through the exhibition. Parts of the work express the composer's Russian nationalism. The Hut on Hen's Feet: Baba-Yaga depicts a witch in Russian fairy tales, and The Great Gate of Kiev includes a Russian hymn melody. Mussorgsky sometimes creates the feeling of Russian folk music by using modal melodies with changing meters and narrow ranges. Pictures at an Exhibition was not performed in public during the composer's lifetime; it found favor with pianists only around the middle of the twentieth century. Today, the work is best-known in its brilliant orchestral arrangement (1922) by the French composer Maurice Ravel (Part VII, Section 5). We'll focus on the climactic finale of Pictures at an Exhibition, The Great Gate of Kiev, in Ravel's orchestral version. The Great Gate of Kiev The grandiose Great Gate of Kiev was inspired by Hartmann's design—never executed—for a monumental entrance to the city of Kiev. This ancient city was the birthplace of Christianity and church music in Russia. The Great Gate of Kiev begins with a processional main theme that recurs several times with changes in orchestration, dynamics, accompaniment, tempo, and rhythm. Two other themes appear as well. One is soft and solemn, Mussorgsky's adaption of the Russian hymn As You Are Baptized in Christ. The second is the assertive Promenade theme, which has been heard several times previously. This theme is now accompanied by spectacular bell sounds. Bells were a characteristic feature of czarist Russia and were linked with events that marked the passage of time—births, deaths, weddings, and coronations. This piece is scored for piccolo, 3 flutes, 3 oboes, English horn, 2 clarinets, bass clarinet, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, glockenspiel, bells, 2 harps, 1st violins, 2d violins, violas, cellos, and basses.

MUSSORGSKY-RAVEL, Pictures at an Exhibition, The Great Gate of Kiev (1874) Arranged for Orchestra by Maurice Ravel (1922) Listening

1. 0:00 1. a. Majestic main melody, , brasses and woodwinds; suddenly softer, crescendo. 1. 0:43 1. b. Main melody repeated, , full orchestra, cymbal crashes. 2. 1:02 2. Sudden , Russian hymn, clarinets and bassoons. 3. 1:38 3. a. Sudden , full orchestra, main melody in low brasses, accompanied by high fast scales. 3. 1:54 3. b. Main melody repeated in high brasses, accompanied by low fast scales 4. 2:13 4. Sudden , Russian hymn, clarinets and bassoons; flutes join. 5. 2:48 5. a. Bell tolls, , alternating with gong, cymbals, and tuba, steady beat; high soft violin pulsations join. 5. 3:18 5. b. Trumpets, glockenspiel, , promenade theme; bell tolls, crescendo, rapid descending scales in strings, , brief pause. 6. 3:51 6. a. Main theme in slow tempo, full orchestra, , brass fanfares in triple meter; suddenly softer, pulsations in strings, gradual crescendo builds to , full orchestra, timpani rolls, cymbal crashes. 6. 5:18 6. b. Main theme phrase in very slow tempo, , full orchestra, bells, gong, cymbals, bass drum. Triumphant concluding chords.

CHOPIN, Nocturne in E Flat Major Op. 9, No. 2 (1830-1831)

12/8 meter 1. 0:00 1. a. Main melody, dolce, espressivo, waltzlike accompaniment. 1. 0:25 1. b. Main melody, , embellished with decorative notes and trills. 2. 0:51 2. a. Subordinate melody, , played with rubato; 2. 1:18 2. b. Main melody, with more elaborate decorative notes and trills; chromatic descent leads to cadence. 2. 1:44 2. c. Subordinate melody, , played with rubato; crescendo to 2. 2:11 2. d. Main melody with more elaborate decorative notes and trills; chromatic descent leads to cadence. 3. 2:39 3. a. Concluding melody, , then . 3. 3:10 3. b. Concluding melody varied, crescendo with ascent to high register, melody played forcefully in octaves, ; high trill-like figure, decrescendo and descent to gentle, rocking close, , then .

BRAHMS, How Lovely Is Thy Dwelling Place Ein Deutsches Requiem (A German Requiem; 1868) Background

A masterpiece of romantic choral music, the German Requiem established Brahms, at thirty-four, as a leading composer of his time. Scored for chorus, baritone and soprano soloists, and orchestra, it consists of seven movements and lasts more than an hour. Brahms entitled the work Ein Deutsches Requiem—A German Requiem—because he had chosen texts relating to death and resurrection from Luther's German translation of the Bible. He meant to distinguish his composition from the Latin requiem, or mass for the dead, which includes a vivid depiction of the last judgment (as in the Dies irae from Mozart's Requiem, studied in Section 11 of Part V). Fourth Movement: How Lovely Is Thy Dwelling Place Chorus and orchestra Brahms sent the manuscript of this movement to Clara Schumann, who wrote back, "The chorus from the Requiem pleases me very much; I imagine it must sound beautiful." The predominantly lyrical music subtly reflects the text, which is from Psalm 84, verses 2, 3, and 5. For example, the word lieblich (lovely) is increasingly emphasized within the movement, and the excitement of Meine Seele verlanget und sehnet (My soul longs and faints) is expressed through quicker rhythms and polyphonic imitations. Like the rest of the German Requiem, this movement shows Brahms's masterful vocal writing, gained from his wide experience as a choral conductor performing works by Bach and Handel. The rich variety of choral colors in the German Requiem is created by skillful alternation among homophonic, monophonic, and polyphonic textures. There is frequent interplay between chorus and orchestra. For example, the fourth movement opens with an introductory downward phrase in the high woodwinds, which is immediately inverted, or turned upside-down, to become the magical rising opening phrase with which the sopranos enter.

BERLIOZ, Symphonie fantastique Fourth Movement: March to the Scaffold (1830) Listening

Allegretto non troppo March to the Scaffold 0:00 1. Timpani, pizzicato basses, ; syncopations in muted French horns, , crescendo to chord. March to the Scaffold 0:28 2. a. Basses and cellos alone, , downward scalewise melody, minor, decrescendo. March to the Scaffold 0:42 2. b. Downward melody repeated with countermelody in high bassoons. March to the Scaffold 0:56 2. c. High violins, , downward melody, major, accompanied by staccato lower strings. Sudden . Melody repeated by violins, . March to the Scaffold 1:21 2. d. Staccato bassoons, , together with pizzicato strings, minor, decrescendo to , quick crescendo to March to the Scaffold 1:40 3. Brasses and woodwinds, , syncopated march tune, major. March tune repeated. March to the Scaffold 2:05 4. a. Very loud brass and woodwind fanfare introduces March to the Scaffold 2:12 4. b. Splintered downward melody, pizzicato and bowed strings, staccato winds, minor. Pizzicato violins and timpani, crescendo to March to the Scaffold 2:23 4. c. Brasses, woodwinds, , syncopated march tune, major, active string accompaniment. March tune repeated. March to the Scaffold 2:47 4. d. Very loud brass and woodwind fanfare introduces March to the Scaffold 2:54 4. e. Splintered downward melody, pizzicato and bowed strings, staccato winds, minor. March to the Scaffold 3:02 4. f. Brasses, , shortened downward melody repeated on higher pitches, active string accompaniment, crescendo. March to the Scaffold 3:16 5. a. Whole orchestra, downward melody, , timpani, cymbals, minor, decrescendo to . March to the Scaffold 3:28 5. b. Sudden , whole orchestra, upward scalewise melody, major, timpani, cymbals. Staccato strings alone, orchestral punctuation, , excited dotted rhythm in strings, repeated figure in brasses and woodwinds; downward staccato strings, , lead to March to the Scaffold 4:01 5. c. Wind and string chords alternate, , decrescendo to . Sudden , full orchestra. March to the Scaffold 4:14 5. d. Solo clarinet, idée fixe, interrupted by March to the Scaffold 4:24 5. e. Short orchestral chord, (fall of guillotine blade), and string pizzicato (bouncing of severed head), powerful timpani roll, , brasses and woodwinds , repeated major chord, strings, , cymbals, ending chord by full orchestra, .

LISZT, Transcendental Étude No. 10 in F Minor (1851) Listening

Allegro agitato molto (very agitated) duple meter ( ), A B A—coda A 0:00 1. a. Rapid falling chords and syncopated fragment, ; rapid falling chords, syncopated main theme. Gradual ascent and crescendo to A 0:17 1. b. Abrupt outbursts, , alternating with upward sweeps; descent to rapid falling chords, decrescendo, slight ritardando. A 0:29 1. c. Syncopated main theme, ascent and crescendo to A 0:42 2. a. Very high lyrical theme in octaves, , major, dotted rhythm, rapid accompaniment. High syncopated octaves in melody, close into A 1:00 2. b. Abrupt outbursts, , alternating with upward sweeps, , slight ritardando. A 1:14 3. Low "processional theme," , in minor, against higher rapid arpeggios. B 1:26 4. a. Sudden , syncopated main theme varied, crescendo, ascending phrases lead to climax, downward sweeps, slight ritardando. B 1:49 4. b. Breathless staccato syncopated chords, ascent with crescendo and accelerando to high chord, . Rapid falling chords, decrescendo, and ritardando introduce A' 2:04 5. Syncopated main theme, , gradual ascent, crescendo and ritardando to high octaves. A' 2:22 6. a. Very high lyrical theme in minor, , accompanied by rapid arpeggios; gradual crescendo builds to high repeated octaves, , climax on A' 3:04 6. b. Syncopated octave descending melody in minor, , ritardando; cadence to A' 3:22 6. c. Abrupt outbursts, , alternating with upward sweeps, ; high broken octaves descend to A' 3:36 7. a. Low minor "processional theme," , against higher rapid arpeggios; ascent to dissonant held chord. 7. b. High broken chords ascend chromatically. Brief pause. Coda 4:05 8. a. Faster tempo, furiously syncopated octaves, crescendo, close into 8. b. Rising octave leaps, concluding massive chords.

SMETANA, The Moldau (1874) Listening

Allegro commodo non agitato, sextuple meter ( ), E minor Two springs 0:00 Two springs 1. a. Flutes, , running notes. Harp, pizzicato violins. Clarinets, , join, running notes. 1. b. Lower strings, , running notes lead to The river 1:11 The river 2. Violins, songlike river theme, minor key. Running-note accompaniment in strings. River theme extended. Hunt 3:01 Forest hunt 3. a. French horns and trumpets, , hunting calls. Strings, running notes. Crescendo to . 3. b. Decrescendo to . Wedding 3:57 Peasant wedding 4. a. Strings, , polka. Crescendo to , triangle strokes. 4. b. Decrescendo to , melody descends. Moonlight: dance... 5:19 Moonlight: dance of water nymphs 5. a. Woodwinds, , sustained tones. Flutes, , running notes lead to Moonlight: dance... 5:44 5. b. High muted violins, , serene legato melody, flutes and harp accompany, . Moonlight: dance... 6:59 5. c. Brasses, . Gentle staccato chords join accompaniment to violin melody. Moonlight: dance... 7:36 5. d. Crescendo. Woodwinds, running notes lead to River 8:00 The river 6. Violins, river theme. Running-note accompaniment in strings. The rapids 8:41 The rapids 7. a. Full orchestra, . Brasses, timpani roll, piccolo, cymbal crashes. 7. b. Strings, . Quick crescendo. Wide 9:54 The river at its widest point 8. Full orchestra, , river theme in major key. Faster tempo. Vysehrad 10:22 Vysehrad, the ancient castle 9. a. Brasses and woodwinds, , hymnlike melody. Cymbal crashes. 9. b. Decrescendo. Violins, . Full orchestra, , closing chords.

CHOPIN, Étude in C Minor Op. 10, No. 12 (Revolutionary; 1831?) Listening

Allegro con fuoco (allegro with fire), duple meter ( ) A 0:00 1. a. High accented chords, , answered by downward rushing passages; low running notes introduce A 0:16 1. b. Passionate main melody in octaves, , dotted rhythm, minor, decrescendo to A 0:32 1. c. Repetition of main melody, , with different continuation, syncopated chords, crescendo to cadence in major. A 0:46 1. d. Lyrical melody in dotted rhythm, minor, crescendo and downward running notes; very high descending phrases lead to return of A' 1:11 2. a. High accented chords, , answered by downward rushing passages; low running notes introduce A' 1:22 b. Passionate main melody intensified, , decrescendo; low running notes introduce A' 1:40 2. c. Repetition of intensified main melody leading to A' 1:47 2. d. Majestic downward phrases in major, , decrescendo, , return to minor, low running notes rise and fall, ritardando to Coda 2:10 2. e. Gentle upward phrase repeated with ritardando. Sudden , downward rushing passage, powerful closing chords, .

LISZT, Transcendental Étude No. 10 in F Minor (1851) Background

As dazzling, passionate, and poetic as Liszt himself, the Transcendental Étude No. 10 in F Minor is one of the finest virtuoso pieces of the romantic era. Liszt had written an early, simpler version of this piece in 1824, when he was only thirteen, and included it in a group of twelve studies. Fifteen years later, at the peak of his career as a virtuoso, he published a revised version that demanded transcendent, almost superhuman technical skill from the pianist. (Schumann was so overwhelmed by Liszt's études that he described them as "studies in storm and dread meant to be played by, at most, ten or twelve players in the world.") In 1851, after retiring from the concert stage, Liszt dedicated a third and final version—which we'll study—to his piano teacher Carl Czerny (1791-1857) "as a token of esteem, gratitude, and friendship." The étude taxes the player with left-hand passages that require rapid skips and changes of hand position. Though written in A B A—coda form, it almost seems like an improvisation, owing to its frequent alternations between brilliant virtuoso passages and more melodic ideas. The A section contains three themes. The first, in minor, is fragmentary and syncopated. The second, in major, is more lyrical and in a high register, with dotted rhythms, and with rapid notes in the accompaniment. The third, which has a processional character, is a transformation of the second. (In the listening outline, this is called the processional theme.) A melody that was introduced in major in a high register is now presented in minor, in a low register set against higher arpeggios. Yet another thematic transformation takes place in the coda, which is based on a speeded-up variant of the syncopated main theme. _________________________________________________________________ Liszt: Transcendental Etude No. 10 in F Minor Claudio Arrau, piano (P) 1977 Universal International Music B.V. Courtesy of Decca Music Group Limited under license from Universal Music Enterprises

SCHUMANN, Carnaval (Carnival; 1834-1835) Chiarina (Little Clara) Background

Carnaval is a cycle of twenty-one brief pieces with descriptive titles evoking a festive masked ball, with its varied characters, moods, and activities. This "musical picture gallery," as Schumann called it, includes sketches of fellow musicians, young women in the composer's life, stock characters from commedia dell'arte (Italian improvised theater), and self-portraits representing the introverted and outgoing sides of his own personality (Eusebius and Florestan). Carnaval was inspired partly by Schumann's brief engagement to Ernestine von Fricken, an eighteen-year-old pianist who studied with Clara Wieck's father. In 1834, Schumann wrote that he had "just discovered that the name Asch (Ernestine's birthplace) is very musical and contains letters that also occur in my name (SCHumAnn). They are musical symbols." In German, B natural is known as H, and so the letters A S C H refer to the four notes A-E flat-C-B natural, if the S is read as Es (German for E flat); or to the three notes A flat-C-B natural, if A and S are compressed to As (German for A flat). Schumann used these four-note or three-note groups to open most of the pieces in Carnaval, creating musical links between them. However, these links are quite concealed, because the same notes are presented in ever-changing rhythms, melodic shapes, and harmonies. By using musical ideas related to himself and his fiancée, Schumann permeated Carnaval with autobiographical references. We will now focus on four pieces from this best-known of Schumann's extended piano works. The four successive pieces Chiarina, Chopin, Estrella, and Reconnaissance (Nos. 11-14) illustrate the contrasting moods within Carnaval. The first and third of these are in minor keys, and the second and fourth are in major. Chiarina, Estrella, and Reconnaissance all open with the same three-note group, A flat-C-B natural (see the letters at the beginning of the music examples). Together, Chiarina, Chopin, Estrella, and Reconnaissance reveal different facets of Schumann's musical personality. Chiarina Chiarina (Little Clara) refers to the fifteen-year-old piano virtuoso Clara Wieck. Schumann must have thought that the young Clara had a passionate nature, because he associated her with an agitated piece in minor, marked passionato and including prominent dissonances. Chiarina is in triple meter and elaborates a single dotted rhythmic pattern (long-short-long-short) throughout—one of Schumann's stylistic trademarks.

SCHUMANN, Carnaval (Carnival; 1834-1835) Chopin Background

Carnaval is a cycle of twenty-one brief pieces with descriptive titles evoking a festive masked ball, with its varied characters, moods, and activities. This "musical picture gallery," as Schumann called it, includes sketches of fellow musicians, young women in the composer's life, stock characters from commedia dell'arte (Italian improvised theater), and self-portraits representing the introverted and outgoing sides of his own personality (Eusebius and Florestan). Carnaval was inspired partly by Schumann's brief engagement to Ernestine von Fricken, an eighteen-year-old pianist who studied with Clara Wieck's father. In 1834, Schumann wrote that he had "just discovered that the name Asch (Ernestine's birthplace) is very musical and contains letters that also occur in my name (SCHumAnn). They are musical symbols." In German, B natural is known as H, and so the letters A S C H refer to the four notes A-E flat-C-B natural, if the S is read as Es (German for E flat); or to the three notes A flat-C-B natural, if A and S are compressed to As (German for A flat). Schumann used these four-note or three-note groups to open most of the pieces in Carnaval, creating musical links between them. However, these links are quite concealed, because the same notes are presented in ever-changing rhythms, melodic shapes, and harmonies. By using musical ideas related to himself and his fiancée, Schumann permeated Carnaval with autobiographical references. We will now focus on four pieces from this best-known of Schumann's extended piano works. The four successive pieces Chiarina, Chopin, Estrella, and Reconnaissance (Nos. 11-14) illustrate the contrasting moods within Carnaval. The first and third of these are in minor keys, and the second and fourth are in major. Chiarina, Estrella, and Reconnaissance all open with the same three-note group, A flat-C-B natural (see the letters at the beginning of the music examples). Together, Chiarina, Chopin, Estrella, and Reconnaissance reveal different facets of Schumann's musical personality. Chopin Chopin is in the style of a nocturne, or "night piece," by Frédéric Chopin. A lyrical legato melody is accompanied by flowing arpeggios which emphasize the meter (1-2-3-4-5-6). Characteristic of Chopin's style are the slight changes in tempo and the filigree of high ornamental tones. Chopin is in major and may be outlined A A: the melody is first played loudly and then repeated softly.

SCHUMANN, Carnaval (Carnival; 1834-1835) Chopin Listening

Chopin 0:00 The melody is first played loudly. Chopin 0:37 The melody is repeated softly.

CHOPIN, Nocturne in E Flat Major Op. 9, No. 2 (1830-1831) Background

Chopin composed his popular Nocturne in E Flat Major, Op. 9, No. 2, when he was about twenty. A nocturne, or night piece, is a slow, lyrical, intimate composition for piano. Like much of Chopin's music, this nocturne is tinged with melancholy. Nocturne in E Flat Major opens with a legato melody containing graceful upward leaps, which become increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato—slight fluctuations of tempo. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper ("loud") pedal. The waltzlike accompaniment gently emphasizes the 12/8 meter, 12 beats to the measure subdivided into four groups of 3 beats each. The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in octaves. After a brilliant trill-like passage, the excitement subsides; the nocturne ends calmly. _________________________________________________________________ Chopin: Nocturne in E Flat Major, Op. 9, No. 2 Nadia Reisenberg, piano (P) 1985 In Sync Laboratories Courtesy of Robert Sherman. Master tape courtesy of the International Piano Archives at the University of Maryland, College Park.

BRAHMS, How Lovely Is Thy Dwelling Place Ein Deutsches Requiem (A German Requiem; 1868) Listening

Chorus and orchestra 0:00 Woodwinds, , downward phrase introduces sopranos, upward phrase. Wie lieblich sind deine Wohnungen, Herr Zebaoth!How lovely is thy dwelling place, O Lord of Hosts! Woodwinds repeat upward phrase. 0:29 deine Wohnungen Herr Zebaoth!thy dwelling place O Lord of Hosts! 0:42 High violins, long-note theme, imitated by tenors, basses, sopranos; lieblich (lovely) emphasized. Wie lieblich sind deine Wohnungen, Herr Zebaoth! Wie lieblich sind deine Wohnungen, Herr Zebaoth!How lovely is thy dwelling place, O Lord of Hosts! How lovely is thy dwelling place, O Lord of Hosts! 1:19 Pizzicato strings introduce chorus. Imitation, basses, tenors, altos, sopranos; quicker notes; crescendo to . Meine Seele verlanget und sehnet sichMy soul longs and faints 1:48 , homophonic, pizzicato accompaniment. Oboe echo. nach den Vorhöfen des Herrn.for the courts of the Lord. 2:02 String accents. Mein Leib und Seele freuen sich in dem lebendigen Gott. Mein Leib und Seele freuen sich in dem lebendigen Gott.My body and soul rejoice in the living God. My body and soul rejoice in the living God. 2:37 Violins, woodwinds, , downward phrase introduces sopranos, ; upward phrase. Wie lieblich sind deine Wohnungen, Herr Zebaoth!How lovely is thy dwelling place, O Lord of Hosts! Woodwinds, upward phrase. deine Wohnungen, Herr Zebaoth!thy dwelling place O Lord of Hosts! 3:21 High violins, long-note theme. Wohl denen,Blessed are those 3:35 Chorus, long-note theme, crescendo. Wohl denen, die in deinem Hause wohnen,Blessed are those who dwell in thy house 3:50 Extended fugal imitation, ; quicker rhythms, staccato strings. die loben dich immerdar,who praise Thee evermore. 4:36 Sudden , low, extended tones. immerdar.evermore. 4:43 Woodwinds, downward phrase. Sopranos, tenors imitated by altos, basses. Wie lieblichHow lovely 5:06 Sopranos, , rise to peak and gently descend. Wie lieblich sind deine Wohnungen!How lovely is thy dwelling place! 5:24 Soft orchestral close.

MAHLER, Ging heut' Morgen über's Feld (This Morning I Went through the Fields) Lieder eines fahrenden Gesellen (Songs of a Wayfarer) Background

Composed 1883-1885, Orchestrated 1891-1896 Mahler's first masterpiece was Lieder eines fahrenden Gesellen (Songs of a Wayfarer), a cycle of four songs for voice and orchestra. He wrote both the words and the music of this autobiographical song cycle at the age of twenty-four, under the impact of an unhappy love affair with Johanna Richter, a soprano in the opera company where he was a conductor. "What can these songs tell her that she does not know already?" Mahler confided to a friend. "The cycle deals with a young wayfarer ill-treated by destiny, who sets out in the wide world and wanders about aimlessly." Mahler's depiction of an alienated wanderer, a frequent theme in German romantic poetry, was probably influenced by Schubert's song cycle Winterreise (Winter's Journey; 1827). To convey a feeling of restlessness, Mahler begins and ends each song of his cycle in a different key. He would later use melodies from the second and fourth of the Songs of a Wayfarer as themes in his next work, his First Symphony (1885-1888). We'll focus on the second song of the cycle. Ging heut' Morgen über's Feld (This Morning I Went through the Fields) Ging heut' Morgen über's Feld reflects Mahler's attraction to nature and to folklike simplicity. The song is in modified strophic form, with brief orchestral interludes connecting the different stanzas. In the first three stanzas of the poem the wayfarer tells how he walks through the fields on a beautiful spring morning and is greeted merrily by the flowers and birds. The final stanza brings a darkening of mood with the wanderer's realization that happiness is beyond his reach. The first two stanzas are sung to the same lighthearted melody (A) in folk style. The last two stanzas begin with varied forms of the opening phrase of A in a new major key, but then continue with different music. The sadness of the last stanza is conveyed by a slow tempo, which contrasts with the moderate tempo of the carefree earlier stanzas. Mahler expresses the pain of the wayfarer's final realization—"No! No! What I love can never bloom for me!"—by a whispered high melody with poignant dissonances on the words nimmer (never) and blühen (bloom). An orchestral postlude featuring harp and solo violin rounds off the song on a note of unfulfilled longing.

PUCCINI, La Bohème (1896) Excerpt from Act I Background

La Bohème (Bohemian Life) takes place in the Latin Quarter of Paris around 1830. Its hero is Rodolfo, a young poet who shares a garret with Marcello, a painter; Colline, a philosopher; and Schaunard, a musician. Mimi, the heroine, is a poor, tubercular seamstress who lives in the same building. The simple, touching plot has been aptly summarized as "boy meets girl, boy loses girl, boy and girl are reunited as girl dies of consumption in boy's arms and curtain falls." Everyone can relate to the characters and emotions of this enchanting opera. Though there are many realistic touches in this picture of bohemian life, it is seen through a romantic haze. Act I: Scene between Rodolfo and Mimi Mimi and Rodolfo meet and fall in love toward the end of Act I, which takes place on a cold Christmas eve. Her candle has blown out, and she knocks on his door asking for a light. At Rodolfo's insistence, Mimi enters, but she suddenly has a coughing fit and faints in his arms. She revives after Rodolfo sprinkles water on her face. She then leaves, her candle alight, but she returns immediately, for she has lost her key. They must search for the key in the dark—a gust of wind has extinguished their candles. When their hands touch, Rodolfo sings the aria Che gelida manina (How cold your little hand is!). He sings about himself, his dreams, and his fantasies. After our excerpt concludes, Mimi responds with a poetic description of her simple life in the aria Mi chiamano Mimì (They call me Mimì). Under the spell of their newfound love, they join in a duet which closes the act. Puccini's sensuous melody casts a glow over the entire scene. His music has an improvisatory quality, with many fluctuations of tempo that reflect changes of mood and dramatic action. In the musical dialogue between Mimi and Rodolfo, Puccini easily alternates between speechlike and melodic phrases. When Mimi enters, the orchestra murmurs a touching phrase—Mimi's theme—which suggests her fragility and tenderness. Mimi coughing fit is evoked by agitated music and her fainting by a poignant oboe solo. When Mimi returns to get her key, she introduces a new melody in a faster tempo. Rodolfo's aria begins simply, almost conversationally. Then the melody grows warmer until it reaches a climax in a broad, passionate phrase. The climactic phrase of Rodolfo's aria, sung to the words Talor dal mio forziere (My hoard of treasure is robbed by two thieves: a pair of beautiful eyes), is the love theme of the whole opera.

BERLIOZ, Symphonie fantastique Fifth Movement: Dream of a Witches' Sabbath (1830) Listening

Larghetto; Allegro Larghetto 0:00 Larghetto - Strange noises 1. a. High string tremolo, , joined by low repeated figure in cellos and basses; high descending staccato strings, ; staccato brasses, ; sudden low chord. 1. b. High woodwinds, short repeated notes, , echoed in lower register by muted horn, , ascent to 1. c. High string tremolo, , joined by low repeated figure in cellos and basses; high staccato strings descend to rumble in low strings; sudden loud chord. 1. d. High woodwinds, short repeated notes, , echoed in lower register by muted horn, . Allegro 1:21 Allegro - Beloved as witch 2. a. Clarinet, part of idée fixe as dance tune, timpani accompany, full orchestra interrupts, . 2. b. High clarinet, joined by piccolo, idée fixe as dance tune, woodwinds accompany; high violins join, leading to high repeated figure in strings, ; orchestral chord , staccato chromatic descent; repeated chords and string descent lead to 2. c. Violins, , rapid ascent and crescendo, cellos and basses, , descend; long low tones introduce Funeral knell 2:56 Funeral knell 3. Bell tolls (chimes) alternating with violas, beginning of witches' dance. Funeral knell 3:22 4. a. Low tubas and bassoons, , beginning of Dies irae in long even notes, bells (chimes) accompany. 4. b. Higher horns and trumpets, beginning of Dies irae played faster. 4. c. High woodwinds, beginning of Dies irae as fast staccato dance tune. Funeral knell 4:00 5. a. Low tubas and bassoons, continuation of Dies irae in long even notes, bells (chimes) accompany. 5. b. Higher horns and trumpets, continuation of Dies irae played faster. 5. c. High woodwinds, continuation of Dies irae as fast dance tune. Funeral knell 4:24 6. a. Low tubas and bassoons, , conclusion of Dies irae in long even notes. 6. b. Higher horns and trumpets, conclusion of Dies irae played faster. 6. c. High woodwinds, conclusion of Dies irae as fast dance tune. 6. d. Strings, beginning of witches' dance with brass interruptions; crescendo to , full orchestra. Witches' dance 5:16 Witches' dance - (fuguelike section) 7. a. Witches' dance introduced by cellos and double basses, imitated in violins, then high woodwinds. 7. b. Violin syncopations, piccolo; strings alternate between and ; crescendo to repeated chords. 7. c. Witches' dance introduced in woodwinds, imitated in low strings, then violins. 7. d. Rapid brass chords, , bass drum, repeatedly answered by descending high woodwinds; decrescendo to 7. e. Pizzicato cellos and basses, varied witches' dance, imitations by bassoon, horn punctuations. 7. f. Low strings, , Dies irae phrases in brasses. 7. g. Very soft, witches' dance rhythm passed from low to high strings, long crescendo; orchestra, , repeated syncopated chords. Witches' dance 7:52 8. a. Witches' dance, strings in unison, , joined by Dies irae in brasses and woodwinds, . 8. b. Sudden ; repeated figure in strings and woodwinds, high strings struck with wood of bow joined by 8. c. Woodwinds, , varied witches' dance with trills. 8. d. Staccato woodwinds, ; full orchestral chords, , alternate with high woodwind trills; sudden , crescendo to . 8. e. Bass drum, Dies irae phrase in tubas, played faster by higher brasses and woodwinds; fast and powerful orchestral conclusion.

MAHLER, Ging heut' Morgen über's Feld (This Morning I Went through the Fields) Lieder eines fahrenden Gesellen (Songs of a Wayfarer) Listening

Modified strophic form. Song 0:00 At a comfortable pace; flutes, repeated notes, introduce A Ging heut' Morgen über's Feld,I went out this morning over the countryside; Tau noch auf den Gräsern hing, sprach zu mir der lust'ge Fink: "Ei, du! Gelt Guten Morgen! Wird's nicht eine schöne Welt Zink! Zink! Schön und fink! Wie mir doch die Welt gefällt!"dew still hung from the grass; the merry finch spoke to me: "Oh, it's you, is it! Good morning! Is it not a lovely world Chirp! Chirp! Pretty and lively! How the world delights me!" String interlude, crescendo, trumpet. Song 0:41 Auch die Glockenblum' am FeldThe bluebells in the meadow also Cellos, , imitate voice. Glockenspiel hat mir lustig, guter Ding', mit den Glöckchen, klinge, kling, ihren Morgengruss geschellt: "Wird's nicht eine schöne Welt! Kling, kling! Schönes Ding! Wie mir doch die Welt gefällt! Heia!"rang merrily and cheerfully for me with their little bells, ring-a-ring, rang their morning greeting: "Is it not a lovely world! Ring, ring! Pretty thing! How the world delights me! Ho!" String interlude, clarinets and harp introduce Song 1:29 Opening of A in new key, with high sustained tone in voice. Und da fing im SonnenscheinAnd then in the sunshine gleich die Welt zu funkeln an; Alles, alles Ton und Farbe gewann im Sonnenschein! Blum' und Vogel, Gross und Klein! "Guten Tag, guten Tag! Ist's nicht eine schöne Welt Ei, du Gelt Schöne Welt!"the world at once began to sparkle, everything, everything took on sound and color in the sunshine! Flower and bird, the large and the small! "Good day! good day! Isn't it a lovely world Don't you agree Lovely world!" Tempo slows, repeated notes in cellos introduce Song 2:34 Opening of A in voice, slow tempo, imitated by oboe and muted cellos. Flutes, clarinets, timpani, . Nun fängt auch mein Glück wohl an! Nun fängt auch mein Glück wohl an!Now surely my happiness also begins! Now surely my happiness also begins! Nein! Nein! Das ich mein', mir nimmer nimmer blühen kann!No! No! What I love can never, never bloom for me!Postlude 3:53 Postlude: harp, muted solo violin, ending.

SCHUBERT, Erlkönig (The Erlking; 1815) Background

Schubert's song Erlkönig (The Erlking) is one of the earliest and finest examples of musical romanticism. It is a musical setting of a narrative ballad of the supernatural by Goethe. A friend of Schubert's tells how he saw the eighteen-year-old composer reading Goethe's poem. "He paced up and down several times with the book; suddenly he sat down, and in no time at all (just as quickly as he could write) there was the glorious ballad finished on the paper." Goethe's ballad, in dialogue almost throughout, tells of a father riding on horseback through a storm with his sick child in his arms. The delirious boy has visions of the legendary Erlking, the king of the elves, who symbolizes death. Schubert uses a through-composed setting to capture the mounting excitement of the poem. The piano part, with its rapid octaves and menacing bass motive, conveys the tension of the wild ride.

MENDELSSOHN, Concerto for Violin and Orchestra in E Minor First Movement: Allegro molto appassionato Listening

Sonata form, duple meter ( ), E minor Exposition 0:00 Exposition 1. a. Strings, , introduce solo violin. Main melody in minor, high register, legato. 1. b. Running notes in solo violin. Crescendo, climbing phrases. 1. c. Orchestra, , main melody. Increased rhythmic motion leads to cadence. Exposition 1:22 2. a. Violins, flowing bridge theme. Solo violin repeats bridge theme an octave higher. 2. b. Solo violin phrases sweep downward and upward through wide range. Flute joins. Crescendo. Running passage rises and falls. Decrescendo, mood calms. Exposition 2:35 3. a. Clarinets and flutes, , calm melody in major. Solo violin accompanies with sustained tone. 3. b. Solo violin, , calm theme expanded. Woodwinds, then strings accompany. 4. a. Main melody in solo violin, major. Brilliant running passages, pizzicato accompaniment. Crescendo. 4. b. Climactic orchestral trills alternate with solo violin, opening of main melody. Decrescendo. Development 5:01 Development 1. a. Solo violin, , flowing bridge theme. Violins, . 1. b. Running passage in solo violin and fragments of main melody in orchestra. Development 5:39 2. Solo violin, , main melody varied. Decrescendo. Violin melody slowly descends. Orchestral crescendo to . Cadenza 6:29 Cadenza 3. Unaccompanied solo violin, broken chords. Ascents to high tones, trills, fragment of main melody. Rapid broken chords lead into Recapitulation 8:02 Recapitulation 1. Main melody in orchestra, . Broken chords continue in solo violin. Crescendo. Recapitulation 8:18 2. a. Orchestra, , bridge theme. 2. b. Solo violin, , bridge theme carried downward. Decrescendo. Recapitulation 8:48 3. a. Woodwinds, , calm melody in major. Solo violin accompanies with sustained tone. 3. b. Solo violin, , calm theme expanded. Woodwinds, then strings accompany. 4. a. Brilliant running passages in solo violin. Pizzicato accompaniment. Crescendo. 4. b. Climactic orchestral trills alternate with solo violin, opening of main melody. Decrescendo. Coda 11:15 Coda 5. Solo violin, bridge theme. Tempo becomes faster. Crescendo. Brilliant running passages. Full orchestra, .

TCHAIKOVSKY, Romeo and Juliet, Overture-Fantasy (1869) Listening

Sonata form, quadruple meter ( ), B minor Introduction 0:00 Introduction - Andante non tanto quasi moderato 1. a. Low clarinets and bassoons, , hymnlike Friar Laurence theme. 1. b. Strings and French horns, , sustained tones. Basses. 1. c. Woodwinds and strings, crescendo. Harp, , flutes, . Introduction 2:04 2. a. Pizzicato strings accompany high woodwinds, , Friar Laurence theme. 2. b. Strings and French horns, , sustained tones. Basses. 2. c. Strings and woodwinds, crescendo. Harp, , violins, . Introduction 3:58 3. a. Strings answered by high woodwinds, . Crescendo to , full orchestra, accelerando. 3. b. Timpani roll, decrescendo, much slower tempo; strings, , answered by woodwind chords, . Crescendo and accelerando to Exposition 5:17 Allegro giusto Exposition First theme 1. a. Orchestra, , feud theme, minor. 1. b. Cellos imitated by piccolo, , feud motive. 1. c. Cymbal crashes against rushing notes in strings. Crescendo to . 1. d. Full orchestra, , feud theme. Cymbal crashes. Exposition 6:39 Bridge 2. Suddenly soft, woodwinds. Basses and French horns, , rhythm slows. Exposition 7:28 Second theme 3. a. English horn and muted violas, love theme, major. 3. b. Muted violins, , gently pulsating melody. Crescendo. 3. c. High woodwinds, , love theme extended. Exposition 9:34 Closing section 4. Harp, , accompanies muted strings, bassoon, English horn, . Develop. 10:32 Development 1. Strings, woodwinds, , feud motive. Crescendo, rushing notes in strings, . 2. a. French horns, , Friar Laurence theme, strings accompany. Violins, , high repeated notes, brass, woodwind chords, . 2. b. Horns, , Friar Laurence theme. Crescendo, rushing notes in strings, . 2. c. Horns, , Friar Laurence theme, strings accompany. Violins, , high repeated notes, brass, woodwind chords, . 2. d. Horns, , Friar Laurence theme. Develop. 11:47 3. Low strings, , answered by woodwinds, , feud motive. Crescendo to , cymbal crashes. Develop. 12:04 4. a. Trumpets, , Friar Laurence theme. 4. b. Strings, , rushing notes, cymbal crashes. Recapitulation 12:35 Recapitulation First theme 1. Full orchestra, , feud theme, minor, cymbal crashes. Downward rushing notes in strings, decrescendo. Recapitulation 12:57 Second theme 2. Oboes, , gently pulsating melody, major. Violins accompany . Crescendo. 3. a. Strings, , love theme extended. Crescendo to . Love theme repeated. Decrescendo. 3. b. Cellos, woodwinds, , love-theme phrases. French horn. Crescendo. 3. c. Strings, , love theme. Feud motive, cymbal crashes. 4. a. Full orchestra, , feud theme, cymbal crashes. 4. b. Brasses, , Friar Laurence theme. 4. c. Full orchestra, , feud theme, cymbal crashes. 4. d. Brasses, , Friar Laurence theme. 4. e. Full orchestra, , cymbal crashes. Cellos and basses, timpani roll, decrescendo to . Coda 16:24 Coda 1. Timpani, , funeral-march rhythm. Strings, , love theme transformed into song of mourning. Very moderate tempo. 2. Woodwinds, , hymnlike melody. Harp. 3. Violins, , love theme varied. Timpani roll, crescendo. 4. Full orchestra, , repeated chords.

CHOPIN, Étude in C Minor Op. 10, No. 12 (Revolutionary; 1831?) Background

The Russian takeover of Warsaw in 1831 may have inspired Chopin to compose the blazing and furious Revolutionary Étude in C Minor, Op. 10, No. 12. An étude is a study piece designed to help a performer master specific technical difficulties. The Revolutionary Étude, for example, develops speed and endurance in the pianist's left hand, which must play rapid passages throughout. Chopin's études reach beyond mere exercises in technique to become masterpieces of music, exciting to hear as well as to master. The Revolutionary Étude, in A A'—coda form, begins with a dramatic outburst. High, dissonant chords and downward rushing passages lead to the main melody, marked appassionato (impassioned), which is played in octaves by the right hand. Tension mounts because of the melody's dotted rhythms and its tempestuous accompaniment. After a climax at the end of section A', the coda momentarily relaxes the tension. Then a torrential passage sweeps down the keyboard to come to rest in powerful closing chords. _________________________________________________________________ Chopin: Etude in C Minor, Op. 10, No. 12 "Revolutionary" Murray Perahia, piano (P) 2002 Sony Music Entertainment

BERLIOZ, Symphonie fantastique Fifth Movement: Dream of a Witches' Sabbath (1830) Background

The astonishing Symphonie fantastique (Fantastic Symphony), a five-movement program symphony, is a romantic manifesto. Both the symphony and Berlioz's program reflect the twenty-six-year-old composer's unrequited passion for the actress Harriet Smithson: A young musician of extraordinary sensibility and abundant imagination, in the depths of despair because of hopeless love, has poisoned himself with opium. The drug is too feeble to kill him but plunges him into a heavy sleep accompanied by weird visions. His sensations, emotions, and memories, as they pass through his affected mind, are transformed into musical images and ideas. The beloved one herself becomes to him a melody, a recurrent theme (idée fixe) which haunts him continually. A single melody, which Berlioz called the idée fixe, or fixed idea, is used to represent the beloved. It appears in all five movements and unifies the contrasting episodes of the symphony. This recurrence of the same theme in every movement of a symphony was a striking novelty in Berlioz's day. The theme changes in character during the work, sounding, in turn, exultant, waltzlike, and vulgar. Another innovation in the symphony is its use of a very large and colorful orchestra: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 4 bassoons, 4 French horns, 2 cornets, 2 trumpets, 3 trombones, 2 tubas, 4 timpani, bass drum, snare drum, cymbals, bells, 2 harps, and strings. (Beethoven, for one, had not used the English horn, tuba, bells, cornet, or harp in his symphonies.) Berlioz saves the heaviest orchestration for the last two movements, where he depicts the fantastic and diabolical. Though the macabre and supernatural had long been dealt with in opera (for example, in Mozart's Don Giovanni), this is its first expression in an important symphony. Fifth Movement: Dream of a Witches' Sabbath Larghetto; Allegro He sees himself at a witches' sabbath in the midst of a hideous crowd of ghouls, sorcerers, and monsters of every description, united for his funeral. Strange noises, groans, shrieks of laughter, distant cries, which other cries seem to answer. The melody of the loved one is heard, but it has lost its character of nobleness and timidity; it is no more than a dance tune, ignoble, trivial, and grotesque. It is she who comes to the sabbath! . . . A howl of joy greets her arrival. . . . She participates in the diabolical orgy. . . . The funeral knell, burlesque of the Dies irae. Witches' dance. The dance and the Dies irae combined. Dream of a Witches' Sabbath is the most "fantastic" movement of the symphony; it depicts a series of grotesque events. Its slow, hushed introduction (larghetto) immediately draws the listener into the realm of the macabre and supernatural, evoking "strange noises, groans, shrieks of laughter" and "distant cries." Eerie tremolos in high muted strings and menacing low tones of cellos and basses begin a succession of fragmentary ideas in starkly contrasting tone colors, registers, and dynamics. In the exploratory spirit of his romantic age, Berlioz dared to create sounds that are weird rather than conventionally pleasing. In the allegro section, the beloved is revealed to be a witch. Her theme, the once "noble and timid" idée fixe, is transformed into a dance tune that is "trivial and grotesque." Played shrilly by a high-pitched clarinet, the tune moves in quick notes decorated by trills. A "funeral knell" of sonorous bells (chimes) lends an awesome atmosphere to the next part of the movement. Tubas and bassoons intone a solemn low melody in long, even notes. This melody is the medieval chant Dies irae (Day of wrath), traditionally sung in the mass for the dead. Berlioz quotes it here as a symbol of eternal damnation. Soon the chant melody is shifted up to a high register and played by woodwinds and pizzicato strings in a quick dancelike rhythm. Thus Berlioz dared to parody a sacred chant by transforming it into a trivial tune, as he had just done moments earlier with the idée fixe. Berlioz conveys the frenzy of a witches' dance in a fuguelike section. The fugue subject (the witches' dance) is introduced by the lower strings and then imitated by other instruments. A crescendo builds to a powerful climax in which the rapid witches' dance, played in the strings, is set against the slower-moving Dies irae, proclaimed by the brasses and woodwinds. This musical nightmare ends in an orgy of orchestral power. _________________________________________________________________ Berlioz: Symphonie Fantastique, V: Witches Sabbath New York Philharmonic; Leonard Bernstein, conductor Originally released 1969. All rights reserved by Sony Music Entertainment

BERLIOZ, Symphonie fantastique Fourth Movement: March to the Scaffold (1830) Background

The astonishing Symphonie fantastique (Fantastic Symphony), a five-movement program symphony, is a romantic manifesto. Both the symphony and Berlioz's program reflect the twenty-six-year-old composer's unrequited passion for the actress Harriet Smithson: A young musician of extraordinary sensibility and abundant imagination, in the depths of despair because of hopeless love, has poisoned himself with opium. The drug is too feeble to kill him but plunges him into a heavy sleep accompanied by weird visions. His sensations, emotions, and memories, as they pass through his affected mind, are transformed into musical images and ideas. The beloved one herself becomes to him a melody, a recurrent theme (idée fixe) which haunts him continually. A single melody, which Berlioz called the idée fixe, or fixed idea, is used to represent the beloved. It appears in all five movements and unifies the contrasting episodes of the symphony. This recurrence of the same theme in every movement of a symphony was a striking novelty in Berlioz's day. The theme changes in character during the work, sounding, in turn, exultant, waltzlike, and vulgar. Another innovation in the symphony is its use of a very large and colorful orchestra: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 4 bassoons, 4 French horns, 2 cornets, 2 trumpets, 3 trombones, 2 tubas, 4 timpani, bass drum, snare drum, cymbals, bells, 2 harps, and strings. (Beethoven, for one, had not used the English horn, tuba, bells, cornet, or harp in his symphonies.) Berlioz saves the heaviest orchestration for the last two movements, where he depicts the fantastic and diabolical. Though the macabre and supernatural had long been dealt with in opera (for example, in Mozart's Don Giovanni), this is its first expression in an important symphony. Fourth Movement: March to the Scaffold Allegretto non troppo He dreams that he has murdered his beloved, that he has been condemned to death and is being led to the scaffold. The procession moves forward to the sounds of a march that is now somber and fierce, now brilliant and solemn, in which the muffled sounds of heavy steps give way without transition to the noisiest outbursts. At the end, the idée fixe returns for a moment, like a last thought of love interrupted by the death blow. "The March to the Scaffold is fifty times more frightening than I expected," Berlioz gleefully observed after the first rehearsals of the Fantastic Symphony. It is not until this fiendish fourth movement that all the brass and percussion instruments enter the action. Berlioz creates a menacing atmosphere with the opening orchestral sound, a unique combination of muted French horns, timpani tuned a third apart, and basses playing pizzicato chords. Two contrasting themes alternate within March to the Scaffold. The first theme, described as "somber and fierce" in Berlioz's program, is introduced by cellos and basses and moves down the scale for two octaves. This scalewise melody appears both in minor and in major and is combined with countermelodies. It is also inverted, moving upward rather than downward. The second theme, described as "brilliant and solemn" in the program, is a syncopated march tune blared by the brasses and woodwinds. At the end of the march a solo clarinet begins to play the idée fixe but is savagely interrupted by a very loud chord representing the fall of the guillotine's blade. The following string pizzicato may well have been intended to suggest the bouncing of the severed head. _________________________________________________________________ Berlioz: Symphonie Fantastique, IV: March to the Scaffold New York Philharmonic; Leonard Bernstein, conductor Originally released 1969. All rights reserved by Sony Music Entertainment

VERDI, Rigoletto (1851) Act III aria: La donna è mobile Background

Verdi dared to create an operatic hero out of a hunchbacked court jester—Rigoletto— whose only redeeming quality is an intense love for his daughter, Gilda. Rigoletto's master, the licentious Duke of Mantua, has won Gilda's love while posing as a poor student. When the Duke seduces the innocent girl, Rigoletto plots his death. Gilda loves the Duke even after learning about his dissolute character, and she ultimately sacrifices her own life to save his. Vice triumphs in this powerful drama. Act III: La donna è mobile Act III of Rigoletto contains one of the most popular pieces in opera, the Duke's aria La donna è mobile and the Quartet. The scene is a run-down inn where the Duke has come to meet Maddalena, the voluptuous sister of the cutthroat Sparafucile. The carefree and tuneful La donna è mobile (Woman is fickle) perfectly expresses the Duke's pleasure-loving personality. Even before the premiere of Rigoletto, which was to take place in Venice, Verdi knew that La donna è mobile would be a hit. Afraid that his catchy tune would leak out during rehearsals and be sung by every Venetian gondolier, he waited until the last possible moment before giving the manuscript to the tenor who was to sing the aria.