MUSC 030 SONGS

Symphony No. 94 ("The Surprise") - Haydn

Second movement - is slow (normally in symphonies) Theme and variations form written for aristocracy At end of a phrase, you hear the pitch close off and hear the same number of beats Themes are often in two sections, are in balanced and symmetric phrases (each repeat characteristics a/c - antecedent/consequent phrases) Variation: melody stays intact, but some changes are made Keeps melody consistent, but adds new violin theme on top Can't predict what changes will be made -- just track them

Piano Sonata in E - Beethoven

Sonata Many sonatas composed in Classical period (over hundred by Hadyn, over 30 by Mozart) Very important genre This one is quite idiosyncratic In general, piano sonata is work for solo piano and has three movements Is like concerto in terms of tempo (1st - fast, 2nd - slow, 3rd - fast) Almost every time, 1st movement is in sonata form Genre: piano sonata - ensemble: solo piano (instrumentation) 3 movements: Fast sonata form Slow Fast In general, piano sonata is work for solo piano and has three movements Is like concerto (1st - fast, 2nd - slow, 3rd - fast) Almost every time, 1st movement is in sonata form Other sonatas (instrumental sonatas) (in classical period) have two instruments (one instrument + piano accompaniment, ex. Flute sonata) Only piano sonata is just one instrument (does its own accompaniment) Beethoven's late style: 1818 -1827 economy of presentation, condensed, distillation, abstract ** not going to test on recognizing late style Best described as abstract sounding and compact First and second theme happen in such a brief frame of time (p. 216) (tiny gestures take on outside significance) Spins piece out, delaying resolution Overdetermines the structure/ending (keeps extending, spins it out) Form (p.216) takes backseat to emotion expression Movement is about expression of emotions Different from anything that has been said before Idea that music can be primarily about expression -- puts us in world of Romanticism

Symphony No. 5 - Beethoven

Symphony Has motivic consistency Movement 1 - has exposition, devleopment, recap, coda Reaching beyond normal symphony Back and forth between explosive and silent (unprecedented) Every turn: Beethoven thwarts expectations Very little continuity Uses melody from first theme as rhythmic accompaniment for second theme Main rhythm --> accompanying rhythm (theme built up from its motive, XXX X) First time this was happening Accompanying rhythm changes, gets faster Defies expectation Builds idea, then cuts it off In exposition, "X" motive (recognizable fragment of melody) is found Used as theme 1 Used as accompaniment to theme 2 Used as part of cadence theme But development is supposed to play around with motive Audience can be sick and tired of the motive if used again Beethoven: Starts like normal: imitation b/w high and low strings Has sequences Playing around with fragments of the motive being passed back and forth between instruments No one did it before him Takes what is already a fragment and fragments it further (until just one note) Finished with oboe solo passage (even though didn't even have on in exposition) In exposition, got increasingly loud In recap, increasingly quiet Recap: expect him to stay in same key from theme 1 to theme 2 BUT goes from C minor to C major Cadence also in C major, but actually composes extended ending Extended coda - functions like a second development section (THAT long) Almost as long as exposition C minor --> C major --> back to C minor Uses coda to introduce new theme, uses it in imitation b/w winds/strings Depends on audience's expectations --> defies all of them Symphony/sonatoform before and after Beethoven --> huge transformation Pg 214: 2nd movement supposed to be themes and variations Makes variations on two different themes

Symphony No. 40 - Mozart

Symphony mvmt 1, Sonata form Homophonic accompaniment Minor mode minor = agitated feeling, accompaniment seems agitated, sounds like an intense emotional passage, melody has sadness/melancholy Song has a lot of downward motion -- in minor, when theres a lot of downward motion, there's an intensity of feeling Themes-- balanced and symmetrical (same number of beats amongst phrases) Has very long closing passage/cadence and are not just one theme, has many themes/ideas (Mozart's fingerprint) First theme -- balanced and symmetrical (same number of beats amongst phrases) Almost always, conductor will repeat a theme (shows you what the important gesture is) BUT for Mozart, instead of repeating the entire theme (which is normal), he interrupts and breaks in and starts a new section (new orchestration/number of instruments, new dynamic, new melody -- bridge) Bridge -- usually not very interesting music Just functional -- moving you from one theme to the other Suddenly there are no phrases anymore, doesn't break into balanced/symmetric phrases Just going somewhere Reminds us of baroque roots (just motoric, functional) Comes to a dead stop (when a composer does this, he's tricking you or he's moving you into another section) -- here, the second theme, back to balanced/symmetric phrases Has very long closing passage/cadence and are not just one theme, has many themes/ideas (Mozart's fingerprint) Can recognize some from earlier in the movement In proper compositions, exposition is always played twice Key was very important in 18th century Had topos For Mozart, minor = agitated feeling, accompaniment seems agitated, sounds like an intense emotional passage, melody has sadness/melancholy Song has a lot of downward motion -- in minor, when theres a lot of downward motion, there's an intensity of feeling Becomes suddenly loud, loses melodic direction, becomes very busy --> bridge Second theme -- in a different key : major key (not minor) In symphonies, when the first theme starts with a minor (tonic), the second theme is in a major mode Contrast is quite noticeable Second theme -- dominated by "typical classical orchestra" (p. 157) First theme-- mostly strings. Second theme -- also has bassoon, oboe, flute, clarinet (wind instruments play prominent part)

Fantastic Symphony - Berlioz

Program symphony Music encouraging listeners to think it had been written under the influence of opium, the drug of choice among the Romantics Demanded orchestra of unprecedented size Original idea of having a single theme recur in all the movements as a representation of the musician's beloved : his idee fixe (obsession) Changes its melodies to add thematic transformation Provides program explaining every part Frameowrk of sttory (p. 249) - wants to kill himself, but instead poisonis himself, which brings up a lot of images (fantastique) Fantastique -- related to fantasy, phantasms (ghosts, hallucinations) After walking in the door, audience given printed program (Berlioz expected this) Program begins on p. 249 Wirtten by Berlioz and handed out Has important, specific info Ex. Not historical poisons known in literature -- poison is specifically referencing opium 5 movement work each movement described ni the program, tells part of the story 4 movement assumption of symphony is somewhat loosened here Story full of topoi: Specifically references opium Opium taking by artists 1830s and earlier, was done to channel creativity Artist (musician) = Belioz Object of his love = "Beloved" (Harriet Smithson, a Shakespearean actor) Belioz hoped that the text/program would act as an inspiration for people to draw connections to what was going on in the music Makes people listen for connections between text and music Signification in music draws relations to outside music, but also text signifies to music (says something about the music) Idee fixe: obsessive or recurring idea Concept of recurring motive begun by Beethoven Berlioz takes it one step further by creating idee fixe Differs from music theme/motive because it's given direct meaning Pg. 249-50 Each movement was given descriptive title and program First movement -- first time the idee fixe comes out (volcanic love) Melody suddenly gets loud, has lots of ups and downs, is very fiery, has ups and downs Sweeping violin melody (seems like expression of love) Builds intensely (not well-reasoned love, but tempetuous and out of control romance that keeps rising and getting more insistent) This idee fixe will keep coming back but a little bit differently Capable of transformation For repeated motive, would be the same gesture that appears in different musical guises (ex. For Beethoven -- 1st theme, accompaniment, second melody in scherzo, etc.) For idee motive, it is radically transformed depending on context of the movement Second movement -- setting is a ball, so starts with waltz theme Later on, intertwines and transforms Has flute playing the beloved theme, wrapped around the waltz theme (sense of encountering beloved at party) Role of second and third are reversed in symphonie fantastique -- 2nd : waltz, 3rd : slow movement Third movement: wind sound + oboe/english horn playing beloved theme (represents shepherd/peasant quality) Fourth movement: (pg. 252) As character is led up to the guillotine, idee fix comes all by itself until fall of guillotine Violins = Romantic love; accented rhythm = heartbeat, waltz = party, suddenl loud chord = guillotine Movement 5: Night of the witch's sabbath (mass) Topoi: use of bells signify bells, time, witching hour Witch's sabbath is different from human's sabbath Human's sabbath is in the day; witch's is at night Mass that witches celebrate is a mass of death Mass of Death = Requiem Mass -- quote from mass of dead (rgregorian chant) Orch special effects: shriefs, groans = bending pitch , orchestration Use of Dies Irae Gregorian chant: from Requiem mass (Mass for the Dead) References Judgement Day -- the apocalypse Audience would instantly understand reference Has chromaticism (can be in orchestral muisc) Tries to make ugly sounds to depict shrieks -- makes flute/french horn blow too hard to sour pitch) Follows no known form (x sonatoform, themes and variations, etc.) Just a sequence of events Just movement that dpeends on you knowing something of the story) Transformation of idee fixe from noble beautiful volcanic theme that was flowing , transformed into short, ornamented notes that makes a hideous and ugly tune 19th century: orchestral music, like piano music, puts less emphasis on form and more emphasis on expression of emotion

Symphony No. 1 - Mahler

Symphony with four movements Mahler embraces idea of topos Has a lot of symbolism that is not just in musical realm Book refers to it as a "funeral march," but Mahler did not refer to it as that Don't need a program Did at one point say that this was something related to programmatic music 1893: made explanatory program, calls 4th movement to a funeral march BUT actually don't need Huntsman's Funeral Procession woodcut to know what Mahler is doing in this piece Signifies everything through topoi Section 1 Uses Friar Jacques, but puts the nursery tune in minor key (wrong context) Changes emotion from happiness to ironic sadness Like the woodcut -- it's ironic sadness b/c it's like a parody: animals are mourning, and for a huntsman Uses double bass (isn't appropriate instrument) Adds strain b/c normally is used to play much lower + function is usually not melodic (is on the verge of failure, tone is not supposed to be stable, supposed to sound scary) Accompaniment = timpani Not correct role (drums are supposed to keep the beat, not provide accompaniment) In every aspect, Mahler is signifying different ideas applying technique of canon to chidlren's song in "wrong key" perfrect "academic" compositional technique = fugue incongruous objects Uses it in a canon (strict imitative polyphony) Controversial b/c used ironic song with complex structure Mixes what is supposed to be high culture ("high brow") and pseudo-sadness (ironic sadness) of putting the melody in a wrong mode ("low brow") References Jewish wedding band and popular dance band music (aka Klezmer) Infuriated musical purists, who were critics) Section 3 Includes melody from one of his other songs Extracts song and puts it into middle of symphony movement Section he quotes : summarizes Mahler's view of music Believed that symphony contains the world -- signifies a bunch of things Connects love and sorrow, world and dream Can tell a lot more from Mahler's song than reducing it to Huntsman woodcut "hyper-romantic" -- has many more references, unites opposites

Romeo and Juliet - Tchaikovsky

Late romantic program music "symphonic poem" Can identify his main themes with elements in Shakespeare's dramas Tchaikovsky: Romeo and Juliet (1869) "Fantasy-overture" Not the genre, just a term Tchaikovsky made up No specific program/story Is orchestral work with purpose of telling story, though there is no specific program/story associated with the piece Unlike Symphony Fantastique (where Berlioz instructed program to by handed out) Tchaikovsky has no such instructions References Shakespeare (title) Is a topoi itself In 19th century, there was a renewed interest in works of Shakespeare Immediately after his own death, there was no interest in Shakespeare In 19th century, people suddenly rediscovered him and he's been popular since Composers use that popularity when they reference Shakespeare in their pieces References him, but in a way that's not story specific Play has a story arc that is not reflected in the music (not about recreating the scenes) Music is about creating music of dramatic nature that is associated with different concepts in Romeo and Juliet Rely on audience's associations (topoi) Merely had to title work "Romeo and Juliet" to be able to spark associations in the audience's mind Had to rely on idea that people are familiar with story Shakespeare's play, but not a retelling of that play Genre: symphonic poem; aka tone poem with programmatic characteristics : single movement for orchestra with descriptive titles ("overture") Title frames the whole listening experience (listen to music in context of story) Loosely-organized sonata form Programmatic, but similar to sonata form (broadly, is in sonata form) Sonata form melodically, but not harmonically Moves among tonalities very easily Book doesn't even identify key bc keeps changing What in the music can we tie to/associate with the title/story? Opens quietly with wind instruments, all moving in the same rhythm (chords) -- chordal homophony (associated with period of Renaissance -- Josquin, mass -- and Baroque -- Bach, chorale/cantata) Chordal homophony usually connected to church music Wind instrumetns remind of organ, which is also like church music, and is referred to as "hymn theme" Suggested topos -- church, religious music Church figure in Romeo and Juliet -- Friar Lawrence Hymn theme is in minor key -- suggests the melancholy that later comes (R and J commit suicide in church) Rapidly gains strength, tempo, loudness --> goes into exposition Goes between high strings and low strings, then strings and woodwinds Sounds like confrontation Has imitative polyphony Sounds like chase Imitative polyphony used as topos for conflict and tension ("vendetta theme") Second theme -- more lyrical, calm Has all of trademark features of romantic love theme First theme dominated by low woodwinds These theme dominated by higher instruments, like flute and violins Goes up as if flame of love growing, but still gentle

Moment Musical - Schubert

Character piece Titles function as topoi - signify Moment is significant b/c it's elusive (we're aware of it, then it disappears) Trying to evoke this in a composition that has little to dow ith any kind of structure Uses title to put us in the mindset of thinking that we have something but having it slip through our fingers Suddenly changes (change of mode) in mood Goes from happy to a little stormy (shifts in mood) Accomplishes these shifts in mood so easily Melody very lyrical, sounds like it can be set to words -- songlike quality (characteristic of Romantic era) Very clear melody, very subservient secondary accompaniment (very clear which is melody and which is accompaniment

Carnaval - Schumann

Character piece set of pieces grouped together (20) Each are musical portraits of masked guests at a ball Much like song cycle 20 brief piano compositions, each of which have a descriptive title Each has a title Topoi: Carnaval - carnaval season: wild, decadent partying before Lent Uses title to signify emotion and expression, trigger certain associations Not focusing on form Discussing how season of Carnaval just passed and now in lent Modern idea of carnival derives from carnaval By using this title, wants everyone to be in the mindset of this wild, party-like atmosphere In this context, makes 20 different "characters" Schumann also used pen names to act as a music critic (in addition to composer) and write reviews with two very different personalities Eusebius pseudonym for Schumann gentle, "quiet," tender, heartfelt, dreamer Carnaval, "Eusebius" Comes through quite clearer in song Dreamy, relaxed melody Doesn't fit very well in meter No accents Fits personality people know from reading reviews of Schumann as Eusebius Florestan pseudonym Tempo pushes forward Pseudonym represents Schumann's impetuous, emotional side Scream at you, then turn around and embrace you Translated into music as Carnaval, "Florestan" do not stand alone -- are part of a larger program Piano performance: rubato "robbed" time -- flexing tempo in performance, performer, NOT composer adding to composition Meter remains the same Make some parts faster, make some parts slower Ex. Eusebius - meter the same, but rushes grouping of 5 notes and then slows down grouping of two notes Rubato easier to hear at the end of phrases and when the song slows down Every performer approaches it differently Rubato was not used before the 19th century Have to balance slowing down by speeding up Are not supposed to be standalone pieces

Nocturne - Chopin

Character piece -- part of 21 pieces Has almost liquid quality b/c of chromaticism Uses rubato (free rhythm) Nocturne -- was a piece performed in the evening and was often a serenade by a lover to his or her beloved (man serenading a woman) Evening is associated with romance Serves several functions: Has a descriptive titles In piano composition, there were two distinct types: 1. emphasis on melody and has simple accompaniment, for home; 2. for the best pianists of the time, virtuosity in piano composition, brilliant playing (examples: Chopin, Liszt) (mass production, mass consumption) Lots of piano pieces from this period b/c fully developed in first decades of 19th century, and became a status symbol Usually bourgeosie were the ones that had pianos and played them = people who earned money (not aristocracy, who inherited money) There was a lot of need for piano music pieces for parlor music In that category, Schumann Carnaval and Schubert Moment Musicale fit Suggestive "topoi" Evocative of a night piece/love song Can hear it in the singing melody Virtuosity: lots of notes, very loud playing, fast notes, quick runs up/down the keyboard, and CHROMATICISM (motion by ascending or descending half step motion) Belongs on concert stage, not in home Brilliant playing Music produced for and performed by top executors (ex. Chopin, Liszt) Chromaticism sounds like decoration of the melody

Violin Concerto - Brahms

Concerto Sticks by standard movement plan for Classical concerto Double exposition sonata form Last movement: rondo Comparisons w/ Vivaldi and violin technique virtuosity In concertos --> instrument technique gets pushed to its limit Plays what is considered "unplayable" When Vivaldi first wrote violin concertos, not many people could play it Now is consdiered bedrock/foundation (part of training) What was once at outer reaches is now part of main training Same with Brahms' concertos

Rigoletto - Verdi

Early Romantic Opera Rigoletto was a daring subject for Verdi to take on Has recitatives and arias "Rigoletto" was based on a play at the time, was king's amusement Bel canto opera is supreme Unrequited love and sacrifice for love from father (Rigoletto) and daughter, who folls for lecherous duke Verdi produces blockbuster operas, melodramatic, important/significant and moneymaking Text is still composed by special poet for operas (Piave for this one) Costumes, sets, etc. are still integral to show Style of singing that italian opera composers excelled at -- condo ("beautiful singing") Orchestra may begin, but voice is the thing everyone wants to hear (when it comes in, orchestra drops out) Bell conto aria Breaks between recitatives and arias are not as clear as they were before 19th century -- composers lookin gfor ways to make longer dramatic units by stringing together recitatives and arias and quartets

Don Giovanni - Mozart

Example of opera buffa Has recitative (secco, sung with just continuo accompaniment like in Baroque opera) and duet libretto by Lorenza da Ponte (his primary collaborator) Subject: medieval story of Don Juan (legend) Don Juan: someone who has a lot of lovers Don = title of nobility (aristocrat) Doesn't portray aristocracy in a very good light, though patrons of opera are aristocrats All poetry was subject to censorship, so this kind of thing was normally never made Most censorship had to do with politics and social order Mozart often conflicted with censorship Amazing that Don Juan was even produced Don Giovanni Aristocrat who's gone astray Narcissistic -- doesn't think can anything can happen to him Later, dragged down to hell Reputation is that it's all reputation, all talk. No evidence that he ever completes a seduction Three amjor seductive scenes Always interrupted Most operas-- difference from Baroque No longer da capo arias Fair use of chorus Hardly any in Baroque opera Begin using duet ^ all these come from comic opera Don Juan Act 1 Scene III (p. 193) Scene begins with chorus Chorus - recitative - aria (Ho, capito) Recitative - duet (La ci Darem) Arias : few are in da capo form, more are these multi-stanza songs Duet : always one person sings alone, then immediately someone sings alone in other words with same melody Slowly comes together -- one sings one line, then the other sings one line Only at the very end (last stanza) do they sing together Duet structure lends its well quite well to topos (representation) of seduction Approaches, she tries to resist, he gradually wins her over, then they sit +sing together Has secco recitative (only bass and voice) But accompanied recitative also still exists in classical era In late eighteenth century, (opera buffa) comic opera grew to equal in importance to serious opera Opera stars had to act as well as sing Comic italian opera = opera buffa

Symphony No. 101 ("The Clock") - Haydn

Example of rondo form - very fast If you can remember the melody, then listening to the rondo unfold is straightforward Signals new idea/theme by changing lots of things: dynamics, orchestration Piano, strings --> forte, orchestra + percussion When A comes back, it has some changes Embellishes melody (adds notes, instruments) Rondo is straightforward, but Haydn makes it interesting by making it hard to know when the rondo theme will come Wrote 90 symphonies for a prince Composed everything prince wanted X much freedom to travel BUT ppl still knew about his music Fame extended beyond kingdom (ex. London) 1791-1793: symp. 94 in G "Surprise" (out of 104) Last 12 are called "London Symphonies" composed for series of concerts in London organized by Johann Peter Salomon (played most frequently today) Salomon landed Hadyn after he was dismissed by prince's son Got money through ticket sales instead of through stipends by working at the kingdom Has unexpected variations Change melody/accompaniment/etc. slightly Doesn't return to rondo theme Even when he does, he changes it Instead of exact return, he does it "sort of" Last return of A begins with a fugue

Piano Concerto No. 23 - Mozart

First movement of concerto Double-exposition form Really played up sonata form in this movement -- highlights exposition, development, recapitulation Sonata form is not the overall most important part of this piece Most important part is the alternation of orchestral (tutti) passages and solo passages (ritornello - solo - ritornello - solo) Development Has cadenza -- right before last statement of orchestral theme (Ritornello) in concerto Baroque Concertos also had cadenzas Always comes right before the last statement of the orchestra theme (Ritornello, but not formally called that in classical era) Soloist plays alone (with no accompaniment) Improvised (no sheet music) Beethoven wrote cadenzas for Mozart's compositions Understood that there's a hybridization between sonata and ritornello Alteration between orchestra and solo (large orchestral passage, prominent solo passage) Understand that there's this hybridization going on between sonata form and ritornello, the alternation between orchestra and solo is the driving mechanism of concerto

Madame Butterfly - Puccini

Late Romantic opera Libretto by Illica and Giacosa Combines Verdi "bel canto" and Wagner continuous melody Wagner was a game-changer with his continuous melody Puccini has leitmotifs Style called Verismo -- shocking "realism," brutal, grisly Was attempt by Italian opera composers to inject more dramatically realistic story and music into what had become a formulaic apparatic genre "moments" of aria-like melodies, together with more continuous styl eof singing Shifting moods of music match character's descent into madness Pg. 276 Wagner style was attractive b/c allows him to shift emotional temperature of passage (monologue) from moment to moment Quasi-recitative but very lyrical (space between aria and recitative) Italian tradition similar to Wagner style

Der Mond kommt still gegangen - Clara Schumann

Lied Modified strophic form, A A A' Example of stand alone single song Example of modified strophic setting of text: basically strophic, but with at least one significant change ** on test, won't ask about modified strophic setting First + second stanza -- same melodic backdrop For third stanza, stanzas begin the same, but afterwards (2nd line and on) are different Music takes a poignant and sad turn (about lvoe, suddenly goes into how she doesn't have love like everyone else seems to) Change/alteration in response to the text

Erlkonig (The Erlking) - Schubert

Lied Poem by Goethe Dealth with death and the supernatural Different music for the poem's three characters Two songs hold this song together: Piano's ceaseless triplet rhythm Musical repetitins (motive for agitated riding, strained appeal to father) Good example that has a lot of topos Involves setting a text (goes back to madrigal -- setting a text to music) Storytelling aspect of text -- through composed setting obvious choice (except Loewe) Different melody for each part of the song Uses music to tell the story (expressive) Even accompaniment is part of the act -- Illustrates motion of the horse (triplets) Words: "Who is that riding in the night" Completely different melody form stanza to stanza -- through-composed style Uses melody to illustrate the lines sung "mein Vater" set at higher and higher pitches Music of seduction of the Erlkonig-changes from Minor to Major mode Asking child to come with him Do you see him? Do you hear him? Do you see him? Help me he's seizing me and hurting me One singer -- using many voices to display different people "My father, my father" Recurring motive Line comes back several times After Erlkonig comes and is coy/sweet, boy says this, asks father if he sees it As son says more things, dad's response gets longer (more doubt?) Sets up dualism of natural versus supernatural Son asks questions, but father keeps dryly responding (dismissive) Supernatural Natural Erlkonig mist Do you hear him dry leaves rustling in the wind Do you see him?(really?) grey gleam in willow tree He's hurting me [nothing] Senses: Eyes to ears to eyes to touch Accompaniment ends --> "in his arms, the child was dead" Death of children was a popular topos in romantic era = death of innocent Beginning of each stanza is different -- key aspect of through composed song Responds to shifts of the story (responds as the narration of the story changes)

Dichterliebe (A Poet's Love) - Schumann

Lied - song cycle Has no real story Series of love poems traces progression from cautious optimism to disillusionment Sometimes songs are compiled together -- together, tell a story Im wunderschonen Monat Mai" 1st song 2 stanzas, each set to same music (strophic) Not resolved Okay in the song cycle because each song is not supposed to stand alone (supposed to connect to the next songs) Unresolved nature of the first song is a topos What is unresolved in this poem that the song could be reflecting? Love -- b/c it's unsettling since there is no response Die aiten, bosen Lieder Completely excessive response to his disappointment (wasn't accepted by the girl) Voice goes away and piano goes on Shows peace, relief Instead of ending it on a sad note, he ends it on a romantic, happier note (now, the lover can move on, he will live to love another day) Through composed

Symphony No. 99 - Haydn

Minuet and trio (minuet, trio, minuet) One movement of the symphony that can be predicted b/c of its position and placement Another good example of a/c phrase (symmetric, balanced) Only hear first part -- can tell its incomplete b/c of pitch Haydn goes out of his way to make the piece as undanceable as possible (beat not stable -- does interesting things with the rhythm) Throws in certain gestures that would sound completely out of place in the refined atmostphere of a court to tease pomposity (peasant, outdoor quality of Haydn's symphonies) Uses "hemiolas" -- messes up with meter : two groups of three beats are replaced by three groups of two beats, giving the effect of a shift between triple and duple meter

The Valkyrie - Wagner

Opera Orchestra, carrying leitmotivs, not only accompanies singers but also depicts acharacters' thoughts and feelings Yields sense of psychological depth and complexity in the characters Leitmotivs hardly ever appear in exactly the same way twice, but instead are transformed slightly for each new appearance In this way, their psychological portrayal shifts along with the drama Hallmark of Wagnerian drama Singers never sing the leitmotivs Melodes never show ltunefulness of Verdi's Rigoletto Deliver free-formed declaration of words like recitative, which sometimes approaches tunefulness but never goes into a full-fledged aria 2nd opera in cycle Ring of the Niebelungen (1848-74) of 4 (supposed to listen to it on 4 separate days, way too expensive now) All texts by Wagner, based on Edda (Norse mythology) Leitmotif has connections to concept of topos: creating the signifier and what it signifies Lots of music where singers not singing Pg. 272 Siegmunde was fighting with Hunding, and then he wanders into his house and falls in love with Hunding's wife, Sieglinde Very different approach to dramatic No repetition of text - just said out No aria Everything is sort of like a recitative, sort of like an aria - very flexible (emotions and music shift very easily and fluidly from one emotion to another) Certain motives (pg. 272) Enormous forces in his orchestra Gives very specific stage directions (very different from Verdi) b/c people in Verdi's operas are always singing Singers do not sing together

Pictures at an Exhibition - Musorgsky

Originally written for piano solo (piano miniatures) Later orcehsrated by Ravel Promenade theme refers to Russian folk song Example of nationalism Programmatic music doesn't have to be based on literary sources, can be based on visual pieces Wrote it as tribute to painter His paintings formed inspiration for composing these pieces Orchestrated by Ravel and best described as a suite (related by some common story) After Mussorgky died, Ravel took these piano pieces and orchestrated for full symphony orchestra + changed some of the harmony Some of Mussorgky's harmonies did not match completely with Germanic harmonies Ravel thought these were mistakes and changed them, but today we see it as Mussorgsky's unique harmonic flavor For concert halls (not domestic music making in the home) Originally a set of piano miniatures -- composed for solo piano (like Schumann: Carnaval; and Schubert: Moment musical) Also separate piano pieces Hear promenade several times throughout the suite Acts as recurring melody that joins the different character pieces together Notable for meter First piece to use a compound meter (until now, was always duple meter --groupings of 2-- or triple meter --groupings of 3) Also uses mixed meter (used mixed meters -- 5/4, 6/4) Later, this becomes very popular Meter is one of the last parameter of music to undergo transformation