2024-2025_UIL_Music_Memory_Study_Guide_for_Grades_7-8.pdf
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2024‐2025 UIL Music Memory Study Guide Study the terms, definitions, and information about the composers and the selections below. Questions for the Multiple Choice portion of the test will be drawn from information on this document. 6/8 time or 6/8 meter: compound meter (the dotted quarter note be...
2024‐2025 UIL Music Memory Study Guide Study the terms, definitions, and information about the composers and the selections below. Questions for the Multiple Choice portion of the test will be drawn from information on this document. 6/8 time or 6/8 meter: compound meter (the dotted quarter note beat is evenly divided into three eighth notes), in which there are two beats per measure and a dotted quarter note gets one beat. A B A form: a form consisting of three sections, in which the third section is a repeat of the first. A cappella (“in the style of the chapel” in Italian): music performed without instrumental accompaniment. Accelerando (accel.): gradually faster (accelerating). Accent: emphasizing a note by making it louder. Accompaniment (Brahms): a musical part that supports the melody. Accompaniment (Schubert): a musical part that supports or partners with a solo instrument, voice, or group. Alto: low female singing voice, abbreviated “A.” Allegro, con molto fuoco: cheerful (fast), with much fire, or passionately. Andalusia: a large region on the southern coast of Spain. Antiphony: a performance style in which musicians are divided into two or more groups, performing alternately as separate groups and together. Arco: a type of articulation that indicates that the strings of a stringed instrument are to be played with a bow. Argentina: a large country in southeastern South America. Its capital city is Buenos Aires. Armenia: a former Soviet republic in the Caucasus Mountain region between Asia and Europe. Arpeggio (ar‐PEH‐djo) or broken chord (“to play on a harp” in Italian): a style of playing a chord where individual pitches are sounded in succession rather than together. Articulation: the many different ways that notes can be played on instruments, such as the style of attack and the manner in which notes are connected or separated. Ballad: a song that tells a story. Ballet: a story told through music and dancing, performed on a stage with costumes, sets, and lighting. Band: a group of musicians who play instruments together. Baritone: the most common male singing voice, loser than tenor and higher than bass. Bass: low male singing voice, abbreviated “B.” Bass clef (“F clef”): a musical symbol that indicates F below middle C (line 4 on the staff). Instruments that use the bass clef include cello, double bass, bassoon, trombone, baritone, euphonium, tuba, timpani, bass guitar, piano, and harp, as well as baritone and bass voices. Basso continuo: a type of Baroque accompaniment in which one or more instruments (usually cello and/or harpsichord) play the bass line and chords. The Battle of Borodino: a major battle fought near the village of Borodino, 75 miles west of Moscow, on September 7, 1812, during Napoleon’s invasion of Russia. Bel canto (“beautiful singing” in Italian): a style of singing that uses graceful legato melodies that are decorated with many precise, rapidly‐moving notes. Bergamasque: a rustic peasant dance from Italy. Big band or jazz orchestra: a group of 12‐25 musicians who play woodwind, brass, and rhythm instruments. Bridge: a contrasting, connecting section. Carnegie Hall: a concert hall established in 1891 in New York City. Chamber orchestra: a few musicians who play in a room (chamber) or small hall Choir: a large group of singers associated with the church (sacred). The voices of an adult choir include soprano (S), alto (A), tenor (T), and bass (B). Clavier: in Bach’s time, a family of keyboard instruments, including the harpsichord, organ, and later the piano. Coda (“tail” in Italian): the ending of a piece of music. Commission: to hire and pay a composer to compose a piece of music. Musical works may be commissioned by individuals or groups, such as a school or symphony orchestra. Compound meter: in compound meter the beat is evenly divided into three parts. Concert band: a large group of 20‐60 musicians who play instruments of the woodwind, brass, and percussion families. Sometimes the double bass and harp are included. A concert band is also called a wind band, wind ensemble, wind orchestra, wind symphony symphonic band, symphonic winds, or symphonic wind ensemble. Concert overture: an independent, one‐movement work with contrasting sections, in the style of an opera overture. Concerto: a composition, usually in three parts or movements, for solo instrument(s) and orchestra. Crescendo (cresc.): gradually louder. Decrescendo (decresc.) or diminuendo (dim.): gradually softer. Dynamics: the volume (loudness or softness) of the sound. Equal temperament: a system of tuning developed in the late 1600s, which allows a keyboard instrument to sound in tune in every key. Expressive elements (tempo, dynamics, articulation, texture, tonality, and mood): qualities that affect the emotions felt when music is heard. Finale: the last, or final movement of a sonata, concerto, or symphony. Flamenco: a form of Spanish folk music and dance characterized by guitar, singing, castanets, and rhythmic hand clapping and foot stomping. Folk song: a song that is not written down, but is passed on orally from person to person. Usually, the composer of a folk song is unknown. Forte: a dynamic marking, abbreviated “f” that indicates that the music is to be performed loudly. Fortissimo: a dynamic marking, abbreviated “ff” that indicates that the music is to be performed very loudly. Fortissississimo (pronounced for‐tees‐ees‐EES‐ee‐mo): a dynamic marking, abbreviated “ffff” that indicates that the music is to be performed very, very, very loudly. Gitanería: a type of Andalusian gypsy flamenco entertainment. Harmonie: traditional European/Czech village wind bands (pairs of oboes, clarinets, bassoons, and French horns) popular at the end of the 18th century. Harpsichord: main keyboard instrument in Renaissance and Baroque music (from about 1400 to 1750). The invention of the piano in the late 1700s caused the harpsichord’s popularity to decline. Impressionism: early 20th century artistic style of poets, painters, and composers who tried to capture a fleeting moment or impression, using subtle blends and shades of color. Improvisation: music that is made up as it is performed. Instrumental serenade: a collection of light pieces used for outdoor performances. Introduction: the beginning of a piece of music. Jazz: music that developed at the beginning of the 20th century in America. Jazz features improvisation. Largamente: broadly (slowly). Legato: an articulation term that indicates that notes are “tied together” (smooth and connected). Legato articulation is indicated by a curved slur line above or below the notes. Libretto (“book” in Italian): contains all the words and stage directions for an opera. Lied: a type of German art song of the Romantic period, for solo voice with piano accompaniment. Lyrics: the words of a song. Madrigal: a secular (not religious) vocal piece for 2‐8 parts, usually performed a cappella. Major or minor tonality: the key of a piece of music, determined by relationships between notes of the home scale. Marcato: heavy or “marked.” Marcato notes are marked with a horizontal line above or below the note head. March: a piece of music with a strong regular rhythm, written for marching to. Melody: a line of single pitches that move up, down, or repeat (the tune of the music). Menuetto (“minuet” in Italian): a social dance for two people in 3/4 time (three beats per measure). Meter: the way beats of music are grouped, usually in sets of two, three, or four beats. Mezzo-forte: a dynamic marking, abbreviated “mf” that indicates that the music is to be performed medium loudly. Mezzo-piano: a dynamic marking, abbreviated “mp” that indicates that the music is to be performed medium softly. Mezzo‐soprano (“middle” or “medium” soprano): female singing voice that is lower than that of a soprano, higher than that of an alto. Moderato quasi Marcia: moderately and march‐like. Molto maestoso: very stately, majestic. Musical form: the overall plan or structure of a piece of music. Musical prodigy: a child (under age 12) who displays a talent in music on the same level as a skilled adult musician. Mute: a device used to muffle or soften the tone of a musical instrument. Nationalism: patriotic feelings, principles, or efforts. Natural trumpet: a trumpet developed around 1300, with no valves, used to play mostly high notes. The Baroque period (1600‐1750) is considered to be the “Golden Age of the Natural Trumpet.” Composers wrote music for the natural trumpet well into the 1800s. Opera: a story told completely through music. The characters sing with an orchestra accompanying them and act out the story on a stage with costumes, scenery, props, and choreography. Opera aria: a song from an opera, for one voice, often sung with an orchestra. Aira means “air” in Italian. Opera buffa: a type of comic opera written for common people, with ordinary problems, in everyday settings. Singers must have clear diction and be able to sing “patter” (fast singing). Opus or Op. (“work”): a “work number” assigned to a composition or set of compositions that usually indicates the chronological order of publication. Orchestration: writing music for an orchestra, or adapting music written for one instrument so that it can be played by an orchestra. Ornamentation: the decoration of a melody, either by adding notes or by modifying rhythms, to make it more interesting or pleasing. Overture: the instrumental introduction of an opera. Phrase: a musical thought found in a melody. Phrases combine to form larger sections. Pianissimo: a dynamic marking, abbreviated “pp” that indicates that the music is to be performed very softly. Piano: a dynamic marking, abbreviated “p” that indicates that the music is to be performed softly. Pizzicato: a type of articulation that indicates that the strings of a stringed instrument are to be plucked. “Pomp and Circumstance”: a formal, impressive ceremony or display of splendor and stateliness. Prelude: a short piece of music that often serves as an introduction to a longer work. Presto: a tempo mark that indicates that the music is very fast. Prestissimo: a tempo mark that indicates that the music is very very fast. Program music: music written to portray events, activities, or moods. Promenade: a leisurely walk in a public pace. Requiem: a composition for choir and orchestra written to honor someone who has died. Requiem Mass: a Roman Catholic church service used for funerals. Ritardando (rit.): gradually slower. Ritornello: a theme that returns throughout a piece of music. Vivaldi invented and perfected the ritornello form. Rondo form: a musical form in which the main theme returns after each contrasting section: A B A C A. Rondo can also refer to music that is fast and vivacious. The Russian “Five” or the “Mighty Handful”: a group of prominent 19th century composers in Saint Petersburg, Russia, who wanted to produce specifically Russian classical music, rather than imitating European‐style music. The group met from 1856 to 1870 and consisted of leader Mily Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky‐Korsakov, and Alexander Borodin. SATB choir: a group of male and female singers (S=soprano, A=alto, T=tenor, B=bass). Scherzo (“joke” in Italian): the third movement of a symphony, beginning with Beethoven’s Symphony No. 2, in 3/4 time, usually quick and light‐hearted. It is often played with a trio, followed by a repeat of the scherzo. Secular: not religious. Sforzando (abbreviated “sf”): a sudden forceful accent. Singspiel (ZING‐shpeel): a popular German form of comic opera, in which spoken dialogue is mixed with singing. Soprano: high female singing voice, abbreviated “S.” Staccato: articulation term that indicates that notes are detached, separated. Staccato notes are marked with a dot above or below the note head. Stanza: a unit of poetry similar to a paragraph. In music, a section of a song that is the equivalent of a verse. Suite: a musical form made up of a collection of short pieces. Swing: a style of jazz popular from about 1933 to 1946, performed by big bands, and used for dancing. Symphony: a musical composition in three or more sections or movements for orchestra. Syncopation: a rhythm where important tomes begin on weak beats or weak parts of beats, giving an “off‐balance” feeling to the music. Tempo (“time” in Italian): the speed of the beat. Tenor: high male singing voice, abbreviated “T.” Ternary form: a three‐part musical form where the first section is repeated after a contrasting second section: A B A. Texture: the way the sounds are combined, or the way layers of sound interact in a musical composition. Theme: the main melody of a section or composition. The “Three B’s”: the group of German composers (Johann Sebastian Bach, Ludwig Van Beethoven, and Johannes Brahms). Through‐composed: music that is continuous, without a specific form. Toreador (“torero” in Spanish): a bullfighter. Treble clef (“G clef”): a musical symbol that indicates G above middle C (line 2 on the staff). Instruments that use the treble clef include the violin, flute, oboe, English horn, clarinet, saxophone, recorder, trumpet, cornet, French horn, vibraphone, xylophone, guitar, mandolin, bagpipe, keyboards, harps, as well as women’s and tenor voices. Trio (Beethoven): the contrasting middle (B) section of a three‐part movement, named “trio” because it was originally written for three instruments. Trios usually have a light, simple texture. Trio (Elgar): usually the third section of a march. It is the main melody of a march and is more legato (smooth) and lyrical (song‐like). Trio (Rossini): a piece of music written for three singers or instruments. Trumpet voluntary: the name given to some English keyboard pieces from the Baroque period. A trumpet voluntary is usually played on the organ using a trumpet stop. Komidas Vartabed (1869‐1935): Armenian musicologist, priest, composer, singer, choirmaster, and founder of Armenian classical music. He preserved and documented over 4,000 folk songs. Paul Verlaine (1844‐1896): a French poet and Debussy’s childhood friend. Virtuoso performer: a musician who possesses outstanding talent and exceptional technical ability in playing a musical instrument. Voice register: a range of pitches produced by the singing voice. Voluntary: a piece of music, usually for organ, played as part of a church service. Waltz: a type of ballroom dance music in 3/4 meter. The Well‐Tempered Clavier: two collections (Books 1 and 2), each with 24 preludes and 24 fugues, written in every major and minor key. Bach Johann Sebastian Bach (1685‐1750), German Baroque composer. One of the “Three B’s” (Bach, Beethoven, and Brahms). Played violin, viola, harpsichord, clavier, and organ. Had 20 children. 9 survived him. 4 were composers. Had diabetes. Went blind. Died of a stroke. Today he is considered to be the greatest composer of all time. Beethoven Ludwig van Beethoven (1770‐1827), German Classical/Romantic composer. One of the “Three B’s” (Bach, Beethoven, and Brahms). Played violin, viola, organ, and was a virtuoso pianist. Gradually became deaf. Began to lose his hearing in 1796. Completely deaf in 1818. Moody, disorganized, and arrogant. Died of liver failure. Composed nine famous symphonies. One of the most famous and influential composers in music history. Bizet Georges Bizet (1838‐1875), French Romantic composer. Played piano. Child prodigy. Loved music and reading. Entered Paris Conservatory at 10. Earned his living as an accompanist and by arranging music for a music publisher. Known for his operas, though only six were completed. Died of a heart attack at age 36. Brahms Johannes Delibes (1833‐1897), German Romantic composer. One of the “Three B’s” (Bach, Beethoven, and Brahms). Played cello, French horn, and was a virtuoso pianist. Perfectionist. Destroyed many of his compositions before they were published. Close friend of composer Antonin Dvořák. Never married. Died of liver cancer. Buried in Vienna next to Beethoven, Johann Strauss, and Schubert. Clarke Jeremiah Clarke (1674‐1707), English Baroque composer. Played organ. Lived his whole life in London, England. Sang in choir of Chapel Royal as a boy. Organist at Winchester College, at St. Paul’s Cathedral, and at Chapel Royal. Known for his harpsichord and organ music. Died of a self‐inflicted gunshot wound. Clarke’s best‐known composition is “The Prince of Denmark’s March.” Debussy Claude Debussy (1862‐1918), French Impressionist composer. Played piano. Musical prodigy. Entered Paris Conservatory at age 10. Edited Chopin’s piano works. Was a music critic and wrote about music under the pen name “Monsieur Croche” (Mr. Quarter Note). Loved art and poetry. Died of colon cancer. The greatest French composer of his time. One of the “Fathers of Modern Music.” Dvořák Antonin Dvořák (1841‐1904), Romantic Czech composer. Played violin, viola, piano, and organ. Worked as a violinist and organist. Professor and later Director of Prague University. Member of the Austrian House of Lords. 1892‐95 lived in the U.S., where he was Director of the National Conservatory of Music in New York City. The most distinguished and versatile Czech composer and the first to become famous around the world. Died after suffering a stroke. Elgar Edward Elgar (1857‐1934), English late Romantic composer. Played piano, organ, and violin. Taught piano and violin. Worked as a free‐lance musician and conductor. Knighted at Buckingham Palace in 1904. Loved the English countryside and was very patriotic. Died of cancer. Sir Edward Elgar, known as “The Master of the King’s Musick,” was the finest English composer of his time. Ellington Edward Kennedy (“Duke”) Ellington (1899‐1974), 20th century American composer. Taught himself to play the piano. Composed over 2,000 pieces of music. In 1969 President Nixon gave him a 70th birthday party at the White House and gave him the Presidential Medal of Freedom. Died of lung cancer. “Take the ‘A’ Train” was played at his funeral. Strayhorn William Thomas (“Billy’) Strayhorn (1915‐1967), 20th century American composer. Played piano. Classically trained. Collaborated with Duke Ellington for almost 30 years. Composed and arranged pieces for Ellington’s big band. Active in the civil rights movement and was a friend to Martin Luther King, Jr. Died of cancer. “Take the ‘A’ Train” was played at his memorial service. Falla Manuel de Falla (1876‐1946), 20th century Spanish composer. Played piano. Interested in Spanish folk music and flamenco. Named Knight of the Order of King Alfonso X of Castile. Moved to Argentina in 1939 after Franco’s victory in the Spanish Civil War. Died of a heart attack in Argentina. One of Spain’s most important composers. His picture was on Spain’s 100‐pesetas banknote. Lassus Orlando de Lassus (1532‐1594), Belgian Renaissance composer. Singer. As a young choirboy was kidnapped three times by rival choirs because of his beautiful voice. Born in France, trained in Italy, worked in Germany. Awarded the Knight of the Golden Spur in 1574 by Pope Gregory III. Wrote no instrumental music. Composed over 2,000 vocal and choral pieces. His compositions comprised 60% of all music printed in Europe between 1555 and 1600. One of the most popular, famous, and influential musicians at the end of the 16th century. Mozart Wolfgang Amadeus Mozart (1756‐1791), Austrian Classical composer. Played violin, viola, harpsichord, clavier, piano, and organ. Child prodigy. Considered a musical genius his whole life. Traveled extensively with his sister around Europe performing for royalty. Died of rheumatic fever. One of the most important classical composers in history. Mussorgsky Modest Mussorgsky (1839‐1881), Russian Romantic composer. Member of the Russian “Five” or the “Mighty Handful” (Balakirev, Cui, Mussorgsky, Rimsky‐Korsakov and Borodin). Played piano and sang. Was a member of the Russian Imperial Guard. Worked at several civil service jobs. Never studied music composition in school. Composed part‐time. Had little money and lived in poverty. Died of heart failure. Price Florence Price (1887‐1953), 20TH century American composer. Played piano, organ, and violin. Child prodigy. Started playing piano at age 3. First composition published at 11. Entered New England Conservatory of Music at 14. Wrote over 300 compositions. Inducted into the American Society of Composers, Authors, and Publishers in 1940. Died after suffering a stroke. First African‐American woman recognized as a symphony composer. Reed Alfred Reed (1921‐2005), 20th century American composer. Played trumpet. Played in the Air Force Band during WWII. Composed and arranged music for radio, television, records, and films. Conductor of the Baylor Symphony Orchestra in Waco, Texas. 200+ published works. One of America’s most prolific and frequently‐performed composers. Awarded 60+ commissions for compositions. When he died, his commissions would have lasted until he was age 115. Rossini Gioachino Rossini (1792‐1868), Italian Romantic composer. Singer. Played harpsichord, piano, cello, and French horn. Famous from the time he was a teenager until his death. Estate worth $1.4 million when he died. Wrote 32 operas. Retired from writing operas at age 37, but continued to compose other works. Died of pneumonia after an operation for cancer. Bel canto composer known as “The Italian Mozart” and “Signor Crescendo.” Schubert Franz Schubert (1756‐1791), late Classical Austrian composer. Played piano. Composed 1,500 works (over 600 songs). Only 100 pieces were published during his lifetime. Nicknames: “Prince of Song” and “Schwammerl” (“Tubby” or “Little Mushroom”). Schubert was just under 5 feet tall. Died of typhoid fever. Tchaikovsky Peter Ilyich Tchaikovsky (1840‐1893), Russian Romantic composer. Played the piano. Began career as a law clerk. Didn’t study music until he was 22. Famous orchestra conductor. Conductor on the opening night of Carnegie Hall in New York City in 1891. Very famous in his own time. He was personally honored by the Russian Czar. Died of cholera. Verdi Giuseppe Verdi (1813‐1801), Italian Romantic composer. Played piano, spinet, and organ. Well‐known conductor. Devoted his life to opera. Composed 28 operas. Senator in the Italian National Parliament. When he died after suffering a stroke, there was a period of national mourning. His state funeral in Milan was the largest public gathering for any event in Italy. Considered to be the greatest Italian opera composer. Vivaldi Antonio Vivaldi (1678‐1741), Italian Baroque composer. Virtuoso violinist. Was a priest. Known as the “Red Priest” because of his hair color. Taught music at the Pietà, an orphanage for girls in Venice, Italy. Wrote 500+ concertos. Considered to be the master of the Baroque instrumental concerto. Suffered from health problems throughout his life. Died in poverty of an internal infection. Bach: The Well‐Tempered Clavier, Book 1: Prelude No. 1 Bach completed Book 1 in 1722 in Cöthen, and Book 2 around 1740 in Leipzig. Both books were published in 1800. Book 1 was composed “for the use and practice of musical youth eager to learn and for the amusement of those already skilled in the study.” The pieces demonstrate the equal‐temperament system. After Bach’s death most of his compositions were forgotten, except for his motets (church works), and The Well‐Tempered Clavier. “Prelude No. 1” is one of Bach’s most‐recognized compositions. Beethoven: Symphony No.1: Movement 3 Beethoven composed his first symphony in Vienna in 1799‐1800. It was dedicated to Baron Gottfried van Swieten, an Austrian diplomat and amateur musician. Symphony No. 1 in C Major, Op. 21, in four movements, was first performed in Vienna, I a public concert that Beethoven organized, directed, and paid for himself. The symphony was well‐received by the audience. Symphony No. 1 is often performed today, and was Beethoven’s most popular symphony during his lifetime. Bizet: Carmen: Toreador Song Bizet’s last opera, Carmen, is set in Spain, even though Bizet had never been to Spain. The libretto for Carmen is written in French. Carmen is Bizet’s most famous opera and is number 3 on the Operabase list of the most‐performed operas in the world. The “Toreador Song” is one of the most famous arias from Carmen. It is sung in French at the beginning of Act II. Parts of the “Toreador Song” are heard again in Act IV, outside the bullfight arena. Brahms: Waltz in A‐Flat Major Brahms wrote a set of 16 Waltzes, Op. 39 in 1865 and dedicated it to Dr. Eduard Hanslick (1825‐ 1904), a music critic in Vienna. Brahms originally composed the Waltzes for piano duet (one piano, four hands). He later arranged the set for piano solo in two different versions (difficult and simplified). The Waltzes were written as a tribute to both the waltz, a dance that was popular in Vienna where Brahms lived, and also to the composer Franz Schubert, whose dance music Brahms edited and arranged. “Waltz in A‐Flat Major” is the most famous waltz of the set. Clarke: The Prince of Denmark’s March Clarke composed “The Prince of Denmark’s March” o 1699 for Prince George of Denmark, husband of Queen Anne. From 1878 to the 1940s the piece was known as “Trumpet Voluntary” by famous English composer Henry Purcell, because of a mistake that was made when an organ arrangement was published in the 1870s. It was also arranged for trumpet, organ, and orchestra. “The Prince of Denmark’s March” is popular as wedding music and has been used in royal weddings. It was played by the BBC during WWII when broadcasting to occupied Denmark, and is also the opening theme for Masterpiece Theater. Debussy: Clair de Lune “Clair de Lune” (“moonlight” in French) is the third and most famous movement of Suite Bergamasque (BAIR‐gah‐mahsk), written in 1890, revised and published in 1905. It is a musical setting of a poem by Paul Verlaine. Original title: “Promenade Sentimentale” (“sentimental stroll” in French). “Clair de Lune” has been orchestrated and arranged for other instruments. It was used in the movies, Giant (1956), Ocean’s Eleven (2001), and inspired Disney’s “When You Wish Upon a Star.” Dvořák: Serenade for Wind Instruments: Movement 1 Dvořák wrote his Serenade for Wond Instruments in D minor (Serenáda pro dechové nátroje d moll) in two weeks in January of 1878. (Movement 1 was written in one day.) The piece is dedicated to Berlin composer and music critic Louis Ehlert (1825‐1884). Dvořák conducted the first performance in November, 1878, in Prague. The Serenade was very popular in Europe after its first performance, and today it is considered to be a masterpiece for wind ensemble. Elgar: Pomp and Circumstance: March No. 1 Elgar composed Pomp and Circumstance “March No. 1” in 1901 and dedicated it to Alfred E. Rodewald (1862‐1903), conductor of the Liverpool Orchestral Society, and to its members. Pomp and Circumstance “March No. 1” was an instant success at its premiere in Liverpool. After its first performance in London, the audience demanded that it be played two more times. Because “March No. 1” was so popular, Elgar included it in his Coronation Ode for King Edward VII. English poet A. C. Benson (1862‐1925) wrote a patriotic text for the Trio section. Known as the hymn, “Land of Hope and Glory,” this has become an unofficial second British national anthem. The Trio section of “March No. 1” is also known as “Pomp and Circumstance” or as “The Graduation March” because it is often played as a processional at graduation ceremonies. Ellington/Strayhorn: Take the “A” Train Billy Strayhorn composed the jazz standard, “Take the ‘A’ Train” in 1939, after uke Ellington gave him directions to Harlem by subway, telling him to take the “A” train. “Take the ‘A’ Train,” first recorded in 1941, became the theme song for Ellington’s orchestra. Lyrics for “Take the ‘A’ Train” were written in 1944 by Joya Sherrill (1924‐2010). “Take the ’A’ Train” was the theme song for the Voice of America Jazz Hour from 1955 to 2003. In 1976 it was inducted into the Grammy Hall of Fame. In 1999 National Public Radio included it in the “NPR 100,” a list of the most important American musical works of the 20th century. Falla: El Amor Brujo: Ritual Fire Dance The title of El Amor Brujo (“Love, the Magician”) refers to a theme of the ballet: winning affection, not with magic, but by using the magic of love. The 1925 ballet in one act with two scenes, features a mezzo‐soprano soloist and lasts about 30 minutes. The “Ritual Fire Dance” (“Danza ritual del fuego”) is the best‐known piece from the ballet and is frequently performed in concert. Falla composed the first version of El Amo Brujo in 1914‐15 for the Spanish flamenco dancer Pastora Imperio (1889‐1979), as a gitanería with songs, dances, and spoken dialogue, and accompanied by a small chamber ensemble of 14 instruments. First performed in Madrid in 1915, it was not successful. In 1925 Falla created a second ballet version with an expanded orchestra, cuts and plot changes, a reordering of musical numbers, and without narration. This version premiered in Paris in 1926 with Falla conducting, and was quite successful. Lassus: O la, o che bon eccho (Echo Song) Lassus probably composed the “Echo Song” during his travels in Italy in the 1540s and 1550s. It was first published in 1581 in Libro de villanelle, moresche et alter canzoni, a book of Villanelles (light Italian secular vocal music) and Moresche (songs sung from the perspective of black Moorish servants and slaves). “O la, o che bon eccho” was written for double choir: two separate 4‐part choirs. Double choir singing originated with music written for St. Mark’s Basilica in Venice, Italy, with its two choir lofts, from which groups of musicians would play or sing back and forth. Mozart: The Magic Flute: Der Vogelfänger bin ich ja The Magic Flute (Die Zauberflöte), composed in 1791, was Mozart’s last opera. Mozart conducted the premiere in Vienna in September, 1791, and died in December. Mozart’s friend, impresario (actor, author, composer) Emanuel Schikaneder (shih‐kuh‐NAY‐der), suggested that Mozart write the opera, and Schikaneder wrote the libretto, directed it, and sang the role of Papageno. The Magic Flute is number 1 on the Operabase list of the most‐performed operas in the world. Mussorgsky: Pictures at an Exhibition: Promenade Pictures at an Exhibition was composed in twelve days in 1874 for solo piano, as a tribute to the artist Viktor Hartmann (1834‐1873), a deceased friend of Mussorgsky. Russian composer Nikolai Rimsky‐Korsakov (1844‐1908) edited the piano suite for publication in 1886. In 1922, French composer Maurice Ravel (1875‐1937) orchestrated it. Russian‐American conductor and composer Serge Koussevitzky (1874‐1951) conducted the world and American premieres of Ravel’s version, as well as the first recording in 1930. “Promenade” is the first of fifteen movements in the suite. “Promenade” returns four times, with different tempos and instruments. In all there are ten pieces of “musical artwork” in the exhibit. Price: Symphony No. 1: Movement 4. Finale Price composed Symphony No. 1 in E minor in 1931‐1932. It was performed by the Chicago Symphony on a concert dedicated to “The Negro in Music” at the Chicago World’s Fair in 1933. Price’s Symphony No. 1 was the first symphony composed by an African‐American woman to be performed by a major American orchestra. Price’s first symphony won first place in Chicago’s Wanamaker Competition in 1932. The prize was $500, which would be about $14,000 today. Even though Symphony No. 1 was well‐received at its premiere, the score wasn’t published until 2008, and it was infrequently performed until after 2019. Reed: Armenian Dances (Part 1): Gna, Gna (Go, Go) Armenian Dances is a four‐movement suite. Part 1 is the first movement and Part 2 consists of the remaining three movements. Each part contains a number of Armenian folk songs from the collection of Komidas Vartabed (1869‐1935). Armenian Dances (Part 1) was commissioned by Dr. Harry Begian, director of the University of Illinois Symphonic Band. It was completed in 1972 and was first performed by the University of Illinois Symphonic Band in 1973. Armenian Dances (Part 1) has five sections. “Gna, Gna (Go, Go)” is the fifth section. Rossini: The Barber o Seville: Zitti, zitti, piano, piano Rossini wrote The Barber of Seville in twelve days! The first performance was in Rome in 1816. The full title of the opera is The Barber of Seville, or The Useless Precaution. The librettos of both The Barber of Seville and The Marriage of Figaro by Mozart were based on a comedy by French playwright Beaumarchais (1732‐1799). The Barber of Seville is Rossini’s most famous opera and is number 9 on the Operabase list of the most‐performed operas in the world. Schubert: Erlkönig Schubert wrote “Erlkönig” in 1815, when he was just 18 years old. It was published as his Opus 1 in 1821. The German lyrics are from a dramatic ballad by Goethe (1749‐1832), a famous German poet and statesman. Tchaikovsky: 1812 Overture Tchaikovsky composed “The Year 1812, Solemn Overture,” Op. 49, known as the “1812 Overture,” in 1880. It is a concert overture commissioned to commemorate the Russian Army’s victory over Napoleon’s forces in 1812. The premiere was to be in the square in front of the Cathedral of Christ the Savior (the largest cathedral in Russia), with a brass band in addition to a large orchestra, all the bells of Moscow ringing on cue, and a battery of cannon, fired from an electric switch panel. But the performance was postponed, and took place in a tent outside the cathedral in 1882. Beginning in 1974 with a July 4th concert by Arthur Fiedler and the Boston Pops. The “1812 Overture” has become a staple of American Independence Day fireworks celebrations. Verdi: Requiem: Dies Irae Verdi composed the Requiem in 1874 in memory of Italian poet, novelist, and philosopher Alessandro Manzoni (1785‐1873). Also known as the Manzoni Requiem, it was first performed in Milan, Italy one year after Manzoni’s death. Verdi wrote the Requiem for four soloists (soprano, mezzo‐soprano, tenor, and bass), SATB choir, and orchestra. The Requiem has seven movements. “Dies Irae” is the first section of the second movement. Verdi’s Requiem is considered to be a masterpiece, and is the most frequently‐performed major choral work composed after Mozart’s Requiem. Vivaldi: The Four Seasons: Autumn, Movement 3 The Four Seasons (Le quattro Stagioni) is a set of four violin concertos composed around 1718‐ 1720 and published in 1725. Each of the “seasons” has three movements (fast‐slow‐fast) and lasts about 10 minutes. Vivaldi’s music was not popular after his death, and much of it was lost. Some of it was rediscovered in 1926. The Four Seasons is the best known of Vivaldi’s compositions. In 1952, there were only two recordings of The Four Seasons. By 2011, around 1,000 recordings had been made. A 1989 recording by the English Chamber Orchestra sold over 2 million copies, making it one of the best‐selling pieces of classical music.
