HISTORY III CHEAT SHEET ULTIMATE PDF

What’s left: Beethoven life, concerts, Vienna School. Mozart, Symphony No. 41 in C Major, “Jupiter”, Movement IV (wdym hybrid form, Why does is it not a typical finale?) Beethoven, String Quartet Op. 131, FORM? Haydn London IV, ST is MT???? SAME??? Haydn vs Mozart HAYDN: Slow, some formal tr...

What’s left: Beethoven life, concerts, Vienna School. Mozart, Symphony No. 41 in C Major, “Jupiter”, Movement IV (wdym hybrid form, Why does is it not a typical finale?) Beethoven, String Quartet Op. 131, FORM? Haydn London IV, ST is MT???? SAME??? Haydn vs Mozart HAYDN: Slow, some formal training (choir; Porpora), largely self-taught (Fux) Worked mainly in service Travelled late in life Frequently isolated, but outside contact through visitors to Esterhazy Stable income and location for most of his career MOZART: Child prodigy, educated largely by his father Worked most of his adult life as a freelance artist Extensive travels early in life Wide exposure through rst hand contact with Europe’s major artistic capitals Unstable income, mainly located in Vienna the last ten years with successful performances outside (e.g., Prague) ———————— HAYDN: - Early musical education in church choirs (Hungary, then Saint Stephen’s Cathedral, Vienna). - Lacked a well-rounded, general education. - After being dismissed from Saint Stephen’s, earned money by teaching and accompanying. - Worked for Italian opera composer Porpora as a valet in exchange for composition lessons; largely self-taught. - Took several years to gain recognition from nobility; considered a late bloomer. - Unhappy marriage, had several girlfriends. - Spent 30 years serving the Esterhazy family, starting in 1791. - Esterhazy palace had two theaters (opera and puppet) and two music rooms. - Esterhazy orchestra had 25 players. fi - Composed 165 pieces for Prince Esterhazy, who played the Baryton. - Exposed to other music through guest artists and occasional trips to Vienna. - Published widely, spreading his music across Europe. - Traveled to England twice; received an honorary doctorate and had works performed at public concerts. - Known mainly for instrumental music (symphonies, string quartets) and later oratorios, but also wrote operas. His work forms: Before 1760: symphony= fast slow fast that’s it. Modeled on opera overture. Sometimes 4 movements like sonata da chiesa (SLOW FAST SLOW FAST). But after 1760 bro became normal and did the tradition 4 movements. Minuet and Trio The minuet is a binary or rounded binary form or A B (a’) The trio is also a binary or rounded binary form, or C D (c’) They are made up of a number of short and repetitive sections; The trio is always set apart from the minuet by some sort of reduction in texture or other sharp textural contrast like a change from predominantly strings to predominantly winds. Symphonies 1773-88 : cheerful but still had some Sturm Und Drang. ———————— Mozart: He toured widely as a child to dozens of European cities. London, England (where he met J.C. Bach), various points in Italy (where he studied counterpoint with Padre Martini), and Vienna, Austria (where he heard Haydn’s music). Someone who was very important to Mozart, but who makes only sporadic appearances in the lm was Baron van Swieten, former Austrian ambassador to Berlin who lived in Vienna when Mozart did. Van Swieten introduced Mozart to the music of Bach and Handel. Best librettist: Lorenzo da Ponte lol. He did Figaro and Don Giovanni and Cosi Fan Tutte Some features of typical 18th -century theatres: 1) a vast number of private loges or boxes; 2) the immense candelabra lighting the hall with candles only; 3) the footlights with real re in them lighting the oor of the stage; 4) Mozart conducting from the harpsichord; 5) elaborate stage machinery, special effects, and lavish costuming Summary of Operas: Abduction from the Seraglio (1782), for Vienna and later 40 other cities in Mozart’s lifetime fi fi fl  Pasha Selim kidnaps Konstanza and takes her to his harem. Konstanza’s lover, Belmonte tries to free her. He is the son of Pasha Selim’s worst enemy. Konstanza and Belmonte are caught as they try to escape the Pasha’s palace. In an act of clemency, the Pasha frees them. There is a triumphant chorus in C major praising the Pasha’s goodness. The Marriage of Figaro (1786), for Vienna and later Prague Count Almaviva tries to have an affair with one of his housemaids, Susanna, and goes to various lengths to accomplish this, by coercion, manipulation, and seduction. This is a great source of grief to his wife, the Countess. There are a variety of other love triangles and comic complications of the plot. All come together at the end of the opera, and the Count asks his wife (who is disguised as Susanna) for forgiveness. The Countess takes up the melodic motive that the Count used to ask forgiveness with in order to tell him she will forgive him. The whole cast joins in with a section built on the same motive Don Giovanni libretto by Lorenzo da Ponte Don Giovanni is an amoral nobleman who has either seduced or raped over 1,000 women. At the beginning of the opera he rapes Donna Anna and kills her father, the Commendatore. At the end of the opera, he invites the Commendatore’s statue to dinner. The ghost of the Commendatore appears and orders him to repent. Don Giovanni refuses and is dragged into hell. The Magic Flute (1791), for Vienna (Theater auf der Wieden) libretto by Emanuel Schikaneder Tamino (a Javanese Prince) is attacked by a giant snake and loses consciousness, but 3 ladies (attendants to the Queen of the Night) kill it. The Queen’s bird catcher, Papageno, takes credit for the kill and the 3 attendants padlock his mouth. The 3 ladies give Tamino a picture of Princess Pamina and ask him to rescue her from Sarastro (Priest of the Sun). He agrees after hearing the Queen sing of her grief. The 3 ladies unlock Papageno’s mouth and sing a moral: if liars are gagged, brotherly love will prevail. Papageno frees Princess Pamina from the clutches of the moor, Monastatos, and tells her that Tamino loves her. Tamino nds Papageno and Pamina, but learns from Sarastro that they must all undergo tests. The Queen is revealed as a deceptive enemy. Papageno passes his test and nds Papagena (a female bird). Tamino and Pamina are successfully tested: he rejects her twice and she continues to love him. The opera has no de nitive, dramatic moment of forgiveness, but is generally about the process of Enlightenment that brings the cast, including demons, into harmony under the watchful eye of Sarastro. Hanning on Mozart What Hanning means when she writes that Mozart achieved a “synthesis of form and content,” is that Mozart used the same Classical forms as J.C. Bach and others but infused them with novel features and interesting (often operatic) melodies and harmonies. His forms are predictable and for the most part, easy to follow. But sometimes he breaks the rules for an interesting melodic or harmonic detail, and that challenges the listener and creates variety. When Hanning writes of a fi fi fi synthesis of “galant and learned styles,” she is really talking about texture: Mozart was no novice when it came to counterpoint. He was a real master of writing simultaneous, independent melodies in operatic ensemble numbers and he usually created incredible drama in his instrumental works by writing contrapuntal sections using older techniques like canon and fugue (especially in development sections of sonata forms). Hanning’s synthesis of “polished charm and emotional depth” refers to Mozart’s uncanny ability to write something pleasing that was also sophisticated. You can see that he worked very hard to achieve this balance in the rst three piano concertos that he wrote for Vienna. He writes about these concertos in a letter to his father. Public concerts and Vienna ommited in this guide because its obvious ———————— Beethoven: Freelance artist Heiligenstadt testament Lots of sketches for his compositions Context on his life: - Revolution and heroism: French Revolution and Napoleon: the romantic gure of the hero who struggles for change comes. - Fascination with elements of the Fantastic - Longing for idealized childhood or past and LOST INNOCENCE - Romantic idea that a composer may be alienated from society (like Napoleon’s exile) His own life: Too lazy to recopy. Look at your notes and stuff. Musical Style “He speaks to the heart” Heilidgsadt wtv statement: 1802: kms but I have music so we good : very romantic idea. Beethoven’s heroic period. His late life: almost complete deafness “contemplative era” more and more romantic. Classical forms but extremely distorted. Blurred phrases no longer clear cut. fi fi __________________ ALL WORKS AND DESCRIPTION 1…Haydn, Symphony No. 56 in C Major, Movement I Descending arpeggio start! = MT. Little transition with fast violin. Little playful melody is ST. Clear tonic dominant CT and we repeat! The suspensions: we’re in development! Sonata form No coda… 2…Haydn, Symphony No. 92 “Oxford”, Movement II Composed on the occasion of Haydn’s doctorate honoris causa at Oxford University - Ternary, A-B-A form. The “B” is in the minor mode. This movement also has a coda. These two features are common in the late symphonies of Haydn. B SECTION IS JANISSARY = percussions, tonic dominant loop, brass, loud 3…Haydn, Symphony No. 88, Movement III (Minuet and Trio) Minuet and trio Uses lots of instruments even though its a dance bro 4…Haydn, Symphony No. 104 London , Movement IV (Finale) Sonata form: monothematic (subordinate theme based on main theme) Fiddle-like violin entrance Minor joke 3x (with repeats too!!!!) 5…Haydn, String Quartet Op. 33, No. 2, “The Joke”, Movement IV (Rondo)  Very funny haha 6…Haydn, String Quartet Op. 76, No. 3, “Emperor”, Movement II (Poco adagio; Cantabile) Theme and variations End is interesting: viio7 to I. Anthem of Germany! 7…Mozart, Die Enführung aus dem Serail, “Matern aller arten” Refer to synopsis Aria Uses music to characterize classes: Constanze is high class so ornaments, extensive range 8… Mozart, Die Enführung aus dem Serail, finale TC 9… Mozart, Die Zauberflöte, “Der Vogelfänger” The bird aria Low class so strophic, 4 bar phrases, clear tonic dominant, 10… Mozart, Le nozze di Figaro, Finale Big finale, togetherness Theme of forgiveness. TC 11… Mozart, Piano Concerto in A Major, K488, Movement I “Double expo” Sonata (hybrid with ritornello) form. Maybe have a schema of it. There is a cadenza for the soloist before the end of the final ritornello (it is set up by a grand pause on a second inversion chord—or V 6/4 chord) Mozart introduces a new theme in the development section Remember how JC Bach and Mozart knew of each other’s works 12… Mozart, Symphony No. 40 in G Minor, Movement I  The interest here is how Mozart handles the transition by jumping off a restatement of the motive from the Main Theme to the ST. We hear MT everywhere… CT is not very solid, doesn’t reinforce key Heavy modulation to come back to the SAME key. And a Coda!! 13… Mozart, Symphony No. 41 in C Major, “Jupiter”, Movement IV Why does is it not a typical nale? What might it have in common with the finale for Beethoven’s Symphony No. 3 in E-Flat Major (“Eroica”)? Hybrid form. (?) Recap sounds false, eases into it quietly. 14… Beethoven, Piano Sonata in C Minor, Op. 13, “Pathetique”, Movement III (rondo) Classical: Transparent texture with clear cut melody, clear form, clear pauses. Romantic: Abrupt changes in dynamics and register, dissonant harmonies, thickening of texture at some points. Bro edged us with that high F note. And then resolved it finally Unresolved V7 chords 15a… Beethoven, Symphony No. 3 in E-flat Major, “Eroica”, Movement I FIRST ROMANTIC SYMPHONY (Sonata allegro form with a coda) Now this is romantic: subject is the hero, the work was misunderstood, melody is narrative and changes from C# flaw to a correction (struggle for change context) ST is not strong enough to fight the fatal flaw, so… Development is super long; the long struggle to change the fatal flaw New subject in development inspired by transition, (organism, very romantic) folk like: comes back in coda Sudden change of key beginning of CODA 15b… Beethoven, Symphony No. 3 in E-Flat Major, “Eroica”, Movements II and III Movement II: very song-like: a weird ternary ABA (not clearly structured) Mvmt III: minuet and trio (3/4 but extremely fast, scherzo) (changes from Sf to piano) IT’S A JOKE OF A DANCE. Trio sec on, 3 horns. You should familiarize yourselves with these movements but they will not be on the listening test—what’s new or different about them with respect to the Haydn model? ti fi 15c… Beethoven, Symphony No. 3 in E-flat Major, “Eroica”, Movement IV Theme and Varia ons. Starts o nice and light, but then there’s a fugue in C minor. Now some Turkish music bruh. But it does end light and joyful. (We stopped listening right a er Turkish music) What’s the texture for the opening of the final movement—is this “normal” by Classical standards? Is there a precedent for this? Once you get 4-5 minutes in there’s Turkish music added to the mix. Haydn would’ve done this fugue and other tricks as a JOKE but Beethoven is dead serious. 16… Beethoven, Symphony No. 5 in C Minor MVMT I (no need to iden fy) Cyclic (short short short long) but ST is different. there’s an extended Coda with a new theme in it: short short long. WHY the Coda is so long and has a new theme: resolves the final problem (narrative) in that CODA ST came back in the tonic major and not minor. So the recap was flawed. There is thus a need of a long coda to resolve this conflict. Also SOD that leads from mvmt II and III 17… Beethoven, Symphony No. 7 in A Major MVMT I CATRINA’s TOP SYMPHONY (no need to iden fy) MVTM 1 Another organic start. Bro went from A major, takes us to C major then F major then edged the E note. AND THAT WAS JUST AN INTRO. Like usual he’s edging us to want that MT. So that when it comes we feel happy. That’s why very elusive. SOD (V42) in the counter basses rocking back and forth in fourth movement. Comment on those really long standing on dominants and areas of prolongation of tension. How does Beethoven do that? (rhythmic and melodic fragmentation, accents on weak beats, sudden sf and pp, etc.) You can hear this best near the end of the Finale (Movement IV). 18… Beethoven, Symphony No. 9 in D Minor, Finale (ask Jose for details about 1,2,3 movements) VERY romantic Chorale finale Starts with a cello recitative Then a pedal with notes from first movement!!! Then 2nd movement dotted rhythms Then 3rd movement cantabile (winds) Then the theme for this movement!!! ti ff ti ft ti  All interspersed with these cello passages. And now the theme in the cellos alone! Later on… recitative with a real baritone and then other voices. And on and on for 15 minutes Themes from previous movements come back here Beginning pedal of dominant: suspenseful!!!! (Very romantic) French Revolution ish anthem ish feeling: very glorious and moving!!! What is new and different about this movement? How might you have seen this coming in other works by Beethoven, Mozart, or Haydn? 19… Beethoven, String Quartet Op. 131, Movement I , C minor(OF 7 LOL) Start with fugue (like heroica fourth) Not normal for a first movement! Middle sectionL the fugue is dissipating like a cloud Fake plagal cadence at end (like the viio7 to I cadence of Haydn’s emperor) NOT AS EMPHATIC (pronounced) ending as his other first movement The second movement feels like the actual the first movement (jolly) but is in ABA