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Unit Four (Chapter 38 (Polonaise Op. 53 (dedicated to one of his friends…
Unit Four
Chapter 38
Dancing and the keyboard: Chopin and the Romantic Piano
piano
instrument most central to western music
during the 1800's and later
considered a good instrument for:
professionals
amateurs
able to play both harmony and melody
concert halls
home
families or communities gathered to hear music
learning to play was a staple of a good education
suitable for polyphonic and homophonic textures
solo or accompanied
can create a variety of dynamic and resonant effects
the most expressive instrument
universal aspect of middle and upper class home
talented pianists of the 17th century made it important
shaped the musical culture
rise of the virtuosic player
originally pianists were the composers
Mozart and Beethoven would introduce their own piano concertos
improved technology
standardized
metal frame
stayed in tune longer
didn't warp as often
uncreased string tension
improved mechanical action
better range
from 5 octaves to 7+
mandated by the romantic composers
more power
greater dynamic range
from the craft shop to the factory
more of them
less expensive
Paris exhibition of 1867
two winners for piano making
Steinway
exceptionally\ good product to this day
American
Character piece
equivalent to the song
projects melodies
projects dynamic moods
compact form
new terms
suggest free, almost improvisational terms
intermezzo
(interlude)
impromptu
(on the spur of the moment)
nocturne
prelude
keyboard versions of dances
Polish
mazurka
polonaise
Viennese waltz
lively scherzo
more descriptive titles
Franz Liszt
"The Little Bell"
"Forest Murmurs"
"Wild Hunt"
short lyric piano piece
45 sec - 10 min
18th-19th century composers
Schubert
Frédéric Chopin (1810-1849)
Born outside Warsaw
French Father
Polish Mother
Studied at the conservatory of Warsaw
left for Paris
1831
stayed for life
center of new romanticism
late 1830's
met novelist George Sand
through Franz Liszt
had long relationship
love
conflict
jealousy
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spent summers at her estate
entertained prominent artists and writers
productive years
failing health
died of tuberculosis
1849
39
music
style
tended to have huge ranges
right hand (melody)
rubato
central to the pianist repertoire
left hand (harmony)
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had his own style
one of the most original styles ever
originating modern style
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exclusively piano
major works
two piano concertos
piano music
4 ballads
3 sonatas
B flat minor
B minor
thoroughly romantic
études
highly virtuosic
crown the literature of the study piece
Chopin's piano technique turns to poetry
mazurkas
derived from Polish peasant
evoke the idealized landscape of his youth
polonaises
revive the stately processional dance in which Poland's nobles hailed their kings
scherzos
waltzes
impromptus
nocturnes
preludes
visionary fragments
chamber music
all with piano
songs
much of his music returns to Polish
polonaises
mazurkas
ternary
originated in Mozovia
Chopin's home district
lively triple meter dance
accents on the 2nd or 3rd
from heroic folk dance
a true art form
Liszt
Schumann
Robert
Clara
Brahms
LG 19
Mazurka in B-flat Minor, Op. 24, No. 9
Chopin
one of a set of four
1833
sinuous melody
rich in chromaticism
elusive in mood
longer form
clearly defined sections
each colored a new emotional text
dotted rhythms and accents
homophonic texture
(mostly)
melody is easy to hear in higher ranges
rubato
(robbed time)
left hand
steady beat
harmony
right hand
slow down or speed up a bit
melody
triple meter
genre
piano solo
Form A-B-A'-B-A'-C-C-D-A Long coda
Harmony
shifts between major and minor
modal harmonics
chromaticism
Polonaise Op. 53
ternary + roundo
a lot of trills
dedicated to one of his friends
a banker
more heroic
not a dance
Polish
Chapter 29
The Ultimate Instrument: Haydn and the Symphony
real instruments
more nuance than the most complex synthesizers
symphony
central place in classical instrumental music
origin
Italian opera overture
early 1700's
played to introduce an opera
became separate movements
innovations by German symphonists
quick aggressive rhythmic theme
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added a dance movement
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drawn out crescendo
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Scarlatti
orchestral piece
classical orchestra
same composition today as back then
four families of instruments
string
main body
woodwind
provided varying colors
assists the strings
brass
sustained the harmonies
contributed body to the sound
timpani
sustains the harmony
30-40 players
more suitable for salons
not concert hall
classical composers
dynamic style of orchestral writing
all instruments could be heard
and timbres
various exchanges assumed the excitement of a witty conversation
similar to a string quartet
Joseph Haydn's Symphonies
:
wrote well over 100
established the 4-movement structure
father of the symphony
masterpieces
last set of 12
London symphonies
commissioned for a concert series in London
abound in expressive effects
syncopation
sudden crescendos and accents
dramatic contrasts between soft and loud
daring modulation
a plan where each family plays its own part
imaginative
Received patronage from Prince Esterházy
moved to London after the prince's death
choirboy at St. Stephen's in Vienna
style embodies mature classical style
Listening Guide 19
Symphony No. 100
Military
(1794)
name origin
from use of percussion associated with the Turkish military
Haydn was exposed in Vienna
triangles
cymbals
bass drum
bell tree
solo trumpet feature
Haydn
for second visit to London
second movement
combines
concept of variation
simple ternary structure
opening
various guises that alter the timbre
A
major key
middle
sudden and surprising change to minor
B
minor key
more percussion
abrupt changes in dynamic
closing
trumpet fanfare
introduces the coda
victorious fortissimo climax for end
A'
more
woodwinds
brass
percussion
abrupt dynamic changes
major key
genre
symphony
medium
large orchestra
strings
woodwind
trumpet
french horn
a variety of percussion
texture
homophonic
allegretto
(slightly fast)
Chapter 43
Absolutely Classic: Brahms and the 19th Century Symphony
absolute music
music with no program
relies entirely on structures of sound for expression
dominates orchestral halls today
audiences enjoy interpreting music
3-4 movements
did not always follow traditional rules
types of compositions
programmatic genres
symphonic poems
program symphony
multimovement genres
established in the classical era
symphony
concerto
chamber music
string quartet/quintet
piano
trios
quartets
symphony gained weight and importance`
symphonic structure was growing steadily longer and more expressive
most dramatic
generally retains the basic elements of sonata-allegro form
might have drawn out slow intro
often features a long and expressive
second movement
often in a loose 3-part form
may retain its slow and lyrical nature
can also range in mood
whimsical and playful
tragic
third movement
straight rhythmic dance or scherzo
overtones
humor
surprise
caprice
folk dance
fourth movement
dimension and character designed to balance the first movement
often follows sonata-allegro form
may close the symphony on a note of triumph or pathos
Johannes Brahms (1833-1897)
born in Hamburg, Germany
gave first performance on piano when 10
lifelong affection of music
collected songs and folk sayings throughout his life
studied under Robert Schumann
at Düsseldorf
recognized by him for talent
taken in by him and his wife (Clara)
Brahm's Mom's death
1865
inspired him to write his
German Requiem
with biblical texts
selected in her memory
settled in Vienna when 40
began writing his great symphonic works
became enormously successful
Schumann's Death
Robert
56
went mad
Brahm's supported Clara
1856
Clara
1869
Brahms four serious songs
death deeply affected Brahms
dies ten months later
buried in Vienna where Beethoven and Schubert are
major works
orchestral music
four symphonies
unsurpassed in the late romantic period for breadth of conception and design
variations
overtures
four concertos
2 for piano
solo instrument integrated into a full scale symphonic structure
1 for violin
solo instrument integrated into a full scale symphonic structure
1 double concerto
piano and violin
chamber music
trios
quartetes
captures the intimacy of small ensembles
duo sonatas
piano music
sonatas
character pieces
variations
choral music
part songs
German Requiem
(1868)
lieder
Wiegenlied
(lullaby)
traditionalist
classical structure
new and important messages
Listening Guide 34
Symphony No. 3 in F major
1883
was 50
shortest of his symphonies
most romantic tone
form
looks back to the classical structure of the 18th century
first movement
conventional sonata allegro form
open
dramatic figure
3 note motive
F-A♭-F
"Frei aber froh"
(free but happy)
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slow tempo
a haunting andante in sonata-allegro form
evokes peacefulness of nature
simple hymn like theme in woodwinds
third movement
melancholy waltz
C minor
instead of a waltz
ternary form
louder downbeat
opening theme
accompaniment by restless string figures
melody
heard throughout the impassioned (wordless) orchestral song
poignant cello
first violins then woodwinds take up
suggests a huge orchestral sigh
middle section
major key
presents 2 themes
set against an en accompaniment
expressive
chromatic
return of opening theme
newly orchestrated
closes with an emotional statement
by violins and cellos
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short coda
brings back the mood of the middle section
closing with two soft pizzicato chords
finale
dramatic sonata-allegro
features concise themes
abrupt changes of mood
dramatic sonata-allegro
features concise themes and abrupt changes
listener is challenged by
shifting moods
timbres
melodies that affirm the technical command of a great romantic master
Brahms
genre
symphony
medium
symphony orchestra
movement 3
only strings, woodwinds and French horn
