Please enable JavaScript.

Coggle requires JavaScript to display documents.

unit 4 (chapter 43 (Romantic Characteristics (Themes (Destiny, God and…

- - - - Many thought program music was a step backward from the potential of
        music to express things beyond words
    - - Proponents of absolute music relied on structures of sound for expression
  - - - Destiny
      - God and nature
      - Life and death
      - Good versus evil
      - Dreams and passions
  - - - Remained close to the Schumann family
    - - Romantic in tone, Classical in form
      - Cyclical
      - Written 1883, at the age of fifty
      - Aimed to show new and important things but still in the tradition of the Classical masters
      - 3rd Movement- Poco Allegretto
        
        Key
        
        Alternates between Major
        & minor
        
        Chromatic- middle
        section
        
        C minor
        
        Syncopation
        
        3 against 2 rhythm
        patterns
        
        A-B-A’ Form
        
        Lyrical
        
        Melancholy
        
        Waltz-like
- - - - Home and concert hall
      - Staple of refined education
    - - Function was to dazzle audiences
  - - - études (highly virtuosic study pieces)
      - Character pieces
        
        Nocturnes, preludes, and dances
    - - Short
      - Projects melodious and dramatic moods within a compact
        form
      - Solo piano equivalent to the song
      - Sometimes fanciful titles
  - - - Polish roots exhibited in his mazurkas and polonaises
        
        A mazurka was a lively triple-meter dance with an accent on
        the second or third beat of the measure
      - Mazurka in B-flat Minor, Op. 24, No. 4 (LG29)
        
        Chromatic, wide-ranges
        
        Dance-like triple meter
        
        1833
        
        Expressive depth, rubato
        
        Form: A-B-A’-B-A’-C-C-D-A long coda
        
        Chopin Polonaise Op. 53
        
        Heroic or Drum Polonaise
        
        Dance of Polish origin
        
        Form: Ternary and Rondo
        
        Wide Range of Keyboard
        
        Trills
        
        Dedicated to friend/banker: Auguste Leo
- - - - In the B section Haydn varies the theme with "military" percussion, sudden dynamic changes, and staccato passages, all in a minor scale key.
      - Haydn builds volume by adding instruments to the accompaniment while repeating a fragment of Theme a.
    - - A solo trumpet fanfare extends the conclusion.
    - - Strings and flutes begin in a major scale key with Theme a -- short, symmetrical phrases ornamented by grace notes.
      - Theme a repeats in the oboes, clarinets, and bassoons.
      - heme b, developed from Theme a, features strings and flutes playing in a higher register.
  - - - In the A section, the melody features syncopated and dotted rhythms accompanied by a chromatic, "om-pah-pah" bass.
    - - The melody grows more disjunct in the B section, with more dotted rhythms and staccato articulations. Chromatic motion in a descending inner voice creates dissonance.
    - - An octave breaks into two lines: The top line descends by half step with the bottom line ascending in the same way.
    - - In the C section the melody, played in octaves, features unusual combinations of intervals. The first phrase is answered by a series of staccato chords.
    - - Triplet patterns propel the melody in the D section, and melodic accents appear on the second beat. Shifts between major and minor harmony occur frequently.
    - - In the coda, Chopin introduces a simpler, more static melody. Shifts between major and minor color the harmony. The pianist uses even greater rubato
  - - - The cellos introduce an achingly lyrical melody, the first theme of the A section. Next the violins take their turn.
    - - There's a brief respite from the first melody's longing with this elegant new melody, theme 2.
    - - A lush melody
    - - A surprising chord heralds the B section. A hesitant 3-note motive dominates this passage in A-flat major, accompanied by off-beat 16th notes in the cellos.
    - - At first mimicking the transition to the B section, a brief coda swells and ebbs, bringing this movement to a quiet close.
- - - - Four instrumental families
        
        30–40 players
        
        Strings, woodwinds, brass, percussion
    - - Three sections: Fast – Slow – Fast
  - - - Father of the Symphony
      - London Symphonies
        
        Last 12
        
        Masterpieces in the
        classical symphony style
      - Wrote over 100
      - Haydn’s “Military” Symphony (LG19)
        
        Dramatic effects
        
        Daring modulations
        
        Trumpet fanfare
        
        Contrasts
        
        Turkish military music
        
        Movement 2
        
        Allegretto
        
        Variation form,
        combined with
        ternary (A-B-A´)
        
        Sudden change
        to the minor in
        middle section,
        military
        introduction to
        closing coda
        
        C Major
        
        Homophonic
        
        Symphony No. 100 “Military” (1794)
        
        Highly imaginative, innovative
        
        “Military” nickname from use of Turkish percussion & trumpet fanfare
        
        One of the twelve “London” symphonies