Terms MH3

• short, lyrical, create atmosphere/mood
• sometimes have extra-musical associations (EMAs), sometimes dance-like
• replaced sonatas and variations during 19th century
• often published in groups or “cycles”

independent 1-mvmt. orchestral work; not prelude to opera, oratorio, or play; essentially Mendelssohn’s invention

Mendelssohn’s Overture to a Midsummer Night’s Dream

Schoenberg term each theme varied with each statement new material derives from what has preceded

Brahm’s Piano Quintet in F minor, Op. 34

resembles both sonata form and sonata cycle

• Introduction
• T1 and T2 = 1st mvmt
• Development 1; (storm in sonata) (scherzo in sonata)
• Development 2; (pastoral in sonata) (slow mvmt in sonata)
• Recap. ; (march in sonata) ( finale in sonata)
• Coda = return of introduction

Liszt’s Les Preludes

• see handout
• Meyerbeer’s Les Huguenots

• see handout
• Weber’s Piano Quintet in F minor, Op. 34

• see handout
• Rossini’s The Barber of Seville

• see handout
• Bellini’s Norma
• Verdi’s Nabucco
• Verdi’s La Traviata (The Fallen Woman)

choral settings of Latin devotional texts, a capella or with modest instrumental accompaniment, usually 1 mvmt

Bruckner’s Christus factus est (Christ was obedient)

• see handout
• Wagner’s Das Rheingold (The Rhine Gold)

distinct genre since the 1700s, see handout

Bizet’s Carmen

Mendalssohn wrote 2

• Elijah (Mendalssohn)
• Brahm’s Ein deutsches Requiem (A German Requiem)

piano + string 4tet

• Schubert’s Quintet in A major, D. 667 (“Trout”)
• Brahm’s Piano Quintet in F minor, Op. 34

Clara Schumann’s Piano Trio in G Minor, Op. 17

• music = **Instrumental** music is endowed with literary or pictorial associations (something "outside" music)
• Composers typically provide a text (a program) to explain extra musical associations

Berlioz’s Symphonie Fantastique

Musorgsky’s Boris Gudonov

• group of songs by 1 composer
• some of Schumann’s best lieder appear in SONG CYCLES that are unified by recurrent music or a coherent key scheme

• Schubert’s Der Lindenbaum (The Linden Tree) from Winterreise (winter Journey, Müller)
• Schumann’s Dichterliehe (A Poet’s Love)

usually 1 mvmt, but sections in different tempos

Liszt’s Les Preludes

AABA’=medieval bar form (romanticized)

Schubert’s Der Lindenbaum (The Linden Tree) from Winterreise (winter Journey, Müller)

Rondo ABACA’

4th mvmt of Brahms’ Ein deutsches Requiem (A German Requiem)

3rd mvmt of Tchaikovsky’s Symphony No. 6 in B minor, Op. 74 (Pathetique)

• Schubert’s Nahe des Geliebten (Heaness of the Beloved)
• Schumann’s In wunderschonen Monat Mai (In the wonderful month of May) [simple strophic form]

ABA

• Clara Schumann’s Piano Trio in G Minor, Op. 17
• Brahm’s Piano Quintet in F minor, Op. 34 [Form is still ABA, but A&B are both irregularly multisectional]

Recurrent material is transformed

Berlioz’s Symphonie fantastique

Schumann’s Ich grolle Nicht (I won’t complain) [through composed form with traces of varied strophic form]

Meyerbeer’s Les Huguenots uses Protestant chorale “A mighty Fortress is our God” to depict Huguenots

• Brahm’s is identified with “absolute music” -= “pure” instrumental music,
• “free of” EMAS, instead emphasizes objective formal properties and
• abstract expressive content.

• 1829, encouraged by his teacher CF Zelter (lieder composer), Mendelssohn conducted parts of J.S. Bach’s St. Matthew Passion
• unpublished, unknown since 1750
• great success started the “Bach Revival”

Wagner’s ideals realized at Bayreuth Festspielhaus (Festival Playhouse), modeled on Greek amphitheater; only Wagner works performed there; funded by King Ludwig of Bavaria (“Mad”)

• beautiful singing
• Rossini’s Barber of Seville illustrates typical bel canto traits
• Bellini’s Norma: this bel canto cavatina style influenced Chopin’s nocturnes

• Chopin’s Nocturne in Db Major, Op. 27, no.2
• climax = the best suspension ever

faster, more rhythmic, bravura; uses “Rossini crescendo”= same figure repeated with increasing volume

Bruckner illustrates principles of Caecilian Movement

• named for patron saint of music
• centered in German speaking lands
• sought to restore Catholic Church’s music to its status during Renaissance
• emulates Renaissance polyphony: a capela, textual clarity through homophony and light imitation, occasionally modal
• some “word painting”; obediens = imitation; mortem = low range dissonance
• but highly chromatic dissonances unprepared internal cadences far removed from tonic

“drawn” from recitative, but voice not speech-like (melodic even virtuosic); still punctuated by orchestral chords

Bizet’s Carmen: set form: couplet and refain (aaB aaB) in habanera

• day of wrath
• Berlioz’s Symphonie Fantastique:
• * Mvmt. 5, Dream of Witches' Sabbath
• o Grotesque version of i.f. combined with dies irae (day of wrath)

Plainchant from requiem mass

• Chopin’s “Un Sospiro” (A Sigh), from 3 concert etudes (study pieces)
• 19th century etudes often infused with “poetic” EMA’s

Bizet’s Carmen: illustrates EXOTICISM (depiction of foreign cultures, esp. popular in France), here Spanish setting, gypsy “culture)

character pieces sometimes have extra-musical associations

in Schumann’s Symphony No. 3 in Eb Major, Op. 97 (“Rhenish”): EMAs: “Rhenish” = Rhine River in Germany

habanera = Cuban dance, slow duple meter, repeatted dotted rhythm

Bizet’s Carmen

see Berlioz’s Symphonie Fantastique

(5 composeres who rejected Western ties)


Leader: Mily Balakirev (1837-1910)

• professionally trained in Moscow
• but mistrusted systematic musical education
• instead, championed nationalism
• in politics : desire to promote autonomy of national, regional, or ethnic group
• in music : adopt language, speech rhythms, folk materials/subjects, for operas/program music

• Borodin (MD and chemist)
• Nicolai Rimsky-Korsakov (navy)
• Modest Musorgsky

• born Karevo (army, civil service)
• largely self-taught
• little recognition during lifetime
• died of acute alcoholism
• now admired for unorthodox, non-westernized musical language

some of Schumann’s reviews take the form of conversations among imaginary characters

• Florestan = extroverted, impulsive side of RS
• Eusebius = introverted, dreamy side of RS
• Maestro Raro = pedantic (Wieck)
• These and other characters belonged to a “League of David” who fought against the

• Philistines = those with narrow, conventional. views, esp. on culture and aesthetics (philosophy of art)
• RS also depicted these “characters” in some of his piano “pieces” of the 1830s

Weber’s Der Freischutz (The Free Shooter)

Wolf’s Glen Scene

• where devil (Samiel) appears to mortals
• tonal relations (C-F#) = tritone
• melodrama (dialogue spoken against a musical background)
• Eerie orchestration (tremolos, extreme ranges, echoes)

Schubert’s Der Lindenbaum and Gretchen am Spinnrade

recurring theme

a short preface in same tempo as main sonata form; returns at important points in form

Schubert’s Symphony No. 8 in B minor (“Unfinished”) begins with motto

Kuchka or Mighty 5 championed nationalism

RS the became music critic and composer

• co-founded the Neue Zeitschrift fur Musik (The New Journal for Music)
• 19th century’s leading music periodical
• focused on promoting new music and new composers, not judging performances
• some of RS’s reviews take the form of conversations among imaginary characters

• Florestan = extroverted, impulsive side of RS
• Eusebius = introverted, dreamy side of RS
• Maestro Raro = pedantic (Wieck)
• These and other characters belonged to a “League of David” who fought against the

• Philistines = those with narrow, conventional. views, esp. on culture and aesthetics (philosophy of art)
• RS also depicted these “characters” in some of his piano “pieces” of the 1830s

• “Nights of 7 Stars” - 7 important, virtuosic roles
• all 7 heard in Act 2 Oath Scene

Meyerbeer’s Les Huguenots

night piece

Musorgsky now admired for unorthodox, non-westernized musical language

see handout

Schubert’s Nahe des Geliebten (Heaness of the Beloved)

those with narrow, conventional. views, esp. on culture and aesthetics (philosophy of art)

a characteristic of Schumann’s In wunderschonen Monat Mai (In the wonderful month of May)

aristocratic Polish dance in triple meter

choreographic accents on beats 1 & 3

• **Instrumental** music is endowed with literary or pictorial associations (something "outside" music)
• Composers typically provide a text (a program) to explain extra musical associations

political movement (1814-70) that soght to free Italian city-states from oppressive foreign rule and unify them under on Italian king

flexible tempo modification for which Chopin was greatly admired

recits + after GB’s death

Bizet’s Carmen

Bizet’s Carmen was written with spoken dialogue

• the setting of Meyerbeer’s Les Huguenots
• 3,000+ killed

• in Tchaikovsky’s Symphony No. 6 in B minor, Op. 74 (Pathetique)
• 3rd movement = triumphant scherzo before tragedy

• combines scherzo figuration with march
• roughly a “sonata form without development”

in Weber’s Der Freischutz (The Free Shooter)

• where devil (Samiel) appears to mortals
• tonal relations (C-F#) = tritone
• melodrama (dialogue spoken against a musical background)
• Eerie orchestration (tremolos, extreme ranges, echoes)

but in 1840-41, Schumann immersed in love poetry

he wrote 170+ lieder = RS’s “Year of Song”