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Symphony No. 3 in E-flat Major (the Eroica)
- Beethoven
- symphony (first movement)
- 19th century
- sonata form
- 1. Two loud tonic chords at the opening provide the briefest of introductions.
- 2. Movement has dissonances far more intense than those used by Haydn or Mozart.
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Gretchen am Spinnrade
- Schubert
- Lied
- 19th Century
- modified strophic ( A B A C A D A')
- 1. Schubert alters Goethe's poem, making the first stanza into a kind of refrain to emphasize Gretchen's anxiety and heavy heart.
- 2. Piano accompaniment both sets the scene and portrays Gretchen's emotions: the constantly turning pattern in the piano depicts the rotations of the spinning wheel, and her unceasing agitation as she thinks of Faust.
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Nocturne in D-flat major, Op. 27. No.2
- Chopin
- nocturne
- 19th Century
- based on repitition (with variation) of two themes
- 1. Both themes are lovely, arialike melodies using florid embellishments inspired by the bel canto style of Italian opera.
- 2. Accompanying chords are broken into harplike arpeggios and widely spaced in the bass and middle registers, to exploit the natural resonance of the piano.
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Songe d'une nuit du sabbat from Symphonie fantastique
- Berlioz
- program symphony (last movement)
- 19th century
- free, determined by the program
- 1.Uses an extraordinary number and variety of instruments (including bells and the ophicleide).
- 2.Grotesque transformation of the Dies Irae mocks the Catholic church.
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Tristan und Isolde
- Wagner
- excerpt from a music drama
- 19th century
- form is N/A
- 1.The highly chromatic harmonic language is important in expressing the emotional world of the characters.
- 2. The orchestra is large and is given a commanding role in expressing the drama (e.g., at the opening of the excerpt, wavelike orchestral music reflects both the motions of the ship and turbulence of Tristan's feelings)
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La Traviata
- Verdi
- scena (recitative) and duet from an opera
- 19th century
- free recitative; duet is AABB with coda
- Recitative:
- 1. Different from traditional accompanined recitative, because the accompaniment in the orchestra is continuous (instead of brief interjections).
- 2. Short phrases of dialogue between Annina and Violetta, and rhythm of orchestral melody and throbbing accompaniment, suggest Annina's excitement at having seen Alfredo.
- Duet:
- 1. Set in waltz time to suggest the dancing and parties of Violetta's old life as a courtesan.
- 2. Vocal melody of the A section is as tuneful as a popular song, suggesting their happiness as they look forward to a life together as she recovers her health.
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Nuages
- Debussy
- Impressionist orchestral work
- late 19th century
- ABA'
- 1. Instrumental colour and texture begin to replace melody (theme) as the primary agents to the creation of musical form.
- 2. The oscillating pattern of fifth and thirds which begins the piece conveys an impression of movement but no harmonic direction (evoking shifting clouds.)
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"Minuet" from Piano Suite
- Schoenerg
- minuet from a 12-tone suite
- 20th century
- Minuet (binary) and Trio (binary) create the traditional A B A form.
- 1. Throughout the Minuet proper, the row is segmented into 3 subsets of 4 notes each.
- 2. Pitch order within the subsets is treated quite freely.
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"Danse des adolescentes" from Le Sacre du printemps
- Stravinsky
- ballet
- 20th century
- Free form
- 1. Percussive treatment of orchestra, and other unprecedented orchestral effects.
- 2. Rhythm has unprecedented importance, and traditional rhythms are rejected in favour of irregular accents.
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