An Outline of The History of Western Music Grout ... - The Reel Score

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a) themes and their treatment in the first 3 piano sonatas are reminiscent of works by Haydn (to whom they are dedicated) b) Characteristics 1: have 4 movements instead of the usual 3 2: in second & third sonata he replaced the minuet with the more dynamic Scherzo (done almost consistently from this point on 3: extensive use of minor mode and bold modulations in the first 3 sonatas are highly individual traits 4: possible influences are Muzio Clamenti (1752-1832) and Jan Ladislav Dussek (1760-1812) 2. Chamber Music a) his art of developing motives and animating the texture of contrapuntally follows Haydn's example b) his individuality shows through 1: in the character of his themes 2: the frequent unexpected turns of pharse 3: unconventional modulations 4: some subtleties of formal structure 3. Symphonies (1 & 2) a) No. 1 performed first on April 2, 1800 1: the four movements a regular in form 2: his originality is evident in the details i- unusual prominence given to the woodwinds ii- 3rd movement is a scherzo (though labeled a minuet) iii- long and important codas of the other movements iv- careful dynamic shadings b) No. 2 composed in 1802 1: 1st movement announces a work conceived on a scale hitherto unkown in symphonic music 2: a long coda that includes extensive new development of the principal material 3: rest of the symphony has correspondingly large dimensions with a profusion of thematic material held together in perfect formal balance D. Second Period 1. Within a dozen years after coming to Vienna Beethoven was acknowledged throughout Europe as the foremost pianist & composer of his time and as a symphonist on par with Haydn & Mozart 2. The Eroica Symphony (3rd) a) recognized as an important work - but unprecedented length and complexity made it difficult for audiences to grasp at first b) the entire symphony has the character of a drama c) intended to dedicate the work to Napoleon - coupled with story of renaming after Bonaparte declared himself emperor 3. Fidelio a) began opera almost immediately after finishing the 3rd Symphony b) two works share the Revolutionary atmosphere of the French Revolution
) two works share the Revolutionary atmosphere of the French Revolution 4. Rasumovsky Quartets a) dedicated to the musical amateur Count Ramsumovsky - the russian ambassador to Vienna who played second violin in a quartet said to be the finest in Europe b) style was so new that musicians were slow to accept them 1: single, double, and triple pedal points 2: frequent changes in texture 3: horn imitations 4: pointillistic exploitation of the instruments extreme ranges 5: fugal work and unisons 5. 4th to 8th Symphonies a) 4th, 5th, & 6th were all composed between 1806 & 1808 b) 7th & 8th were both completed in 1812 6. Orchestral Overtures - are related in style to the symphonies usually taking the form of a symphonic first movement 7. Piano Sonatas & Concertos a) Moonlight Sonata, Waldstein Sonata, Appassionata b) as a pianist, he composed concertos to play at his own concerts 1: retained Mozarts's division of the concerto into three movements and the general outline of the Classic form 2: greatly expanded the music's expressive range and dimensions E. Third Period 1. Financially stable and secure, but his deafness increasingly became a serious trial a) last 5 piano sonatas, the Missa solemnis, Diabelli Variations, the 9th Symphony, the final quartets b) by 1816, his deafness was complete - sparked a change in musical character 1: compositions came to have a meditative character 2: urgent sense of communication replaced by a feeling of assured tranquillity & calm affirmation 3: musical language became more concentrated & more abstract 4: classic forms remained but greatly evolved & expanded 2. Characteristics of Beethoven's late style a) Variation Technique - worked out themes and motives to their utmost potential 1: variation differs from development because it treats an entire musical period not just fragments or motives 2: in works of Haydn, Mozart, & Beethoven, variation occurs in three situations i- as an independent theme-and-variations composition ii- as a theme-and-variations movement of a symphony or sonata iii- as a technique within a larger formal plan (as in sonata form when the first theme is varied in the recapitulation) 3: each variation is built on motives derived from some part of the theme, but altered in rhythm, tempo, dynamics, or context so as to produce a new design b) intentional blurring the divisions between phrases c) improvisatory character of some passages give some idea of his actual improvisations at the piano
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An Outline of The History of Wester
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Ancient Greece and Rome Through Ren
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(1) Cult of Apollo - lyre (2) Cult
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i) Current belief is that the churc
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) Performance Classification (1) An
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(2) When the melodies are melismas,
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i) They sang, played, and danced to
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1. Organum Purum a) The lower voice
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(9) Phrase endings of different voi
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2. Technical Achievements a) Codifi
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d) Polyphonic virelais, rondeaux, &
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(3) Characterized by graceful vocal
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c) Knowledge of 14th Century Englis
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d) Prestige of the Burgundian Court
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c) Continued the treble dominated s
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(1) Brought in the most talented co
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a) Pertrucci's 1st publication (1)
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iv) Bass took over the foundation o
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a- the most important genre of Ital
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g) Cipriano de Rore (1516-1565) - e
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(2) monophonic art of the Minnesing
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(4) Vicentino, Rore, & Lasso (pupil
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a- essential step in this developme
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d- German hymns replaced most to th
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(1) texts were translated by Clème
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i) corresponds to the Latin motet i
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Baroque
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ii) Bach & Handel owed much to the
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) typical texture of the Baroque pe
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(2) Giovanni Bardi (1534-1612) one
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(2) in his Orfeo of 1647 the antiqu
Page 63 and 64: 3. Formal articulation was achieved
Page 65 and 66: iii) Jocob Handl (1550-1591) active
Page 67 and 68: ii) passacaglia iii) chaconne iv) c
Page 69 and 70: ii) melody would receive different
Page 71 and 72: a) Venitian (1) Pietro Francesco Ca
Page 73 and 74: (2) his librettist - playwright Jea
Page 75 and 76: c) Serenata - a semi dramatic piece
Page 77 and 78: ) Charles II particularly liked sol
Page 79 and 80: (3) Andreas Hammerschmidt (1611-167
Page 81 and 82: h- Jan Adam Reincken (1623-1722) i-
Page 83 and 84: iv) Chaconne - a stately movement i
Page 85 and 86: ii) solo instruments were also usua
Page 87 and 88: c) Francesco Germiniani (1687-1762)
Page 89 and 90: c) Leipzig (1723-1750) - as Cantor
Page 91 and 92: d) Oratorios (1) the Italian orator
Page 93 and 94: I. Sonata, Symphony, and Opera in t
Page 95 and 96: c) Baroque - J.S. Bach (1685-1750),
Page 97 and 98: 2. Musical Rhetoric a) first decade
Page 99 and 100: iii- Domenico Cimarosa (1749-1801)
Page 101 and 102: c- A2 begins by restating the melod
Page 103 and 104: c) composers 1: early: J.J. Quantz
Page 105 and 106: ii) there may be a coda ii- this is
Page 107 and 108: 8. paved the way for the mature cla
Page 109 and 110: 6: symphonies of 1774-1788 show a s
Page 111 and 112: d) piano works - most important of
Page 113: I. Ludwig Van Beethoven (1770-1827)
Page 117 and 118: a) some 19th century writers consid
Page 119 and 120: v- content and form may be suggeste
Page 121 and 122: 1: a distinctive school of pianists
Page 123 and 124: 3: Liszt experimented with harmonie
Page 125 and 126: c) works for chorus & orchestra 1:
Page 127 and 128: 1: a continuous succession of orche
Page 129 and 130: 1: another new genre - not to be co
Page 131 and 132: ii- the words convey the outer aspe
Page 133 and 134: 20 th Century
Page 135 and 136: : more difficult to realize musical
Page 137 and 138: a) Norway - Evard Hagerup Grieg (18
Page 139 and 140: i- immediate background included Fr
Page 141 and 142: c) in most of his music a primary t
Page 143 and 144: 1: held to some recognizably famili
Page 145 and 146: 3. also used "pointillism" a) spare
Page 147 and 148: ) by mid 20th century, distinct pit
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An Outline of The History of Western Music Grout ... - The Reel Score

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