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

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2: Other works are the symphonic poem Francesca da Rimini, the First Piano Concerto, the Violin Concerto, and the 1812 Overture 3: also composed for ballet which include Swan Lake, The Sleeping Beauty, and the Nutcracker i) Antonìn Dvorák (1841-1904) 1: No. 7 is considered the best 2: No. 9, From the New World is the most familiar III. Solo, Chamber, and Vocal Music in the 19th Century A. The Piano 1. the 19th century piano was different from the one in Mozart's day nor was it the same as the modern piano a) still did not have a metal frame but was strengthened with metal plates and braces b) it was 7 octaves and provided with felt hammers c) it was the quintessential instrument of the salon or living room and created a demand for music by amateurs & professionals 2. Two distinct schools of piano playing a) Johann Nepomuk Hummel (1778-1837) - Mozart's pupil, it emphasized clear textures and fluent technique b) Beethoven belonged - emphasized full tone, wide dynamic range, orchestral effects, dramatic execution, and an abundance of technical equipement c) Both these styles are present in the works of Muzio Clementi (1752-1832) an influential Italian composer, pianist, teacher, and manufacturer of pianos d) later in the 19th century several more approaches to piano performance and composition emerged 1: John Field (1782-1837) - whose nocturnes served as a model for Chopin 2: Adolf von Henselt (1814-1899) e) Others - Friedrich KIalkbrenner (1785-1849), Henri Herz (1803-1888), Sigismund Thalberg (1812-1871), Louis Moreau Gottschalk (1829-1869), Valentin Alkan (1813-1888) f) "titans of the Piano" 1: Franz Liszt (1811-1886), Anton Rubinstein (1829-1894), Hans von Bülow (1830-1894), & Karl Tausig (1841-1871) 2: of these, Liszt & Rubinstien left their mark as composers and von Bülow as a conductor B. Music for the Piano 1. The 19th century cult of expressive, songful melody presented a challenge to composers of piano music 2. The resonance and power of the modern piano invited exploration in loud, full chords with a variety of touch, shadings, and accents 3. Early Romantic Composers a) Carl Maria von Weber (1786-1826) - a style rhythmic, picturesque, full of contrast, and technically brilliant b) the Bohemians 1: a distinctive school of pianists and composers in the early 19th century
1: a distinctive school of pianists and composers in the early 19th century 2: Jan Ladislav Dussek (1760-1812) - noted for his sonatas which include some notable examples of early Romantic harmony 3: Jan Václav Tomásel (1774-1850) & his pupil Jan Hugo Vorísek (1791-1825) who moved to Vienna and had a strong influence on Schubert c) Franz Schubert (1797-1828) - wrote 14 short pieces that became for piano literature what his lieder were to the vocal repertory 1: departs in subtle ways form the standard Classic patterns by using substitute dominants and introducing 3 keys in his expositions instead of two 2: with his three - all in 1828 - Shubert was obviously aware of Beethoven's works d) Felix Mendelssohn (1809-1847) 1: a virtuoso pianist - his preludes and fugues reveal his interest in Bach 2: the performance he conducted in Leipzig of the St. Matthew Passion helped spark a revival of Bach's music 3: his 3 organ preludes and fugues and 6 sonatas are among the century's most distinguished contributions to the literature of that instrument e) Robert Schumann (1810-1856) 1: Career i- after studies in law, he devoted himself to becoming a concert pianist, an injury to his right hand cut this career short ii- turned to composition and editing the Neue Aeitschrift für Musik (New Journal of Music) from 1814 to 1844 a- his essays and reviews became an important force in the Romantic movement iii- he was one of the first to recognize the genius of Chopin and Brahms as well as the instrumental music of Schubert 2: Music i- all his published compositions up to 1840 (Opp. 1-23) were for piano - except his one concerto - they include most of his important works for that instrument ii- titles to collections and individual pieces suggest that he wanted listeners to associate them with extramusical poetic fancies a- attitude was typical of the period b- significant considering his admission that wrote the music before giving a title f) Fryderyk Chopin (1810-1849) 1: Wrote exclusively for the piano - among the earliest and best examples of music inspiried by a national idiom i- living in Paris from 1831, he never stopped loving his native Poland or grieving because of its political misfortunes ii- his polonaises go beyond the conventional character piece of Bach's time to assert a national identity 2: The nocturnes, impromtus, and preludes are his most intimate works i- his initial concept of the nocturne owed much to the influence of John Field ii- John Field (1782-1837)
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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
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3. Formal articulation was achieved
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iii) Jocob Handl (1550-1591) active
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ii) passacaglia iii) chaconne iv) c
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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
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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
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Page 109 and 110: 6: symphonies of 1774-1788 show a s
Page 111 and 112: d) piano works - most important of
Page 113 and 114: I. Ludwig Van Beethoven (1770-1827)
Page 115 and 116: ) two works share the Revolutionary
Page 117 and 118: a) some 19th century writers consid
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Page 125 and 126: c) works for chorus & orchestra 1:
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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
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Page 145 and 146: 3. also used "pointillism" a) spare
Page 147 and 148: ) by mid 20th century, distinct pit
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