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

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ii- John Field (1782-1837) a- drew inspiration from the vocal nocturne - vocal music related to the romance but written for two or more voices with piano or harp accompaniment - popular in the first decade of the 19th century b- both looked to the ornamentation and cadenzas practiced by opera singers and taken over by pianists in their improvised sets of variations 3: Music i- wrote preludes at a time when he was deeply immersed in the music of Bach ii- was the first composer known to have used the name "ballade" for an instrumental piece iii- his etudes are important landmarks in defining the piano idiom - he successfully combined the practical goal of developing advanced piano technique with significant artistic content g) Franz Liszt (1811-1886) 1: Career i- born in Hungary, son of an official in the service of Prince Nicholas Esterházy ii- studied piano with Carl Czerny (1791-1857) a pupil of Beethoven iii- at age 11 started a career as a concert virtuoso that lasted till 1848 iv- 1848-1861 he was court music director at Weimar v- from 1861 to about 1870 he resided chiefly in Rome, took minor orders in the Catholic Church - with the rest of his life divided among Rome, Weimer, and Budapest 2: Music i- an eclectic style a- Hungarian roots show in compositions based on national melodies b- early Viennese training c- strong strain of French literary Romanticism - with its ideal of program music d- his piano style was built on that of Viennese and Parisian virtuosos - Kalkbrenner, Henselt, and Thalberg - adding his own stunning effects e- adopted the lyricism of Chopin's melodic line, rubato rhythmic sense, harmonic innovations - amplifying and enhancing them f- stimulated by Nicolò Paganini (1782-1840) technical virtuosity he resolved to accomplish similar feats with the piano ii- compositions a- much of his piano music consists of arrangements - Schubert songs, Berlioz & Beethoven symphonies, Bach organ fugues, fantasies on operatic airs, and excerpts from Wagner's dramas b- by transferring orchestral idioms to the piano Liszt demonstrated new possibilities for the instrument c- used national tunes in his compostions - Hungarian Rhapsodies 3: Liszt experimented with harmonies that surprisingly anticipate late 19th & 20th century developments
3: Liszt experimented with harmonies that surprisingly anticipate late 19th & 20th century developments h) Johannes Brahms (1833-1897) 1: the great conservative of the Romantic Era 2: his models were Beethoven & Schumann 3: inclined toward Classic forms, he was unsympathetic to program music and the extreme tendencies of Romanticism in general i) Other composers 1: Modest Musorgsky (1839-1881) - Pictures at an Exhibition 2: Mily Balakirev (1837-1910) - Islamey 3: Cézar Franck (1822-1890) - Symphonic Variations i- sought to incorporate Romanticism within a Classic framework - but with a harmonic idiom influenced somewhat by the chromaticism of Liszt & Wagner ii- founded a new school of organ music in France iii- inspired a renewed vitality of French musical education and composition that began with the extablishment of the Société nationale de musique francaise 4: Fanny Hensel (1805-1847) - Felix Mendelssohn's sister 5: Clara Wieck Shumann (1819-1896) - wife of Robert Schumann C. Chamber Music 1. The Chamber Music medium was not congenial to many Romantic composers - the best chamber works came from those composers who felt closest to the Classic tradition 2. Franz Schubert (1797-1828) a) modeled his first quartets on works by Mozart & Haydn - writing mainly for his friends to enjoy b) wrote his chamber music masterpiece - the String Quartet in C major, D. 956 during the last year of his life 3. Felix Mendelssohn (1809-1847) a) wrote with facility in the Classic forms - but his descriptive tone color did not find an outlet in the medium of chamber music b) his chamber works display both the strengths and weaknesses of the composer in this medium 1: tuneful, attractive themes, vigorous idiomatic writing 2: occasional looseness of form and redundancy in developing material 4. Johannes Brahms (1833-1897) a) in the chamber music medium - as in orchestral music - Brahms was the true successor of Beethoven b) the sonatas with piano form a special category of Brahm's chamber music 5. Cézar Frank (1822-1890) a) founder of modern French chamber music b) employed the "cyclical method" in his compostions - one musical theme is heard, sometimes in varied form in more than one movement D. The Lied
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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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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
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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
Page 119 and 120: v- content and form may be suggeste
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Page 131 and 132: ii- the words convey the outer aspe
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Page 137 and 138: a) Norway - Evard Hagerup Grieg (18
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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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An Outline of The History of Western Music Grout ... - The Reel Score

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