| Event Date: | Event Title: | Event Description: | |
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02/06/1795 | Beethoven Piano Sonata in F Minor, Op. 2, No. I Mvmt I | Beethoven's first piano sonata i-v~V/III-III Dependent Transition: Transition containing material from priary theme T(P) vs. Independent Transition: Transition with new material |
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02/06/1798 | Beethoven Piano Sonata in C minor, Op. 13 "Pathetique" Mvmt I | -expansion/modification of 1700 techniques (coda, weighty development using P+S+Intro material) -fragmentation -textural inversion -tonal instability ---CHROMATIC MODULATION VIA DIM.7 REINTERPRETATION!!! --modulation to distantly related keys (Em=>Cm) -use of extremely low/extremely high registers thick chords in low register -many sforzandos, often not used on downbeat -chromatic descent in bass/soprano |
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02/06/1798 | Pathetique Sonata Mvmts II & III | II (Adagio Cantabile): five-section rondo form (ABACA) III (Allegro): Sonata-rondo form--seven section rondo with sonata characteristics |
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02/06/1803 | Beethoven Symphony No. 3 in Eb Major, Op. 55 ("Eroica") Mvmt I | -intended to be dedicated to Napoleon Bonaparte, but ended up being the "Heroic Symphony--Compoased to celebrate the memory of a great man" because of his disappointment in Napoleon's self-declaration of emperor. --EXPANSION of sonata form PROPORTIONS --Thematic Proliferation --Blurred BOundaries between T, S, and K themes --C#/Db --metrical dissonances (often hemiola) --Development is over 100 MEASURES LONGER than the Expo (Totally unheard of until this point!) --Coda treated as a SECOND DEV. |
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02/06/1804 | Beethoven Piano Sonata in C Major, Op. 53 ("Waldstein"), Mvmt I | -Large Development -Extensive Retransition built from simple scalar patterns -large Coda based on P+S1 themes, Development-like -MOVES FROM: -Em=>EM with CHROMATIC modulation via MODAL MIXTURE -circle of 5ths motion in development -Expositoin built around DISTANTLY related keys (CM & EM) -Lack of resolution inthe recap: follows complex path (CM--AM/m--CM) -CODA uses bII6 (Neopolitan) then modulates back to I (CM) for the final cadence |
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02/08/1810 | Beethoven String Quartet in F minor, Op 95 "Serioso" | Mvmt I. Allegro con brio -ASSIGNMENT 2 (waiting on grade, then write notes) |
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02/08/1815 | Schubert, Erlkonig | MULLER Narrator, Father, Son, Erlking -1:Narrator, Gm, frantic triplets (horse-like) -2: Father/Son/Father, BbM, F=soothing long notes, S=higher frantic dotted rhythms -3: Erlking, BbM, quiet, lullaby-like, Mkey leeches F's from BbM -4: Son/Father, V/Gm-Bm-GM, -5: Erlking, GM-CM, arpegg. soothing -6: Son/Father, C#m-Dm -7: Erlking/Son, Gm, galloping returns not nice -8: Narrator, Gm, Neo in EbM never reaches Dm (Eb Neo=>AbNeo) i - III - IV - v - (VI) - i |
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02/08/1816 | Rossini, Il Barbiere di Siviglia, Overture/Una Voce Poco Fa | -opera buffa -social issues, domestic situations, love triangles, plots/schemes -number opera -emphasis on VOICE, melismatic -NO DEVELOPMENT!!! -LIttle Chromaticism -clearly tonal -abcba -Rossini Crescendo |
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02/08/1821 | Weber, Der Freischutz Overture/Wolf's Glen scene | -Samiel, Max, Caspar CM - dim.7>Cm - Cm>EbM - GM - AbM~V/Cm - Cm - dim7Cm - CM I - i - III - V - bVI - V/i - i - i - I -Sonata form dim7 = Samiel Tonal structure of piece outlines Dim7 chord (f#m, cm, EbM, Cm, Am/fm) -Development -Germanic -big brass entrances, heavy, dark -substantial intro -CHROMATIC!! -Harmonically unstable -LOTS of DIM7 and SECONDARY DOMINANTS |
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02/08/1824 | Schubert String Quartet in D minor, D.810 "Death and the Maiden" Mvmt I | 3 KEY EXPOSITION -Dm-FM-Am/m -Thematic integration -T(P) |
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02/08/1824 | Schubert Six Musical Moments (moment musicaux), D. 780 (Op. 94) | No. 6 in Ab Major -Compound Ternary Form A - B (Trio) - A -Form: ROUNDED SECTIONAL BINARY (PIP) -AbM: I - i - bVI - It+6 - V - I -B section: ENHARMONIC Respellings! (It+6) |
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05/07/1824 | Beethoven, Symphony No. 9 in D Minor, Op. 125, Mvmt I | -written when deaf, premiered in Vienna -Instrumentation added: piccolo, contrabassoon, 4th horn, 3 trombones, trianble, cymbals, bass drum, SATB chorus, 4 vocal soloists (SATB) TEXT: excerpts from Friedrich von Schiller's "Ode an die Freude" 1785 MVMT I -sonata form expanded and modified Dm - BbM - DM -integration of thematic material "unity in ariety, and variety in unity" -dotted figures, intro germ filled in to become P1, tied figures, legit transition theme (T), new theme in Coda |
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05/07/1824 | Symphony No. 9 in Dm, Mvmt III | -Hybrid form -Main theme has FLEXIBLE PHRASE DESIGN -SIMILARITY: between Main theme and "Pathetique" slow mvmt -chromatic third key relationships Main theme = BbM Alternative theme - DM, GM connection to key structure of mvmt I: Dm, BbM, DM(sort of GM at recap) |
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05/07/1824 | Symphony No. 9 in D Mvmt II | -dramatic scope and structural weight of the scherzo -based on the motivic germ from the first movement--INTEGRATION across mvmts -Expanded form--compound ternary form ABA whose A section may be understood as a complete sonata form (greatly enlarged continuous rounded binary) |
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05/07/1824 | Symphony No. 9 in D, Mvmt IV | -Text from Schiller's "Ode to Joy" -Mixture of high and low styles == EVERYONE's Invited to this party! -hybrid genre: symphony + concerto + oratorio/opera -hybrid form/modification of sonata form -includes fanfares, instrumental recitative, quotes of material from earlier -double expo -Main THEME in DM, second THEME GROUP BbM, in RECAP GM (DM, BbM, GM all used in mvmts I&III, showing tonal integration across entire symphony) |
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02/08/1825 | Beethoven String Quartet in A minor, Op. 132 ("Heiliger Dankgesang"), Mvmt III | -chorale-like -religious -ABA: A: F LYDIAN counterpoint, VARIATIONS B: D MAJOR, faster, MELODY/ACCOMP., diff. mood. A: (aba) |
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02/07/1827 | Schubert, Winterreise Song Cycle | -24 Songs (Lieder) composed to poems by WILHELM MULLER -Song Cycle (group of songs with a common theme/usually setting a single poet) -protagonist is a tragic, dismal, wandering figure No. 3--Gefrorne Tranen No. 7--Auf dem Flusse No. 11--Fruhlingstraum -SYLLABIC text setting (not melismatic) -THROUGH-COMPOSED, (not strophic) -Text painting, accompaniment is important, chromatic techniques heighten expressive effects/changes in moods/perspectives |
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02/07/1827 | Winterreise No. 3: Gefrorne Tranen | -Frozen Tears ("tears falling are so cold they freeze but the place they spring from is so warm it could melt all ice") -protagonist stirs his frozen limbs and moves on -THROUGH-COMPOSED with ternary characteristics (ABA) -STROPHIC -+6 REINTERPRETATION: mm. 33-36 from AbM=>Fm Stanza 1: fm, tonicizes AbM Stanza 2: modulates to Abm Stanza 3: AbM (+6 reint.) => Fm end: Fm i-III-iii-III-i |
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02/07/1827 | Winterreise No. 7. Auf dem Flusse | -Frozen stream, frozen heart--a torrent beneath? -aabba' treated as ternary form: ABA -(mmMMm') -Em-Em-EM-EM-Em (i-i-I-I-i) |
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02/07/1827 | Winterreise No. 11, Fruhlingstraum | -Spring Dream -clash between dream of spring and cold, hard reality, vanished happiness -two-part form: abc/abc (stanza 1-2-3/stanza 4-5-6) -AM - Am - AM(modal mixture mm.36-44) - AM - Am - AM (Am:PAC last measure, like reverse picardy third) -changes in time signature, key, mode, tempo with each stanza |
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02/08/1828 | Schubert, Der Doppelganger | -from Schwanengesang, D. 957 -text by HEINRICH HEINE -phrase lengths are gradually shortened as the music grows louder -(20)10+10, (18)9+9, (14)fuzzy division, etc. -abb' -vocal range gets higher (reaching high G in mm.41) -ALTERED DOMINANT CHORDS: -Vb5/3 -Bass part almost functions as ostinato -Ger+65 brings back to Bm (also bII6 (5 meas. from end)) -postlude: tonicization of iv (Em), picardy third (BM) |
| Timespan Dates: | Timespan Title: | Timespan Description: | |
| 02/06/1790 to 02/06/1905 |
Unit 1 Timeline |
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