T252 Unit 2

By posaune

  • Hector Berlioz: Symphonie Fantastique, Op. 14

    5 movements
    modern-sounding instrumentation and extended techniques
    idée fixe!! and thematic transformation + cyclical

  • Felix Mendelssohn: Songs Without Words (Lieder ohne Worte)

    No. 1 in E major
    Rounded binary form
    I-bIII-I

  • Frédéric Chopin: Ballade in G minor, Op. 23

    Hybrid form: sonata+rondo, but with variations
    motivic transformation
    "arch-shaped" cell first heard in the introduction

  • Frédéric Chopin: Nocturne in Db major, Op. 27, No. 2

    Fioritura - embellishments
    Chromaticism
    Omnibus progression!
    Intro ABA'B'A"B" Coda
    Lyrical melody+arpeggiated accompaniment

  • Robert Schumann: Carnaval

    Six movements
    SCHumAnn
    Eb-C-B-A in various permutations

  • Frédéric Chopin: Prelude Nos. 4 in E minor and 6 in B minor, Op. 28

    Both assymetrical PIP
    No. 4, E minor
    Lament bass
    neighbor figure motive
    No. 6, B minor
    tonicization of Neapolitan
    compound melody in LH

  • Hector Berlioz: Requiem (Grand messe des morts), Op. 5

    Mvt. 2, Dies irae
    HUGE orchestration
    Part 1: combinatorial counterpoint, phrase org, "archaic sound," Am-Bbm-Dm unorthodox tonal structure
    Part 2: brass choirs enter (Tuba mirum-"wonderous trumpet"), EbM

  • Robert Schumann: Dichterliebe

    Heinrich Heine
    1840-Bob and Clara get hitched and Bob writes a bunch of songs
    Tonal ambiguity and unresolved endings
    Floating rhythm
    modal mixture and expressive dissonance
    No. 1 In the Beautiful Month of May
    STROPHIC
    2 From My Tears Spring Forth
    AABA
    12 On a Bright Summer Morning
    QUASI-STROPHIC and EXTENSIVE POSTLUDE

  • Franz Lizst: Piano Sonata in B minor

    Double-function form
    four separate movements OR one movement sonata form

  • Pyotr Illyich Tchaikovsky: Romeo and Juliet

    Based loosely on Shakespeare
    slow theme=Friar Laurence
    P=Montagues vs. Capulets
    S=R+J
    Bm, DbM, DM, BM (not in order)

  • Georges Bizet: Carmen

    opéra comique, because of dialogue, but it's superdramatic
    exoticism
    transparent orchestration
    rhythmic and melodic vitality
    tension between order and transgression of order reflects plot
    Carmen: gypsy woman
    Don José: soldier
    Micaëla: Don's fiancée
    Escamillo: toreador

  • Johannes Brahms: Symphony No. 2 in D major, Op. 73

    Conservative instrumentation, classical forms with fresh treatment
    motivic transformation! and motivic material used across movements
    Mvt. I (Allegro non troppo)
    sonata form
    3-key expo
    N and arp. motives
    invertible counterpoint, fugue, diminution, canon, augmentation
    Mvt. III
    minuet+rondo

  • Antonin Dvorák: Slavonic Dance in G minor

    HEMIOLA

  • Johannes Brahms: Intermezzo in A minor, Op. 76, No. 7

    E D# E Motivic figure
    lyrical, with economical melodic style
    Framed! (form)
    Tonal ambiguity (Am/CM) "Schumannesque"
    floating rhythm

  • Johannes Brahms: "Wie Melodien zieht es mir"

    ??

  • Johannes Brahms: Intermezzo in A major, Op. 118, No. 2

    Compound ternary
    mazimum value from economical use of rhythmic and melodic motives
    Metric displacement and hemiola
    modal mixture

  • Johannes Brahms: Intermezzo in C major, Op. 119, No. 3

    HEMIOLA (small and large scale)
    hypermetric ambiguity
    metric displacement and syncopation