Beethoven, Schubert, Rossini, & Weber

Timeline created by jeholsap
In Music
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    Unit 1 Timeline

  • Beethoven Piano Sonata in F Minor, Op. 2, No. I Mvmt I

    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
  • Beethoven Piano Sonata in C minor, Op. 13 "Pathetique" Mvmt I

    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
  • Pathetique Sonata Mvmts II & III

    Pathetique Sonata Mvmts II & III
    II (Adagio Cantabile): five-section rondo form (ABACA) III (Allegro): Sonata-rondo form--seven section rondo with sonata characteristics
  • Beethoven Symphony No. 3 in Eb Major, Op. 55 ("Eroica") Mvmt I

    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.
  • Beethoven Piano Sonata in C Major, Op. 53 ("Waldstein"), Mvmt I

    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
  • Beethoven String Quartet in F minor, Op 95 "Serioso"

    Beethoven String Quartet in F minor, Op 95 "Serioso"
    Mvmt I. Allegro con brio
    -ASSIGNMENT 2 (waiting on grade, then write notes)
  • Schubert, Erlkonig

    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
  • Rossini, Il Barbiere di Siviglia, Overture/Una Voce Poco Fa

    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
  • Weber, Der Freischutz Overture/Wolf's Glen scene

    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
  • Schubert Six Musical Moments (moment musicaux), D. 780 (Op. 94)

    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)
  • Schubert String Quartet in D minor, D.810 "Death and the Maiden" Mvmt I

    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)
  • Beethoven, Symphony No. 9 in D Minor, Op. 125, Mvmt I

    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
  • Symphony No. 9 in D Mvmt II

    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)
  • Symphony No. 9 in Dm, Mvmt III

    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)
  • Symphony No. 9 in D, Mvmt IV

    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)
  • Beethoven String Quartet in A minor, Op. 132 ("Heiliger Dankgesang"), Mvmt III

    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)
  • Schubert, Winterreise Song Cycle

    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
  • Winterreise No. 3: Gefrorne Tranen

    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
  • Winterreise No. 7. Auf dem Flusse

    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)
  • Winterreise No. 11, Fruhlingstraum

    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
  • Schubert, Der Doppelganger

    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)