Teacher's Score: 9/10
Prelude to "The Afternoon of a Faun" is a symphonic poem (tone poem) by Claude Debussy. It is written in 1894. It has a form of loose ternary (ABA'). It is performed by strings (violins, violas, cellos, double basses, harps), woodwinds (flutes, oboes, clarinets, English horns), brass (French horns) and percussion (antique cymbals, which is the only percussion in the piece). It is inspired by a Symbolist poem by Stephane Mallarme. In this poem, a faun (a mythological creature half man, half goat) awakes in the woods and tries to remember if he was visited by by 3 lovely nymphs or is it all a dream, but he falls asleep again before he can remember. It is Debussy's first orchestral work. It sounds relaxed and dreamlike which is a result from a lack of accent and Inpressionism.
A is very moderate (tres modere) and in 9/8 time. The key is four sharps-it suggests E+ but doesn't settle in any key. It opens with a lyrical melody in the flute which is accompanied by muted strings. A glissando (a rapid slide through the notes of a scale) on the harp is followed by a dialogue in the horns.
B is growing lively (en animant) in 3/4 time. The key in this section is 5 flats-suggests D flat major. Clarinets play a more animated leading to a rhythmic figure in the cello. This is followed by another part, which is the same tempo and very sustained (meme mouvement et tres soutenu). A solo oboe introduces an impassioned, contrasting theme in woodwinds and strings with syncopated rhythms that lead to an ff climax. The first section (A) returns, this time altered-antique cymbals are heard, and muted horns and violins play blue chords. The work dissolves into silence, having used under 10 minutes to play.
Teacher's Comments:
- Define symbolic poem
- What era?
Sunday, July 8, 2012
Debussy
Teacher's Score: 8/10
Claude Debussy was born at St. Germain-en-Laye (France) in 1862. His father was a china shop owner and his mother was a seamstress. He began piano lessons at age 7. At age 11, he entered the Paris Conservatory. There, he shocked the professors with bizarre harmonies that went against the rules, though he received many gold medals there. His teachers included Antoine-Francois Marmontel for piano, Emile Durand for harmony and Ernest Guiraud for composition. At age 22, he won Prix de Rome with his cantata L'enfant Prodigue. He went to Villa Medici of Rome, but didn't like it there, so soon, he went back to Paris and was employed as a piano teacher for the family of Nadezhda von Meck. He was also a music critic for Revue Blanche, an artistic journal published in Paris.
1890-1900 was the most productive decade of Debussy's life. In this decade, he produced the opera Pelleas et Melisande. It premiered in Opera-Comique in 1902, but was attacked as decadent, and lacking in melody, form and substance. However, it made an impression, and Debussy was now famous. In 1899, he married his first wife Rosalie ("Lilly") Texier who he later left. Ten years later he married Emma Bardac. The had one daughter, Claude-Emma ("Chou-Chou") and Debussy wrote his "Children's Corner" piano suite for her. But in 1914, World War I struck, and Debussy lost all interest in music. However, in 1915, he realized that music could make the army cheerful and happy, so he had a small burst of music from 1914 to 1918. He died of cancer just prior to the end of World War I.
Debussy is one of the most important French composers of the early 20th century. He was a true Impressionist-he had pieces that evoked images of Impressionist painting (widely spaced melodic lines and light and airy texture). Some individual instruments stand out against the orchestra (ex. in Prelude to "The Afternoon of a Faun"). The Paris World Exhibition in 1889 inspired Debussy's interest in non-Western music and instruments especially Asian music-he used the pentatonic scale, unusual timbres, and textures in several piano preludes. He created a new piano style-it had contrast of high and low registers-it had contrast of high and low registers, a blending sound through the use of pedal, a clash overtones, and a parallel succession of widely spaced chords. He established the French song as the national art form-he based many of his works on Symbolist poems such as Charles Baudelaire, Paul Verlaine, Pierre Louys, and Stephane Mallarme. He broke many musical rules-he was one of the first composers to break away from the major-minor system, using instead patterns such as the whole tone scale, the pentatonic scale, modes, parallel 5ths and octaves, "floating" chords (chords from different keys used without modulation) and pedal point (Debussy resolves to a weird note, such as the supertonic).
Teacher's Comments:
- Define Impressionism
- Which era is this composer in?
- Last sentence: do not say weird, say unconventional or unexpected
- Compositional titles and genres?
Claude Debussy was born at St. Germain-en-Laye (France) in 1862. His father was a china shop owner and his mother was a seamstress. He began piano lessons at age 7. At age 11, he entered the Paris Conservatory. There, he shocked the professors with bizarre harmonies that went against the rules, though he received many gold medals there. His teachers included Antoine-Francois Marmontel for piano, Emile Durand for harmony and Ernest Guiraud for composition. At age 22, he won Prix de Rome with his cantata L'enfant Prodigue. He went to Villa Medici of Rome, but didn't like it there, so soon, he went back to Paris and was employed as a piano teacher for the family of Nadezhda von Meck. He was also a music critic for Revue Blanche, an artistic journal published in Paris.
1890-1900 was the most productive decade of Debussy's life. In this decade, he produced the opera Pelleas et Melisande. It premiered in Opera-Comique in 1902, but was attacked as decadent, and lacking in melody, form and substance. However, it made an impression, and Debussy was now famous. In 1899, he married his first wife Rosalie ("Lilly") Texier who he later left. Ten years later he married Emma Bardac. The had one daughter, Claude-Emma ("Chou-Chou") and Debussy wrote his "Children's Corner" piano suite for her. But in 1914, World War I struck, and Debussy lost all interest in music. However, in 1915, he realized that music could make the army cheerful and happy, so he had a small burst of music from 1914 to 1918. He died of cancer just prior to the end of World War I.
Debussy is one of the most important French composers of the early 20th century. He was a true Impressionist-he had pieces that evoked images of Impressionist painting (widely spaced melodic lines and light and airy texture). Some individual instruments stand out against the orchestra (ex. in Prelude to "The Afternoon of a Faun"). The Paris World Exhibition in 1889 inspired Debussy's interest in non-Western music and instruments especially Asian music-he used the pentatonic scale, unusual timbres, and textures in several piano preludes. He created a new piano style-it had contrast of high and low registers-it had contrast of high and low registers, a blending sound through the use of pedal, a clash overtones, and a parallel succession of widely spaced chords. He established the French song as the national art form-he based many of his works on Symbolist poems such as Charles Baudelaire, Paul Verlaine, Pierre Louys, and Stephane Mallarme. He broke many musical rules-he was one of the first composers to break away from the major-minor system, using instead patterns such as the whole tone scale, the pentatonic scale, modes, parallel 5ths and octaves, "floating" chords (chords from different keys used without modulation) and pedal point (Debussy resolves to a weird note, such as the supertonic).
Teacher's Comments:
- Define Impressionism
- Which era is this composer in?
- Last sentence: do not say weird, say unconventional or unexpected
- Compositional titles and genres?
Tuesday, July 3, 2012
Carmen
Teacher's Score: 7.5/10
Published in 1845, the book Carmen by Prosper Merimee didn't seem like a novel that would become very famous, but Georges Bizet used the novel and Meilhac and Halevy's libretto to create an "opera comique" (lyric exotic opera) in 1875. An orchestra plays while several characters sing. Carmen, mezzo, soprano, is a seductive cigarette factory girl who plays the main character. Don Jose, tenor, is a simple soldier obsessed with Carmen. Escamillo, bass-baritone, is a handsome bullfighter who also desires Carmen. Lieutenant Zuniga, bass, is Don Jose's superior officer. He is another person who likes Carmen. Micaela, soprano, is Don Jose's girlfriend before he met Carmen. Frasquita and Mercedes are Carmen's Gyspy friends. This piece is a very good example of exoticism (for this time, Spain) because of the brilliant orchestration and rhythmic vitality. The music shows strong desire, love and hate.The overall theme is about the disintegration of a personality. Bizet expanded the opera comique with realism, sensuality, and a tragic ending. The action is swift as the characters are carried step by step towards their doom. The libretto has 4 main words: l'amour (love), jamais (never), le sort (fate), and la morte (death).
The Prelude to Act 1, in ABAC form, has a lot of themes that would be sung or played later in the piece. A (Main theme) represents the procession of bullfighters, so it is fortissimo (very loud), a major key (A+), 2/4 time, and Allegro giocoso. B (Toreador theme) plays a more graceful theme which would be sung by Escamillo in some later scenes so it is piano (soft), modulates to contrast A (F+) and is in 2/4 time. An abbreviated A (main theme) returns, followed by C (Fate motive), which has a dark and mysterious mood, which means that it is fortissimo again, in a minor key (d-), 3/4 time, and Andante moderato. This Prelude leads directly into the opening scene of Carmen.
Act I is in Seville, Spain in front of a cigarette factory. A trumpet fanfare playing a staccato march tune announces the arrival of a military guard. A crowd of street boys pretends to be like soldiers, singing a snappy tune in high register- "Ta, ra, ta, ta, ta, ta" in d-, imitating a bugle call. The factory bells ring at noon, and young men come to flirt with the factory girls. The girls enter, smoking cigarettes and blowing smoke tings. The mood suddenly changes with a few agitated measures of dramatic music, preparing the audience for Carmen's entrance - it is an alteration of the Fate motive. "Quand je vous aimerai?" (When shall I Love You?) sung by Carmen introduces her tough, impulsive and dangerous character. She says to men she doesn't know when she will love them "but not today, that's certain". The next scene has Carmen singing her aria the Habanera. A descending chromatic melody shows Carmen's seductive nature. The cellos play a Cuban dance rhythm with the 2nd note shorter than the others. It is sung in verse and chorus form with Carmen singing and the chorus echoing her. At the end of the Habanera, when Carmen stares at Don Jose, the Fate motive reappears in the cellos.
In Act II, Don Jose was planning marry Micaela, but he now wants to marry Carmen. Also in love with him, Carmen tries to lure Don Jose into her band of Gyspy smugglers, but Don Jose cannot abandon the life as a soldier he has known. After learning that Carmen has been entertaining Lieutenant Zuniga, Don Jose attacks him in a fit of jealousy, and now he cannot return to the army.
In Act III, in a deserted mountain pass (the Gyspy smuggler's hideout), Don Jose sadly thinks back on his life - his happiness with Carmen was short-lived. Worse, Carmen is tired of him and likes Escamillo. She suggests to Don Jose that he should return to his village, and they quarrel. Carmen's Gyspy friends Frasquita and Mercedes open a deck of cards to tell their fortunes. Their cards foresee rich lives, but Carmen and Don Jose's cards spell death. Escamillo enters the pass, sees Don Jose and fight, but they are separated. Micaela comes in and tells Don Jose that his mother is dying. Just before he leaves, he warns Carmen "We will meet again!" and the orchestra plays the "Fate motive".
In an outside bullring in Seville, Act IV starts with Escamillo preparing for a bullfight. Don Jose steps out of the crowd preparing for the bullfight. He wants Carmen to marry him, but Carmen doesn't want to give up her freedom. Angrily, Don Jose stabs Carmen as the Toreador theme is played.
Teacher's Comments:
- Include the era.
- Define exoticism.
- Say what type of piece is "Quand je vous amerai".
- Define Habanera.
Published in 1845, the book Carmen by Prosper Merimee didn't seem like a novel that would become very famous, but Georges Bizet used the novel and Meilhac and Halevy's libretto to create an "opera comique" (lyric exotic opera) in 1875. An orchestra plays while several characters sing. Carmen, mezzo, soprano, is a seductive cigarette factory girl who plays the main character. Don Jose, tenor, is a simple soldier obsessed with Carmen. Escamillo, bass-baritone, is a handsome bullfighter who also desires Carmen. Lieutenant Zuniga, bass, is Don Jose's superior officer. He is another person who likes Carmen. Micaela, soprano, is Don Jose's girlfriend before he met Carmen. Frasquita and Mercedes are Carmen's Gyspy friends. This piece is a very good example of exoticism (for this time, Spain) because of the brilliant orchestration and rhythmic vitality. The music shows strong desire, love and hate.The overall theme is about the disintegration of a personality. Bizet expanded the opera comique with realism, sensuality, and a tragic ending. The action is swift as the characters are carried step by step towards their doom. The libretto has 4 main words: l'amour (love), jamais (never), le sort (fate), and la morte (death).
The Prelude to Act 1, in ABAC form, has a lot of themes that would be sung or played later in the piece. A (Main theme) represents the procession of bullfighters, so it is fortissimo (very loud), a major key (A+), 2/4 time, and Allegro giocoso. B (Toreador theme) plays a more graceful theme which would be sung by Escamillo in some later scenes so it is piano (soft), modulates to contrast A (F+) and is in 2/4 time. An abbreviated A (main theme) returns, followed by C (Fate motive), which has a dark and mysterious mood, which means that it is fortissimo again, in a minor key (d-), 3/4 time, and Andante moderato. This Prelude leads directly into the opening scene of Carmen.
Act I is in Seville, Spain in front of a cigarette factory. A trumpet fanfare playing a staccato march tune announces the arrival of a military guard. A crowd of street boys pretends to be like soldiers, singing a snappy tune in high register- "Ta, ra, ta, ta, ta, ta" in d-, imitating a bugle call. The factory bells ring at noon, and young men come to flirt with the factory girls. The girls enter, smoking cigarettes and blowing smoke tings. The mood suddenly changes with a few agitated measures of dramatic music, preparing the audience for Carmen's entrance - it is an alteration of the Fate motive. "Quand je vous aimerai?" (When shall I Love You?) sung by Carmen introduces her tough, impulsive and dangerous character. She says to men she doesn't know when she will love them "but not today, that's certain". The next scene has Carmen singing her aria the Habanera. A descending chromatic melody shows Carmen's seductive nature. The cellos play a Cuban dance rhythm with the 2nd note shorter than the others. It is sung in verse and chorus form with Carmen singing and the chorus echoing her. At the end of the Habanera, when Carmen stares at Don Jose, the Fate motive reappears in the cellos.
In Act II, Don Jose was planning marry Micaela, but he now wants to marry Carmen. Also in love with him, Carmen tries to lure Don Jose into her band of Gyspy smugglers, but Don Jose cannot abandon the life as a soldier he has known. After learning that Carmen has been entertaining Lieutenant Zuniga, Don Jose attacks him in a fit of jealousy, and now he cannot return to the army.
In Act III, in a deserted mountain pass (the Gyspy smuggler's hideout), Don Jose sadly thinks back on his life - his happiness with Carmen was short-lived. Worse, Carmen is tired of him and likes Escamillo. She suggests to Don Jose that he should return to his village, and they quarrel. Carmen's Gyspy friends Frasquita and Mercedes open a deck of cards to tell their fortunes. Their cards foresee rich lives, but Carmen and Don Jose's cards spell death. Escamillo enters the pass, sees Don Jose and fight, but they are separated. Micaela comes in and tells Don Jose that his mother is dying. Just before he leaves, he warns Carmen "We will meet again!" and the orchestra plays the "Fate motive".
In an outside bullring in Seville, Act IV starts with Escamillo preparing for a bullfight. Don Jose steps out of the crowd preparing for the bullfight. He wants Carmen to marry him, but Carmen doesn't want to give up her freedom. Angrily, Don Jose stabs Carmen as the Toreador theme is played.
Teacher's Comments:
- Include the era.
- Define exoticism.
- Say what type of piece is "Quand je vous amerai".
- Define Habanera.
Monday, July 2, 2012
Symphonie Fantastique, Op. 14
Teacher's Score: 7/10
When Hector Berlioz was a little over 25 years old, he fell in love with Shakespearean actress Harriet Smithson. They wanted to marry, but both families objected to their marriage. Feeling very depressed, he attempted to suicide by drugging himself with opium, but it was to weak to kill him and they married (though the marriage ended in separation). Later, in 1830, Berlioz wrote a program symphony about what he saw when he was drugged. It was called Symphonie Fantastique, Op. 14 (Fantastic Symphony: Episode in the Life of an Artist). An expanded symphony orchestra is playing this song. Berlioz also wrote a program to go with it. An "Idee fixe" (fixed idea) unifies all 5 movements and appears in varied harmony, rhythm, meter, tempo, dynamics, register, adn instrumental colour. It is written in the Romantic era.
The first movement (Reveries, Passions) is in 4/4, C+, and sonata-allegro form. It is when Berlioz sees and remembers passions, depressions, love and emotions before and after seeing his beloved. It introduces the fixed idea as a soaring melody. The second movement (A Ball) is in 3/4, A+, and ternary form (ABA). Berlioz meets Smithson at a ball. The middle section represents the fixed idea in waltz time. The third movement (Scene in the Fields) is in 6/8, F+ and ternary form (ABA). In a summer evening in the country he hears 2 pipers in a pastoral duet. The calmness is interrupted by the appearance of Smithson (is she deceiving him again?). It establishes a mood of "sorrowful loneliness". The fourth movement (March to the Scaffold) is in 4/4 and G-. He thinks that he had killed Smithson and is now led to execution. The fixed idea appears for an instant at the very end, cut of by a harsh ff chord ("the fall of the blade").
The fifth movement (Dream of a Witches' Sabbath) is in 6/8, C+, and in the middle, turns from Larghetto to Allegro. Berlioz sees himself at a witches' Sabbath where ghosts, sorcerers, and all kinds of other monsters come to bury him. Suddenly the fixed idea appears, but it has become vulgar, trivial and grotesque. Smithson then also joins the dance, and bells toll for the dead... This movement has a nightmarish mood and unusual instrumental effects. It opens on soft muted strings in Allegro, which evoke an infernal atmosphere which sounds like "the unearthly sounds, groans, shrieks of laughter". Then, the fixed idea appears in Allegro. It is altered so it sounds like it is mocking someone. The infernal mood is heightened with the use of bells for the dead and the traditional religious chant "Dies Irae" (Day of Wrath) is introduced first in bassoons, then twice as fast in brass. The climax is when the Dies Irae and the satanic Witches' Dance are combined, which leads to an excitingly dramatic ending with col legno (for stringed instruments, tapping strings with the wooden part of the bow) and loud statements of Dies Irae leading into the final cadence.
Teacher's Comments:
FIRST PARAGRAPH CLEAR AND CONCISE:
- lovesick artist poisoned with opium, not himself poisoned with opium
- Who does the fixed idea represent?
- definition of fixed idea
- other inspirations
Last paragraph:
- define "Dies Irae"
When Hector Berlioz was a little over 25 years old, he fell in love with Shakespearean actress Harriet Smithson. They wanted to marry, but both families objected to their marriage. Feeling very depressed, he attempted to suicide by drugging himself with opium, but it was to weak to kill him and they married (though the marriage ended in separation). Later, in 1830, Berlioz wrote a program symphony about what he saw when he was drugged. It was called Symphonie Fantastique, Op. 14 (Fantastic Symphony: Episode in the Life of an Artist). An expanded symphony orchestra is playing this song. Berlioz also wrote a program to go with it. An "Idee fixe" (fixed idea) unifies all 5 movements and appears in varied harmony, rhythm, meter, tempo, dynamics, register, adn instrumental colour. It is written in the Romantic era.
The first movement (Reveries, Passions) is in 4/4, C+, and sonata-allegro form. It is when Berlioz sees and remembers passions, depressions, love and emotions before and after seeing his beloved. It introduces the fixed idea as a soaring melody. The second movement (A Ball) is in 3/4, A+, and ternary form (ABA). Berlioz meets Smithson at a ball. The middle section represents the fixed idea in waltz time. The third movement (Scene in the Fields) is in 6/8, F+ and ternary form (ABA). In a summer evening in the country he hears 2 pipers in a pastoral duet. The calmness is interrupted by the appearance of Smithson (is she deceiving him again?). It establishes a mood of "sorrowful loneliness". The fourth movement (March to the Scaffold) is in 4/4 and G-. He thinks that he had killed Smithson and is now led to execution. The fixed idea appears for an instant at the very end, cut of by a harsh ff chord ("the fall of the blade").
The fifth movement (Dream of a Witches' Sabbath) is in 6/8, C+, and in the middle, turns from Larghetto to Allegro. Berlioz sees himself at a witches' Sabbath where ghosts, sorcerers, and all kinds of other monsters come to bury him. Suddenly the fixed idea appears, but it has become vulgar, trivial and grotesque. Smithson then also joins the dance, and bells toll for the dead... This movement has a nightmarish mood and unusual instrumental effects. It opens on soft muted strings in Allegro, which evoke an infernal atmosphere which sounds like "the unearthly sounds, groans, shrieks of laughter". Then, the fixed idea appears in Allegro. It is altered so it sounds like it is mocking someone. The infernal mood is heightened with the use of bells for the dead and the traditional religious chant "Dies Irae" (Day of Wrath) is introduced first in bassoons, then twice as fast in brass. The climax is when the Dies Irae and the satanic Witches' Dance are combined, which leads to an excitingly dramatic ending with col legno (for stringed instruments, tapping strings with the wooden part of the bow) and loud statements of Dies Irae leading into the final cadence.
Teacher's Comments:
FIRST PARAGRAPH CLEAR AND CONCISE:
- lovesick artist poisoned with opium, not himself poisoned with opium
- Who does the fixed idea represent?
- definition of fixed idea
- other inspirations
Last paragraph:
- define "Dies Irae"
Friday, June 15, 2012
Chopin
Teacher's Score: 9/10
Frederic Francois Chopin was born in Poland in 1810 in the Romantic era. He displayed a musical gift in his childhood. He began his education at the Conservatory of Warsaw with Josef Elsner, who was the director of the conservatory. At the age of 19, he had a mild infatuation with the young singer Constantia Gladkowska, which inspired him to compose Adagio of his Concerto in F-minor. Still in Warsaw, he played in salons of Polish aristocrats who would later become his patrons and supporters in Paris. Before leaving for Vienna, his friends sang a farewell cantata in his honour. Chopin wept, convinced that he'll never see Warsaw again.
In Vienna, he heard news that Warsaw was revolting against the Tsar. Gloomy visions of massacred friends and family tormented him. He left in the summer for Stuttgart and learned that Warsaw was captured by the Russians. His grief (he worried that his friends and family were being killed) led him him to write the Revolutionary Etude. In 1831, he arrived at Paris, which was the centre of the new Romanticism, and he spent the rest of his career here. His circle of friends included musicians (Liszt, Berlioz, Rossini, Meyerbeer), literary figures (Hugo, Balzac, Lamartine, George Sand, de Musset, Dumas) a poet (Heine), and a painter (Delacroix). Chopin was emotional and was influenced by these French people. His primary sources of income were from teaching and publishing compositions. Because he was shy, he rarely performed at public recitals, but rather played in salons and other intimate settings. Chopin met Aurore Dudevant, or George Sand, through Liszt. In 1838, he had a friendship with Sand, 34 years old at that time. She had a need to rule, and Chopin had a need to be ruled. Sand accounted Chopin's work habit: he was fussy over details, and he would shut himself in his room for days, while modifying one bar 100 times. In the next 8 years,he spent summers at Sand's chateau in Nohant. These were some productive years for him, but his health grew worse. His relationship with Sand worsened, and they parted at the end. Chopin's creative energy lost momentum in his mid 30s, now it came to an end. In 1849, he returned to Paris suffering from tuberculosis, and he died a few months later. His funeral was his greatest triumph, where thousands came to honour him (though Sand stayed away). Chopin's own funeral march from his Piano Sonata in B-flat major was played. Chopin was a true Pole - his dying wish was for his body to be returned to Poland.
Chopin was one of the most original and imaginative artists of the Romantic era. His life centred around the piano. He transformed the limitations of the piano into sources of beauty (the limitation is the inability to sustain the tone). He used tempo rubato (the state that the player can not follow the strict time values, so he or she could hurry a little here and hesitate a little there), and delicate ornaments (trills, grace notes, runs). He created the modern piano style. He also believed that "everything must be made to sing". His piano life was so popular, many of his works are part of the piano's standard repertory.
Chopin wrote mostly short lyric piano pieces, but also wrote preludes, etudes, nocturnes, scherzos, polonaises, impromptus, 4 ballads, mazurkas, waltzes, 3 sonatas, 2 piano concertos, and chamber music. Because of his Polish heritage, he had a Polish taste in many of his works. His works included Fantasy in F minor, Nocturne in C minor, Polonaise in A-flat major, Op. 53, and "Revolutionary" Etude in C minor, Op.48, No. 1.
Teacher's Comments:
For the last paragraph, do not write all of Chopin's works AFTER Chopin's works' genres, but say "genre" such as "work".
Frederic Francois Chopin was born in Poland in 1810 in the Romantic era. He displayed a musical gift in his childhood. He began his education at the Conservatory of Warsaw with Josef Elsner, who was the director of the conservatory. At the age of 19, he had a mild infatuation with the young singer Constantia Gladkowska, which inspired him to compose Adagio of his Concerto in F-minor. Still in Warsaw, he played in salons of Polish aristocrats who would later become his patrons and supporters in Paris. Before leaving for Vienna, his friends sang a farewell cantata in his honour. Chopin wept, convinced that he'll never see Warsaw again.
In Vienna, he heard news that Warsaw was revolting against the Tsar. Gloomy visions of massacred friends and family tormented him. He left in the summer for Stuttgart and learned that Warsaw was captured by the Russians. His grief (he worried that his friends and family were being killed) led him him to write the Revolutionary Etude. In 1831, he arrived at Paris, which was the centre of the new Romanticism, and he spent the rest of his career here. His circle of friends included musicians (Liszt, Berlioz, Rossini, Meyerbeer), literary figures (Hugo, Balzac, Lamartine, George Sand, de Musset, Dumas) a poet (Heine), and a painter (Delacroix). Chopin was emotional and was influenced by these French people. His primary sources of income were from teaching and publishing compositions. Because he was shy, he rarely performed at public recitals, but rather played in salons and other intimate settings. Chopin met Aurore Dudevant, or George Sand, through Liszt. In 1838, he had a friendship with Sand, 34 years old at that time. She had a need to rule, and Chopin had a need to be ruled. Sand accounted Chopin's work habit: he was fussy over details, and he would shut himself in his room for days, while modifying one bar 100 times. In the next 8 years,he spent summers at Sand's chateau in Nohant. These were some productive years for him, but his health grew worse. His relationship with Sand worsened, and they parted at the end. Chopin's creative energy lost momentum in his mid 30s, now it came to an end. In 1849, he returned to Paris suffering from tuberculosis, and he died a few months later. His funeral was his greatest triumph, where thousands came to honour him (though Sand stayed away). Chopin's own funeral march from his Piano Sonata in B-flat major was played. Chopin was a true Pole - his dying wish was for his body to be returned to Poland.
Chopin was one of the most original and imaginative artists of the Romantic era. His life centred around the piano. He transformed the limitations of the piano into sources of beauty (the limitation is the inability to sustain the tone). He used tempo rubato (the state that the player can not follow the strict time values, so he or she could hurry a little here and hesitate a little there), and delicate ornaments (trills, grace notes, runs). He created the modern piano style. He also believed that "everything must be made to sing". His piano life was so popular, many of his works are part of the piano's standard repertory.
Chopin wrote mostly short lyric piano pieces, but also wrote preludes, etudes, nocturnes, scherzos, polonaises, impromptus, 4 ballads, mazurkas, waltzes, 3 sonatas, 2 piano concertos, and chamber music. Because of his Polish heritage, he had a Polish taste in many of his works. His works included Fantasy in F minor, Nocturne in C minor, Polonaise in A-flat major, Op. 53, and "Revolutionary" Etude in C minor, Op.48, No. 1.
Teacher's Comments:
For the last paragraph, do not write all of Chopin's works AFTER Chopin's works' genres, but say "genre" such as "work".
Saturday, June 9, 2012
Beethoven
Teacher's Score: 10/10
Ludwig van Beethoven was born in Bonn, Germany in 1770 (Classical era). His father was a Tenor at the court of the Elector of Cologne but he was also an alcoholic, so Beethoven was forced to support his mom and his 2 younger brothers at a young age. At age 11, he became an assistant organist in a court chapel. One year later, he was a harpsichordist in a court chapel. 6 years after his first job, he played for Mozart in Vienna, improvising brilliantly on a theme by Mozart, who said, "Keep an eye on him - he will make a noise in the world in the world some day."
Finally, in 1792, he made Vienna his permanent home. He studied only briefly with Haydn (their personalities clashed). His talent as a pianist attracted music-loving and he was welcomed to work for very powerful patrons such as Prince Lichnowsky, Prince Lobkowitz, and Count Razumovsky. He worked under a modified form of patronage system - he forced his patrons to respect him as a friend. He earned by teaching children piano and selling his compositions to several different publishers ("I have 6 or 7 publishers for each of my works and could have more if I chose. No more bargaining. I name my terms, and they pay"). In his late 20s, he began to lose hearing, which shattered him emotionally. Finally, in 1820, because of advice from doctors, he retired to Heiligenstadt (a summer resort outside of Vienna) but he was torn between destructive forces in his soul and his desire to live and create. The Heiligenstadt Testament was a letter to his 2 brothers about his deafness and his realization for his love of music. In order to write music, he slowly fought his way back to health. The remainder of his life he mostly composed music, which was his only way of self-expression. He died in 1827 of edema, when he was famous and admired.
His life could be divided into 3 periods: In his 1st period, he was more predictable and traditional. He wrote Classical era music, inherited from Haydn and Mozart. He wrote Symphony No.1 and Symphony No.2 during this period. In the 2nd period, he began to show Romantic era characteristics. He had strong dynamic contrasts. He had explosive accents. He had longer movements. He replaced Minuet and Trio with a more energetic Scherzo and Trio. His works in this period were Fidelio, Waldstein Sonata, "Eroica" Symphony No.3 (originally dedicated to Napoleon), and "Pastoral" Symphony No.6. In the 3rd period, he used chromatic harmonies and introduced a style that he said was "for a later time". His works were "Choral" Symphony No.9. He had singing in this symphony - his words were from Schiller (court poet). The last movement of the symphony was "Ode to Joy". He had vigorous rhythms, great depth of feeling, powerful crescendos, abrupt tonal contrast, syncopation, sudden accents, and short, motivic themes.
Beethoven wrote 1 mass (Missa Solemnis), 1 song cycle (Au die ferne geliebte), 1 violin concerto (Violin Concerto in D+, op. 61), 1 triple concerto played by a piano, violin, and cello, 17 string quartets adn chamber music, 10 overtures such as Egmont and Leonore, 5 piano concertos, 1 opera (Fidelio) 32 piano sonatas such as Appassionata, Moonlight, Pathetique, and Waldstein Sonata, and 9 symphonies with lots of instruments (requires concert hall).
Finally, in 1792, he made Vienna his permanent home. He studied only briefly with Haydn (their personalities clashed). His talent as a pianist attracted music-loving and he was welcomed to work for very powerful patrons such as Prince Lichnowsky, Prince Lobkowitz, and Count Razumovsky. He worked under a modified form of patronage system - he forced his patrons to respect him as a friend. He earned by teaching children piano and selling his compositions to several different publishers ("I have 6 or 7 publishers for each of my works and could have more if I chose. No more bargaining. I name my terms, and they pay"). In his late 20s, he began to lose hearing, which shattered him emotionally. Finally, in 1820, because of advice from doctors, he retired to Heiligenstadt (a summer resort outside of Vienna) but he was torn between destructive forces in his soul and his desire to live and create. The Heiligenstadt Testament was a letter to his 2 brothers about his deafness and his realization for his love of music. In order to write music, he slowly fought his way back to health. The remainder of his life he mostly composed music, which was his only way of self-expression. He died in 1827 of edema, when he was famous and admired.
His life could be divided into 3 periods: In his 1st period, he was more predictable and traditional. He wrote Classical era music, inherited from Haydn and Mozart. He wrote Symphony No.1 and Symphony No.2 during this period. In the 2nd period, he began to show Romantic era characteristics. He had strong dynamic contrasts. He had explosive accents. He had longer movements. He replaced Minuet and Trio with a more energetic Scherzo and Trio. His works in this period were Fidelio, Waldstein Sonata, "Eroica" Symphony No.3 (originally dedicated to Napoleon), and "Pastoral" Symphony No.6. In the 3rd period, he used chromatic harmonies and introduced a style that he said was "for a later time". His works were "Choral" Symphony No.9. He had singing in this symphony - his words were from Schiller (court poet). The last movement of the symphony was "Ode to Joy". He had vigorous rhythms, great depth of feeling, powerful crescendos, abrupt tonal contrast, syncopation, sudden accents, and short, motivic themes.
Beethoven wrote 1 mass (Missa Solemnis), 1 song cycle (Au die ferne geliebte), 1 violin concerto (Violin Concerto in D+, op. 61), 1 triple concerto played by a piano, violin, and cello, 17 string quartets adn chamber music, 10 overtures such as Egmont and Leonore, 5 piano concertos, 1 opera (Fidelio) 32 piano sonatas such as Appassionata, Moonlight, Pathetique, and Waldstein Sonata, and 9 symphonies with lots of instruments (requires concert hall).
Eine Kleine Nachtmusik, K.525 - My favourite!
Teacher's Score: 8/10
Eine Kleine Natchmusik, K. 525 (A Little Night Music in English) is a serenade for strings written by Wolfgang Amadeus Mozart in 1787 in the Classical era. It is written for two string quartets and a double bass. It has 4 movements which are compact, intimate, and beautifully proportioned.
The first movement has a tempo of Allegro, a key of G+, a time signature of 4/4, and a form of sonata-allegro form. It is written in homophonic texture. The melody is played by the violin. Theme 1 is in G+: an aggresive rocket theme ascends rapidly to the peak, then turns downwards at the same pace. Theme 2 in D+ contrasts with Theme 1: it is graceful and has a downwards curve in the opening measure. The development briefly develops Theme 1, while in the recapitulation, Theme 2 is written in the Tonic key.
The second movement has a tempo a Andante, a key of C+ (the only one that is in C+), a time signature of 2/2, and a form of Rondo (ABACA coda). It is gentle and lyrical, with symmetrical sections arranged in Rondo structure. A is a graceful, lyrical and serene melody divided in 2 parts. B is more fast-moving and rhythmic melody but it is also in 2 parts. C in C- is darker with an active rhythmic accompaniment with quick notes.
The third movement has a tempo of Allegretto, a key of G+, a time signature of 3/4, and a form of minuet & Trio. It has a homophonic texture. Minuet opens brightly. It is a strong rhythmic dance in an accented triple meter. Trio is rather lyrical and expressive.
The forth movement has a tempo of Allegro, a key of G+, a time signature of 4/4, and a form of sonata-rondo. It is also in homophonic texture. The light and graceful mood makes this the perfect finale. Theme 1 in G+ has a merry, quick and spirited rocket theme. Theme 2 in D+ begins with a downward leap to contract theme 1. The development is simply theme 1 material developed. The recapitulation is all themes restarted in the Tonic key. The coda is based on theme 1.
Teacher's Comments:
Everybody knows that A Little Night Music is in English
Define homophonic texture and rocket theme.
The second movement is a Romanza, not nicknamed Romanza.
Eine Kleine Natchmusik, K. 525 (A Little Night Music in English) is a serenade for strings written by Wolfgang Amadeus Mozart in 1787 in the Classical era. It is written for two string quartets and a double bass. It has 4 movements which are compact, intimate, and beautifully proportioned.
The first movement has a tempo of Allegro, a key of G+, a time signature of 4/4, and a form of sonata-allegro form. It is written in homophonic texture. The melody is played by the violin. Theme 1 is in G+: an aggresive rocket theme ascends rapidly to the peak, then turns downwards at the same pace. Theme 2 in D+ contrasts with Theme 1: it is graceful and has a downwards curve in the opening measure. The development briefly develops Theme 1, while in the recapitulation, Theme 2 is written in the Tonic key.
The second movement has a tempo a Andante, a key of C+ (the only one that is in C+), a time signature of 2/2, and a form of Rondo (ABACA coda). It is gentle and lyrical, with symmetrical sections arranged in Rondo structure. A is a graceful, lyrical and serene melody divided in 2 parts. B is more fast-moving and rhythmic melody but it is also in 2 parts. C in C- is darker with an active rhythmic accompaniment with quick notes.
The third movement has a tempo of Allegretto, a key of G+, a time signature of 3/4, and a form of minuet & Trio. It has a homophonic texture. Minuet opens brightly. It is a strong rhythmic dance in an accented triple meter. Trio is rather lyrical and expressive.
The forth movement has a tempo of Allegro, a key of G+, a time signature of 4/4, and a form of sonata-rondo. It is also in homophonic texture. The light and graceful mood makes this the perfect finale. Theme 1 in G+ has a merry, quick and spirited rocket theme. Theme 2 in D+ begins with a downward leap to contract theme 1. The development is simply theme 1 material developed. The recapitulation is all themes restarted in the Tonic key. The coda is based on theme 1.
Teacher's Comments:
Everybody knows that A Little Night Music is in English
Define homophonic texture and rocket theme.
The second movement is a Romanza, not nicknamed Romanza.
Erlkonig (The Erlking)
Teacher's Score: 8/10
The Erlking is a sinister supernatural elf who dwells in the forest. Anyone who is touched by him dies. Franz Schubert actually wrote a song about him in the Romantic era in 1815. It is a lied, or a solo art song usually accompanied by piano. It is fast (Schnell). It is through-composed or in durchkomponiert, which means that it doesn't have repetition of large sections. It is performed by a singer and a piano. The poem sung by the singer is written by Johann Wolfgang von Goethe.
The poem is a father returning home on his horse with his son in his arms. The child sees the Erlking and is frightened, but the father doesn't see it, and keeps telling the child that it is actually an optical illusion until he returns home and finds the child dead in his arms. There are four characters in the poem: The narrator, the father, the child, and the Erlking. The narrator is in the middle register in a minor mode. The father is in the low register in a minor mode: he has a reassuring voice. The child is in the high register in a minor mode with a frightened voice. The Erlking is in the middle register with a major mode. He is coaxing (gently urging and flattering) then insistent at the end. The characters are differentiated by changes in the harmony, type of accompaniment, rhythm, and melody. The song has an eerie atmosphere established by the piano part, whcih is galloping triplets (a good example of Schubert's use of word painting). The rise in the tension and pitch of the song leads to the climax. The triplet rhythm ends very abruptly on the last line.
Teacher's Comments:
The Erlking is a lied, not a song.
It is also a solo art song for voice.
Mention that all characters are sung by one soloist.
The Erlking is a sinister supernatural elf who dwells in the forest. Anyone who is touched by him dies. Franz Schubert actually wrote a song about him in the Romantic era in 1815. It is a lied, or a solo art song usually accompanied by piano. It is fast (Schnell). It is through-composed or in durchkomponiert, which means that it doesn't have repetition of large sections. It is performed by a singer and a piano. The poem sung by the singer is written by Johann Wolfgang von Goethe.
The poem is a father returning home on his horse with his son in his arms. The child sees the Erlking and is frightened, but the father doesn't see it, and keeps telling the child that it is actually an optical illusion until he returns home and finds the child dead in his arms. There are four characters in the poem: The narrator, the father, the child, and the Erlking. The narrator is in the middle register in a minor mode. The father is in the low register in a minor mode: he has a reassuring voice. The child is in the high register in a minor mode with a frightened voice. The Erlking is in the middle register with a major mode. He is coaxing (gently urging and flattering) then insistent at the end. The characters are differentiated by changes in the harmony, type of accompaniment, rhythm, and melody. The song has an eerie atmosphere established by the piano part, whcih is galloping triplets (a good example of Schubert's use of word painting). The rise in the tension and pitch of the song leads to the climax. The triplet rhythm ends very abruptly on the last line.
Teacher's Comments:
The Erlking is a lied, not a song.
It is also a solo art song for voice.
Mention that all characters are sung by one soloist.
Prelude and Fugue in C minor
Teacher's Score: 8.5/10
The Well-Tempered Clavier is one of the most celebrated keyboard work. The first volume was completed in 1722 by Johann Sebastian Bach. But one, the Prelude and Fugue in C minor, is very famous. More famous than some of the others. Bach wanted to test equal temperament (a tuning system that makes it possible to play all major/minor keys) in his 2 volumes of The Well-Tempered Clavier. The genre is a solo keyboard work and a keyboard harpsichord performs the piece.
The Prelude goes on, and on, and on, never seeming to stop. It sounds free (it is improvised), yet after about 1 minute, one hand pauses long enough to echo the other hand in strict imitation. It is very fast without a very clear melody melody - running sixteenth-notes in both hands. Each measure outlines a single chord. The music modulates from c minor to E-flat major, then back to c minor. Presto turns into Adagio, which is a free, cadenza-like passage. The extremely unified mood gives Prelude its momentum. The final chord is in C major (tierce de Picardie).
The Fugue is much slower and creative. It has a strong rhythmic drive throughout. It uses 3 voices (SAB) which is based on short, incisive themes. There is a disjunct 2 measure theme in the Subject and the Answer - it is first stated alone, then with quick moving polyphonic lines. The Subject is presented by Alto in c minor, a tonal answer, a tonal answer is heard in the soprano in g mionr, and the Subject is heard in the bass again. There are 2 countersubjects. The piece ends when it reaches the C major chord (tierce de Picardie).
Teacher's Comments
- Which era is this piece written in?
- What does Tierce de Picardie mean?
String Quartet, Op.76, No.2 ("Quinten")
Teacher's Score: 9/10
This string quartet is nicknamed "Quinten" because of the opening theme played by the first violin (descending fifths). It is written in 1797 (the Classical era) by Franz Joseph Haydn. It is one of the 83 string quartets that Haydn wrote. Op 76 has 6 string quartets - one of them became the national anthem of the Hapsburg Empire!
The first, second, and third movements are relatively unimportant. The first is tight and fast. The second is much slower, with an Italian term of Andante o piu tosto allegretto. The first is slow but harsh and strict (Witches' Minuet).
The fourth movement is the most important. It is also the fastest (Vivace assai). It has a time signature of 2/4, a form of sonata-allegro, and a key of d-, which changes into D+ in the middle. It has a folk-like (Hungarian) dance style with syncopated dance rhythms. Theme 1 is introduced by 1st violins with ascending perfect 4ths, strong syncopation and unexpected fermatas. Bridge shifts to the 2nd violin who is supported by a pedal point. Theme 2 modulates to F+ - it is a gentle duet between two violins including a descending sequence, some sudden dynamic changes, descending double-stops in first violin and wide descending leaps. The development uses Theme 2 material, has frequent shifts in texture with imitation, and includes a dominant preparation. The Recapitulation shifts from d- to D+ - the bridge and Theme 2 material are restated in D+. In the Coda, the triplet rhythm gives a sense of climax that gets very loud (fortissimo) in a unison ending.
Teacher's Comments:
Please eliminate the following phrases:
- The first, second, and third movements are relatively unimportant.
- The fourth movement is the most important.
Please note that the fourth movement is not more important than the other three, just that the exam syllabus wants it to be specified.
Teacher's Comments:
Please eliminate the following phrases:
- The first, second, and third movements are relatively unimportant.
- The fourth movement is the most important.
Please note that the fourth movement is not more important than the other three, just that the exam syllabus wants it to be specified.
Wednesday, June 6, 2012
Mozart
Teacher's Score: 9/10
Wolfgang Amadeus Mozart was born in Salzburg, Austria in 1756. He was in the Classical era. His father was a composer and violinist at the court of the Archbishop of Salzburg, and he taught him his rudiments and piano. Mozart excelled in his studies - he was soon recognized as the most gifted child in the history of music.
He started to compose at the young age of 4 (his first song was "Twinkle, Twinkle, Little Star), performed with his sister Maria Anna (Nannerl) at the court of Empress Maria Theresa at age 6, toured Europe in piano recitals for Royal Families at age 7, had written sonatas, concertos, symphonies, religious works at age 13, and had attained mastery in all forms of composition by age 21. The future looked bright for him. But he did not like the patronage system (opposite of Haydn) and the social restrictions in it (the fact that he could only work for one person/family/group). He only held 2 brief appointments in his life. He was dismissed from his 1st appointment after quarrelling with the Archbishop of Salzburg - after that he became a freelance musician. He did not have enough money to make ends meet so he worked for the Emperor Joseph II who let him do tasks unworthy of his genius ("Too much for what I do, too little for what I could do"). He married Constanze Weber (against father's wishes), but she was not very helpful - she brought Mozart neither strength nor wealth. His peak of his career was with opera The Marriage of Figaro. He wrote The Clemency of Titus very recently after, but it failed to impress the Bohemian court and Mozart returned to Vienna broken in body and spirit. His final years were in despair and helplessness; he struggled desperately to get enough money to live. His final work was Requiem Mass, K.262 (commissioned by music-loving count who intended to say that the work was his), but Mozart believed that his Mass for Dead was for himself - he died before he could finish it, and his student Sussmayr finished it for him. He died penniless in 1791 buried in a pauper's grave.
Mozart contributed greatly to nearly all musical genres. He used mainly symmetrical (4-measure) phrases. He especially contributed to the development of the 3-movement concerto structure and the sonata form. He was influenced by the Mannheim orchestra - his orchestral writing expanded the used of wind instruments. He was also influenced by JC Bach (son of JS Bach) in the development of the piano concerto. His works were catalogued by Ludwig von Kochel. The opera was very important to his career and he wrote in 3 types: opera seria, a serious Italian opera sung throughout (ex. Idomeneo), opera buffa, a Italian comic opera sung throughout (ex. The Marriage of Figaro) and Singspiel, a German comic opera with spoken dialogue (ex. The Magic Flute). He had simple forms, songful melodies, sophisticated style, clear texture, colourful orchestra, and contrasts in mood.
Mozart wrote 27 piano concertos, 5 violin concertos, many operas, 20 piano sonatas, 18 masses and other choral music, chamber music, 41 symphonies, and secular vocal music.
Teacher's Comments:
For Paragraph 2, do not say that Mozart's first song is "Twinkle, Twinkle, Little Star".
For Paragraph 4, write example titles for some of the types.
Wolfgang Amadeus Mozart was born in Salzburg, Austria in 1756. He was in the Classical era. His father was a composer and violinist at the court of the Archbishop of Salzburg, and he taught him his rudiments and piano. Mozart excelled in his studies - he was soon recognized as the most gifted child in the history of music.
He started to compose at the young age of 4 (his first song was "Twinkle, Twinkle, Little Star), performed with his sister Maria Anna (Nannerl) at the court of Empress Maria Theresa at age 6, toured Europe in piano recitals for Royal Families at age 7, had written sonatas, concertos, symphonies, religious works at age 13, and had attained mastery in all forms of composition by age 21. The future looked bright for him. But he did not like the patronage system (opposite of Haydn) and the social restrictions in it (the fact that he could only work for one person/family/group). He only held 2 brief appointments in his life. He was dismissed from his 1st appointment after quarrelling with the Archbishop of Salzburg - after that he became a freelance musician. He did not have enough money to make ends meet so he worked for the Emperor Joseph II who let him do tasks unworthy of his genius ("Too much for what I do, too little for what I could do"). He married Constanze Weber (against father's wishes), but she was not very helpful - she brought Mozart neither strength nor wealth. His peak of his career was with opera The Marriage of Figaro. He wrote The Clemency of Titus very recently after, but it failed to impress the Bohemian court and Mozart returned to Vienna broken in body and spirit. His final years were in despair and helplessness; he struggled desperately to get enough money to live. His final work was Requiem Mass, K.262 (commissioned by music-loving count who intended to say that the work was his), but Mozart believed that his Mass for Dead was for himself - he died before he could finish it, and his student Sussmayr finished it for him. He died penniless in 1791 buried in a pauper's grave.
Mozart contributed greatly to nearly all musical genres. He used mainly symmetrical (4-measure) phrases. He especially contributed to the development of the 3-movement concerto structure and the sonata form. He was influenced by the Mannheim orchestra - his orchestral writing expanded the used of wind instruments. He was also influenced by JC Bach (son of JS Bach) in the development of the piano concerto. His works were catalogued by Ludwig von Kochel. The opera was very important to his career and he wrote in 3 types: opera seria, a serious Italian opera sung throughout (ex. Idomeneo), opera buffa, a Italian comic opera sung throughout (ex. The Marriage of Figaro) and Singspiel, a German comic opera with spoken dialogue (ex. The Magic Flute). He had simple forms, songful melodies, sophisticated style, clear texture, colourful orchestra, and contrasts in mood.
Mozart wrote 27 piano concertos, 5 violin concertos, many operas, 20 piano sonatas, 18 masses and other choral music, chamber music, 41 symphonies, and secular vocal music.
Teacher's Comments:
For Paragraph 2, do not say that Mozart's first song is "Twinkle, Twinkle, Little Star".
For Paragraph 4, write example titles for some of the types.
Spring
Teacher's Score: 6.5/10
Written in 1725 by Vivaldi, this solo violin concerto is considered one of Vivaldi's best known works. It is written for a solo violin, a string orchestra and continuo. It is part of The Four Seasons, a group of four programmatic violin concertos. Each of the concertos is accompanied by a poem describing happy events of that particular season. That is also the inspiration. It has terraced dynamics, which means that it is either forte or piano and no crescendo or decrescendo, something not uncommon for the Baroque era.
The first movement is very bright. Birds (staccato, trills, high scales) joyfully welcome spring while streams (whispering notes) flowed gently, followed by thunder and lightning (repeated notes, fast ascending minor scales). The basso continuo is improvised from figured bass. The solo violin is accompanied by a string orchestra (1st and 2nd violin, viola, cello). Fast scales and trills allow the performer to "show off".
The second movement is slower and smaller. The cello is eliminated, leaving the viola as the only bass voice. While the first movement is Allegro, the second is Largo. It evokes an image of a goatherd who sleeps "in a pleasant, flowery meadow" with "his faithful dog" by his side, who is represented by an ostinato rhythm in the bass of the violas. The 2 violins and viola serve as very sparse accompaniment while the solo violin is singing.
The third movement is the only dance that is in compound meter. It is named "Danza Pastorale" (Rustic Dance). Nymphs and shepherds dance happily in the fields. The violins play over sustained low strings (called drones) which sounds like bagpipes. Orchestral and solo violin passages alternate, forming a happy conclusion.
Teacher's Comments:
For Paragraph 1, include title, full name of composer, say "this piece is in the Baroque era".
For Paragraph 2, include key, tempo, time signature, and form. Include "represented by" in the three word painting examples. Say that it uses word painting.
For Paragraph 3, include key, tempo, and time signature. (form not available).
For Paragraph 4, include key, tempo, time signature, and form.
Written in 1725 by Vivaldi, this solo violin concerto is considered one of Vivaldi's best known works. It is written for a solo violin, a string orchestra and continuo. It is part of The Four Seasons, a group of four programmatic violin concertos. Each of the concertos is accompanied by a poem describing happy events of that particular season. That is also the inspiration. It has terraced dynamics, which means that it is either forte or piano and no crescendo or decrescendo, something not uncommon for the Baroque era.
The first movement is very bright. Birds (staccato, trills, high scales) joyfully welcome spring while streams (whispering notes) flowed gently, followed by thunder and lightning (repeated notes, fast ascending minor scales). The basso continuo is improvised from figured bass. The solo violin is accompanied by a string orchestra (1st and 2nd violin, viola, cello). Fast scales and trills allow the performer to "show off".
The second movement is slower and smaller. The cello is eliminated, leaving the viola as the only bass voice. While the first movement is Allegro, the second is Largo. It evokes an image of a goatherd who sleeps "in a pleasant, flowery meadow" with "his faithful dog" by his side, who is represented by an ostinato rhythm in the bass of the violas. The 2 violins and viola serve as very sparse accompaniment while the solo violin is singing.
The third movement is the only dance that is in compound meter. It is named "Danza Pastorale" (Rustic Dance). Nymphs and shepherds dance happily in the fields. The violins play over sustained low strings (called drones) which sounds like bagpipes. Orchestral and solo violin passages alternate, forming a happy conclusion.
Teacher's Comments:
For Paragraph 1, include title, full name of composer, say "this piece is in the Baroque era".
For Paragraph 2, include key, tempo, time signature, and form. Include "represented by" in the three word painting examples. Say that it uses word painting.
For Paragraph 3, include key, tempo, and time signature. (form not available).
For Paragraph 4, include key, tempo, time signature, and form.
Bach
Teacher's Score: 8/10
He was orphaned at the age of 10, so he went to live with his older brother in Ohrdruf who taught him to play the organ and the harpsichord. At the age of 18, he became a church organist in Muhlhausen at the age of 22, where he met and married his 2nd cousin, Maria Barbara Bach.
His later life could be divided into 3 periods: the Weimar period, the Cothen period, and the Leipzig period.
In the Weimar period (1708-1717), he became famous as an organ virtuoso and wrote some of his greatest organ works such as the "Toccata and Fugue in D minor (BMV 565). He became court organist and chamber musician to the Duke of Weimar when he was 23.
In the Cothen period (1717-1723), he became Director of Music for the prince of Anhalt-Cothen where he wrote many instrumental works (e.g. 6 Violin Sonatas, 6 Brandenburg Concertos for Orchestra, 24 Prelude and Fugues for Clavier). But in 1720, Maria Barbara died, so the next year, he married Anna Magdalena Wilcke (a young singer at court).
The Leipzig period (1723-1750) was the longest. In that period, he wrote his greatest church music (24 Prelude and Fugues, The Italian Concerto, Goldberg Variations). When he was 38, he became Cantor of St. Thomas's Church-he supervised music for Leipzig's 4 churches (he was the music director, composer, choirmaster organist). In 1729, he became director of collegium museum-a group of university musicians that gave regular concerts. In 1747, he was invited to the court of Frederick the Great in Potsdam to test the new organs in the palace. The king also showed Bach some new pianos that were beginning to replace the harpsichords. But a few years later, he had a stroke and cataracts (goo around the eyes) which eventually made him blind. His final task, before his death in 1750, was to revise 18 chorale preludes for organ.
Bach raised existing musical styles to the highest level rather than invent new ones. He absorbed international styles - Germany, France and Italy. He was also a virtuoso organist, which he reflected in his works. He had four main "music traits": He perfected all forms of Baroque music except opera, he was the last great religious composer. He believed that music must serve "the glory of God" and he was the master of contrapuntal composition. His last works were Musical Offering and the Art of Fugue (unfinished).
Teacher's comments: For musical style, include example genres and example titles.
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