Joseph Haydn, Op 76 No 1 in G major

Save this PDF as:
 WORD  PNG  TXT  JPG

Size: px
Start display at page:

Download "Joseph Haydn, Op 76 No 1 in G major"

Transcription

1 Joseph Haydn, Op 76 No 1 in G major Transcript Date: Thursday, 28 January :00AM Location: Museum of London

2 Haydn: Quartet Op. 76, No. 1 Professor Roger Parker 28/01/2010 My six Gresham lectures this year repeat a format I adopted two years ago. Each lecture is dedicated to a string quartet: the first half features me, offering an introduction to the work; and the second half features the Badke Quartet, who will play it in its entirety. In the series two years ago, the Badke and I ranged freely around the quartet repertoire, presenting a broad selection of what the genre had to offer, from Haydn at one end to Bartok at the other. This time we're limiting our repertory to a brief period of about thirty years in Vienna at the end of the eighteenth and the start of the nineteenth centuries, and restricting ourselves to the work of three composers. But to describe this in terms of "limiting" and "restricting" gives entirely the wrong impression, one of meagre resources: on the contrary, the three composers in question being Haydn, Mozart and Beethoven, the choices before us were formidable in the extreme. Between them, these three puissant gentlemen wrote many more than a hundred string quartets; taken together their corpus forms the core repertory not only of this particular ensemble, but of the entire genre of chamber music. We were, in other words, confronted by a tremendous embarrassment of riches; I can only hope that our final choice (three quartets from Haydn's Op. 76, then two by Mozart, and finally Beethoven's Op. 95) gives at least a partial indication of what was produced in these remarkable years in Vienna. I explained something about the rise of the string quartet as a medium during my first lecture in that previous series (a lecture that centred on Mozart's so-called "Dissonance" quartet). And I'm pleased to report that, thanks to the ever-splendid Gresham College website, you're no more than a mouse's click or two away from access to that lecture in an array of formats; so I won't repeat myself unduly here. It is, though, worth reiterating that the string quartet, whose origins were as a severely cut-down version of early eighteenth-century orchestral groupings, intended for performances in smaller, often domestic venues, soon took on a life of its own. By the later eighteenth century, this particular ensemble of string instruments, on the surface a rather strange and unbalanced one with its two violins, one viola and one cello, became one of the most common and certainly the most celebrated chamber-music grouping: first in Austria and other German-speaking lands, and then spreading, with the spread of its repertoire, to other areas of Europe. The string quartet's gathering prestige, as the most elevated chamber ensemble for complex musical thought, was largely caused by the contributions of the composers you'll hear about and then hear in these lectures: first Haydn, who practically invented the combination in its 'serious music' form; then Mozart, consciously emulating Haydn's model; and finally Beethoven in emulation of both, and through his continuing dedication to the genre setting the seal on its pre-eminence. Because of these three composers, the string quartet became a major repository for a certain kind of elite music; its repertory seems to sum up a particular attitude to our musical past. To put this another way, the 'rise' of the string quartet more-or-less coincided with the rise of quasi-religious fervour for a certain kind of Austro-German instrumental music; its prestige became a significant contributor to the idea, which emerged during the nineteenth century and is still to some extent with us, that that particular tradition was central to our musical universe-was, to be brief, the type of music against which all others should be measured. This is why so many composers of the nineteenth and twentieth centuries-by no means all of them Austro-German, some of them from quite unlikely musical backgrounds-chose to write string quartets, and did so during times in which other, larger, more varied combinations might have seemed far better suited to the taste of the day. These aspiring string quartet composers wanted to measure themselves against the past excellence founded by Haydn, Mozart and Beethoven. To put it a little more cynically, they wanted to secure a ticket that, one day, might give them entrance to the pantheon of great composers: that house in the sky which offers the world, on permanent exhibition, a constantly-sounding, ever-renewing imaginary museum of musical works. As I said a moment ago, Haydn was the first of this great trio, and is indeed sometimes called, not without reason, "the father of the string quartet". He was born in 1732 in lower Austria, gained his musical education as a choirboy in Vienna, and following that earned a precarious musical living in the capital. It was there, during the late 1750s and already well into his twenties, that he wrote his first string quartets. Among the first in this new genre, they were resolutely in the modern, newly simple "galant" style (very little of that intricate counterpoint of the previous generation), and-in part to reflect this-they were called "divertimenti" rather than anything more grand. Haydn's critical career move, though, came in 1761, when he entered the service of the Esterházy family, one of the noblest and richest in the Austro-Hungarian empire. He remained there for nearly thirty years, soon becoming the court's Kapellmeister, which may sound quite grand but was in some respects still a menial position, that of a

3 jobbing composer and impresario. During the late 1760s and early 1770s he produced eighteen further quartets; all of them were now in four movements rather than five, and they were gathered into opus numbers for publication as Opp. 9, 17 and 20. What's crucial, though, is that Haydn imbued these works with a new seriousness of approach, devoting to the ensemble a new aesthetic weight, one rarely found in instrumental music up to that point. His experiment proved, as we know, hugely influential. These eighteen string quartets were the first to retain a firm place in the repertory; the foundations of the imaginary museum had been set. The six quartets of the Op. 76 set, the first of which we're going to hear today, come many quartets later, in the mid 1790s, near the end of Haydn's fascinating creative tussle with the medium. By that stage he had left the comparative seclusion of the Esterházy household, and had enjoyed enormous international success, particularly as a symphonist, during visits to both Paris and London. He was now again living in Vienna and, having long been a shadowy figure in the Austro-Hungarian capital, he was now, because of his London fame, a considerable celebrity: the irony of this situation, of the prophet finally finding fame in his own country, was apparently one that he was not shy of pointing out. Because of his newfound fame, a great deal of Haydn's compositional energy in these last years went not on instrumental music (whose prestige was only then developing in Vienna) but on a magnificent series of grand choral works, both religious and secular. However, he found time for, indeed dedicated considerable energy and invention to, this Op. 76 set of quartets, a circumstance perhaps indicative of the dedication he had nurtured for the ensemble and its possibilities. Their exceptional quality was recognized immediately. When the great English musicologist Charles Burney came across them in 1799, he pronounced that he had "never received more pleasure from instrumental music: they are full of invention, fire, good taste, and new effects, and seem the production, not of a sublime genius who has written so much and so well already, but of one of highly-cultivated talents, who had expended none of his fire before". Quartets in the 1790s were very different compositions from those Haydn had written in the 1760s and 1770s. Most importantly, and although we know that they were still played in domestic situations, they now also functioned as concert pieces, and for that reason were composed on a scale and with a degree of grand gesture that suited public consumption. The first quartet in the series, the one you're about to hear, presents this new, 'public' manner at the very start of its opening movement. It's marked 'Allegro con spirito' and we can understand it, if you will, as the composer laying out his stall, setting the tone of what is to come. For this reason, and for many others, it's worth lingering over for a moment or two. The very first bars of Op. 76, No. 1 are-you have to be sleeping soundly to possibly miss it-an obvious call to attention, something hardly needed in the domestic situations in which earlier quartets were played, but very useful in the eighteenthcentury concert hall. We hear three loud, wide-spaced chords: full of expansively gestural double stops in the upper three strings, and boldly, unambiguously asserting the main key by means of a simple cadence. In one sense, you might understand these three chords as an instrumental rendering of those three loud knocks with which theatres in the seventeenth and eighteenth centuries marked the beginning of the evening's entertainment; in another, related way, you might imagine them as Haydn, at the very start of his new quartet series, announcing to the crowd: "Here; I; am!". In this case, though, the call to order is also there for another reason: it prepares for the fact that quartet proper begins in a highly unusual way, one that might otherwise have been lost on those famously noisy and inattentive eighteenth-century listeners. So what comes after the three chords? The continuation might seem, in 1791, the unlikeliest start of all for a first movement: we start with the solo cello, announcing what seems for all the world to be an old-fashioned fugue subject, a relic of a past age. However, and as we might expect from Haydn (remember what Burney said, "full of invention, fire, good taste, and new effects"), this is no more than a pretend fugue-one of those wry, ambiguous gestures to past musical styles which Haydn was so fond of throughout his life. The cello's fugue 'subject', four bars long, is imitated by four bars for the viola, as we might expect in a polite fugue; but when the viola comes in, the cello unexpectedly stops. Then comes a repetition of this exchange, but for duos rather that soloists: four bars for the second violin and cello, another four for first violin and viola. And then, finally, we hear the four instruments together, in the conventional quartet texture. What Haydn has done in this strange opening is to announce, with his usual wit and grace, that these quartets will be celebrations of the unexpected; and, what's more, celebrations in which all the four instruments will share, each of them with its own line, its own part to play. There's one other passage in this first movement that I want to call your attention to, and it comes for the first time not long after the passage I've been talking about. The 'normal' quartet texture has been plugging away, and the movement is now behaving itself by modulating to a related key. But at a certain point it becomes unstuck. The first violin gets an arpeggio figure, usual enough, but suddenly this figure gets taken up by all the instruments together in an emphatic unison, and at the same time the tonality dives into strange regions, tinged by the minor mode. The arpeggios finally come to rest on a dissonant chord,

4 which is repeated insistently by all the instruments together; and then the clouds clear and the first half of the movement come to a sunny close with a new and self-consciously simple melody on the first violin. I've lingered on this moment of disruption, which you'll hear repeated in the second half of the movement, because it's another kind of significant 'new effect', this time a harmonic and textural one, and because, as we'll hear, its effect ripples out into the other movements of the quartet, thus expanding the musical range and reach of the work as a whole. I'll need to be briefer with the other three movements. The second, an Adagio sostenuto, starts with what we might hear as a reminder: that Haydn's later years were mostly taken up with vocal music of one kind or another. This opening, in a resonant C major, plainly gestures towards the singing voice: it's probably best described as a hymn for instruments: simple, intense, direct; strongly anticipating late Beethoven. The hymn then alternates with two other distinctive and contrasting textures. In the first is a poignant duet between the cello and the first violin: again reminiscent of vocal music, even a love duet of a kind. This texture then shades into something different: the cello joins the accompanying inner instruments and the first violin takes off on its own, becoming syncopated from the rest and registrally separated, flying into its highest reaches. Is its separation painful or ethereal? As with so many other of Haydn's later slow movements, the emotions are delicately poised between sorrow and consolation. The hymn's reassuring serenity is perhaps restored at the very end of the movement, but the cello's still-restless arpeggios continue underneath, posing questions, reminding us that... well, reminding me at least of some lines from one Philip Larkin's saddest poems (there are many to choose from) about the condition of being, as was Haydn in 1796, a 'senior citizen'. Here's what Larkin wrote: Only the young can be alone freely. The time is shorter now for company, And sitting by a lamp more often brings Not peace, but other things. A dash of the third movement will put a stop to such gloomy ruminations. It's in the form of a minuet and trio, but is much nearer in spirit to the more modern, one-in-a-bar, 'scherzo'. The minuet is, indeed, almost manically driven, with a relentless emphasis on the opening, three note figure, interrupted only a sudden explosions of 'full orchestra' sound that are patently there to shock the listener. Listen out, too for periodic dives into parallel minor, echoing those harmonic expansions of the first movement. The trio is, in this context, as extreme a contrast as can be imagined: it reverts to the 'popular' vein heard fleetingly in the first movement: a bouncing Ländler-type dance, dominated by the first violin. The last movement, marked 'Allegro ma non troppo', harbours yet more surprises. While the other movements have all gestured briefly to the minor mode, this one, in which we would usually expect tension to wind down, begins frankly in the minor, and with that emphatic unison texture that had so brusquely interrupted the progress of the first movement. And for most of the finale Haydn keeps the tension at this pitch, in the middle leading the four instruments on an extremely adventurous harmonic excursion, a dense thicket of chromatic change. But then, true to the last to the mercurial spirit of this wonderful quartet, Haydn ends with yet another abrupt shift of mood. The murky harmonic regions are suddenly banished, to be replaced by a disarmingly simple, major-mode melody, spiced with some remarkable virtuosity from the first violin. As if to bring us full circle, those three 'orchestral' chords from the start of the first movement, suitable altered in melodic shape, bring the work to a triumphant close. It's time for me to introduce the Badke Quartet, who are of course going to make sense of this music-much better and more complete sense than my words could ever do. But before they come on I want to reiterate a point mentioned in the last series, but I think bearing repetition. In spite of Haydn's gestures to a 'public' audience-gestures that are, at least in my opinion, a critical feature of this set of quartets-it's still true that string quartets such as this one are not ideally consumed in large concert halls, places in which strangers congregate. As you'll immediately see and hear, the levels of communication between the members of a good quartet are as subtle and intimate as any in music; but some of this sense of intense conversation needs ideally to spread to the audience. And so, in this sense, our moments of communication on this side of the performance (and we'll also try to make time for some questions at the end) may be useful in more ways than one. What I hope, at least, is that in some small way the fact that these performances are surrounded by discussion, will encourage and aid this sense of communication. It's as well to recall that we live in an uniquely disciplined musical world, one in which audience noise, even audience appreciation, are rigorously policed. (If you doubt this, just try clapping at the end of the slow movement-perfectly normal in eighteenth-century performances-and register the withering glances that come your way.) This discipline has evident advantages, not least in the levels of concentration we can bring to complex music such as Haydn's quartet. But there are also

5 losses, quite serious ones, not least in diminishing that sense of exchange that should ideally emerge between performers and listeners. If these lunchtime lecture recitals, with their words and then music, can encourage greater communication between the musicians on stage and those listening in the auditorium, then they will have fulfilled a function that just words, or just music, will always struggle to achieve, And so, with that last, I hope not-too-pious homily, let me introduce the Badke Quartet, which formed in 2002 and is now widely recognised as one of Britain's finest young chamber ensembles. Recipients of the Leverhulme Junior Chamber Music Fellowship at the Royal Academy of Music from 2005 to 2009, the Quartet regularly performs at festivals in the UK and abroad, including the Aldeburgh and Verbier Festivals, the Belfast Festival at Queen's and the London String Quartet Week. They've played in some of the UK's most prestigious chamber music venues, including the Wigmore Hall, St George's Bristol, St David's Hall, Cardiff, The Bridgewater Hall, St John's Smith Square and the Royal Festival Hall. In 2007, the Badke were awarded First Prize and Audience Prize at the Fifth Melbourne International Chamber Music Competition, which is probably the most prestigious international competition of its kind. In 2009 they made their Musikverein début in Vienna, performed with Mark Padmore in France and returned to Ireland for a Music Network Tour. In the same year the Quartet were also seen twice at the Wigmore Hall and at London's newest chamber music venue, Kings Place. In other words, we're very lucky to have them. Please join me in welcoming them onstage: Heather Badke, first violin; Emma Parker, second violin; Jon Thorne, viola; and Jonathan Byers, cello. Professor Roger Parker, Gresham College 2010

GREAT STRING QUARTETS

GREAT STRING QUARTETS GREAT STRING QUARTETS YING QUARTET At the beginning of each session of this course we ll take a brief look at one of the prominent string quartets whose concerts and recordings you will encounter. The

More information

Chapter 13. Key Terms. The Symphony. II Slow Movement. I Opening Movement. Movements of the Symphony. The Symphony

Chapter 13. Key Terms. The Symphony. II Slow Movement. I Opening Movement. Movements of the Symphony. The Symphony Chapter 13 Key Terms The Symphony Symphony Sonata form Exposition First theme Bridge Second group Second theme Cadence theme Development Recapitulation Coda Fragmentation Retransition Theme and variations

More information

17. Beethoven. Septet in E flat, Op. 20: movement I

17. Beethoven. Septet in E flat, Op. 20: movement I 17. Beethoven Septet in, Op. 20: movement I (For Unit 6: Further Musical understanding) Background information Ludwig van Beethoven was born in 1770 in Bonn, but spent most of his life in Vienna and studied

More information

Symphony No. 101 The Clock movements 2 & 3

Symphony No. 101 The Clock movements 2 & 3 Unit Study Symphony No. 101 (Haydn) 1 UNIT STUDY LESSON PLAN Student Guide to Symphony No. 101 The Clock movements 2 & 3 by Franz Josef Haydn Name: v. 1.0, last edited 3/27/2009 Unit Study Symphony No.

More information

15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding)

15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding) 15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653 1713) was one of the most

More information

3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding)

3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) 3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) Background information Biography Berlioz was born in 1803 in La Côte Saint-André, a small town between Lyon and Grenoble

More information

Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding)

Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding) Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding) Background information and performance circumstances Biography Johannes Brahms was born in Hamburg, Germany

More information

Date: Thursday, 20 May :00AM. Location: Museum of London

Date: Thursday, 20 May :00AM. Location: Museum of London Wolfgang Amadé Mozart, K 499 in D major Transcript Date: Thursday, 20 May 2010-12:00AM Location: Museum of London Mozart Quartet in D major, K. 499 ("Hoffmeister") Professor Roger Parker 20/5/2010 Just

More information

Music 231 Motive Development Techniques, part 1

Music 231 Motive Development Techniques, part 1 Music 231 Motive Development Techniques, part 1 Fourteen motive development techniques: New Material Part 1 (this document) * repetition * sequence * interval change * rhythm change * fragmentation * extension

More information

Date: Thursday, 26 June :00AM

Date: Thursday, 26 June :00AM Mendelssohn - Quartet in A minor, Op 13 Transcript Date: Thursday, 26 June 2008-12:00AM MENDELSSOHN QUARTET IN A MINOR OP 13 Professor Roger Parker This series of six lecture-recitals has taken a somewhat

More information

Music of the Classical Period

Music of the Classical Period Music of the Classical Period 1750 1825 A new style in architecture, literature, and the arts developed. Sought to emulate the ideals of Classical Antiquity, especially Classical Greece Called Classicism

More information

The Development of Modern Sonata Form through the Classical Era: A Survey of the Masterworks of Haydn and Beethoven B.

The Development of Modern Sonata Form through the Classical Era: A Survey of the Masterworks of Haydn and Beethoven B. The Development of Modern Sonata Form through the Classical Era: A Survey of the Masterworks of Haydn and Beethoven B. Michael Winslow B. Michael Winslow is a senior music composition and theory major,

More information

Elias Quartet program notes

Elias Quartet program notes Elias Quartet program notes MOZART STRING QUARTET in C MAJOR, K. 465 DISSONANCE (1785) A few short months after Mozart moved to Vienna in 1781, Haydn finished his six Op. 33 string quartets. This was a

More information

L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising)

L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born

More information

The Classical Period (1825)

The Classical Period (1825) The Classical Period 1750-1820 (1825) 1 Historical Themes Industrial Revolution Age of Enlightenment Violent political and social upheaval Culture 2 Industrial Revolution Steam engine changed the nature

More information

M T USIC EACHERS.CO.UK. An analysis of Mozart s piano concerto K488, 1 s t movement. the internet service for practical musicians.

M T USIC EACHERS.CO.UK. An analysis of Mozart s piano concerto K488, 1 s t movement. the internet service for practical musicians. M T USIC EACHERS.CO.UK the internet service for practical musicians. S o n a t a f o r m i n t h e c l a s s i c a l c o n c e r t o : An analysis of Mozart s piano concerto K488, 1 s t movement G a v

More information

=Causeway Performing Arts= GCSE Music AoS 2: Shared Music (vol.3) CLASSICAL CONCERTO. in conjunction with

=Causeway Performing Arts= GCSE Music AoS 2: Shared Music (vol.3) CLASSICAL CONCERTO. in conjunction with =Causeway Performing rts= GCSE Music os 2: Shared Music (vol.3) CLSSICL CONCERTO in conjunction with www.musicdepartment.info THE CLSSICL CONCERTO The Classical period lasted from about 1750-1820. Composers

More information

Part IV. The Classical Period ( ) McGraw-Hill The McGraw-Hill Companies, Inc. All rights reserved.

Part IV. The Classical Period ( ) McGraw-Hill The McGraw-Hill Companies, Inc. All rights reserved. Part IV The Classical Period (1750-1820) Time-Line Seven Years War-1756-1763 Louis XVI in France-1774-1792 American Declaration of Independence-1776 French Revolution-1789 Napoleon: first French consul-1799

More information

An Interpretive Analysis Of Mozart's Sonata #6

An Interpretive Analysis Of Mozart's Sonata #6 Back to Articles Clavier, December 1995 An Interpretive Analysis Of Mozart's Sonata #6 By DONALD ALFANO Mozart composed his first six piano sonatas, K. 279-284, between 1774 and 1775 for a concert tour.

More information

TEST SUMMARY AND FRAMEWORK TEST SUMMARY

TEST SUMMARY AND FRAMEWORK TEST SUMMARY Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: INSTRUMENTAL Copyright 2016 by the Washington Professional Educator Standards Board 1 Washington Educator

More information

Haydn: Symphony No. 97 in C major, Hob. I:97. the Esterhazy court. This meant that the wonderful composer was stuck in one area for a large

Haydn: Symphony No. 97 in C major, Hob. I:97. the Esterhazy court. This meant that the wonderful composer was stuck in one area for a large Haydn: Symphony No. 97 in C major, Hob. I:97 Franz Joseph Haydn, a brilliant composer, was born on March 31, 1732 in Austria and died May 13, 1809 in Vienna. For nearly thirty years Haydn was employed

More information

CHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77. Czech composer, Antonin Dvořák is well known for his orchestral repertoire.

CHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77. Czech composer, Antonin Dvořák is well known for his orchestral repertoire. 1 CHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77 Czech composer, Antonin Dvořák is well known for his orchestral repertoire. His works encompass a variety of genres including, but not limited

More information

Beethoven: Pathétique Sonata

Beethoven: Pathétique Sonata Beethoven: Pathétique Sonata Key words 1) Instrumentation and Sonority 2) Structure 3) Tonality 4) Harmony 5) Rhythm, Metre and Tempo 6) Melody 7) Texture At the top of your Beethoven Score write each

More information

Haydn s Clock Symphony

Haydn s Clock Symphony Haydn s Clock Symphony GCSE AQA Set Work Analysis Revision Guide Haydn Background Franz Joseph Haydn (1732 1809) was an Austrian composer, one of the most important of the classical period. He wrote 107

More information

Haydn wrote his Op. 64 Quartets in 1790, just as he was about to embark on the pivotal

Haydn wrote his Op. 64 Quartets in 1790, just as he was about to embark on the pivotal Joseph Haydn Quartet in D Major, Op. 64, No. 5, "The Lark" Haydn wrote his Op. 64 Quartets in 1790, just as he was about to embark on the pivotal journey of his career. He had spent most of his life in

More information

Mu 110: Introduction to Music

Mu 110: Introduction to Music Attendance/Reading Quiz! Mu 110: Introduction to Music Instructor: Dr. Alice Jones Queensborough Community College Fall 2017 Sections J2 (Tuesdays 3:10-6) and C3A (Wednesdays 9:10-12) Recap Employment

More information

TRUMPET CONCERTO IN E flat 3 rd MOVEMENT by HAYDN

TRUMPET CONCERTO IN E flat 3 rd MOVEMENT by HAYDN Secondary 10 PIECES PLUS! TRUMPET CONCERTO IN E flat 3 rd MOVEMENT by HAYDN TEACHER PAGES TRUMPET CONCERTO IN E flat, 3 rd MOVEMENT BY JOSEPH HAYDN http://www.bbc.co.uk/programmes/p034pp7f CONTEXT Haydn

More information

46. Barrington Pheloung Morse on the Case

46. Barrington Pheloung Morse on the Case 46. Barrington Pheloung Morse on the Case (for Unit 6: Further Musical Understanding) Background information and performance circumstances Barrington Pheloung was born in Australia in 1954, but has been

More information

NEW HAMPSHIRE TECHNICAL INSTITUTE

NEW HAMPSHIRE TECHNICAL INSTITUTE NEW HAMPSHIRE TECHNICAL INSTITUTE Title: FA105 Introduction to Music Credit Hours: Total Contact Hours: 3 Instructor: Susan K. Kinne skinne@ccsnh.edu Course Syllabus Course Description Introduction to

More information

LISTENING GUIDE. FORM: SONATA ALLEGRO EXPOSITION 1st Theme. 1st Theme. 5. TRANSITION ends with 2 CHORDS.

LISTENING GUIDE. FORM: SONATA ALLEGRO EXPOSITION 1st Theme. 1st Theme. 5. TRANSITION ends with 2 CHORDS. LISTENING GUIDE Ludwig van Beethoven (1770 1827) Symphony No. 5 in C minor, Opus 67 Composed 180 1808 1st Performance in Vienna, December 22, 1808 Movement I Allegro con brio FORM: SONATA ALLEGRO EXPOSITION

More information

Edexcel A Level Syllabus Analysis

Edexcel A Level Syllabus Analysis M USIC T EACHERS.CO.UK the internet service for practical musicians. Edexcel A Level Syllabus Analysis Mozart: Piano Sonata in B-flat K333, first movement. 2000 MusicTeachers.co.uk Mozart: Piano Sonata

More information

2010 HSC Music 2 Musicology and Aural Skills Sample Answers

2010 HSC Music 2 Musicology and Aural Skills Sample Answers 2010 HSC Music 2 Musicology and Aural Skills Sample Answers This document contains sample answers, or, in the case of some questions, answers could include. These are developed by the examination committee

More information

7:43 7:50 Development of theme A strings (sequence of A in low strings) with woodwind interjection

7:43 7:50 Development of theme A strings (sequence of A in low strings) with woodwind interjection LB-51: First Nights A. Allen, Fall 2006 Hector Berlioz, Symphonie fantastique Listening Guide Recordings refer to John Eliot Gardiner / Orchestre Révolutionnaire et Romantique (Gard.) and Roger Norrington

More information

Strathaven Academy Music Department. Advanced Higher Listening Glossary

Strathaven Academy Music Department. Advanced Higher Listening Glossary Strathaven Academy Music Department Advanced Higher Listening Glossary Using this Glossary As an Advanced Higher candidate it is important that your knowledge includes concepts from National 3, National

More information

WHAT IS BARBERSHOP. Life Changing Music By Denise Fly and Jane Schlinke

WHAT IS BARBERSHOP. Life Changing Music By Denise Fly and Jane Schlinke WHAT IS BARBERSHOP Life Changing Music By Denise Fly and Jane Schlinke DEFINITION Dictionary.com the singing of four-part harmony in barbershop style or the music sung in this style. specializing in the

More information

Example 1. Beethoven, Piano Sonata No. 9 in E major, Op. 14, No. 1, second movement, p. 249, CD 4/Track 6

Example 1. Beethoven, Piano Sonata No. 9 in E major, Op. 14, No. 1, second movement, p. 249, CD 4/Track 6 Compound Part Forms and Rondo Example 1. Beethoven, Piano Sonata No. 9 in E major, Op. 14, No. 1, second movement, p. 249, CD 4/Track 6 You are a pianist performing a Beethoven recital. In order to perform

More information

rhinegold education: subject to endorsement by ocr Mozart: Clarinet Concerto in A, K. 622, first movement Context Scores AS PRESCRIBED WORK 2017

rhinegold education: subject to endorsement by ocr Mozart: Clarinet Concerto in A, K. 622, first movement Context Scores AS PRESCRIBED WORK 2017 94 AS/A LEVEL MUSIC STUDY GUIDE AS PRESCRIBED WORK 2017 Mozart: Clarinet Concerto in A, K. 622, first movement Composed in 1791 (Mozart s last instrumental work, two months before he died), dedicated to

More information

Bela Bartok. Background. Song of the Harvest (violin duet)

Bela Bartok. Background. Song of the Harvest (violin duet) Background Bela Bartok (1881-1945) has a distinctive musical style which has its roots in folk music. His compositions range from the aggressively energetic to slow and austere, creating a unique twentieth-century

More information

The Classical Period

The Classical Period The Classical Period How to use this presentation Read through all the information on each page. When you see the loudspeaker icon click on it to hear a musical example of the concept described in the

More information

Date: Thursday, 22 April :00PM. Location: Museum of London

Date: Thursday, 22 April :00PM. Location: Museum of London Wolfgang Amadé Mozart, K 421 in D minor Transcript Date: Thursday, 22 April 2010-6:00PM Location: Museum of London Mozart Quartet in D minor, K. 421 Professor Roger Parker 22/4/2010 Up to now in this series

More information

Sunday, May 21, :00 p.m. Anne-Sophie Paquet. Certificate Recital. DePaul Recital Hall 804 West Belden Avenue Chicago

Sunday, May 21, :00 p.m. Anne-Sophie Paquet. Certificate Recital. DePaul Recital Hall 804 West Belden Avenue Chicago Sunday, May 21, 2017 4:00 p.m Anne-Sophie Paquet Certificate Recital DePaul Recital Hall 804 West Belden Avenue Chicago Sunday, May 21, 2017 4:00 p.m. DePaul Recital Hall PROGRAM Anne-Sophie Paquet, violin

More information

This is the most clearly defined presentation of the ritornello

This is the most clearly defined presentation of the ritornello Analysis Brandenburg Concerto no. 2 1 st Movement As discussed in previous sections, Bach s structure for the Brandenburg concertos is not as evident as the archetype used by Vivaldi. This is especially

More information

The Classical Period-Notes

The Classical Period-Notes The Classical Period-Notes The Classical period lasted from approximately 1750 1810. This was a fairly brief period but contains the work of three of the greatest composers of all time. They were... Joseph

More information

H Purcell: Music for a While (For component 3: Appraising)

H Purcell: Music for a While (For component 3: Appraising) H Purcell: Music for a While (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659 95) was an English Baroque composer and is widely regarded as being one

More information

Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces

Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces AQA Specimen paper: 2 Rhinegold Listening tests book: 4 Renaissance Practice Paper 1: 6 Renaissance Practice Paper

More information

OCR GCSE (9-1) MUSIC TOPIC EXPLORATION PACK - THE CONCERTO THROUGH TIME

OCR GCSE (9-1) MUSIC TOPIC EXPLORATION PACK - THE CONCERTO THROUGH TIME OCR GCSE (9-1) MUSIC TOPIC EXPLORATION PACK - THE CONCERTO THROUGH TIME Abstract [Draw your reader in with an engaging abstract. It is typically a short summary of the document. When you re ready to add

More information

MARK SCHEME for the May/June 2011 question paper for the guidance of teachers 0410 MUSIC

MARK SCHEME for the May/June 2011 question paper for the guidance of teachers 0410 MUSIC UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education www.xtremepapers.com MARK SCHEME for the May/June 2011 question paper for the guidance of teachers

More information

SCHEME OF WORK College Aims. Curriculum Aims and Objectives. Assessment Objectives

SCHEME OF WORK College Aims. Curriculum Aims and Objectives. Assessment Objectives SCHEME OF WORK 2017 Faculty Subject Level ARTS 9703 Music AS Level College Aims Senior College was established in 1995 to provide a high quality learning experience for senior secondary students. Its stated

More information

Elements of Music - 2

Elements of Music - 2 Elements of Music - 2 A series of single tones that add up to a recognizable whole. - Steps small intervals - Leaps Larger intervals The specific order of steps and leaps, short notes and long notes, is

More information

9. Shostakovich String Quartet No. 8, Op. 110: movement I (for Unit 6: Further Musical Understanding)

9. Shostakovich String Quartet No. 8, Op. 110: movement I (for Unit 6: Further Musical Understanding) 9. Shostakovich String Quartet No. 8, Op. 110: movement I (for Unit 6: Further Musical Understanding) Background information and performance circumstances String Quartet No. 8 by Dmitry Shostakovich (1906

More information

University of West Florida Department of Music Levels of Attainment piano

University of West Florida Department of Music Levels of Attainment piano University of West Florida Department of Music Levels of Attainment piano Entry level: Incoming students are required to prepare two contrasting pieces from different periods. At the audition they are

More information

UNDERGRADUATE MUSIC THEORY COURSES INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC

UNDERGRADUATE MUSIC THEORY COURSES INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC UNDERGRADUATE MUSIC THEORY COURSES INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC CONTENTS I. Goals (p. 1) II. Core Curriculum, Advanced Music Theory courses, Music History and Literature courses (pp. 2-3).

More information

Seasoned American symphony-goers would probably find it easy to rattle off the names

Seasoned American symphony-goers would probably find it easy to rattle off the names Prelude to Oedipus Tyrannus John Knowles Paine (1839 1906) Written: 1880 81 Movements: One Style: Romantic Duration: Eight minutes Seasoned American symphony-goers would probably find it easy to rattle

More information

SAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 12

SAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 12 SAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 12 Copyright School Curriculum and Standards Authority, 2015 This document apart from any third party copyright material contained in it may be freely

More information

7. Stravinsky. Pulcinella Suite: Sinfonia, Gavotta and Vivo

7. Stravinsky. Pulcinella Suite: Sinfonia, Gavotta and Vivo 7. Stravinsky Pulcinella Suite: Sinfonia, Gavotta and Vivo (For Unit 6: Further Musical Understanding) Background information and performance circumstances The Russian composer, Igor Stravinsky wrote the

More information

Key Terms. Chapter 12. Classical Timeline. Late 18th Century. The Enlightenment. Emperor Joseph II. Prelude: Music and the Enlightenment

Key Terms. Chapter 12. Classical Timeline. Late 18th Century. The Enlightenment. Emperor Joseph II. Prelude: Music and the Enlightenment Chapter 12 Prelude: Music and the Enlightenment Key Terms Enlightenment Repetition Rococo Cadences Divertimento Sonata form Opera buffa Minuet Classical style Rondo Classical orchestra Theme and Classical

More information

PROGRAMMING FOR THE YOUTH AND COMMUNITY ORCHESTRA: BEETHOVEN AND SCHUBERT AS MODELS FOR SELECTION A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL

PROGRAMMING FOR THE YOUTH AND COMMUNITY ORCHESTRA: BEETHOVEN AND SCHUBERT AS MODELS FOR SELECTION A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL PROGRAMMING FOR THE YOUTH AND COMMUNITY ORCHESTRA: BEETHOVEN AND SCHUBERT AS MODELS FOR SELECTION A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE

More information

YSTCM Modules Available to NUS students in Semester 1, Academic Year 2017/2018

YSTCM Modules Available to NUS students in Semester 1, Academic Year 2017/2018 YSTCM Modules Available to NUS students in Semester 1, Academic Year 2017/2018 Yong Siew Toh Conservatory of Music modules are divided into these categories: 1) General Education Modules (Human Cultures

More information

On Schubert's Moments Musicaux op. 94 (D.780)

On Schubert's Moments Musicaux op. 94 (D.780) On Schubert's Moments Musicaux op. 94 (D.780) A lecture accompanying a performance of the six pieces Gilead Bar-Elli Schubert, the master of Lieder, was fond of short, poetic and moody instrumental pieces.

More information

as one of the experts in the Classical and pre-romantic repertory, pianist Melvyn Tan will return

as one of the experts in the Classical and pre-romantic repertory, pianist Melvyn Tan will return PRESS RELEASE Internationally Acclaimed Pianist Melvyn Tan Joins Conductor Lawrence Renes in Mozart s Piano Concerto No.22 Experience the Power of Music Live in Shostakovich s Remarkable Leningrad Symphony

More information

Haydn: London Symphony, No.104 (Movement one)

Haydn: London Symphony, No.104 (Movement one) Background information The following materials are essential for use with this resource: Eulenberg score of the London Symphony by Haydn (ISBN: 978-3-7957-6523-1) Recording of the symphony Preparatory

More information

Violoncello recital. FIU Digital Commons. Florida International University. Saulo Moura de Almeida Florida International University

Violoncello recital. FIU Digital Commons. Florida International University. Saulo Moura de Almeida Florida International University Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 4-1-2003 Violoncello recital Saulo Moura de Almeida Florida International University

More information

Mu 110: Introduction to Music

Mu 110: Introduction to Music Attendance/Reading Quiz! Mu 110: Introduction to Music Queensborough Community College Instructor: Dr. Alice Jones Fall 2017 Sections J2 (Tuesdays 3:10-6) and C3A (Wednesdays (9:10-12) Recap Melody (most

More information

KS5. Edexcel A level AoS3: Music for film, part 2 INTRODUCTION STARTING POINTS FILM MUSIC AND COMPOSITION. by James Manwaring

KS5. Edexcel A level AoS3: Music for film, part 2 INTRODUCTION STARTING POINTS FILM MUSIC AND COMPOSITION. by James Manwaring KS5 Edexcel A level AoS3: Music for film, part 2 James Manwaring is Director of Music for Windsor Learning Partnership, and has been teaching music for 13 years. He is a member of the MMA and ISM, and

More information

Robert Schuman "Novellette in F Major", Opus. 21 no. 1 (Part 1)

Robert Schuman Novellette in F Major, Opus. 21 no. 1 (Part 1) Cleveland State University From the SelectedWorks of Dan Rager 2016 Robert Schuman "Novellette in F Major", Opus. 21 no. 1 (Part 1) Dan Rager Available at: https://works.bepress.com/daniel_rager/35/ Composition

More information

Development of the Sonata

Development of the Sonata University of Arkansas, Fayetteville ScholarWorks@UARK Music Undergraduate Honors Theses Music 5-2015 Development of the Sonata Christine Annie Hsu University of Arkansas, Fayetteville Follow this and

More information

NEW YORK PHILHARMONIC STRING QUARTET TO MAKE NEW YORK RECITAL DEBUT AT 92ND STREET Y Co-Presented by New York Philharmonic and 92nd Street Y

NEW YORK PHILHARMONIC STRING QUARTET TO MAKE NEW YORK RECITAL DEBUT AT 92ND STREET Y Co-Presented by New York Philharmonic and 92nd Street Y FOR IMMEDIATE RELEASE October 4, 2017 Contact: Katherine E. Johnson (212) 875-5700; johnsonk@nyphil.org NEW YORK PHILHARMONIC STRING QUARTET TO MAKE NEW YORK RECITAL DEBUT AT 92ND STREET Y Co-Presented

More information

Music. Music. Associate Degree. Contact Information. Full-Time Faculty. Associate in Arts Degree. Music Performance

Music. Music. Associate Degree. Contact Information. Full-Time Faculty. Associate in Arts Degree. Music Performance Associate Degree The program offers courses in both traditional and commercial music for students who plan on transferring as music majors to four-year institutions, for those who need to satisfy general

More information

The Transcription of Four Instrumental Concerti of J.S Bach for Recorders.

The Transcription of Four Instrumental Concerti of J.S Bach for Recorders. The Transcription of Four Instrumental Concerti of J.S Bach for Recorders. Background Despite its inclusion as one of a group of solo instruments in concerti grossi such as the Brandenburg Concerti numbers

More information

Oregon Bach Festival Discovery Series Mozart Coronation Mass 2006

Oregon Bach Festival Discovery Series Mozart Coronation Mass 2006 Oregon Bach Festival Discovery Series Mozart Coronation Mass 2006 From the Thomaskirche in Leipzig we go to a beautiful cathedral in Salzburg. It is at the end of the 18th Century, and Mozart is still

More information

String Quartet in E flat, Op.33 No. 2, The Joke : movement IV Joseph Haydn

String Quartet in E flat, Op.33 No. 2, The Joke : movement IV Joseph Haydn String Quartet in E flat, Op.33 No. 2, The Joke : movement IV Joseph Haydn Background Haydn s string quartets span his creative life and it has been argued that one of his greatest achievements is as the

More information

The Tradition of the Vienna New Year s Day Concert 5-11

The Tradition of the Vienna New Year s Day Concert 5-11 Mirror Assemblies MA110 Festivals Title Target Age Range Learning Intentions Resources Key Vocabulary Suggested music The Tradition of the Vienna New Year s Day Concert 5-11 I know that there is a special

More information

Curriculum Mapping Subject-VOCAL JAZZ (L)4184

Curriculum Mapping Subject-VOCAL JAZZ (L)4184 Curriculum Mapping Subject-VOCAL JAZZ (L)4184 Unit/ Days 1 st 9 weeks Standard Number H.1.1 Sing using proper vocal technique including body alignment, breath support and control, position of tongue and

More information

Analysis Worksheet Fauré Elegy

Analysis Worksheet Fauré Elegy Analysis Worksheet Fauré Elegy Composer/ Composition Information from analysis How this affects/informs performance Skill, Knowledge, Expression? Gabriel Fauré (1845-1924) pianist and organist, studied

More information

GRADUATE PLACEMENT EXAMINATIONS MUSIC THEORY

GRADUATE PLACEMENT EXAMINATIONS MUSIC THEORY McGILL UNIVERSITY SCHULICH SCHOOL OF MUSIC GRADUATE PLACEMENT EXAMINATIONS MUSIC THEORY All students beginning graduate studies in Composition, Music Education, Music Technology and Theory are required

More information

Chapter 11. The Art of the Natural. Thursday, February 7, 13

Chapter 11. The Art of the Natural. Thursday, February 7, 13 Chapter 11 The Art of the Natural Classical Era the label Classical applied after the period historians viewed this period as a golden age of music Classical also can refer to the period of ancient Greece

More information

HOUSE OF MUSIC VIENNA GENERAL MEDIA INFORMATION

HOUSE OF MUSIC VIENNA GENERAL MEDIA INFORMATION HOUSE OF MUSIC VIENNA GENERAL MEDIA INFORMATION THE HOUSE OF MUSIC VIENNA VIENNA - THE CITY OF MUSIC Some of our cities are singled out from others and referred to as Cities of Music. Among these, you

More information

EUROPEAN TOUR 2019 (March 28 April 6, 2019) (Vienna/Eisenstadt/Salzburg/Austria -Prague/Czech Republic) Johns Creek High School Orchestra

EUROPEAN TOUR 2019 (March 28 April 6, 2019) (Vienna/Eisenstadt/Salzburg/Austria -Prague/Czech Republic) Johns Creek High School Orchestra EUROPEAN TOUR 2019 (March 28 April 6, 2019) (Vienna/Eisenstadt/Salzburg/Austria -Prague/Czech Republic) Johns Creek High School Orchestra =========================================================================

More information

AS MUSIC Influences on Music

AS MUSIC Influences on Music Please write clearly in block capitals. Centre number Candidate number Surname Forename(s) Candidate signature AS MUSIC Unit 1 Influences on Music Monday 23 May 2016 Morning Time allowed: 1 hour 45 minutes

More information

Young Artists Auditions Guidelines 2018

Young Artists Auditions Guidelines 2018 Young Artists Auditions Guidelines 2018 Purpose: The Young Artist Auditions are to promote the performance of American piano music as well as choice piano pieces by non-american composers, and to award

More information

BEETHOVEN TRIPLE CONCERTO (1804)

BEETHOVEN TRIPLE CONCERTO (1804) BEETHOVEN TRIPLE CONCERTO (1804) BEETHOVEN TRIPLE CONCERTO (1804) CONCERTO IN C MAJOR FOR VIOLIN, CELLO AND PIANO CONCERTO: A three movement musical work for solo instrument and orchestra. PIANO TRIO:

More information

2018 Wigmore Hall International String Quartet Competition Tuesday 10 April Sunday 15 April 2018

2018 Wigmore Hall International String Quartet Competition Tuesday 10 April Sunday 15 April 2018 Tuesday 10 April 10:00AM 10:45AM OPENING TALK AT THE ROYAL ACADEMY OF MUSIC The Castalian String Quartet discusses by, the set work for all quartets in the Competition. 11:00AM PRELIMINARY ROUND 1, DUKE

More information

0410 MUSIC. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers.

0410 MUSIC. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education MARK SCHEME for the May/June 2014 series 0410 MUSIC 0410/13 Paper 1 (Listening), maximum raw mark 70 This mark

More information

ANDREW WILSON-DICKSON - BIOGRAPHICAL NOTE

ANDREW WILSON-DICKSON - BIOGRAPHICAL NOTE ANDREW WILSON-DICKSON - BIOGRAPHICAL NOTE Andrew Wilson-Dickson was born in London in 1946 and now lives and works in Cardiff, Wales. As a child he began to learn the piano at the age of seven and began

More information

GCE. Music. Mark Scheme for January Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music

GCE. Music. Mark Scheme for January Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music GCE Music Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music Mark Scheme for January 2013 Oxford Cambridge and RSA Examinations OCR (Oxford Cambridge and RSA) is a leading UK

More information

0410 MUSIC. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers.

0410 MUSIC. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education www.xtremepapers.com MARK SCHEME for the May/June 2014 series 0410 MUSIC 0410/11 Paper 1 (Listening), maximum

More information

A Recipe for Emotion in Music (Music & Meaning Part II)

A Recipe for Emotion in Music (Music & Meaning Part II) A Recipe for Emotion in Music (Music & Meaning Part II) Curriculum Guide This curriculum guide is designed to help you use the MPR Class Notes video A Recipe for Emotion in Music as a teaching tool in

More information

A prelude and fugue inspired by Westminster Abbey for middle-level string orchestra.

A prelude and fugue inspired by Westminster Abbey for middle-level string orchestra. WESTMINSTER PRELUDE AND FUGUE David Shaffer (Lake State Publishing) Grade 2 (Middle Level Orchestra) A prelude and fugue inspired by Westminster Abbey for middle-level string orchestra. Background Information

More information

CONCERTO NO. 2 IN F MAJOR, OP. 102 FOR PIANO AND ORCHESTRA BY DMITRI SOSTAKOVICI

CONCERTO NO. 2 IN F MAJOR, OP. 102 FOR PIANO AND ORCHESTRA BY DMITRI SOSTAKOVICI Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts Vol. 7 (56) No. 2 2014 CONCERTO NO. 2 IN F MAJOR, OP. 102 FOR PIANO AND ORCHESTRA BY DMITRI SOSTAKOVICI Maria Cristina BOSTAN

More information

The Baroque 1/4 ( ) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992)

The Baroque 1/4 ( ) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992) The Baroque 1/4 (1600 1750) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992) NB To understand the slides herein, you must play though all the sound examples to hear the principles

More information

Example 1 (W.A. Mozart, Piano Trio, K. 542/iii, mm ):

Example 1 (W.A. Mozart, Piano Trio, K. 542/iii, mm ): Lesson MMM: The Neapolitan Chord Introduction: In the lesson on mixture (Lesson LLL) we introduced the Neapolitan chord: a type of chromatic chord that is notated as a major triad built on the lowered

More information

The Baroque Period. Better known today as the scales of.. A Minor(now with a #7 th note) From this time onwards the Major and Minor Key System ruled.

The Baroque Period. Better known today as the scales of.. A Minor(now with a #7 th note) From this time onwards the Major and Minor Key System ruled. The Baroque Period The Baroque period lasted from approximately 1600 1750 The word Baroque is used to describes the highly ornamented style of fashion, art, architecture and, of course Music. It was during

More information

Study Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder

Study Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder Study Guide Solutions to Selected Exercises Foundations of Music and Musicianship with CD-ROM 2nd Edition by David Damschroder Solutions to Selected Exercises 1 CHAPTER 1 P1-4 Do exercises a-c. Remember

More information

Division of Music. Division of Music Mission. Division of Music Goals and Outcomes. Division Objectives. Proficiencies. Minot State University 1

Division of Music. Division of Music Mission. Division of Music Goals and Outcomes. Division Objectives. Proficiencies. Minot State University 1 Minot State University 1 Division of Music Chair Erik Anderson Division of Music Mission The mission of the MSU Division of Music is to provide courses of study and performance opportunities in music that

More information

PADEREWSKI ON THE STEINWAY PIANO. City Auditorium :: Portland, Ore. Thursday, March zoth, "The Instrument of the Immortals"

PADEREWSKI ON THE STEINWAY PIANO. City Auditorium :: Portland, Ore. Thursday, March zoth, The Instrument of the Immortals PADEREWSKI ON THE STEINWAY PIANO "The Instrument of the Immortals" City Auditorium :: Portland, Ore. Thursday, March zoth, 1914 From a STEIN WAY The Instrument of the Immortals AN APPRECIATION BY IGNACE

More information

Music Grade 6 Term 1 GM 2018

Music Grade 6 Term 1 GM 2018 1 Music Grade 6 Term 1 Contents Revision... 2 The Stave... 2 The Treble clef... 2 The Semi-breve... 2 The Semi-breve Rest... 2 The Minim... 2 The Minim Rest... 3 The Crochet... 3 The Crochet rest... 3

More information

(2017 warm-up activities posted below)

(2017 warm-up activities posted below) Navarro River String Camp Proposed August 2018 Camp Schedule Wednesday 10.30am-12.30pm Arrival 1-1.45pm Welcome & general orientation 2-3.30 Half the camp meets for an Ensemble Skills session Other half

More information

Flow My Tears. John Dowland Lesson 2

Flow My Tears. John Dowland Lesson 2 Flow My Tears John Dowland Lesson 2 Harmony (Another common type of suspension is heard at the start of bar 2, where the lute holds a 7 th (E) above F in the bass and then resolves this dissonance by falling

More information

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD. Jinjoo Jeon

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD. Jinjoo Jeon AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD By Jinjoo Jeon Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment

More information

Carnegie Mellon University School of Music Piano Literature & Repertoire II, Classical Spring Semester, 2015

Carnegie Mellon University School of Music Piano Literature & Repertoire II, Classical Spring Semester, 2015 Carnegie Mellon University School of Music Piano Literature & Repertoire II, Classical Spring Semester, 2015 lec Chien, Professor School of Music, College of Fine rts Room CF 160 Tuesdays, 12:30-2:20 PM

More information