MUS 4 Fall 2020 The weekly response assignments will be graded on the follow criteria: 1. Length: Your response to each question should be 1-2 paragraphs long. A paragraph should contain a minimum of three sentences. 2. Thoroughness: Your response needs to address all aspects of the question(s) included in the prompt. 3. Specificity: Avoid general statements. Give examples from the music, including time stamps where appropriate. It should be clear that you have done the assigned listening. (Simply quoting information found in the slides and lecture video is NOT sufficient for these response. Use that information as a starting point to deepen your engagement with the music. If your response is overly general, it will be assumed that you have not done the necessary listening.) 4. Articulateness: Communicate your ideas as clearly as you can. Incorporate the proper terminology, covered in lecture and included in the class glossary, where needed. Late policy: The equivalent of one grade will be deducted for each day (ex: A to A-). If you need an extension on an assignment, please be in touch with your TA AHEAD of the deadline. The Renaissance and Baroque Periods: Secular song and expressivity MUS 4 Fall 2020 Madrigals (16th century) -Musical settings of Italian poetry of various types -The most important secular genre of sixteenth century Italy and arguably of the entire Renaissance. -Subject matter was usually sentimental, romantic or erotic -Emphasis on enriching the meaning of the text through music -“Through-composed” -Light-hearted, and entertaining -Intended for performance by mixed groups of men and women in social gatherings, -Note: Most of the poets and composers were male, and most madrigals were written from the male perspective Madrigals and text-setting -Every aspect of madrigal composition reflected the nature of the text -Depiction of text in music through: -Changes in musical texture: The combination of elements in a piece or passage, such as the number and relationship of independent parts (ex: monophonic, homophonic, polyphonic, melody and accompaniment OR the switch from a four-part vocal texture to a solo voice) -Madrigalisms: A technique for text depiction, using musical sounds to evoke the text almost literally. -Dissonance: Two or more notes sounding together to produce a discord or tension. “Suiting the Music to the Words” by Gioseffo Zarlino (1558) -Presents “rules” for the use of dissonance in text-setting: “… when a composer wishes to express effects of grief and sorrow, he should (observing the rules given) use movements which proceed through the semitone, the semiditone [minor third], and similar intervals…” -Dissonance should only be used in these contexts, and should always resolve immediately to consonance -Zarlino’s “rules” were accepted as the conventions of the time period Important takeaways from our discussion of the use of dissonance in Renaissance Madrigals I don’t expect students to understand the technical aspects of dissonance, or to be able to identify specific types of dissonance in the music! Points that ARE important to understand: 1) Dissonance v. consonance 2) Dissonance adds tension to the music and can be used for expressive purposes (often to evoke sadness or longing) 3) During the Renaissance there were ”rules,” as set out in Zarlino’s text for how dissonance should be used in a composition Claudio Monteverdi (1567-1643) -Born in Cremona, in northern Italy -Composer, string player and choir master -Wrote only vocal works, including sacred pieces, madrigals and operas -Received musical training within the Catholic Church in Cremona -Worked for Vincenzo Gonzaga, Duke of Mantua from 1590 to 1612 -Worked for St. Mark’s cathedral in Venice, the most prestigious musical post in Italy, for the rest of his life Portrait by Bernardo Strozzi Guided Listening: Monteverdi, Cruda Amarilli How does Monteverdi use dissonance in relation to the text in this piece? -Striking use of dissonance, without resolution -Prolonged moments of dissonance, rather than passing moments Compare to: de Rore’s use of dissonance in Da le belle contrade d’oriente? -de Rore adheres to Artusi’s rules, using the correct types of dissonance to portray grief, using dissonance sparingly, and always immediately resolving the dissonance to a consonant harmony Dissonance in Cruda Amarilli -Breaks the rules of counterpoint accepted at the time, as codified in Zarlino’s text -Attempt to convey emotional component of the text through harmony, rather than relying on madrigalisms -Criticized by Giovanni Artusi in Of the Imperfections of Modern Music (1598) Monteverdi and Artusi -Artusi criticized Monteverdi for breaking the standard rules of counterpoint “[These passages] are contrary to what is well and good in the institution of harmony. They are harsh to the ear, rather offending than delighting it; and to the good rules left by those who have established the order and bounds of this science, they bring confusion and imperfection of no little consequence…” -from Of the Imperfections of Modern Music by Artusi (1598) Giovanni Artusi Monteverdi and Artusi (cont’d) -Monteverdi responded to Artusi by placing Cruda Amarilli as the first madrigal in his Fifth Book of Madrigals (1605) -Included a short preface defending his approach to text-setting and harmony: “I wrote a reply to let it be known that I do not write things by chance, and as soon as it is rewritten it will see the light under the title, Second Practice, or the Perfection of Modern Music. Some will wonder at this, not believing that there is any other practice than the one taught by Zarlino. But let them be assured concerning consonances and dissonances that there is a different way of considering them from that already determined…” The First Practice and The Second Practice -In 1607 Monteverdi’s brother also addresses the issue, in defense of his brother -Distinguishes between the “First Practice” and Monteverdi’s “Second Practice” -First Practice: Governed by the rules set out by Zarlino and others, the music had to follow its own rules and and as a result, dominated the verbal text -Second Practice: The text determines the music, without the application of abstract harmonic concepts. Dissonances can be used more freely where appropriate in order to express the text From the Renaissance to the Baroque -Monteverdi’s Cruda Amarilli and the introduction of the Second Practice reflect changing aesthetic ideals and reflect the shift from the Renaissance to the Baroque -The Renaissance focus on elegance and structure gives way to the Baroque’s focus on emotion, expression and drama -This shift in aesthetic ideals can be traced in Monteverdi’s work The Baroque Period (1600-1750) -Began in Italy -The term Baroque is from the Portuguese word “baroco,” meaning a “misshapen pearl” -Originally applied to the music and art of this period in a derogatory manner -Reflects the highly ornate, dramatic and highly expressive nature of Baroque art and music Baroque Visual Art -Focus on the dramatic -Exaggerated portrayals of bodies and scenes -Depiction of bodies in motion -Exaggerated contrasts between light and shadows -Dark, rich color palette Left: David by Michelangelo (1501-4) Right: David by Bernini (ca. 1620) The Storm on the Sea of Galilee by Rembrandt (1633) The Calling of Saint Matthew by Caravaggio, (ca.1600) Green Room, Charlottenburg Palace, Berlin Salons of the Hotel de Soubise, Paris Characteristics of Baroque Music -Expression of emotion, usually a single emotional state -Contrasting musical styles within a single composition (all depicting a single emotional state) -Use of basso continuo: A system developed and commonly used in the Baroque Period, in which an instrumental bass line is written out and one or more players of keyboard, lute or similar instruments fill in the appropriate harmony with chords or improvised melodic lines. -Focus on harmony, rather than polyphony -Use of dissonance for its expressive potential -Use of ornamentation and embellishment Barbara Strozzi (1619-77) -Born and lived in Venice -Grew up in the house of Giulio Strozzi, a renowned poet and leading intellectual figure in Venice, raised Barbara as his adopted daughter -Her musical talents, especially as a singer, were evident in her childhood - Giulio was ambitious for her, arranging composition instruction with a leading composer in Venice and seeking avenues to showcase her musical talents Music, gender and sexuality -As a woman, and a singer, Barbara Strozzi’s talent was tied to her sexuality -This connection was common at the time -Many female singers were courtesans or concubines (totally accepted in Venice at the time, and a respected position for women) -It is thought that Barbara was a concubine, living with a man named Vidman, with whom she had children, although she earned her own living and in fact, lent him money Portrait by Bernardo Strozzi (no relation) Strozzi’s gender influenced and restricted the music that she wrote and the context in which she wrote it: -Did not have access to many of the spaces in which music was created and performed at the time -Was excluded from music making within the church context, as well as from the genre of opera -While male singers and composers could find employment in the church, in courts and theaters, women could not find institutional employment in music at all -We can see this in her work: she primarily wrote secular cantatas for solo voice and basso continuo, which she could perform herself Musical texture in Lagrime mie Monody: A musical texture consisting of solo singing accompanied by one or more instruments. In Lagrime mie, the musical texture consists of a solo (soprano) vocal line and basso continuo (usually performed on the lute) Notes on the text: -Anonymous poet -The poem tells the story of: “a young man who laments that the young women he loves has been sequestered by her father. Some details emerge- he adores her, she looked at him, her father saw and is keeping her at home, he is tormented by her absence and imagines her suffering as well- but we are left to guess the rest of the story: whether they are both in love or he is pining for a beauty who barely knows he is alive.” (-Norton Anthology) -The text is written from a male point of view, despite being written by, and intended for performance by, a female Guided Listening: Barbara Strozzi, Lagrime mie How does Strozzi use text-expression in this piece? -Highly dramatic setting of the text -Music expresses the character’s torment and suffering -Strong emotions in the text are reinforced and highlighted by Strozzi’s music -Example: At the opening, the long descending vocal line creates dissonances with the basso continuo, evoking a sense of pain and longing and hinting at the idea of weeping Form in Lagrime mie -Cantata: A vocal chamber work with basso continuo, usually for solo voice, consisting of several different sections. -Sections of a cantata are distinguished by: -Different styles of text setting: speech-like to song-like -Different patterns of figuration in the basso continuo part -Creates contrast within musical form -Repetition of “lagrime mie” as structural feature of the form Compare to: the “through composed” form of Madrigals (including Monteverdi’s Cruda Amarilli) Strozzi’s legacy -Published seven editions of her musical compositions between 1651 and 1664 -One of the ways in which Strozzi’s career was really incredible, as publishing was highly unusual for women of this era -It’s thought that many female soprano singers of the time wrote their own music, suited to their own voice, but, because this work was never published it has been lost to history However: Although a written record of Strozzi’s work existed, and has allowed her work to be celebrated in contemporary times, her work, like Hildegard of Bingen’s, was ignored for many centuries. Why do you think this is? The Baroque Period: The development of instrumental music MUS 4 Fall 2020 Review: Characteristics of Baroque Music -Expression of emotion -Contrasting styles within a single composition -Use of basso continuo: An accompaniment part that includes a bass line and harmonies, typically played on a keyboard instrument and with other instruments such as cello or lute. -Focus on harmony, rather than polyphony -Use of dissonance for its expressive potential -Use of ornamentation and embellishment The development of instrumental music -Instrumental music, as an independent genre, expanded in the first half of the 17th century -Instrumental music of this period reflects many of the same qualities of vocal music: -Use of basso continuo -Interest in expressivity, and the rousing of emotion -Focus on the soloist -Virtuosic embellishment and ornamentation -Contrasting sections -Written for use as secular entertainment, in the church, and in the theater (ballets and operas) The violin -Most important instrument in the development of instrumental music, especially in Italy -Violin was seen as able to emulate the human voice -Was popular for its capacity for subtlety, expressivity and virtuosity: great technical skill -Writing for the violin employed many techniques used in vocal music but was also highly idiomatic: music composed for a specific instrument to highlight and accommodate its unique characteristics The solo concerto -Solo concerto: Composition in which a single instrument, such as a violin, contrasts with an orchestra -First developed in the 1680s and 90s -The most important instrumental genre of the Baroque -Established the orchestra as the leading instrumental ensemble -Performed at public ceremonies, entertainments, and private musical gatherings -NOT intended for amateur music-making in the home Characteristics: the solo concerto -Clear division between melody and accompaniment/basso continuo -Musical organization based on tonality: A system of harmony, common since the late seventeenth century, by which a piece of music is organized around a central pitch and chord, to which all other pitches and chords are subordinate -Focus on contrasting tempos, moods, and instrumental figuration The Baroque orchestra -10 to 30 players, mostly strings -Not standardized in terms of size or instrumentation -Included keyboard, usually harpsichord -Did not use a conductor Antonio Vivaldi (1678-1741) -Most well known Italian composer of the early 18th century -Born and spent most of his life in Venice -Virtuoso violinist -Known as a composer primarily for his concertos, of which he wrote over 500 (!) -From 1703 to 1740 worked as a violin teacher, composer, conductor and director of musical instruments at the Pio Ospedale della Pieta -Pieta was an orphanage, although it had an excellent music program which rivaled those of prestigious Italian conservatories -Vivaldi composed a variety of works for students at the Pieta, especially concertos Guided Listening: The Four Seasons, “Spring” (first movement) What can you notice about the form of this movement? Repetition used as an important structural feature! Ritornello form -Ritornello form: Standard form for fast movements in concertos of the first half of the 18th century featuring a ritornello which alternates with episodes. -Ritornello: In a concerto, the recurring thematic material played at the beginning of the movement by the full orchestra and repeated, usually in varied form, throughout the movement. Played by the full ensemble. “Confirms” tonal center. -Episode (in ritornello form): Contrasting sections that occur between presentations of the ritornello. Features the soloist performing virtuosic passages. Often “moves” to a different tonal center. -Form: ABACADA etc. Vivaldi, The Four Seasons, “Spring” (first movement) The music “depicts” the following poem, which Vivaldi wrote. La Primavera (Spring) I. Allegro-Festive Spring has arrived, The birds salute it with their happy song. And the brooks, caressed by little Zephyrs, Flow with a sweet murmur. The sky is covered with a black mantle, And thunder, and lightning, announce a storm. When they are silent, the birds Return to sing their lovely song. Guided Listening: The Four Seasons, “Spring” (first movement) In what ways does Vivaldi use the music to depict the poem? -Vivaldi uses the music to mimic the sounds described in the poem -Although his work is purely instrumental, it conveys a narrative, and is focused on text-expression Concerto grosso -Concerto grosso: Instrumental work that exploits the contrast in sonority between a small ensemble of solo instruments and a large(r) ensemble -Uses ritornello form in fast movements Johann Sebastian Bach (1685-1750) -Born in Eisenach, in central Germany -Part of a large family of musicians -Primarily worked as a composer, organist and teacher in the Lutheran church -Leipzig: Directed music at four churches, composed sacred works for use in the church. -In 1729 became the director of the Leipzig collegium musicum and began writing concertos and other instrumental works for performance in this (secular) context -Influenced by Vivaldi: Arranged several of Vivaldi’s concerti for organ or harpsichord -Developed genres and forms of his time beyond common usage Bach, Brandenburg Concerto No. 5 (first movement) -Completed ca. 1721 -Part of a group of six concertos referred to as the Brandenburg Concertos - Dedicated to Christian Ludwig, Margrave of Brandenburg, likely in an effort to secure employment in his court (which proved unsuccessful) -Written for solo flute, solo violin, solo (!) harpsichord, strings and continuo -His use of ritornello form in the first movement was influenced by the work of Italian composers such as Vivaldi Guided Listening: Brandenburg Concerto No. 5 (first movement) How would you compare Bach’s use of ritornello form to Vivaldi’s? -More subtle use of ritornello form -Sometimes hard to identify switch between episode and ritornello on first listen (!) -“Fades” in and out of ritornello sections, reducing the blunt contrast that was apparent in Vivaldi’s music -Return of the ritornello is less predictable: Bach at times hints at the return of the ritornello but delays its return Listen again: Brandenburg Concerto No. 5 (first movement) How would you compare the musical style and texture of Bach’s work to that of Vivaldi’s? -The texture of Bach’s work is much more dense than we heard in Vivaldi’s -The emphasis is on counterpoint, rather than solely the melody -Bach’s music is more focused on the exploration of musical materials, and less focused on the expression of an idea, text, or emotion A critique of Bach’s compositional style -On one hand, Bach explored new potential of accepted styles and forms -However, during his lifetime, Bach was considered a “conservative” composer whose work, in his later life, was seen as “outmoded” (-Grove Music) -His music was often criticized for this attribute, although his innovation is celebrated now “This great man [Bach] would be the admiration of whole nations if he had more amenity, if he did not take away the natural element in his pieces by giving them a turgid and confused style and if he did not darken their beauty by an excess of art.” -Composer and critic Johann Adolph Scheibe, written in 1737 Bach’s legacy -Bach was not well known during his lifetime -During his lifetime, Bach distributed copies of his scores to friends and pupils, but did not publish his work extensively during his lifetime -At the time of his death, his work was largely forgotten, played infrequently even within the context of the Lutheran church in Leipzig (where he had worked) -Bach’s work did not become widely known, and he didn’t become a celebrated composer, until the 19th century “The Bach Revival” -In 1829, the composer and conductor Felix Mendelssohn conducted a performance of Bach’s St. Matthew Passion which brought a great deal of attention to Bach’s work -It was only after this performance that Bach slowly began to be celebrated as an important composer: The philosopher Georg Wilhelm Friedrich Hegel, who attended the performance organized by Mendelssohn, later wrote of ‘Bach’s grand, truly Protestant, robust and erudite genius which we have only recently learnt again to appreciate at its full value’. -Grove Music -The understanding of Bach as a “great composer” and even as a “genius composer” can be understood as an invention of the 19th century (the Romantic Period), and does not reflect his status during his lifetime Cont’d -Following this renewed interest in Bach’s work, his scores, which had previously only been available through private collections, began to be published -In 1850 the Bach-Gesellschaft was founded in honor of the 100th anniversary of Bach’s death with the goal of seeking the publication of a complete edition of his works, which took 50 years to be completed -Publication of Bach’s complete works was accompanied by Philipp Spitta’s biography of Bach, published in two volumes in 1873 and 1880 -It was a result only of the efforts of the “Bach Revival” that Bach came to be a celebrated composer, let alone known at all The Classical Period: The symphonie concertante, the symphony, and sonata form MUS 4 Fall 2020 The Classical Period (1750-1820) -The Enlightenment: the most important intellectual movement of the 18th century -Questioning of traditional roles of authority -Emphasis on the importance of individual rights -Belief that humanity could be improved through rational thought and social problems could be changed through reason and observation -Lessening importance of the church, as the importance of individual faith, reason and morality grew -A revival of the aesthetics of Classical Antiquity (again) The Classical Period (cont’d) -Development of an “international” musical culture, across European countries -Became common for composers to travel from country to country, resulting in a blending of different national styles -Development of “the public concert” -Musicians and composers began depending on financial support from the public in addition to, or in the place of, patronage from courts, governments and the church The Public Concert -In mid- to late- 18th century, public concerts began in cities across Europe -Open to the public (unlike concerts held in private settings) -Money-making events for which tickets were sold -Widely advertised, through handbills, posters, notices in newspapers and other printed media -Functioned as social events as well as musical events: Audience could walk around, talk with friends, even eat (Neo)Classical Visual Art -Developed in the mid-18th century -A revival of the ideals of Classical Antiquity -Unemotional, formal, balanced and rational in nature -Emphasis on simplicity and visual symmetry -A reaction against the styles of Baroque and Rococco art and architecture -Dramatic lighting -Bright, rich color palette Jacques-Louis David, Oath of the Horatii, 1784 Jean-Auguste-Dominque The Envoys of Agamemnon, 1801 Right: Antonio Canova, Napoleon as Mars the Peacemaker, 1802 Left: David by Michelangelo (1501-4) Right: David by Bernini (ca. 1620) Characteristics of Classical Era Music -Simpler in sound than Baroque music -Predominance of sing-able melodies with short phrases and spare accompaniment -Spoken rhetoric and conversation as models for musical phrasing -Emphasis on elegance and balance -Importance of (balanced) contrast -Use of formal structures defined by tonality What is tonality? Tonality: A system of harmony, common since the late seventeenth century, by which a piece of music is organized around a central pitch and chord, to which all other pitches and chords are subordinate -A central pitch and harmony are established in the music -All other pitches and harmonies function in relation to the central pitch/harmony -Music begins with the central harmony, moves away from it, and then returns to the central harmony -Composers often move from one central harmony to another -Tonality can be understood as a structural feature: -Musical phrases and melodies are organized around the move away from , and the return to, the central harmony -Musical forms are often defined by shifts in the central harmony Example: Tonality as a musical structure: -In ritornello form: -The ritornello (refrain) is characterized by music created with the central harmony/pitch -The episode (solo passages) is characterized by changes in the central pitch/harmony Ritornello (central harmony) -> Episode -> (movement away from central harmony) Ritornello (new central harmony) PLEASE NOTE: -Students are NOT expected to be able to hear or identify these changes in the central harmony! -Tonality should be understood in two ways: -As a structural feature of musical forms, including ritornello form and sonata form (which we will discuss today) -As a structural feature of musical phrases/melodies in music of the Baroque and Classical periods -As the organization of consonance and dissonance (dissonance leads back to consonance by resolving to the central harmony) ALSO: Tonality is a system of harmony that developed in Western music, and has been widely used in Western music. However: -Many other cultures across the globe use drastically different systems of harmony. Tonality is only ONE example of harmony. -Even within the Western context, tonality is only one system of harmony. The Classical Orchestra -Generally 30-60 players -Four sections: strings, woodwinds, brass, and percussion -Writing for each instrument was idiomatic -Strings were the most important, and prominent, section -Each section had a different musical “function” within the orchestra -Principal violinist would often lead the orchestra -Orchestras did not consistently have conductors until early 1800s Joseph Boulogne Le Chevalier de Saint-Georges (1745-1799) -Composer, virtuoso violinist, conductor and champion fencer -Born in Guadeloupe, to an enslaved woman and a wealthy (white) plantation owner -Moved to Paris, with his father and mother and received an excellent education at a private boarding school -As the son of a wealthy white man, was accepted by Parisian high society, despite his skin color -Attended prestigious salons with notable artists and aristocrats (Cont’d) -In 1769 was appointed as principal violinist of the Concert des Amateurs, a leading professional orchestra in Paris -In 1773 took over as conductor of the orchestra -In 1776 was considered for the position of Artistic Director of the Royal Academy of Music at the Paris Opera but was denied the job after artists at the opera opposed his appointment on the basis of his race -Wrote violin concertos, which he performed with the Concert Des Amateurs -Was one of the first composers to write string quartets, -Leader in the development of the symphony concertante: A concerto-like genre of the late 18th and early 19th centuries for two or more solo instruments and an orchestra (Cont’d) “the Chevalier de St-Georges, who combines the most gentle manners with incredible skill in all physical exercises and very great musical talent … but the artistes nevertheless at once addressed a petition to the Queen to beg Her Majesty that their honour and the delicacy of their conscience made it impossible for them to be subjected to the orders of a mulatto”. -Baron von Grimm, French/German journalist (1776) Guided Listening: Boulogne, Symphony Concertante in B-flat major, Op.6, No.2 (first movement) How would you characterize the relationship between the two solo violins and the orchestra? How would you compare the role of the violins to the role of the solo violin in the first movement of Vivaldi’s “Spring Concerto?” -The violins are much more integrated into the larger ensemble -The violins carry the main melodic material -The violin parts are still virtuosic but do not function in contrast with the larger ensemble Boulogne and publishing -Boulogne’s popularity and acclaim allowed him to publish his scores: -Between 1773 and 1785, publishers in Paris published as many as twelve violin concertos, as many as eight symphonies concertantes, and two symphonies -Three additional violin concertos were published after the composer’s death, as well as a sonata for flute and harp and a piece of guitar Boulogne’s legacy “It is obvious that, in spite of the comparatively short period of his musical productivity, Saint-Georges played an important role in the musical life of a pre-revolutionary France. Besides his simphonies concertantes, he also produced violin concertos and some of the earliest keyboard-violin sonatas, wrote operas, and was among the very first French composers to write string quartets… [He] stand[s] out even among his most talented colleagues of Italian, French and German origin.” -Gabriel Banat -It is thought that some of Boulogne’s manuscripts were perhaps destroyed during the early years of the Revolution -Banat points out that Bolougne’s work was not forgotten upon his death, but was instead gradually, and perhaps systematically, ignored -Bolougne’s work and influence has largely been disregarded by historians for centuries! The Development of the Symphony -Symphony: A large work for orchestra, usually in four movements, without the division between orchestra and soloists that distinguishes the concerto. -Became the most important orchestral genre in the mid- to late- 18th century -Originated as a form in Italy, but grew in popularity across Europe Franz Joseph Haydn (1732-1809) -A leading composer of the Classical Period -Influential in establishing the genre of the symphony -Born in Austria -As a boy, received his musical education as a chorister at St. Stephens Cathedral in Vienna -In 1761 was appointed as a court musician, and then director of music in the Esterhazy court (in modernday Hungary) -In this position, he was isolated from the musical centers of Western Europe, and mainly wrote music for performance in the court -In 1779, Haydn received a new contract from the court, which allowed him to compose for performance outside the court, and to publish his works (cont’d) -Publication of Haydn’s music brought him recognition across Europe, generating commissions from many other patrons -Including: The six Paris Symphonies, commissioned by Boulogne for the Concert des Amateurs -Beginning in 1790, when a new prince oversaw the court, Haydn’s contract was again re-negotiated and the composer was able to travel extensively -During this time, Haydn traveled to London to conduct a new set of symphonies -Resulted in the London Symphonies, as well as many of Haydn’s most popular works Sonata Form Form typically used in the first movement of instrumental works (including symphonies) in the Classical and Romantic Periods. Consists of three sections: Exposition, development, and recapitulation. Exposition: The first section of sonata form, in which the main two themes are stated. Development: The middle section in sonata form, in which themes from the exposition are presented in fragmented form, combined, or altered in other ways. Recapitulation: The third section of sonata form, in which material from the exposition is restated. Tonality and sonata form: Exposition: First theme: first central harmony (stability) Second theme: movement to a different central harmony (slight instability) Development: Movement through different harmonies (instability) Recapitulation: Return to the first central harmony, throughout! (return to stability) Haydn, Symphony No. 88 -Composed in 1787 -Commissioned by Johann Tolst, a violinist in the orchestra of the Esterhazy court -Immediately followed the composition of the six Paris Symphonies (1785-6) -Haydn knew it was Tolst’s plan to sell it to Parisian publishers -Haydn wrote the music with the tastes of the Parisian public in mind, aiming to please those who would attend the performance -Score was published by the French publisher Jean-Georges Sieber -The symphony is one of Haydn’s most popular and best known symphonies Guided Listening: Haydn, Symphony No. 88 (first movement) Follow the sonata form! Introduction: 0:00 Exposition: 1:09 First theme: 1:09 Second theme: 1:54 Repeat of Exposition: 2:34 Development: 3:58 Recapitulation: 5:19 Response #2 Please respond to the questions below, in 1-2 paragraphs each. These questions are intended to help you listen and reflect on the music. Be as specific as possible with your answers, citing examples in the music (using time-stamps) to back up your points. The rubric for the assignment is available here: RUBRIC- weekly responses.pdf 1. As we discussed in class, Claudio Monteverdi and Barbara Strozzi used dissonant harmony to portray the emotional content of the texts which they set to music in their works Cruda Amarilli and Lagrime mie, respectively. In EACH piece, identify ONE example of the composer's use of dissonance as a form of text expression. Include time-stamps for each of these moments, and a specific discussion of the relationship that you hear between text and music. DO NOT use examples already discussed in lecture/listed on the lecture slides. y 2. Discuss Baroque musical aesthetics in relation to 1) Rembrandt's The Storm on the Sea of Galilee and 2) the architecture of the Green Room at Salons of the Hotel de Soubise in Paris (both discussed in lecture videos and available on the lecture slides). Be specific in your discussion, citing musical examples. (This takes a little bit of creative thinking to compare stylistic attributes across mediums!) 3. Discuss the role of the violin soloist(s) in the first movement of Vivaldi's “Spring" concerto from The Four Seasons and Boulogne's Symphony Concertante in B-flat major. What is the role of virtuosity in the solo part(s) in each work? Cite specific examples from each piece, using time-stamps. 4. APPLICATION: We have discussed the concept of “musical form” in relation to the role of repetition in music. Choose a contemporary musical example that you listen to (of any genre) and in a few sentences, describe the musical form of the piece, as well as the role of repetition.
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