Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
39 Cards in this Set
- Front
- Back
|
19th Century Changes |
Industrialization Shift in Thought Government Structure Concept of Genius |
|
|
Idealism |
Idea that music can transport us to a place where things are in more perfect harmony. experiential |
|
|
Virtuosity |
Phenomenal music playing |
|
|
Parlor Scene |
Amateur music making was strongly associated with well-bred middle-class women who were expected to learn to play the piano and sing. |
|
|
Anton Diabelli |
10,000 works aimed at the middle class 1819 Diabelli's Waltz - Beethoven made a book of 33 variations of this waltz. |
|
|
Beethoven |
1770-1827 Born in Bonn Father wanted him to be the next Mozart 1792 moves to Vienna to study with Haydn and is funded by Waldstein Studies with Albrechtsberger |
|
|
Beethoven Cont. |
First freelance composer: Akademie and Dedicated pieces to nobles 1792 Begins to lose his hearing |
|
|
Heiligenstadt Testament |
1802 Written to his brothers but never sent Really addressed to humanity as a whole. Discussed his wanting to die, but felt he still had more to contribute to music |
|
|
Eroica Symphony |
Originally written for Napoleonp but changed to in memory of a great man. |
|
|
Beethoven Early Period |
Traditional Classical Forms First 2 Symphonies, First 3 piano concertos Op. 18 String Quartets |
|
|
Beethoven Middle Period |
1803-1815 Exploring forms and boundaries Symphonies 3-8 Fidelio Major Piano Sonatas Beethoven goes completely deaf by the end of this period |
|
|
Beethoven Late Period |
1815 till his death Avant Garde Abstract and deeply personal music Fascination with counterpoint Diabelli Variations Last piano Sonatas Symphony no. 9 |
|
|
Beethoven Symphony no. 9 |
1824 10 year gap since no. 8 First time to use vocal timbres in the symphonic form Grand Scale - Takes longer than an hour Has many innovations: Inspiration was a choral ode but didn't use all of Schiller's stanzas.
|
|
|
German Lied |
Songs for solo singing and accompaniment 19th century makes the songs more "respectable" The Piano is as important as the singer Lyrics inspired by high poetry Germany invests in the literature and literary works Goethe becomes GOETHE |
|
|
Schubert |
1797-1828 Austrian Son of a school teacher in Vienna Served as a boy soprano in the Imperial Court Choir - Given full tuition for college Played violin and piano Composition lessons with Salieri Very successful Began experimenting with lied as early as 1811 600 lied October 14, 1814 Gretchen am Spinnrade |
|
|
1816 - Schubert's Der Wanderer |
Text by Schmidt von Lubeck -thematic transformation on the second page of this work is the basis for Schubert's wanderer fantasy for piano. Recitative section in the beginning. Schubert could not play it. |
|
|
1838 |
Flood destroys Budapest and Liszt goes to perform a few concerts as fundraisers and discovers Schubert's works. Writes 55 transcriptions of Schubert's pieces and makes Schubert a worldwide name. |
|
|
Blume Article |
Freedom of artist makes music no longer just a job Dictated/Characterized by feeling rather than form or structure. Who is speaking in Romantic music (the megaphone of the world's soul) Kunstreligion Musical cannon is the repertoire of masterpieces cultivated in the 19th century. |
|
|
Sublime |
Elements of beauty but terrifying mood attached |
|
|
Erlebniskunst |
The art of experience to engage with the artwork rather than just passively enjoy it. |
|
|
Robert Schumann |
1810-1856 Father was a leading publisher Age 7 begins to learn piano and compose Age 13 - poems and dramatic fragments Rejects studying law Late 1820s studies with Friedrich Wieck |
|
|
Davidsbund |
Invented group by Schumann of like minded friends Schumann wrote prose and attributes to each of the various members of the group.1833 Der Komet . group.1833 Der Komet 1833 Der Komet |
|
|
Florestan |
Most fiery and tempestuous character of schumann's. Criticize the state of Italian opera |
|
|
Eusebius |
Dreamer side of Schumann. Wrote pieces and praise of German composers. |
|
|
Master Raro |
The mentor character of schumann's. Was based off of Frederick Wieck. |
|
|
Die Neue Zeitschrift fur Musik |
Journal of music criticism Helped promote new composers, works, and styles. Schumann was a huge champion of Bach, Schubert, and Handel. |
|
|
1840 |
Year of song Schumann marries Clara |
|
|
1841 |
Schumann's Symphonic Year |
|
|
1842 |
Schumann's Chamber Music Year |
|
|
Frauenliebe und Leben |
Text by Adelbert Chamisso 1840, Year of Song Describes a woman's life and love from first seeing her husband and to his death. Set of 8 songs. Piano is remarkably independent of the voice Piano is more of an independent voice of the poetry. Cyclical: poetry and last movements repeat the opening piano motives. |
|
|
Character Pieces |
A short piece for piano which usually has some sort of extra musical characterization. They are not program music, but rather have an extra musical meaning attached to them. Schumann's character pieces were frequently inspired by literature of German romanticism. Flegeljahre - Jean Paul Walt und Vult Schumann got the idea to write Carnaval |
|
|
Carnaval |
1834-35 21 short piano pieces representing the mass revelers of carnival or Mardi gras. The characters were a mixture: Commedia dell'arte (Pierrot, Arlequin) Real People (Paganini, Chopin, Chiarina) Imaginary People (Florestan, Eusebius) ASCH (A, Eb, C, B or Bb) either where his girlfriend lived or Faschung Musical fragments - little melodic pieces that don't really begin or end. |
|
|
Felix Mendelssohn |
1809-47 Born in Berlin to a banker Age 8: Baptized Christian and given the me Bartholdy Child Prodigy: Pianist and Composer Age 9: piano soloist Age 10: Composition Lessons Age 12: Meets and impressed Goethe |
|
|
Mendelssohn Creation and Recreation |
Composer Conductor, Performer and Administrator: conductor is now a relatively new idea, before this the first violinist was mostly in charge. Before now the orchestra would have faced the stage. Mendelson works to make high quality music of the past and present available to large public in the urban centers of Europe especially in Germany. |
|
|
Mendelssohn Music Director |
1833-35 Dusseldorf Choral/Orchestral Societies, Composed Sacred Music Offered Two big positions in 1835: Munich Opera, Gewandhaus Orchestra in Leipzig 1835-47: becomes the Director of Gewandhaus One of the finest orchestras in Europe still today. |
|
|
Mendelssohn's A Midsummer Nights Dream Overture |
Concert Overture Written when he was 17 Written in 1826 Premiered February 20, 1827 In 1842, when writing incidental music, he included this and his Wedding March in the book. Many different themes Consistently played around with E, D(D#), G(G#), B |
|
|
Concert Overture |
An overture that had no program, but had some extra-musical connotations. Still resembles sonata form. |
|
|
Mendelssohn's Lieder ohne Worte (Songs without Words) |
Written in Catalena style (Melody with chordal accompaniment) 48 piano pieces, generally in ABA form |
|
|
Violin Concerto in E minor |
Adapted Ritornello form by having the soloist enter with the orchestra at the beginning and the cadenza actually begins the recap. Na pauses between movements. Premiered in 1846 at Gewandhaus Voice for the violin is very soloistic. Solo introduces the P theme. Ode to Mozart. |
