Reading...
Play button
Play button
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;
71 Cards in this Set
- Front
- Back
|
Berlioz
|
Did not play an instrument
|
|
|
Berlioz
|
Self taught composer
|
|
|
Berlioz
|
Worked with different timbres
|
|
|
Berlioz
|
"First Great French Romantic"
|
|
|
Berlioz
|
Put his personal struggles/triumps into his music
|
|
|
Berlioz
|
one of the first to break away from classical forms adn traditional harmonies
|
|
|
Berlioz
|
didn't compose at the keyboard
|
|
|
Berlioz
|
Liszt was a good friend of his and one of his biggest supporters
|
|
|
Berlioz
|
Liked the bizarre
|
|
|
Berlioz
|
Dionysian vs. Apollonain
|
|
|
Berlioz
|
liked beethoven's music and old literature (esp. shakespeare)
|
|
|
Schubert
|
known for his songs
|
|
|
Schubert
|
very shy person
|
|
|
Schubert
|
waltzes for the congress of vienna
|
|
|
Schubert
|
great gift for melody
|
|
|
Brahms
|
a classicist, very conservative
|
|
|
Brahms
|
Gesellschaft fur Musikfrend (Society of the Friends of Music)
|
|
|
Brahms
|
Wrote counterpoint very well and took an interest in Baroque music
|
|
|
Brahns
|
Passacaglies
|
|
|
Brahms
|
wrote aboslute music, unlike his contemporaries
|
|
|
Eduard Marxen
|
One of Brahms' first/most influential teachers
|
|
|
Joachim
|
Violinist that Brahms met him on tour who helped him with his violin concertos
|
|
|
Stockhausen
|
singer who promoted a lot of Brahms' music
|
|
|
Brahms
|
Wrote the German Requiem (1868) which had little reference to Jesus and was pretty taboo.
|
|
|
Hans Von Bulow
|
Conductor who called Brahms first symphony "Beethoven's 10th"
|
|
|
Brahms
|
didn't let people get to close, offended people a lot
|
|
|
Brahms
|
often composed pieces in sets of 2
|
|
|
Hanslick
|
music critic for the vienna newspaper who could make or break your career overnight
|
|
|
Brahms
|
used cyclic themes and major to minor mode changes
|
|
|
Brahms
|
did a lot of chromatic writing
|
|
|
Brahms
|
used hemiolas
|
|
|
Lexicon of Musical Invective (Sloninsky)
|
the book that criticized Brahms' symphonies, they went on to defy these statements by being great and going down in history
|
|
|
Bruckner
|
Really liked Wagner, started liking him after seeing a performance of "Tristan and Isolde"
|
|
|
Simon Sechter
|
taught Bruckner counterpoint, and also taught Schubert during the last year of his life. Had a rule that you couldn't compose outside of class
|
|
|
Bruckner
|
Was raised in the church
|
|
|
Bruckner
|
Didn't really quote from anyone
|
|
|
Bruckner
|
a simple man
|
|
|
Bruckner
|
Became a teacher in 1868 for theory and counterpoint t the University of Vienna. He even taught Mahler at one point
|
|
|
Bruckner
|
Found himself constantly under attack because of Hanslick
|
|
|
Bruckner
|
"fundamental bass"
|
|
|
Bruckner
|
the "adagio composer" because of his use of slow harmonies
|
|
|
Bruckner
|
his first movements were long and took a long time to get underway
|
|
|
Bruckner
|
his music was sometimes compared to the gothic arch (tremendous spans, bigness in time and in space, organ-like sonorities)
|
|
|
Bruckner
|
tremulo figures in the strings and Urthema (primordial theme)
|
|
|
Bruckner
|
The typical rhythm in his symphonies was two quarter notes followed by a quarter note triplet
|
|
|
Bruckner
|
Had an obsessive dedication to the craft of counterpoint and the fundamentals
|
|
|
Bruckner and Mahler
|
wrote 9 symphonies
|
|
|
Bruckner
|
loved to write for brass
|
|
|
Bruckner
|
used a lot of themes with 5ths and octaves in his works
|
|
|
Bruckner
|
didn't live to complete his 9th symphony (the 3rd movement is the final one since he didn't live to finish the 4th)
|
|
|
Bruckner
|
Wrote really long development sections, people would sometimes get after him about this
|
|
|
Mahler
|
told people he was catholic (even though he was actually jewish) because it made getting jobs easier
|
|
|
Mahler
|
was overshadowed by Strauss
|
|
|
Mahler
|
one of the first major musicians to question why God allowed bad things to happen
|
|
|
Mahler
|
an obsessive neurotic
|
|
|
Mahler
|
left sketches for a 10th symphony behind when he died
|
|
|
Mahler
|
hard to get along with, suffered from manic depression
|
|
|
Mahler
|
people hated playing under him because he would pick on individual people
|
|
|
Mahler
|
was head of the Vienna opera for many years, then came back and was director the New York Philharmonic Society orchestra
|
|
|
Mahler
|
the symphonic poem "Funeral Rites"
|
|
|
Mahler
|
disliked providing audiences with programmatic notes
|
|
|
Mahler
|
used cyclic themes
|
|
|
Mahler
|
was mostly regarded as a conductor, rather than a composer, at his time
|
|
|
Bruckner
|
wasn't as known for his music itself because he was overshadowed by other composers
|
|
|
Mahler and Bruckner
|
composed long works
|
|
|
Mahler and Bruckner
|
wrote based on folk songs
|
|
|
Mahler and Bruckner
|
were influenced by Beethoven
|
|
|
Mahler
|
Used more unusual instruments in his symphonies (like the harp and the sleigh bells)
|
|
|
Bruckner
|
Used more standard instruments in his symphonies (with the exception of the Wagner tubas in his 7th)
|
|
|
Mahler
|
His music had a lot of unrest
|
|
|
Bruckner
|
his music focused on repose and restfulness
|
