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15 Cards in this Set
- Front
- Back
Symphony No. 45 in F#m |
Haydn |
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Sinfonie in D Major |
C.P.E Bach |
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Piano Concerto in C Major
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Salieri
1773 Mvt. 1 1. Uses accompany recective in orchestra 2. Exposition is very clear 3. Mozarts rival. 4. String introduction before piano soloist enters |
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Concerto in Eflat Major |
Mozart |
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Ariadne August Naxos |
Benda, J. Brandes - librettist 3. Influenced Mozart 4. One act duodrama 5. the textadapted of a cantata by Heinrich Gerstenberg |
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Piano Sonata in G minor |
Clementi Op. 34 No. 2 All mvts. 1793
1. Made the pianoforte popular - virtuostic composing for piano 2. Doesn't start recap in the correct key, does end up in the right key for another recap 3. Introduction section developed more during the development -- not just a slow introduction 4. Acc. rhythm in the second movement becomes second theme 5. Full chords explore the instrument |
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Piano Trio in c minor
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Haydn
1789 hob xv 13 mvt 2 1. Piano the dominant instrument, violin doubles piano and cello has unimportant part 2. Only 2 movements 3. Cello doubles piano left hand because the register was weak at the time 4. Bridge contains aspects of both themes. 5. Written to be played in the home, accessible. 6. First theme is stated clearly - aspect of galant |
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Idomeneo
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Mozart
1781 Varesco, after danchet Overture and act 1 scene 1 1. Galant aspect in arpeggiations in overture 2. Switch to minor keys for strum and drang technique 3. Unison texture to a cadence 4. Singers play and equal role, not dominant anymore 5. Cyclic, transitions written out with no breaks |
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String quartet in Eflat major
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Haydn
1772 Op. 20 No. 1 mvt. 1 and 3 1. Thematic material is actually a phrase - mono thematic 2. Plus 6 chord used to clarify at the end of phrases to resolve to the dominant 3. Large scale ABA form but no textual contrat 4. Contrapuntal technique 5. Aspects of sonatas and rondo - imitative aspects |
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Piano Sonata in G Major
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Dussek
Op.35 no. 2 mvt. 1 1797 1. Was a gambler so didnt leave an archive, can be hard to find his music 2. Virtuosic, wrote his own music and toured 3. In sonata form 4. Focus on texture rather than theme - 5 different textures 5. Accepted conventional form more |
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Piano Sonata in G Major
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Dussek
Op.35 no. 2 mvt. 1 1797 1. Was a gambler so didnt leave an archive, can be hard to find his music 2. Virtuosic, wrote his own music and toured 3. In sonata form 4. Focus on texture rather than theme - 5 different textures 5. Accepted conventional form more |
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Sonata for piano and violin in e minor
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Mozart
1778 K. 304 all mvts 1. Strings become more important, used to just be piano 2. In the middle of trip when he composed this piece, normally at court to write church music 3. Double exposition borrows from concertos 4. No strange chords but instead uses dramatic tension 5. Piano still leads changes in music 6. Lighter style |
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String quartet in G Major
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Haydn
Op. 77 no. 1 1794 1. Bridge combines aspects of theme A and B 2.starts with clear theme but blends forms - aspects of sonata 3. Flat 6 relation to the first movement in 2nd 4. Monothematic - themes and variations 5. Virtuosic violin because of Solomon |
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String Quartet in Eflat Major k. 614
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Mozart
K. 614 mvt. 2 1791 1. 3 part texture 2. No harmonic shock 3. Unison texture to end phrases 4. Trills come back from the first movement 5.textural variations instead of theme |
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Mass in C minor
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Mozart
K. 427 1783 1. Galant arpeggiations and basso continuo 2. Away from Salzburg 3. Choir sings multiple octaves 4. French opera overture rhythm throughout Gloria 5. Ostenuto form from opera |