Msc 3044 Listening Exam 1

Front 1

Stabat mater dolorosa

Back 1

By Giovanni Battista Pergolesi. This is a religious work. Timbre is soprano, alto, violin I, violin II, viola and basso continuo (bass and chordal instruments, such as cello, double bass and organ)

Front 2

Digli ch'io son fedele

Back 2

By Johann Adolf Hasse. It is an aria from the opera Cleofide. It is in newer enlightenment style meaning it has short phrases, a simple melody, light texture and harmony stays in tonic, dominant and parallel minor.

Front 3

Introduction and A Fox may steal your hens, Sir

Back 3

By John Gay. This song comes from The Beggar's Opera is a ballad opera which is a comic opera that uses retexted ballads or other popular songs and spoken dialogue rather than recitative. A ballad is traditional, strophic song that tells a lengthy story.

Front 4

Dialogue

Back 4

From The Beggar's Opera by John Gay. This dialogue comes from a ballad opera which is a comic opera that uses retexted ballads or other popular songs and spoken dialogue rather than recitative. A ballad is traditional, strophic song that tells a lengthy story.

Front 5

Oh, ponder well! be not severe

Back 5

From The Beggar's Opera by John Gay. This song is a retexting of the English Ballad "The children in the wood". The Beggar's Opera is a ballad opera which is a comic opera that uses retexted ballads or other popular songs and spoken dialogue rather than recitative. A ballad is traditional, strophic song that tells a lengthy story.

Front 6

"The Turtle thus with plaintive crying"

Back 6

By John Gay. This song comes from The Beggar's Opera is a ballad opera which is a comic opera that uses retexted ballads or other popular songs and spoken dialogue rather than recitative. A ballad is traditional, strophic song that tells a lengthy story.

Front 7

Io non so chi mi tien

Back 7

From La serva padrona by Giovanni Battista Pergolesi. La serva padrona is opera buffa or Italian comic opera. This is recitative which is musically heightened speech used to report dramatic action and advance the plot.

Front 8

Lo conosco a quegli' occhietti

Back 8

From La serva padrona by Giovanni Battista Pergolesi. La serva padrona is opera buffa or Italian comic opera. This is a duet has driving rhythmic energy, alternates betwen the two characters and rapidly shifts between major and minor.

Front 9

À jamais Colin

Back 9

From the opéra comique Le Devin du village by Jean-Jacques Rousseau. Opéra comique has characters from the everyday world. Dialogue is usually spoken, but sometimes uses recitative. Principals sing simple airs or popular melodies called vaudevilles.

Front 10

Deh placatevi

Back 10

From Orfeo ed Euridice by Christoph Willibald Gluck. This piece is an aria which is a florid, expansive, elaborate, lyrical piece for solo voice set to a short poem. Orfeo ed Euridice is a reform opera meaning the overture relates to the mood of the opera, vocal virtuosity is reduced, obbligato recitative or accompanied recitative smooths the transition between aria and recitative, strophic pieces replace da capo aria, less characters, libretto is simplified, chorus plays an important role, dance takes on a dramatic role and orchestra is more prominent.

Front 11

Misero giovane

Back 11

From Orfeo ed Euridice by Christoph Willibald Gluck. This piece features a chorus which is a group of characters that participate in the drama as a single entity rather than individual characters. Orfeo ed Euridice is a reform opera meaning the overture relates to the mood of the opera, vocal virtuosity is reduced, obbligato or accompanied recitative smooths transition between aria and recitative, strophic pieces replace da capo aria, less characters, libretto is simplified, chorus plays an important role, dance takes on a dramatic role and orchestra is more prominent.

Front 12

Ahimè! Dove trascorsi?

Back 12

From Orfeo ed Euridice by Christoph Willibald Gluck. This is obbligato recitative which is recitative accompanied by full orchestra. Orfeo ed Euridice is a reform opera meaning the overture relates to the mood of the opera, vocal virtuosity is reduced, obbligato or accompanied recitative smooths transition between aria and recitative, strophic pieces replace da capo aria, less characters, libretto is simplified, chorus plays an important role, dance takes on a dramatic role and orchestra is more prominent.

Front 13

Ahimé! Dove trascorsi?

Back 13

From Orfeo ed Euridice by Christoph Willibald Gluck. This is obbligato recitative which is recitative accompanied by full orchestra. Orfeo ed Euridice is a reform opera meaning the overture relates to the mood of the opera, vocal virtuosity is reduced, obbligato or accompanied recitative smooths transition between aria and recitative, strophic pieces replace da capo aria, less characters, libretto is simplified, chorus plays an important role, dance takes on a dramatic role and orchestra is more prominent.

Front 14

Che faró senza Euridice

Back 14

From Orfeo ed Euridice by Christoph Willibald Gluck. This piece is an aria which is an florid, expansive, elaborate, lyrical piece for solo voice set to a short poem. Orfeo ed Euridice is a reform opera meaning the overture relates to the mood of the opera, vocal virtuosity is reduced, obbligato recitative or accompanied recitative smooths the transition between aria and recitative, strophic pieces replace da capo aria, less characters, libretto is simplified, chorus plays an important role, dance takes on a dramatic role and orchestra is more prominent.

Front 15

Symphony No. 3 in D Major

Back 15

By Giovanni Battista Sammartini. This is the first movement, Allegro. It uses an antecedent phrase which is the opening four bars that end on the dominant which is answered by a four bar phrase that ends on the tonic or the consequent phrase.

Front 16

Symphony in Eb Major

Back 16

By Johann Stamitz. It is No. 3 in a collection of 6 symphonies called La Melodica Germanica. This is the first movement, Allegro Assai.

Front 17

Sonata No. 26 in A major

Back 17

From Essercizi by Domenico Scarlatti, which is a collection of 30 sonatas. The form of this piece is binary, it modulates from I to V in A and from V to I in B. This piece also features crunching downbeat dissonances or accaciatura and handcrossing which is a keyboard technique where the left hand crosses over the right to create an exciting three level texture.

Front 18

Fantasia in C Minor for clavichord

Back 18

By CPE Bach, son of JS Bach. This piece features bebung which is a trembling ornament that can only be played on the clavichord. CPE Bach composes using Empfindsamer Stil which is hyper-expressivity or sensative style.

Front 19

Piano Sonata in D Major, Op 5 No 2

Back 19

By JC Bach. First movement, Allegro di molto. It is in sonata form which has exposition which is presentation of the thematic material (A in I and B in V), development which is where the themes are varied and expanded, recapitulation which is the return of themes A and B in the tonic and an optional coda.

Front 20

Symphony No. 6 in D Major

Back 20

AKA Le Matin, meaning Morning, by Joseph Haydn which is one of his early symphonies. First mvmt, Adagio; Allegro. It features a slow introduction to a fast first movement. Haydn uses concertante style where individual instruments regularly emerge from the orchestral texture to function as soloists.

Front 21

Op 33 No. 3, The Bird Quartet

Back 21

By Joseph Haydn. Haydn is known as the father of the string quartet. First mvmt, Allegro moderato. The strings sound like birds chirping and pecking.

Front 22

Symphony No. 94 in G Major

Back 22

AKA suprise symphony by Joseph Haydn. This is the second movement. The tempo is Andante or moderately slow, is mainly piano and has sudden fortissimo timpani and violin triple stops as a surprise. It is in simple binary form which serves as the basis for a set of variations.

Front 23

Symphony No. 99 in Eb Major

Back 23

By Joseph Haydn. This is the first movement, Adagio; Vivace assai. This symphony features strings, clarinets, flutes, oboes, bassoons, horns, trumpets and timpani to create a rich, imposing orchestral sound. It also contrasts stable passages of music with unstable passages with syncopated sforzandos which are strong, sudden accents or chromatically sliding chords.

Front 24

Symphony No. 99 in Eb Major

Back 24

By Joseph Haydn. This is the first movement, Adagio; Vivace assai. This symphony features strings, clarinets, flutes, oboes, bassoons, horns, trumpets and timpani to create a rich, imposing orchestral sound. It also contrasts stable passages of music with unstable passages with chromatically sliding chords or syncopated sforzandos which are strong, sudden accents.

Front 25

The Heaven's Are Telling

Back 25

This piece comes from the oratorio The Creation by Joseph Haydn. The work has been set in English and German. An oratorio is a religious dramatic work without lavish sets, costumes and acting found in opera.

Front 26

Symphony No. 40 in G minor

Back 26

By Wolfgang Amadeua Mozart. This is the first movement, Allegro. This is called the "Great" G minor symphony to distinguish it from the "Little" G minor symphony. It was one of three symphonies that he had wrote in the summer of 1788 for subscription concerts at the casino of Vienna in the fall.

Front 27

Symphony No. 40 in G minor

Back 27

By Wolfgang Amadeus Mozart. This is the first movement, Allegro. This is called the "Great" G minor symphony to distinguish it from the "Little" G minor symphony Op 25. It was one of three symphonies that he had wrote in the summer of 1788 for subscription concerts at the casino of Vienna in the fall.

Front 28

Symphony No. 41 in C Major

Back 28

By Wolfgang Amadeus Mozart. AKA Jupiter Symphony. This is Mozart's final symphony. Trumpets and timpani and stately dotted rhythms evoke images of nobility and godliness.

Front 29

Piano concerto in A Major

Back 29

By Wolfgang Amadeus Mozart. First movement, Allegro. It features concerto-sonata form meaning the orchestra's exposition is entirely in I (passive) followed by soloist exposition with modulation from I to V (active). It ends with a cadenza which is a fantasy at the end of the first movement of a concerto where the soloist plays without accompaniment and uses fragments of themes. It can be written or improvised.

Front 30

Se vuol ballare

Back 30

Aria from Le nozze di Figaro by Wolfgang Amadeus Mozart. The libretto is by Lorenzo da Ponte. Le nozze di Figaro is structured like an opera buffa, yet is infused with a serious tone.

Front 31

Porgi, amor

Back 31

Aria from Le nozze di Figaro by Wolfgang Amadeus Mozart. The libretto is by Lorenzo da Ponte. Le nozze di Figaro is structured like an opera buffa, yet is infused with a serious tone.

Front 32

Voi, che sapete

Back 32

Aria from Le nozze di Figaro by Wolfgang Amadeus Mozart. The libretto is by Lorenzo da Ponte. Le nozze di Figaro is structured like an opera buffa, yet is infused with a serious tone.

Front 33

Vostre dunque

Back 33

From Le nozze di Figaro by Wolfgang Amadeus Mozart. This is an example of ensemble finale, where at the end of an act the characters sing together. The libretto is by Lorenzo da Ponte. Le nozze di Figaro is structured like an opera buffa, yet is infused with a serious tone.

Front 34

Confutatis

Back 34

From Mozart's Requiem Mass. The text makes a contrast between confutatis, those who are damned, and benedictis, those who are blessed. Mozart places the damned in a low minor key, a jagged vocal line and a tritone (the diabolus in musica, the tonal devil)

Front 35

Lacrimosa

Back 35

From Mozart's Requiem Mass. Mozart died before it was completed. It was completed by Franz Xaver Süssmayer. Timbre is full orchestra and choir.

Front 36

Confutatis

Back 36

From Mozart's Requiem Mass. The text makes a contrast between confutatis, those who are damned, and benedictis, those who are blessed. Mozart places the damned in a low minor key, a jagged vocal line and a tritone (the diabolus in musica, the tonal devil)

Front 37

Piano Sonata C Minor

Back 37

by Ludwig van Beethoven. AKA Pathétique because it was emotional and deeply felt. First movement, Grave; Allegro molto e con brio. Sonatas have three movements which are allegro (with slow introduction)/adagio/allegro and the first movement is the longest and weightiest of the cycle.

Front 38

Piano Concerto No. 1 in C Major

Back 38

By Ludwig van Beethoven. This is the 3rd movement. It is in sonata-rondo form which is a combination of rondo and sonata form. A rondo is where an opening theme returns to the tonic key after each theme in a series of contrasting keys called episodes. Sonata form has an exposition, development, recapitulation and coda.

Front 39

Symphony No. 3 in Eb

Back 39

By Ludwig van Beethoven. AKA Sinfonia Eroica, originally dedicated to Napoleon Bonaparte until he declared himself emperor of France. This second movement is a funeral march which has muffled drums, syncopated rhythms and woodwinds that sound like the human voice to imitate crying.

Front 40

String Quartet in Bb Major Op. 130

Back 40

By Ludwig van Beethoven. This is the 5th mvmt, Adagio molto expressivo. It's title, "Cavatina" comes from operatic music. The piece is like an aria that is slow, lyrical and simple in structure. Beethoven uses the marking beklemmt or tormented.

Front 41

Kyrie

Back 41

From Missa Solemnis by Ludwig Van Beethoven. It is in ternary form. Beethoven uses the interaction of the chorus with the group of four solo voices as a dramatic tool.

Front 42

Kyrie

Back 42

From Missa Solemnis by Ludwig van Beethoven. It is in ternary form. Beethoven uses the interaction of the chorus with the group of four solo voices as a dramatic tool.