Celebrate Theory: ARCT History (Units 1-7)

Ho,v to Use This Book ..............................................................................................................
Part 1: The Romantic Era (ea 1825-ea 1900)

Elements of Romantic Musical Style ............................................................................................ 8
Genres of the Romantic Era ............................................ :............................................................... 8
Listening for Elements of Romantic Musical Style .................................................................... 9
Unit 1: Schubert and the "Trout" Quintet .................................................................. 10
Unit 2: Mendelssohn and Violin Concerto in E Minor ....................................... 18
Unit 3: Robert Schumann and Carnaval.. ................................................................... 25
Unit 4: Clara Schumann and Liebst du um Schonheit ......................................... 32
Unit 5: Brahms and Ein deutsches Requiem .............................................................. 37
Unit 6: Liszt and La Campanella .................................................................................... 42
Unit 7: Verdi and La traviata ............................................................................................. 48
Unit 8: Wagner and Die Walkure .................................................................................... 56
Unit 9: Tchaikovsky and Romeo and Juliet Overture ............................................ 64
Review and Reflection... ................................................................................................................ 68
Exam Study Outline ...................................................................................................................... 69
Part 2: The Modern Era (ea 1900)

Elements of Modern Musical Style ............................................................................................ 71
Musical Approaches and Genres of the Modern Era ............................................................. 72
Listening for Elements of Modern Musical Style .................................................................... 73
Unit 1: Mahler and Symphony No. 4 .............................................................................. 74
Unit 2: Ravel and Jeux d'eau ............................................................................................... 80
Unit 3: Schoenberg and Pierrot lunaire ........................................................................ 85
Unit 4: Berg and Wozzeck .................................................................................................... 94
Unit 5: Webern and Symphony, op. 21 ....................................................................... 100
Unit 6: Bart6k and Concerto for Orchestra ............................................................. 105
Unit 7: Prokofiev and Romeo and Juliet Suite No. 2 ............................................. 110
Unit 8: Messiaen and Quatuor pour la fin du Temps ......................................... 116
Unit 9: Ligeti and Atmospheres ....................................................................................... 121
Unit 10: Copland and Fanfare for the Common Man ......................................... 124
Unit 11: Coulthard and Canada Mosaic ................................................................... 130
Unit 12: Cage and Sonatas and Interludes ............................................................... 133
Unit 13: Reich and Electric Counterpoint.................................................................. 137
Unit 14: Schafer and Snowforms .................................................................................... 142
Review and Reflection ................................................................................................................. 145
Exam Study Outline ....................................... ............................................................................. 146
Part 3: Independent Study Essay

Introduction and General Approach ....................................................................................... 148
Choosing Your Topic ................................................................................................................... 149
Exploring and Gathering Resources ........................................................................................ 151
Writing the Essay ......................................................................................................................... 152
Glossary ...................................................................................................................................... 153

4
How to Use This Book

This book is the third in a three-volume series intended Preparing for the ARCT History Examination
to support students and teachers preparing for history This book will be your most valuable resource as you navigate
examinations of The Royal Conservatory Certificate Program the course requirements of ARCT History. The information and
as outlined in the Theory Syllabus, 2016 Edition. These books activities in this volume will enable you to successfully complete
will also be of interest and value to students and music lovers all components of the examination.
whose goal is simply to explore music history for the sake of
becoming better-informed musicians. Terms and Definitions
Celebrate Theory: ARCT History focuses on music of the
All terms required for examinations are marked with an
19th and 20th centuries and is intended to prepare students for
asterisk (*). When new terms are introduced, key words and
the ARCT History Examination. Representative composers and
phrases are provided so that you can formulate definitions in
works from these two eras are presented. Emphasis is placed
your own words. Your completed definitions for these terms
on developing familiarity with the lives and musical styles
should be compiled in the Glossary at the back of the book.
of selected composers and exploring a wide variety of genres
This Glossary is organized alphabetically and will be a useful
and forms that demonstrate the musical developments and
resource when studying.
innovations of these eras. As a culminating activity, students
are invited to explore one of three topics-jazz, musical theater,
or technology in music-which provides an opportunity for
Composer Outlines
independent research and study. The outlines of composers' lives and musical careers will
We recommend that students attend classes or participate provide you with the information needed to formulate a
in online courses offered by a qualified teacher or institution. complete account. To prepare for your examination, we
Students should make it a priority to listen to recordings of recommend you use these outlines to practice writing
the works studied-not doing so would be like studying art biographical sketches in paragraph form . You may wish to
history without viewing any paintings! Whenever possible, it keep a dedicated file on your computer, or maintain a binder or
would be beneficial for students to examine music scores while notebook for this purpose. A complete account would include
completing listening activities. biographical information followed by a summary of the
This volume contains a variety of activities that require composer's musical style, list of principal genres cultivated,
both writing and listening. Terms necessary to understand and and titles of major works.
describe music are introduced in segments entitled "Building
a Musical Vocabulary." Major composers are introduced and Required Listening
their lives and musical accomplishments are explored. Specific The listening activities in this volume will prepare you to
compositions to be studied are identified by the heading describe musical works in detail using appropriate terminology.
"Required Listening." Other listening activities involve the Using the background information provided, details from
identification of musical or stylistic elements in familiar works listening guides, related terms, and your own impressions, you
from the era being examined. Each part concludes with a will be able to write complete and thorough descriptions of the
"Review and Reflection" section to help students synthesize the required works included in this volume.
information presented while inviting personal opinions. This book will help you develop a familiarity with the
Since the study of music history should be both interesting musical styles of the Romantic and Modern eras. As a result,
and enjoyable, we have included additional items and activities you will be able to perform and listen to music with a deeper
to enhance the learning experience and provide a broader understanding.
perspective. Text boxes present anecdotal facts and stories, and
invitations to explore information on line are offered throughout.
"Supplemental Activities" are optional; they are intended to
enrich the study of music history by inviting students to gain a
more personal experience with the material. Recommendations
for additional listening appear after each section devoted to a
specific composer.
To enrich your studies, we encourage you to explore the
wide array of online resources offering information about
composers and performers as well as images, videos, and audio
recordings. For a list of recommended resources that includes
books, encyclopedias, websites, and recorded performances, as
well as listening materials for all required pieces, please visit
celebratetheory.com.
How to Use lh1s tiook
Exam Study Outlines

A study outline is provided at the end of each part to help organize the material that you
need to prepare for the ARCT History Examination.
To facilitate the study and analytical description of musical works, you should
understand and be able to apply the following terms:
notation
pitch
rhythm
meter
melody
harmony
dynamics
timbre
texture: monophonic, polyphonic, and homophonic
vocal ranges: soprano, alto, tenor, and bass
keyboard instruments: organ, harpsichord, clavichord, and piano
orchestral instruments: strings, woodwinds, brass, and percussion, including
individual instruments within each family
For each of the two eras covered in this book, you should review information in the
following categories:
Terms Definitions of each term with examples (titles of required works) that illustrate their application
---~··
Biographical details: year of birth and year of death, birthplace and nationality, family background,
education and professional training
Musical career: places of employment, patrons, significant associations or connections with people,
Composers places, and events
Musical style and contributions: stages or style periods, innovations, musical influences, impact and
significance, genres cultivated, titles of representative works
Description of each work, including:

• date of composition
• historical context (occasion or circumstances of composition)
• type or genre
• performing forces (ensemble, soloist(s) required)
• formal structure
Required Works • key structure (main modulations or tonal centers, if applicable))
• tempo and meter
• musical character, mood, or atmosphere
• extramusical connections (if any)
• text (if applicable: source, author, language, general meaning)
• plot (if applicable: summary of plot of entire ballet or opera)
Recognition of musical excerpts from the required works, selected from the musical illustrations
Thematic Excerpts included in this book
Summary of the musical style of each era and comparison of any two eras. Your summary may draw on
personal reflection, opinion, and commentary but also be aligned with the points listed above.
Independent Study Write an essay, prepared according to one of the three outlines provided.
Part
The Romantic Era
(ea 1825-ca 1900)
Schubert and With its rallying cry of "Liberte! Egalite! Fraternite!," the French Revolution of 1789 marked
the "Trout" Quintet the dawning of the Romantic era. In the aftermath of the revolution, the European social
10 order was forever altered. While aristocratic privilege was not eliminated entirely, it was
severely restricted by a rising middle class. Also emerging was the voice of the individual,
Mendelssohn and freely expressing a uniquely subjective view of the world.
Violin Concerto in E Minor The Romantic aesthetic found expression in many art forms, including literature,
18 visual arts, and music. In many respects, Romanticism was a reaction to the Classicism that
came before it. Where previously there was balance, asymmetry now followed; emotional
Robert Schumann and restraint was replaced by unbridled passion and spontaneity; and where objective
Carnaval viewpoints had dominated, a deeply personal, subjective perspective now emerged.
25 The following attitudes were expressed in 19th-century art, literature, and music. You
will encounter many of these in the compositions included in this unit.
Clara Schumann and
Liebst du um Schonheit individualism
32 • artists expressing their own unique views of the world
• classical objectivity supplanted by a more subjective approach
Brahms and • an attitude described well by Jean-Jacques Rousseau in The Confessions, who said: "If I
Ein deutsches Requiem am not better [than other people], at least I am different"
37
heightened emotionalism
Liszt and • Classical restraint gave way to uninhibited expressions of human emotions and
La Campanella passions
• represented in literary works such as Gustave Flaubert's Madam e Bovary and
42
Alexandre Dumas's La Dame aux camelias
Verdi and • evident in music for piano including Robert Schumann's Fantasy and Chopin's
La traviata Nocturnes, and orchestral works such as Tchaikovsky's Symphony No. 6 in B Minor,
48 op. 74 ("Pathetique")
Sehnsucht
Wagner and
• German for "longing"
Die Walkure
• yearning for the unattainable; expressed in works such as Richard Wagner's opera
56
Tristan und Isolde and Franz Schubert's song Gretchen am Spinnrade
Tchaikovsky and Weltschmerz
Romeo and Juliet Overture • German for "world-weariness"
64 • growing pessimism began to permeate the works of writers, artists, and musicians
• exemplified in Franz Schubert's song cycle Winterreise
fascination with death and the supernatural
• attraction to the finality of death, the macabre, and the sinister
• writers and painters were drawn to mystical, magical, and spectral phenomena
• exemplified in the fairytales published by the Brothers Grimm in 1812
• epitomized by Franz Liszt's Totentanz (Dance ofDeath), the final "love-death" aria
("Liebestod") in Richard Wagner's Tristan und Isolde, Carl Maria von Weber's opera
Der Freischiitz, and the fifth movement of Hector Berlioz's Symphonie fantastique
art as religion
• art became a replacement for traditional religion, through the pursuit of the divine
spark and the search for sublime beauty
• Richard Wagner referred to his opera Parsifal as "a festival-drama of consecration"
adoration of nature
• nature viewed allegorically, as a mirror of the artist's soul
• celebration of the awesome forces of nature, including the violence of ocean storms
and untamed wilderness
• seen in the paintings of J.M.W. Turner and Caspar David Friedrich
• expressed by Ludwig van Beethoven in his groundbreaking Symphony No. 6 in
F Major, op. 68 ("Pastoral")
exoticism
• fascination with the distant and foreign
• evoked in music through melody, rhythm inspired by local dances, modal inflections,
chromatic harmony, and colorful orchestration
• especially prominent in operas such as Giuseppe Verdi's Aida, Jules Massenet's Thais,
and Leo Delibes's Lakme
nationalism
• 19th-century political and social climate marked by patriotic fervor, desire for
independence, and escape from oppression
• piano music influenced by folk song and dance, such as Frederic Chopin's Polonaises
and Mazurkas, Antonin Dvofak's Slavonic Dances, and Franz Liszt's Hungarian
Rhapsodies
• sometimes characterized by references to local myths and legends, and historical
events or inspired by specific landscapes, like Bedrich Smetana's "Vltava" ("The
Moldau")
THE ROMANTIC spirit was embodied in the works of many 19th-century writers and
artists. Notable among them were Johann Wolfgang von Goethe (1749-1832), Caspar David
Friedrich (1774-1840), and Charles Dickens (1812-1870). Go online to sample the literary .
Goethe was a prolific German poet, writer, and philosopher whose works inspired
and artistic works mentioned in
generations of artists and musicians. His works include the semi-autobiographical novel
the box.
The Sorrows of Young Werther. The book helped define Sturm und Drang ("Storm and
Stress"), a literary movement that sowed the seeds of Romanticism.
Friedrich was a successful painter who captured the essence of early German
Romanticism in his mystical landscapes. His wondrous contemplation of nature was
evoked through his depictions of Gothic ruins, gnarled trees, and mist-enshrouded
mountaintops. Among his most celebrated works are Wanderer Above the Mist and The
Abbey in the Oakwood.
In Dickens's novels we gain a sense of not only the idealism, but also the harsh realities
of 19th-century life in England. Among his classic works are Oliver Twist, A Tale of Two
Cities, A Christmas Carol, and Great Expectations.
8 Part 1: The Romantic Era
Elements of Romantic Musical Style

As we begin our study of specific composers and works from the 19th century, we will
discover certain recurring characteristics and common features. With your teacher's
guidance, discuss and explore each of the following elements of Romantic mu~ical style,
The Musee d'Orsay stands on the with reference to specific examples wherever possible.
Left Bank of the River Seine in
melody
Paris. Housed in a spectacular
• lyrical and expansive
setting-a converted railway
station-the museum is dedicated
• often influenced by folk song and dance
to 19th-century art and culture. harmony
It offers visitors the chance to • increased chromaticism
experience an eclectic mix of • exploration of new tonal centers; for example, mediant and submediant
paintings, sculpture, furniture, and • exploration of modal harmony
artifacts. Visit the Musee d'Orsay
website to take a virtual tour of this rhythm
fascinating facility. • increasingly complex and varied
• use of cross-rhythms, hemiola, and irregular groupings
• tempo rubato applied by the performer
formal structure
• expansion and development of large forms: symphony, opera, and song cycle
• cyclical structure, linking of movements
• development of miniature forms, such as Lieder and character pieces for piano
dynamic range
• expanded to extreme levels
• compared to earlier eras, the markings in the scores are more specific
orchestral instruments
• expansion of the orchestra to include harp, piccolo, English horn, trombone, tuba,
and contrabassoon
• improvements to instruments; for example, seven pedals were added to the harp
enabling it to be played in all keys
• composers were inspired to exploit the expanded capabilities of instruments in
increasingly demanding and virtuosic works
piano
• technological improvements such as a cast iron frame that supported thicker strings,
resulted in a richer, fuller tone; the invention of"double escapement" action allowed
for rapid repetition of individual keys
• pieces requiring greater virtuosity-like the concert etude-were composed for the
updated instrument
programmatic elements
• a significant trend in 19th-century music
• instrumental music with extramusical associations to literature, poetry, and visual art
• descriptive titles that evoke specific images in the listener's imagination
• orchestral genres included concert overture, symphonic poem, program symphony,
and incidental music
Genres of the Romantic Era

As a result of social changes in the 19th century, notably the rise of the middle class,
audiences in the Romantic era represented a wider spectrum of society than ever before.
There was a growing number of amateur musicians, ensembles, choirs, and more public
concerts.
Yan .1: lilt: 1\UlllallllC .c1a
Instrument makers were inspired to improve the quality of their instruments and
new genres were created to showcase their capabilities. Virtuoso musicians, including
violinists Nicolo Paganini, Ferdinand David, Joseph Joachim, and Eduard Remenyi, and
pianists Franz Liszt and Frederic Chopin, enthralled audiences across Europe. Several of
the instrumental genres that flourished in the 19th century-chamber music, concerto,
etude, character piece, and concert overture-are represented in the units that follow.
Vocal music served as an ideal vehicle for conveying the heightened emotionalism
that was intrinsic to the Romantic spirit. Composers gave musical expression to the THE TERM "Romantic" refers
work of leading writers and poets of the day-Goethe, Heine, and Dumas-while also to more than 19th-century style
looking to the past-the Bible, Shakespeare, myths, and legends- for their inspiration. and practice; Romanticism can
also be viewed as a concept or
Opera continued to rise in popularity, leading to the development of new styles: bel canto
attitude. For example, Mozart's
opera with its compelling arias and vocal virtuosity, grand opera with its spectacular
opera Don Giovanni was
effects, Italian verismo opera with its blending of realism and exoticism, and Wagner's
considered to be the epitome of
revolutionary music dramas. The vocal genres that you will encounter in Part 1-the Lied, Romanticism by audiences in
sacred choral music, and opera-clearly demonstrate the main currents of Romanticism. the 1800s. The music of Richard
Strauss, which includes operas
Listening for Elements of Romantic Musical Style and songs written well into the
20th century, contains sublime
Listen to a recording or watch a performance of two or more of the following works and examples of Romantic expression.
identify the stylistic features present in each by checking the appropriate box below.
• Mazurka in A Minor, op. 17, no. 4 by Frederic Chopin
• Also Sprach Zarathustra (opening) by Richard Strauss
• "Dies Irae" from Messa da Requiem by Giuseppe Verdi
• Liederkreis, op. 39, no. 5 ("Mondnacht") by Robert Schumann
Selection No. 1
Title: - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Musical Feature Yes No Comment

lyrical melody
folk elements
chromatic harmony
wide range of dynamics
virtuosity
exoticism
nationalism
Selection No. 2
Title: - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Musical Feature Yes No Comment

lyrical melody
folk elements
chromatic harmony
wide range of dynamics
virtuosity
exoticism
nationalism
10
Unit 1 Schubert and the "Trout" Quintet

Franz Schubert (1797-1828)
The last of the four great Viennese composers, Franz Schubert stands as a transitional
figure whose music exemplifies traits of both Classical and Romantic music styles.
Although he is best known for his six hundred German Lieder, Schubert's output in the
chamber music genre includes numerous masterpieces, and his solo piano works hold an
important place in the repertoire.
Musical Style and Contributions

"WHEN J W ISH E D TO SI N G OF LOVE, • combines Classical and Romantic traits
it turned to sorrow. And when I wished • Classical traits include:
to sing of sorrow, it was transformed fo r - approach to formal structures; for example, sonata form with a repeated exposition
m e into love." - choice of forms and genres; for example, symphony, sonata, piano trio, and string
Franz Schubert quartet
- symmetrical phrase structures
- size and makeup of orchestra
• Romantic traits include:
- use of chromatic harmony
- juxtaposition of major and minor tonality
- unexpected modulations
- cultivation of Lied, lyric piano pieces (impromptus, moments musicaux)
- choice of poems
- interest in supernatural, nature, folk elements
- melodic lyricism
• influenced by Mozart (lyrical melodic style) and Beethoven (symphonic writing)
• influenced by German Romantic poets, especially Johann Wolfgang von Goethe
• close connection between text and music in art songs: uses harmony to highlight key
words (word painting)
• increased role of piano in art songs: piano accompaniment often depicts specific
elements of the poem
• introduced new psychological intensity into individual songs and song cycles
• vocal lyricism pervades all of his works
• sorrow and deeply personal emotions are reflected in many works; for example,
"Death and the Maiden" Quartet, Winterreise, and Fantasy in F Minor
• turned to his own Lieder as a source of inspiration for new compositions; for example,
"Death and the Maiden" Quartet, "Wanderer Fantasy," and the "Trout" Quintet
Genres and Titles

Symphonies 9, including No. 8 ("Unfinished") and No. 9 ("Great")
Chamber 15 string quartets (including "Death and the Maiden"), "Trout"
Quintet, piano trios, octet for winds, duo sonatas
Piano sonatas, impromptus, moments musicaux , variations, dances, duets
Lieder 600, including An die Musik, Standchen, Die Forelle, Heidenroslein,
Ave Maria
Song cycles Die Winterreise, Die schone Mullerin, Schwanengesang
Vocal Fierrabras (opera), 7 masses
Unit 1: Schubert and the "Trout" (2uintet .L.L
~ Building a Musical Vocabulary~

Using the key words and phrases provided, write a definition in the Glossary (page 153) for each term marked with an
asterisk (*).
chamber music* piano quintet

• music for small ensemble (two to ten players) • chamber ensemble consisting of piano and four other
• one player per part instruments
• usually performed without a conductor • most common grouping is piano with string quartet,
though other combinations are possible
string quartet • also refers to a composition written for five instruments,
• the most important chamber music genre of the including piano
Classical era; remained popular in the 19th and 20th
centuries theme and variations*
• performing forces: first violin, second violin, viola, and • a work featuring a statement of a melody (theme)
cello followed by a series of transformations (variations)
• usually in four movements: fast-slow-moderately fast- • changes can be made to melody, harmony, rhythm, or
fast orchestration
• first movement is usually in sonata form • often used in the slow movement of sonata cycle
-------------------------------------t~HifiildiihHihki-
Piano Quintet in A Major, D 667 ("Trout")
Fourth Movement
In his Piano Quintet in A Major, D 667, Schubert beautifully adapted his own charming
song, "Die Forelle" ("The Trout") and used it as the basis of the fourth movement.
A striking element of the "Trout" Quintet is its instrumentation: piano, violin, viola,
cello, and double bass. The double bass, not usually included in small chamber music
ensembles, brings new instrumental color and textural possibilities. Th is combination of
instruments has certainly contributed to the work's enduring appeal.
Background Information
Genre chamber music (piano qu intet)
Composition date 1819
Structure five movements
Performing forces piano, violin, viola, cello, double bass
SCHUBERT HAD spent the summer of 1819 in the Alps with famous opera singer Johann
Michael Vogl. In the resort town of Steyr, he met Sylvester Paumgartner, a wealthy amateur
cellist who held concerts in his home. Paumgartner expressed admiration for Schubert's
Lied "Die Forelle" and asked Schubert to compose variations based on it. Paumgartner had
previously assembled musicians to perform a quintet by Johann Nepomuk Hummel for
piano, violin, viola, cello, and double bass, a factor that likely contributed to the choice of
instrumentation for the "Trout." Schubert's five-movement work was not published until
after his death.
Before listening to the fourth movement of the "Trout" Quintet, listen to Schubert's
Lied "Die Forelle," composed in 1817.
Ex. 1.1 Schubert, "Die Forelle": mm. 1-10
Etwas lebhaft
In ei - nem Bach-lein hel le, da scho/3 in fro - her_ Eil die
• in the text of this charming song, the narrator observes how a ruthless fisherman
outwits an unfortunate trout
• the song is in modified strophic form
• the piano accompaniment depicts the splashing water
THE srx HUNDRED LIEDER of Franz Schubert include many beloved masterpieces that
demonstrate the depth and power of expression resulting from the union of poetry and
music. One of the remarkable features of these magnificent works is the role assigned to
the piano, going far beyond that of mere "accompaniment" to also depict specific elements
of the poem. The splashing water in Die Forelle, the spinning wheel in Gretchen am
Spinnrade, and the galloping horse in Erlkonig are striking examples of this expanded role
for the piano in communicating the essence of the poetry.
listening Guide
Listen to a recording or watch a performance of the fourth movement from the Piano
Quintet in A Major ("Trout"). If possible, follow a score while you listen.
Fourth Movement
Key D major
Form theme and variations
Tempo Andantino
Meter !
Theme "Die Forelle" (Lied by Schubert)
umt 1: ~cnuoerr ana me irom 1...1umLeL
Theme
Ex. 1.2 Schubert, "Trout" Quintet, 4th mvt: mm. 1-8
Andantino
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• musical character is graceful and elegant
Variation 2
Ex. 1.4 Schubert, "Trout" Quintet, 4th mvt: mm . 41-43
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• musical character remains lighthearted and elegant
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• theme is played by double bass, resulting in a comical effect
• piano plays a virtuosic accompaniment to the theme
• the violin and viola play a syncopated sixteenth-note accompaniment
• musical character is humorous and ironic
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• theme is shared by all instruments; dialogue between piano and strings

• begins in D minor; abrupt changes of dynamics
• more dramatic and forceful effect
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• theme is played by the cello

• begins in B flat major; cello plays the theme in jagged dotted rhythms
• piano responds, imitating the rhythmic figure
• broad and lyrical
• transition prepares and leads into Variation 6
Variation 6
Allegretto
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theme is played by the violin

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• piano plays the sixteenth-note triplet accompaniment drawn from the original song
• tempo changes to Allegretto
• a gentle coda (as in the original song) brings the movement to a quiet close
Reflection
In your own words, comment on how this work captures aspects of both Classical and
Romantic style.
unn 1: .)Cnuoerc anu Lne uuuL '-..(UlllLt:L
SUPPLEMENTAL ACTIVITY
Piano Quintet in A Major, D 667 ("Trout")

To complement your detailed study of the fourth movement of Piano Quintet in A Major,
D 667 ("Trout"), sample the other movements to experience the overall structure. The
table below gives an overview of the work as a whole.
Movement Key Tempo Meter Features

First A major Allegro vivace t sonata form
Second F major Andante I lyrical, songlike
Third A major Scherzo: Presto I ABAform
Fourth D major Andantino ! theme and variations
Fifth A major Allegro giusto ! lively finale
-----------------------------------.. .•h·IIMu■MiiiNIHiiihi-11
Fantasy in F Minor, D 940, for Piano Four-hands
Another of Schubert's beloved works, the Fantasy in F Minor further demonstrates the
growing interest in chamber music in the 19th century. Composed in 1828, the final year
of his life, the work captures the bittersweet beauty and lyricism associated with the music
of Schubert. Like his "Wanderer Fantasy" (Fantasy in C Major, op. 15) for solo piano, the
Fantasy in F Minor consists of four contrasting but connected sections, resembling the
four-movement sonata cycle structure. As an alternative to listening to a recording, if you
are a pianist, consider finding a partner and reading the work.
Sonata in A Minor, D 821, for Arpeggione and Piano,

First Movement
Before listening to this work, search online for a picture of the arpeggione, a six-stringed
instrument with frets much like a guitar that was played using a bow like a cello. Although
this instrument was extremely popular in Schubert's lifetime, the Sonata in A Minor
stands alone as the most significant surviving work composed for the arpeggione. Today
the work is performed by cello, viola, or sometimes double bass with piano.
18
Unit 2 Mendelssohn and

Violin Concerto in E minor
"EVE N THE SMALL EST TASK IN MUSIC IS Felix Mendelssohn is among the most celebrated child prodigies in the history of music.
so absorbing, and carries us so far Born into a wealthy and cultured family, by his early teens he was an accomplished
away from town, country, earth, and all pianist, organist, conductor, and composer. His privileged upbringing included the finest
worldly things, that it is truly a blessed education, travels throughout Europe, and opportunities to perform with outstanding
gift of God."
professional musicians in his family's home. Mendelssohn's music captures the spirit of
Felix Mendelssohn Romanticism, yet maintains respect for the Classical tradition. Hallmarks of his style
include youthful exuberance, lyricism, and imaginative use of orchestral color.
Felix Mendelssohn (1809-1847)

Use the following outline to write an account of the life and music of Felix Mendelssohn.
Life and Musical Career

1809 • born in Hamburg, Germany, into a Jewish family of intellectuals and musicians
• grandfather, Moses Mendelssohn, was a respected rabbi and philosopher
• father, Abraham, was a merchant banker
• mother, Lea, supervised the Mendelssohn childrens' musical education
• Felix was one of four children; his older sister Fanny was a talented pianist and
composer
• because of political and social concerns, the family converted to Christianity and
added Bartholdy to their surname
• beginning at age seven, he had lessons with pianist Marie Bigot in Paris
• by age ten, he was studying music theory with Carl Friedrich Zelter, director of the
Berlin Singakademie
• he was also a gifted painter and linguist
• frequently traveled to European countries during his youth; met celebrated German
writer Johann Wolfgang von Goethe at age twelve; met Franz Liszt and Luigi
Cherubini at age sixteen
• composed his earliest masterpieces while still in his teens, including Octet for Strings
and Overture to A Midsummer Night's Dream
1827 • began studies in law and aesthetics with renowned German philosopher G.W.F. Hegel
at the University of Berlin
1829 • organized an historic revival ofJ.S. Bach's St. Matthew Passion-the first performance
since Bach's death
• traveled frequently to the British Isles, Austria, Italy; many compositions were
inspired by the landscapes and regional songs and dances of these countries
1833 • appointed director of music in Diisseldorf; held the position for three years
1835 • became conductor of Leipzig Gewandhaus orchestra; held this post until 1846
• married Cecile Jeanrenaud in 1837; they had a happy marriage and five children
1841 • appointed Royal Kapellmeister in Berlin but continued to conduct in Leipzig, where
he was an important figure; divided his time between both cities
• in great demand as a conductor-championed both historic and contemporary works;
made numerous guest appearances in Europe and England (invited to Buckingham
Palace in 1842; Queen Victoria performed his songs and admired his music)
1843 • founded the Leipzig Conservatory, regarded as the finest school of its kind
1847 • the sudden death of his sister Fanny (Hensel) in May was extremely traumatic
• he died a few months later on November 4, 1847, after a series of strokes
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Using the key words and phrases provided, write a definition in the Glossary (page 153) for each of the following terms.
concerto* cadenza*
• a multi-movement work for soloist(s) and orchestra • a solo passage heard in a concerto, aria, or any large
• showcases virtuosity of soloist(s) orchestral work
• in the 19th century, generally included a first movement • often of a virtuosic nature
in sonata form • suggests an improvised style
• 19th-century cadenzas were usually written out by the
sonata form* composer
• formal structure often used in first movement of a
sonata cycle
• consists of exposition (statement of two or more
contrasting themes), development (departure), and
recapitulation (return)
• also known as sonata-allegro form

• roots of his musical style are in the 18th century; Robert Schumann called him the
"Mozart of the 19th century"
• was encouraged as a student to emulate the proven models of Bach, Handel, Haydn,
and Mozart
• a close study of Bach's music led to a love of counterpoint and part-writing
• influenced by the choral techniques in Handel's oratorios
• inherited a preference for balanced symmetrical phrases and clarity of texture from
Mozart and the Viennese Classical style
• other Classical-style elements include application of traditional forms, clear harmonic
function, sonata form (with repeated exposition), moderately sized orchestra
(approximately forty players)
• structural innovations such as linking movements (inspired by Beethoven)
• Romantic features include programmatic elements (descriptive titles, natural imagery,
literary references), memorable melodies, unexpected modulations, virtuosic writing
• contributed to the development of the formal structure of the Romantic concerto
• new Romantic idioms included concert overture, incidental music, short lyric piano
pieces
• vivid and colorful orchestration, rapid leggiero string passages, chordal texture in the
winds
• light, scherzando writing (for example, Overture to A Midsummer Night's Dream) is a
hallmark of his style
Genres and Titles

Symphonies 5, including No. 3 ("Scottish"), No. 4 ("Italian"), No. 5 ("Reformation")
Concertos 3 violin, 2 piano, 2 double piano, 1 piano and violin
Overtures including Overture to A Midsummer Night's Dream,
The Hebrides (Fingal's Cave)
Incidental music Antigone, A Midsummer Night's Dream
-------------
Chamber duos, string quartets, piano trios, quartets, string quintets, octet
Piano including Rondo capriccioso, Variations serieuses, sonatas, preludes
and fugues; Lieder ohne Worte (Songs without Words)
Organ preludes and fugues
Oratorios St. Paul, Elijah
Vocal concert arias, Lieder, folk song arrangements, duets
-.aifi@iiiiiilH·Mhl--------------------------------------
Violin Concerto in E Minor, op. 64
First Movement
Mendelssohn composed th is concerto in 1844 fo r t he celebrated vio linist Ferdinand
David. Today, it remains a favorite of performers and concertgoers. The impassioned
opening solo violin melody immediately captures the listener's attention . Within its
three movements-performed without pause-Mendelssohn captures dramatic
passion, poetic lyricism, and virtuosity.
Genre violin concerto
Structure three movements
Performing forces solo viol in and orchestra
Listening Guide
Listen to a recording or watch a performance of the first movement from the Violin
Concerto in E Minor, op. 64. If possible, follow a score while you listen .
First Movement
Key E minor
Form sonata
Tempo Allegro motto appassionato
Meter ~
Exposition (mm. 1-226)

• follows the increasingly common practice of dispensing with the "double-exposition "
format that had been customary in the 18th-century concerto
First Theme (mm. 1-71)

• the first theme is presented as a small ternary (ABA) form
Ex. 1.9 Mendelssohn, Violin Concerto in E Minor, op. 64, 1st mvt: mm . 2-10
p
• after a very brief orchestral introduction, solo violin enters with a broad melody
outlining the tonic triad
• virtuosic writing for the solo violin includes rapid passagework, triplets, and octaves
• first theme restated by orchestra
FELIX MENDELSSOHN was a multitalented 19th-century "Renaissance man." Besides

his remarkable achievements in the field of music as a pianist, conductor, and composer,
he was an accomplished swimmer, equestrian, and chess player. He was fluent in several
languages, including German, English, Italian, and ancient Greek, and was an eloquent
writer. In addition, Mendelssohn excelled as an impresario and producer of musical events,
organizing elaborate concerts even in his teenage years. There is also evidence of his
artistic talents, revealed in pencil sketches documenting his extensive travels, along with
watercolors, cartoons, and caricatures.
Umt :l: Mendelssohn and v 101m 1..,oncerro m 1:. ivunur
Bridge Theme (Transition) (mm. 72-130)

Ex. 1.10 Mendelssohn, Violin Concerto in E Minor, op. 64, 1st mvt: mm. 72-76
1(50 J'Q
• soloist leads with angular melody followed by electrifying passagework involving
string crossings, arpeggiated figures, and double stops in rising chromatic thirds
• modulates to G major (relative major)
Second Theme (mm. 131 - 168)

Ex. 1.11 Mendelssohn, Violin Concerto in E Minor, op. 64, 1st mvt: mm . 139- 147
FI.
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Vn. Solo
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pp
• clarinets and flutes introduce a serene melody in G major while the solo violin plays
an accompanying pedal point on the tonic
• the melody is based on a repeated-note motive that is treated sequentially
• marked pp and tranquil/a
• solo violin reiterates the first theme
Codetta (Close) (mm. 168-209)

• soloist recalls opening of first theme in G major followed by virtuosic cadential
figures merging into the development
Transition (mm. 209-226)

• the soloist plays fragments of the first theme wh ile alternating orchestral
tremolando and trills, resulting in dramatic tension and a seamless transition into the
development
Development (mm. 226-334)

• opens with the soloist restating bridge material in A minor; marked agitato
• woodwinds present fragments of the first theme accompanied by the soloist playing
florid eighth-note passages
• juxtaposition of ton ic major/minor modes throughout
• tension subsides and a more serene character emerges, with softer dynamic level
beginning at m. 265
• there is a build up of tension and increased virtuosic writing to m. 299, where the
orchestra suddenly drops out and the soloist performs the cadenza, which is written
out in fu ll by Mendelssohn
• this is an unusual placement as cadenzas generally occur at the end of the
recapitu lation, preceding the coda
Ex. 1.12 Mendelssohn, Violin Concerto in E Minor, op. 64, 1st mvt: cadenza
(mm. 299-335)
Cadenza ad lib.
, ~ jJ) {ijjJ#i)JiiVJM l@We aarr re aar

--- fj1X1-------,
• features fragments of the opening motive of the first theme

• technical challenges include rapid string crossings, high-pitched harmonics, and
spirited spiccato
• the unconventional placement of the cadenza at the end of the development serves
to expand and dramatically highlight the dominant preparation, providing a seamless
link into the recapitulation
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Recapitulation (mm. 335-458)

• the orchestra restates the first theme in E minor as the solo violin continues the
arpeggio figures initiated in the cadenza
• the second theme returns in E major
Transition to Coda (mm . 459-472)
Coda (mm. 473-528)

• propelled to the final cadence with increases in tempo (piu presto-sempre piu
presto- presto)
• features transition theme and opening of first theme
• after the decisive final tonic chords, the bassoon sustains a B that creates a direct link
(without pause) to the second movement
Reflection
Describe some of the specific virtuosic string techniques that are employed in this
movement.
SUPPLEMENTAi. ACTIVITY
Listening to Violin Concerto in E Minor, op. 64

To complement your detailed study of the first movement of the Violin Concerto in
E Minor, op. 64, listen to a recording or watch a performance of the second and third
movements. The table below gives an overview of the work as a whole. Notice how the
three movements are linked together with passages that serve as bridges; this creates a
seamless flow between movements.
First Movement Second Movement Third Movement

Tempo Allegro motto appassionato Andante Allegro motto vivace
Key Eminor C major E major
Form sonata form ternary sonata form
Meter
Features soloist/orchestra integrated into a meditative; in Section B, the solo after a brief interlude, the final
single exposition; cadenza written violin plays both the melody and its movement begins with a spirited
out and repositioned to end of the accompaniment theme reminiscent of the concerto's
development opening, suggesting a cyclical
design
. .611.PP.MfliiiiHIMhi•- ------------------------------------
Mendelssohn is known for his nimble scherzando writing. The two works below are among
his most popular and illustrate this aspect of his style.
Rondo capriccioso, op. 14

This brilliant solo piano piece demonstrates Mendelssohn's youthful exuberance. From
the poetic lyricism of the opening Andante, to the virtuosity of the dazzling passagework
that follows, this work captures the essence of Romantic style. You might enjoy following
a score to see how the piano figures are notated and to compare the interpretations of
Shakespeare provided the inspiration
several different pianists. There are many recordings available, including those of Claudio
for many Romantic works. A
Arrau, Jorge Bolet, Alicia de Larrocha, Walter Gieseking, Murray Perahia, and Jan Lisiecki.
M idsummer Night's Dream is among
his best-loved plays. Go online to
find a plot summary and, if possible, Overture to A Midsummer Night's Dream, op. 21
attend a performance of this charming Although they were written centuries earlier, William Shakespeare's plays resonated
masterpiece. This will help you with Romantic composers. Mendelssohn turned his attention to Shakespeare's comedy
appreciate the imaginative ways in A Midsummer Night's Dream while still in his teens. Many of the qualities associated
ilich Mendelssohn brings these with Mendelssohn's style-programmatic elements, vivid orchestration, leggiero string
characters to life. writing, and musical humor- are displayed in this charming work. The hushed opening
chords invite the listener into the realm of Oberon and Titania, king and queen of the
fairies in Shakespeare's timeless play, demonstrating how literary associations can be
depicted musically.
Robert Schumann Unit 3
and Carnaval
The image of the "Romantic artist" is vividly portrayed by the troubled life and tragic
death of Robert Schumann. His enduring love for Clara Wieck and the turbulent
courtship leading up to their marriage inspired him to write many of his compositions,
especially Lieder. Schumann's lifelong interest in literature fueled his imagination and
sense of fantasy-two elements that are at the core of his musical style.
Robert Schumann (1810-1856) "EVERYTHING BEAUTIFUL IS DIFFICULT,

the short the most difficult.•
Use the outline below to write an account of the life and music of Robert Schumann.
Robert Schumann
Family Background and Education

• born in Zwickau, Germany 1810
• father was an author, publisher, and bookseller; instilled a lifelong love of literature
• Robert's attraction to music was sparked at an early age after hearing the celebrated
pianist Ignaz Moscheles
• in Munich, at the age of eighteen, sought out and met Heinrich Heine, whose poetry
became an important source for his Lieder
• entered law school, but his desire to pursue composition and piano studies became 1829
stronger than his interest in law
• began piano lessons with famous piano teacher Friedrich Wieck in Leipzig 1830
• lived in the Wieck household, where he met his teacher's nine-year-old daughter,
Clara, a piano prodigy
• studied theory and counterpoint with Heinrich Dorn (conductor of the Leipzig opera)
• aspirations for concert career were preempted by a hand injury; devoted himself to
composition and music journalism

• first publication (op. 1): Abegg Variations for solo piano 1830
• for the next decade, continued to focus on composing works for piano
• hearing the music of Chopin for the first time resulted in publication of the article
"An Opus Two" in 1831, in which he introduced the characters of "Eusebius" and
"Florestan"
• early signs of emotional instability emerged in 1833
• co-founded (with Friedrich Wieck) the Neue Zeitschriftfur Musik (New Journal of 1834
Music)
• meeting with Mendelssohn in 1835 at the Wieck home resulted in lifelong mutual
admiration
• fell in love with Clara Wieck (they became engaged in 1837); Friedrich Wieck
vehemently opposed the relationship and went to extremes to keep them apart
• known as his "year of song," he wrote over 150 songs 1840
• Robert and Clara successfully petitioned the courts for permission to marry; in 1840,
they made a "statement" by getting married on the eve of Clara's twenty-first birthday,
the day when she no longer needed her father's permission
• the marriage produced seven children but Robert's mental instability caused tension
in their relationship
• Clara became the principal advocate of her husband 's music
• in 1843 Robert was appointed professor at the newly founded Leipzig Conservatory

Using the key words and phrases provided, write a definition in the Glossary (page 153) for the term marked with an
asterisk (*).
character piece* sotto voce

• an instrumental piece, most often for solo piano, based • Italian term, literally "under voice"
on a programmatic idea • played in a soft, intimate manner
• usually identified by an evocative title
• pieces were often grouped into collections or "cycles"
• Robert and Clara toured Russia and Scandinavian regions

1844
• after the family moved to Dresden, Robert's mental instability persisted
• political unrest in Dresden prompted the Schumanns to resettle in Dusseldorf in
1850, where Robert was named municipal music director
1853 • met twenty-year-old Johannes Brahms; published enthusiastic article about him;
endorsement led to widespread fame for Brahms; this was Schumann's last article
1854 • attempted suicide by jumping off a bridge into the Rhine river; spent final years in an
asylum; Clara was not allowed to visit
1856 • died July 29, 1856

"J FELT THAT ON E DAY THERE M US T • drew inspiration from early masters: Bach (counterpoint) and Beethoven (structural
suddenly appear the one who would innovations)
be chosen to express the most exalted • admired the music of his contemporaries: Schubert, Chopin, Mendelssohn, and Berlioz
spirit of the tim e in an ideal fa shion ... • embodied the spirit of Romanticism: intensely subjective viewpoint, heightened
and he has appeared-his name is emotionalism, underlying sense of pathos
Johannes Brahms." • experimented with formal structures
Robert Schumann • programmatic elements include descriptive titles identifying specific extramusical
associations
• employed thematic transformation
• masterful use of syncopation, hemiola, cross rhythms
• moderate use of chromaticism
• strongest influences were literary: especially Jean Paul (Papillons) and E.T.A.
Hoffmann (Kreisleriana)
• unlike many pianist-composers of his time, he did not embrace virtuosity for its
own sake
Genres and Titles

Orchestral 4 symphonies, including No. 1 ("Spring") and No. 3 ("Rhenish");
overtures; incidental music
Concertos piano, cello, violin
Chamber 3 violin sonatas, 3 piano trios, 3 string quartets, piano quartet, piano
quintet
Piano collections including Abegg Variations, Papillons, Carnaval,
Kinderszenen, Kreisleriana, Symphonic Etudes
Operas Genoveva and several choral works
Vocal song cycles such as Dichterliebe, Frauenliebe und Leben, Liederkreis;
many individual songs set to texts by Heinrich Heine, Johann Wolfgang
von Goethe, Nikolaus Lenau
Umt .:S: KoDert ::icnumann ana Larnavat
------------------------------------dlfiildiiilH·Mhi. .
Carnaval, op. 9
"Eusebius" and "Florestan"
In 1835, Robert Schumann wrote a collection of twenty-one short character pieces
for piano entitled Carnaval, op. 9. Subtitled Scenes mignonnes sur quatre notes (Little
Scenes on Four Notes), the work serves as an excellent example of Schumann's vivid
imagination and love for subtle extramusical associations. Each piece is a sketch
representing participants in pre-Lenten carnival festivities. The "four notes"-A, E flat,
C, and "H" (German for B natural)-are derived from the letters that spell the town of
Asch (now As, in the Czech Republic). This was the town where Ernestine von Fricken,
the object of Robert's affection at the time, lived. The four notes appear in different
guises throughout the collection serving as musical cryptograms or secret codes for the
inquiring pianist.
Genre collection of character pieces for piano
Performing forces solo piano
Listening Guide
Listen to a recording or watch a performance of "Eusebius" and "Florestan" from
Carnaval, op. 9. If possible follow a score while you listen.
"Eusebius"
Genre character piece
Key E flat major
Form two musical ideas that alternate and undergo variation
Tempo Adagio
Meter f
Eusebius was one of two pen names used by Robert Schumann when he signed
musical articles and criticism. As a musical self-portrait "Eusebius" portrays the
meditative, dreamy side of Schumann's personality.
Theme a (mm. 1-8)

Ex. 1.13 R. Schumann, "Eusebius" : mm . 1-4
I
--~
~
~
I
" ..-.. - -
- ~ ~
-
- ~
- -
- --~-- - -- - --~- - .. ~
-
I
~
-
I I
7
I I
- - - - -
I
~
~
I
' -
~
- -
u I I I I I I I
7
7
< sotto voce
..- ~
J-=- -J 1 J
- ....
..,,.,. ..,,.,.
·~ ~
-~ ~
\
I
"
"
-
• marked sotto voce and senza pedale
• the right hand weaves a delicate line played in septuplets, thereby establishing a
cross rhythm with the half and quarter notes in the left hand and an improvisatory,
nostalgic character
• the opening phrase (repeated, with subtle changes in accompaniment) ends on a
tonic chord in second inversion, imparting a wistfulness to the passage
Theme b (mm. 9-12)

·Ex. 1.14 R. Schumann, "Eusebius": mm. 9-12
• grows out of the opening material

• the nostalgic and dreamy atmosphere is heightened by increased chromaticism
• cross rhythms become even more sophisticated; for example, in m. 11 (5+3 in the
right hand against 3 in the left hand), enhancing the sense of rhythmic freedom
and flexibility
Ex. 1.15 R. Schumann, "Eusebius": mm . 17-21

Piu lento, molto teneramente
• Schumann alternates theme a and theme b, subjecting them to subtle variation,

including expanded range, octave reinforcement, and denser left-hand
accompaniment
• piece ends w ith the unexpected second-inversion tonic chord
"Florestan"
Genre character piece
Key G minor
Form free form
Tempo Passionato
Meter i
Florestan was another of Robert Schumann's pen names. He often used this name
when the tone of his writing was bold, opinionated, and extroverted . As a musical self-
portrait, "Florestan" portrays the fiery and passionate side of the composer.
Ex. 1.16 R. Schumann, "Florestan": mm . 1-2

unu .>: 1\UUt!rL ;)CIIUJllallll auu \.,Uf'YlU VUi
• opens with an aggressively angular right-hand melody

• the opening notes A, E flat, C, and B (A-S-C-H) form one of the musical
cryptograms (Schumann called them "Sphinxes") that are woven into this collection
• dissonant harmonies draw heavily on diminished seventh chords
Ex. 1.17 R. Schumann, "Florestan" : mm . 9-10
• dissonance gives way to fleeting consonance; Schumann eases the tension briefly
with a cryptic reference to another of his piano collections entitled Papi/Ions, op. 2
• the same quotation recurs a few measures later (m. 19)
• the opening melody returns in B flat major (m. 29); a chromatically ascending line in
an inner voice maintains the undercurrent of tension
Ex. 1.18 R. Schumann, "Florestan": mm. 47-58

r;fz
sf
f conpedale
• the final passage is marked accelerando and rinforzando

• intensity is increased in the closing measures through fragmentation of the theme
• the melody is first broken into two-note fragments (m. 51), then played as disjunct
staccato octaves (m. 55)
Reflection
In your own words, compare the mood and atmosphere projected in "Eusebius" with
that of "Florestan."
ROBERT SCHUMANN included the musical cryptograms on which Carnaval is based within the collection, placed between
"Replique" and "Papillons." He labeled them as "Sphinxes," perhaps alluding to the mythological creature who asked riddles of
travelers before allowing them to enter the Greek city of Thebes. The Sphinxes were not intended to be performed, but serve as clues to
the performer to reveal the secret motives buried in the individual pieces.
Ex. 1.19 R. Schumann, Sphynxes from Carnaval
Sphinxes
No.1 No.2 No.3
11 11 11
Listening to Carnaval
Several pieces that comprise Carnaval, op. 9 are musical portraits of the composer's
circle of friends, including "Chiarina" (the young Clara Wieck) and "Chopin" (the Polish
pianist and composer). Others ("Pierrot," "Pantalon," "Columbine") are based on the stock
characters from the Italian Commedia dell'arte, an improvised theater tradition dating
back to the Renaissance. Listen to or watch a performance of the other pieces in the
collection, preferably with a score. Record your impressions below.
1. Preambule
2. Pierrot
3. Arlequin
4. Valse noble
5. Eusebius
6. Florestan
7. Coquette - - - - - - - - - - - - - - - - - - - - - - - - - - - -
8. Replique _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
9. Papillons - - - - - - - - - - - - - - - - - - - - - - - - - - - -
10. A.S.C.H.-S.C.H.A: Lettres dansantes _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
ll. Chiarina
12. Chopin
13. Estrella
14. Reconnaissance
15. Pantalon et Columbine
16. Valse allemande

17. Paganini ______________________________
18. Aveu - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
19. Promenade - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
20. Pause - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
21. Marche des Davidsbiindler contre les Philistines ______________
-------------------------------------llllbli.PiifiiiiiiiHIMMt~
"Und wiisstens die Blumen" from Dichterliebe, op. 48
Robert Schumann composed the song cycle Dichterliebe, op. 48 (A Poet's Love) in 1840, "SCHUMANN IS THE COMPOSER OF
during his "year of song." The work as a whole traces a journey of romantic love, from childhood . .. both because he created
hopeful beginnings to its bitter end. In the eighth song of the cycle, "Und wiisstens die a children's imaginative world and
Blumen" ("If Only the Little Flowers Knew"), the lover's emotions are evoked by short, because children learn some of their
first music in his marvellous
breathless phrases in the vocal part supported by rustling thirty-second-note figuration
piano albums."
in the piano accompaniment.
Igor Stravinsky
Piano Concerto in A Minor, op. 54, First Movement
Schumann's Piano Concerto in A Minor is among the most frequently performed concertos
in the repertoire. Beginning with an explosive entry of the soloist in the opening measure,
this movement alternates between the lyrical and the virtuosic. Notice how the principal
theme is transformed from its plaintive initial statement in A minor to its reappearance
in various guises and characters.
32
Unit4 Clara Schumann and

Liebst du um Schonheit
"COM POSI N G GI VE S M E GREA T One of the most renowned and distinguished concert pianists of the 19th century, Clara
pleasure . . . there is nothing that Schumann began her career as a child prodigy. Thanks to the expert teaching from
surpasses the joy of creation, if only her famous father, her appearances with orchestras and in solo concerts from the age
because through it one wins hours of
of eight brought her great fame and respect. She was also admired as a composer, and
seljjorgetfulness, when one lives in a
her works were praised and performed by leading musicians including Chopin, Brahms,
world of sound."
Mendelssohn, Liszt, and Joachim. While the love story of Robert and Clara captures our
Clara Schumann interest and imagination, it is important to also take note of Clara's enduring contributions
as a pianist, composer, and pedagogue.
Clara Schumann (1819-1896)

Use the outline below to write an account of the life and music of Clara Schumann.

1819 • born in Leipzig
• her father, Friedrich Wieck, was a celebrated piano pedagogue; her mother, Marianne,
was a successful singer; their marriage was dissolved in 1824
• Friedrich oversaw Clara's upbringing and musical training, and acted as her manager
1828 • after hearing Clara perform for the first time, Robert Schumann (nine years her
senior) earnestly began piano studies with her father
• her musical talents were admired by Goethe, Paganini, and Liszt
• like most musicians of her generation, Clara fell under the spell of Liszt's virtuosity
and showmanship; later in life, her admiration turned to scorn for what she perceived
as shallowness; famously, she declared, "Liszt has the decline of piano playing on his
conscience!"
1837 • during the late 1830s, her friendship with Robert blossomed into romantic love; they
married in 1840 in the face of Friedrich's objection; a court order granted the young
couple permission to marry
• their home became a musical salon drawing musicians from across Europe including
Joseph Joachim, Felix Mendelssohn, and Johannes Brahms
1849 • during the Dresden uprising, she famously walked across battle lines to rescue her
children from potential harm
• during the final stages of Robert's illness, Clara formed a close and lifelong friendship
with Brahms
1856 • after Robert's death, she maintained a busy schedule as a solo pianist and chamber
musician
1891 • final public performance at the age of seventy-one
1896 • died May 20, 1896 and was buried in the Alter Friedhof (Old Cemetery) in Bonn

• her rich and varied career earned her the title of "the high priestess of music"
• in her early years as a concert pianist, she catered to the demands of a public hungry
for virtuosic performances; later in life she preferred to avoid bravura displays
Ullll ~; \..,ldli:::t ,:H.: 1tu111a1111 auu L,Lt;;U;')l, uu urn .JL,ftUrtrtt;il,
♦ Building a Musical Vocabulary ♦
asterisk (*).
modified strophic form*
art song • a song structure that allows for some repetition of music
• the musical setting of a poem • some changes to the melody, harmony, and
• for solo voice, generally with piano accompaniment accompaniment take place to reflect the text, such as a
• applies to songs in any language shift to tonic major or tonic minor key
Lied (plural Lieder)* durchkomponiert (through-composed)

• the musical setting of a German poem • a song structure that does not repeat entire sections of
• for solo voice, generally with piano accompaniment the music
• flourished in the 19th century • as a result, melody, harmony, and piano accompaniment
are able to reflect the meaning of the text as the story
strophic form unfolds
• a song structure where the same music is performed for
each verse of the poem song cycle
• as a result, little connection can be achieved between • a collection of art songs united by a central theme or
the words and music narrative thread
• intended to be performed together
• poetic text drawn from the same author
• as a performer and teacher, she shaped many aspects of 19th-century conventions,

including performing from memory and promoting the "solo recital" without
supporting artists, as was the custom of the day
• she became the main proponent of the music of her husband Robert, before and
after his death, also championed the music of Brahms and Beethoven, including
performances of the latter's "Appassionata" and "Hammerklavier" sonatas by memory
• along with her husband, she shared musical tastes with composers such as
Mendelssohn, Chopin, and Brahms; she showed outright contempt for the opposing "JN ONE OR ANOTHER ASPECT OF
camp which included Wagner, Liszt, and Bruckner virtuosity, she may be surpassed by
• her music absorbed many of the main currents of the times, but with conservative other players, but no other pianist
restraint stands out quite as she does, at the
• her harmonic language embraced mixed modes, progressive harmonies, and radial point of these different technical
directions, focusing their respective
modulation
virtues on the whole harmony of
• she championed absolute music over program music, understatement over hyperbole
beauty . .. Everything is distinct,
• she contributed to the development of the German art song, giving musical voice to
clear, sharp as a pencil sketch."
the leading German poets of the day: Goethe, Heine, Riickert, and Rollett; her piano
Eduard Hanslick
accompaniments are idiomatic, placing the piano on an equal footing with the singer
Genres and Titles

Orchestral Scherzo
Concertos Piano Concerto in F minor
Chamber Piano Trio in G minor, Three Romances for Piano and Violin
Piano numerous character pieces and dances, including Quatre Polonaises,
op. l; Quatre pieces fugitives, op. 15; Variations on a Theme by Robert
Schumann, op. 20; cadenzas for concertos by Beethoven and Mozart
Vocal over 20 Lieder, including Liebst du um Schonheit, Lorelei, Beim
Abschied, Das Veilchen; partsongs
_.HifiiiiiiiiiMHM----------------------------------
Liebst du um Schonheit, op. 12, no. 4
Clara Schumann's song Liebst du um Schonheit (If You Love for Beauty) was publ ished
in 1841 as part of the song cycle Liebesfruhling (Love's Springtime), composed jointly
by Robert and Clara . Based on poems of Friedrich Ruckert (1788-1866), the collection
represents a unique collaboration between the young newlyweds .
Genre Lied
Source of text Liebesfruhling, a collection of poems by Friedrich Ruckert
Performing forces solo voice and piano
Text Summary
The poet rejects love based on superficial attraction-such as beauty, youth, and
· ~ :1 'G MA DE her professional
wealth-in favor of a pure love that is cherished only for itself. The simplicity and direct
• as a concert pianist at the
expression of the text is reflected in the musical approach.
a.,,e of eight, Clara Schumann
remained more fa mous than
Original German Translation
er husba nd throughout
their married li fe. As Robert's
Liebst du um Schbnheit If you love for beauty,
principal muse, she gave the
0 nicht mich liebe! Oh, do not love me!
first performance of many of
Liebe die Sonne, Love the sun,
his, ·orks and continued to act
the devoted custodian of his sie tragt ein gold'nes Haar! She has golden tresses!
long after his untimely
·c death. The 1947 film A Liebst du um Jugend, If you love for youth,
o Love, starring Katherine 0 nicht mich liebe! Oh, do not love me!
e urn, presents a fanciful Liebe den Fruhling, Love the spring,
:~tment of the couple's life Der jung ist jedes Jahr! It remains young each year!
<>l!ether.
Liebst du um Schatze, If you love for riches,
0 nicht mich liebe! Oh do not love me!
Liebe die Meerfrau, Love the mermaid,
Sie hat viel Perlen klar! She has many translucent pearls!
Liebst du um Liebe, If you love for love,

0 ja, mich liebe! Oh yes, do love me!
Liebe mich immer, Love me always,
Dich lieb' ich immerdar! I shall love you evermore!
Listening Guide
Listen to a recording or watch a performance of Liebst du um Schonheit, op. 12, no. 4.
If possible, fo ll ow a score while you listen .
Key D flat major

Form modified strophic
Tempo Nicht zu langsam (not too slowly)
Number of verses four
Meter C
unn <±: 1..,1ara ;,c11umarm a nu 1.,11:vsi uu um ,.:,c;nunnt:ii
Ex. 1.20 C. Schumann, Liebst du um Schonheit, op . 12, no. 4: mm. 1-10

p
Liebst du um Schon - heit, o nicht rnich
lie be! Lie be die Son ne, sie triigt ein gold' - nes Haar! _ __
• opens with a brief piano introduction (mm . 1-2)

• simple diatonic harmonies establish D flat major (tonic-dominant)
Verse 1 (mm. 3-10)

• the melody opens with an ascending perfect fourth; each verse begins with this
motive and is structured as a contrasting period
• in verse 1, the melody moves gently downward creating a broadly arched phrase
• the mostly stepwise melodic motion projects the simple sentiment of the text
Verse 2 (mm. 11-18) A,

• the opening melody is repeated, with rhythm adjusted slightly to accommodate
the text
• the second phrase rises to a higher pitch, building in intensity
• the harmony remains centered in D flat major
Verse 3 (mm. 19-26) A

• the music of verse 1 returns
• only the text has been altered-the vocal line and accompaniment are the same as
verse 1
Verse 4 (mm. 27-36) A 2

• marked bewegter (quicker), reflecting the passion suggested by the repetition of the
words "If you love for love, oh yes, do love me!"
• in mm. 33-34 on the words "I shall love you evermore," a fuller texture in the piano
accompaniment with added chromaticism creates a clima x
• "immerdar" ("evermore") is embellished and broadened (rit. )
Coda (mm. 37-41)

• piano postlude
• after reaching up to the highest note in the song (G flat), a descending line with
thinner texture brings the song to a gentle close
Reflection
In the recording you heard, how did the singer's interpretation contribute to expressing
the sentiment of the poem?
Listening to Additional Settings of "Liebst du um Schonheit"

The abundance and popularity of lyrical poetry in the 19th century not only inspired
the development of the Lied as a genre, but also resulted in multiple musical settings of
some poems. It is fascinating to observe how composers can interpret the same poem in
different ways through their musical settings. Riickert's "Liebst du um Schonheit" was
also set for voice and piano by Gustav Mahler. Listen to Mahler's setting and compare it
with Clara Schumann's.
THROUGHOUT THEIR married life, Robert and Clara kept a joint diary in which they
inscribed their individual thoughts and feelings. In 1840, the first year of their marriage,
Robert wrote: "The idea of producing together with Clara a book of songs inspired me to
this work. From Monday to Monday nine songs from Ri.ickert's Liebesfruhling were written,
in which I think again I have found a special voice." In a subsequent entry he wrote, "Clara
must now compose settings for some of the Liebesfruhling. 0 do it, little Clara!"
. .HiiiPiiMiii!IIHIMhl. .- ------------
Quatre pieces fugitives, op. 15
This collection of four piano pieces by Clara Schumann-Larghetto, Un poco agitato,
Andante espressivo, Scherzo-expresses her gentle lyricism and technical mastery. In
1843, Robert wrote proudly in their marriage diary: "Clara has written a group of smaller
pieces that are more tenderly and musically conceived than any she has succeeded in
doing before." Clara dedicated the collection to her half-sister, Marie Wieck (1832-1916).
Das veilchen (The Violet)

Clara composed this gentle song in 1853. In Goethe's poem, a violet flower pines for the
affection of a young shepherdess. While Clara maintained that she was completely unaware
of Mozart's setting of the same poem, the two songs share some striking characteristics.
Listen to both Clara's rendition and Mozart's. Reflect on how each composer brought
Goethe's poetic images to life through their skillful use of a folk-like melody, chromatically
inflected harmonies, and evocative piano accompaniment.
Brahms and Unit 5
Ein deutsches Requiem
Johannes Brahms (1833-1897)
Rarely in the history of music has a composer enjoyed such a spectacular career launch
BRAHMS WAS renowned for
as Johannes Brahms. In an article entitled "New Paths" in his Neue Zeitschriftfur Musik,
his gruff, yet fiercely affectionate
Robert Schumann predicted a brilliant future for this young pianist and composer. While
personality. He lived simply and
Brahms is often regarded as a conservative whose music ho no red the traditions of German frequented the Vienna tavern
Classicism, he was also progressive in his approach to rhythm, harmony, texture, and Under the Red Hedgehog, where
idiomatic writing for piano. As a pianist, he performed and collaborated with violinists he pursued his love of cards,
Eduard Remenyi and Joseph Joachim, and he was highly respected and successful in cigars, and coffee. When leaving
his lifetime, generously sharing his good fortune with younger composers of the next parties he was known to say "I
generation, including Antonfn Dvorak. beg a thousand pardons if there
should be anyone here whom I
Musical Style and Contributions have not insulted tonight."
• respected the Classical tradition; continued using sonata form, theme and variations,
and even the passacaglia
• inherited the legacy of the German symphonic tradition
• choral music reflects love of polyphony and lifelong interest in historical styles (such
as the music of Handel and Haydn)
• contrapuntal elements play a significant role: imitation, intricate voice leading, well-
crafted bass lines, frequent pedal points
• Romantic features include modal and chromatic harmony, unexpected modulations
• unlike his contemporaries, he showed little interest in program music and no interest
in opera
• German nationalism is evident in his folk-song settings and dances
• characteristic rhythmic elements include cross-rhythms, syncopation, hemiola, and
augmentation (particularly at cadence points)
• his piano writing has distinct characteristics including widely spaced chords, parallel
chord motion, frequent chromaticism, contrapuntal textures, orchestral quality; the
writing is not always idiomatic, which presents challenges to the performer
Genres and Titles

Orchestral 4 symphonies; Academic Festival Overture, Tragic Overture
Concertos violin, violin and cello, two piano concertos
Chamber string quartets, trios, quartets, quintets for a variety of instruments,
duo sonatas
Piano sonatas, variations, ballades, rhapsodies, fantasies, intermezzos; piano
duos and duets, including Hungarian Dances
Vocal works with orchestra, including Ein deutsches Requiem, Alto Rhapsody;
song cycles and collections, including Magelone, Four Serious Songs,
Liebeslieder; part-songs, folk-song settings

Using the key words and phrases provided, write a definition in the Glossary (page 153) for the term marked with an
asterisk (*).
rondo form* homorhythmic texture

• Classical formal structure often used in sonata cycle • all voices sing or play the same rhythm
• Section A recurs, with alternating sections creating • results in a blocked chordal texture (homophonic)
contrast • delivers the text with clarity and emphasis
• Section A is heard three times or more in the tonic key
• ABACA or ABACABA hemiola
• a temporary shift of the metric accents
inversion notes grouped in threes are momentarily grouped in
• thematic material presented "upside down" twos or vice-versa
--h·iiiidiiilH·H€1----------- --- ----- ------------------- --

Ein deutsches Requiem, op. 45
Fourth Movement: "Wie lieblich sind deine Wohnungen"
JOHANNES BRAHMS was the
first mainstream European Throughout the 19th century, composers continued to build on the rich choral
composer to become a true- tradition established in the Baroque and Classical eras. Choral genres cultivated in
to-life recording artist. In the Romantic era included masses, oratorios, cantatas, and part songs . The title
1889, Brahms met with Theo of Brahms 's "requiem" (traditionally a mass for the dead in the Catholic Church)
Wangemann, a representative reveals his unconventional and innovative approach to this genre. Rather than setting
of Thomas Edison (the famous the traditional Latin text of the requiem mass, Brahms turned instead to German
American inventor of the translations of selections from the Old and New Testaments of the Bible .
wax cylinder recording-a
The opening words, "Blessed are they that mourn, for they shall be comforted,"
groundbreaking invention
reveal the composer's intention: to offer a universal message of hope and consolation .
at that time) . They met in
Brahms origina lly conceived Ein deutches Requiem as a six-movement work to
Vienna, Brahms's adopted city,
in order to make a historic commemorate Robert Schumann. After the initial premiere, he inserted the fifth
experimental recording of his movement in memory of his own mother. The soprano soloist ends the movement
popular Hungarian Dance No. serenely with the words: "As one whom his mother comforts, so will I comfort you ."
1. The technology for recording
music at that time was in its Background Information
infancy, so the surface noise Genre sacred choral work
on the recording is loud which,
unfortunately, makes it hard for Premiere date 1868 (six-movement version); 1869 (compl eted seven-
us to hear the actual music. If movement version)
you listen to this recording, you Language German
will marvel at how science and
Translation of title A German Requiem
music worked together to render
Brahms immortal! Source of text Old and New testaments of the German Lutheran Bible
Structure seven movements
Performing forces soprano and baritone soloists, SATB chorus, orchestra
The seven movements that comprise Eine deutsches Requiem exhibit a loosely
symmetrical structure: the outer choral movements gently open and close the work
in the pastoral key of F major; the second and sixth movements are darkly robust
and march-like; the third and fifth movements feature the baritone and soprano
soloists respectively (the baritone reappears again in t he sixth movement); the fourth
movement is positioned at the core of this work's arch-like design and offers a
comforting vision of heaven.
unn :>: J:)ranms ana r.m aeucscnes 1<equii,rn
mvt. 4
mvt.5 ~
mvt. 1 mvt. 7
Listening Guide
Listen to a recording or watch a performance of "Wie lieblich sind deine Wohnungen,
Herr Zebaoth," the fourth movement from Ein deutsches Requiem. If possible, follow a
score while you listen .
Translation of title "How Lovely Is Thy Dwelling Place, 0 Lord of Hosts!"

Source of text Psalm 84
Key E flat major
Form rondo (ABA,CA 2)
Tempo Massig bewegt (moderately fast)
Meter i
Text Summary
The text offers up a song in praise of the gifts of heaven.
Original German Translation
Wie lieblich sind deine Wohnungen, Herr Zebaoth! How lovely is Thy dwelling place, 0 Lord of hosts!
Meine Seele verlanget und sehnet sich nach My sou l longs and yearns for
Den Vorhbfen des Herrn; the courts of the Lord;
Mein Leib und Seele freuen sich in dem lebendigen Gott. My heart and my flesh cry out for the living God.
Wohl denen, die in deinem Hause wohnen, Blessed are they that dwell in Thy House,
Die loben dich immerdar. They will always be praising Thee.
Section A (mm. 1-45)

Ex. 1.21 Brahms, Ein deutsches Requiem, op. 45, 4th mvt: mm. 1-8
Massig bewegt
Sopr.
p
J
Wie
IW
lieb -
J
lich
I
sind
r r r Ir r r
dei - ne Woh -
I
nun - gen,
• flutes and clarinets begin softly with an inverted statement of the opening soprano
melody, marked do/ce
• word painting is achieved with an ascending line, rising upward, as if to heaven
• sopranos trace a broadly arched, conjunct melody
• principally homorhythmic texture
40 Part
Section B (mm. 46-84)

Ex. 1.22 Brahms, Ein deutsches Requiem, op. 45, 4th mvt: mm. 48-57
cresc. -===== f =-==-

-- ., ....-,, -
_,,. I'\
'
~
,
~
I
"' ,
-. .
- - - . . ~- - - - -
- - - - ·-
I I -fr
- -- -.
I
tJ I
ver - Ian-get und seh-net, und seh - net sich
f ::::::=-
....,,
cresc.
-' ~-- ... _.......
I
.,
. - - - . . I I I I
'-
,
~
- .,-- - - - ., - -- - - ,.._ .,._ ---

-
I
"' - -- -
ver - Ian-get und seh-net, ver - Ian-get und seh - net_ sich
f ::::::=-
....,, - -.
cresc.
- ·-~- ~-- - ~
.--- -
- - -- - - - - -- -
-
-'
I
.,
- . . I
, r,. r,
I
,
~
-- -
I I
I I I I
--
I
-
'-
ver - Ian -get und seh-net, ver - Ian - get und seh - net_ sich
cresc. f ::
~ ,., b~ bi9 b-. ,.,
- .... ....,, -- - - -- -~
~- ~- • L
~
.,
I
-- -- - -
#
- - -.
"'
I
~
- -~
I I I
-- --
ver - Ian-get und seh-net, ver - Ian-get und seh-net, ver - Ian get und seh - net, seh - net sich
• opens with imitative passage: the melod ic idea is presented in each voice from
basses to sopranos in turn, emphasizing the words "verlanget und sehnet" ("longs
and yearns"); resembles a fugal exposition
• dramatized by corresponding crescendo
• more ecstatic homorhythmic expression of the text follows, climaxing in the high
registers; accompanied initially by delicate arpeggiated pizzicato figures giving way to
fp accents
Section A, (mm. 85-123)
• inverted melody returns with enriched orchestration
• serene mood restored
Section C (mm. 124-152)

Ex. 1.23 Brahms, Ein deutsches Requiem, op. 45, 4th mvt: mm . 124-129
f
~~
tJ
~2z I
F I~ ~ If f ~ lr * * I - I - I - I
die lo - ben dich im - mer - dar,
f
I
-
f.
~ ~ lz i
r lr J J J J
2
* I 11 * J lr r IJ IJ ~ I
I die lo
f
- ben dich im - mer - dar, im - mer - dar, un - mer,
~~~ * I - - @ Efqi
,.-.._
~
I 1, ~ D J IC] El Er lr ~
J t) 1J I
die lo - ben_ dich_ im - mer - dar, lo - ben_ dich , lo - ben_
~: !zr I
,.. B I~ @J E] 12]] f
@ ,.-.._
1, r El l(F r
------
~
* D CJ 61 -J 1
die lo - ben_ dich_ im - mer - dar,_

* It * J I~
die_
J
lo - ben , die_ lo - ben ,
~
.J
die_
I
• robust quality and forte dynamics convey the joyful sentiment of the text
• imitative (fugal) texture resembling contrapuntal procedure of Section B
• cli max on "D ie loben Dich immerdar" ("They will always be praising thee" )
emphasized by composer's signature use of hem iola
Uilll ::,: oralllll~ allU Ltrl U"'UL~ (.,fl"'~ 1\t:lfU'"'"'
Section A 2 (mm. 153-179)

• abbreviated, brings the movement to a calm and reassuring close
Reflection
Summarize how the musical setting reflects the message of the text.
-----------------------------------------1C SuPPLEMENTALACTIVITY
Listening to Eine deutsches Requiem

To complement your detailed study of the fourth movement of Eine deutsches Requiem,
listen to a recording or watch a performance of the complete work. Comment briefly on
your response to each movement.
Movement Featured Voice English Translation of Opening Text Comment

First Blessed are they that mourn
Second For all flesh, it is as grass
Third baritone solo Lord, teach me that I must have an end
Fourth How lovely is Thy dwelling place
Fifth soprano solo You now have sorrow
Sixth baritone solo For we have here no continuing city
Seventh Blessed are the dead
IN EIN DEUTCHES REQUIEM, Brahms delivered a timeless message of comfort and hope.
Brahms's desire for his music to have universal appeal is demonstrated by the fact that
in choosing biblical texts, he avoided any specifically Christian references. Even the title
of the work-A German Requiem-gave him pause, as he did not want any nationalist
sentiments to be construed. His original wish was to call the work A Human Requiem.
More than one hundred years after its premiere, Brahms's own humanity shines through in
the score, enfolding the listener while transcending all boundaries.
-----------------------------------------1-riiiiMU·MPiiiiHIMhi-a
Vergebliches Standchen (Futile Serenade), op. 84, no. 4
This charming Lied is an example of Brahms's affinity for a rustic folk-like style. The
modified strophic song unfolds in the form of a dialogue between a girl and her admirer
who is hoping to be invited inside her house. The girl's rejection of him is emphasized by
the strong, final chords that suggest the slamming of a door.
"Nachtigall, sie singt so schon" and "Ein dunkeler Schacht ist

Liebe" from Liebeslieder Waltzes, op. 52
Brahms's success as a composer of chamber music is demonstrated in these charming
works for four voices with four-hand piano duet accompaniment. Based on German
translations of Russian, Polish, and Hungarian dance-songs, the texts of this collection
offer various perspectives on the joys and sorrows of romantic love.
42
Unit 6 Liszt and La Campanella

In 1831, Franz Liszt-already an established pianist-attended a Paris concert given by
the famous Italian violinist Nicolo Paganini. Mesmerized by his virtuosity, Liszt set out
to match and even outdo Paganini's brilliance. One year later, Liszt's encounter with the
poetic and innovative style of pianist Frederic Chopin provided another defining influence.
Together with his own personal style and charisma, the influences of both these musicians
helped shape Liszt's unique approach to piano performance and composition.
Franz Liszt (1811-1886)

"L ISZ T PL A YED A T S IGHT W H A T Use the outline below to write an account of the life and music of Franz Liszt.
we toil over and at the end
get nowhere with." Family Background and Education
Clara Schumann • born in Raiding, Hungary, just outside Vienna, Austria
• father, Adam, a clerk in the court of Prince Nikolaus Esterhazy, had played cello in
Franz Joseph Haydn's orchestra in Eisenstadt
• first lessons were with his father; displayed talent at an early age, composing by the
age of eight; concert debut at age nine
1821 • family moved to Vienna so Liszt could study piano with Carl Czerny (student of
Beethoven) and composition with Antonio Salieri
1823 • moved to Paris to continue education and pursue performing career
• an immediate sensation in Paris, with thirty-eight performances in the first three
months
• toured England, Ireland, Switzerland, and other French cities while still a teenager
• torn between life as a concert pianist and his desire to enter the priesthood

Throughout his long and distinguished career, Liszt demonstrated great musical versatility.
His reputation as a virtuoso pianist was unparalleled, but he also worked as a conductor
and music director. In addition, Liszt was a respected composer and teacher, leaving a
legacy that has been passed on to future generations of pianists. His career can be divided
into three broad periods:
Early Years (1827-1847)

• earned a living from concert appearances and teaching; performed in locations from
Ireland to Constantinople (now Istanbul)
• greatest pianist of his era; demonstrated unparalleled technical prowess, sight-reading
skills, and personal charisma
• based in Paris, his artistic circle included famous composers and performers
including Hector Berlioz, Vincenzo Bellini, Gaetano Donizetti, Frederic Chopin, and
Nicolo Paganini; also acquainted with many famous writers including Heinrich Heine
and Victor Hugo
• presented a historic solo piano recital-the first of its kind-in London in 1840 (until
then concerts involved many performers and ensembles)
• level of fame comparable to that of modern rock stars; had many female admirers and
many romantic affairs
• he had a long-term relationship with countess Marie d'Agoult from 1835 to 1839;
she left her husband to be with him; they had three children: Blandine, Cosima, and
Daniel; relationship ended bitterly
• contributed generously to many charities, including relief efforts after Danube River
floods in Hungary in 1838
Unit 6: Liszt and La Campanella

Using the key words and phrases provided, write a definition in the Glossary (page 153) for the following term.
etude*
• French for "study"
• solo instrumental work intended to develop technical facility
• focuses on one or more specific technical challenges
PARIS IN 1830 was the scene of political turmoil and unrest as the July Revolution
erupted. Barricades and bayonets were used again as instruments of protest for the
downtrodden classes. The human cost of their struggles was immortalized by Eugene
Delacroix in his painting Liberty Leading the People and Victor Hugo in his sweeping
historical novel Les miserables. In the wake of the bloodshed, Paris emerged from the
darkness becoming once again the famous "City of Light" -a title earned partly by its early
adoption of street lights, but more importantly its status as a city of enlightenment. In
December, Hector Berlioz shocked and delighted Parisians with his Symphoniefantastique.
Parisians opened their doors to the most famous poets and composer-performers of the
time, among them Heinrich Heine (1797-1856), the self-exiled German poet, and pianists
Franz Liszt, Frederic Chopin, and Marie Pleyel, who performed in both the public halls and
private salons of the French capital. Legendary opera singers such as Maria Malibran and
Pauline Viardot sang the bet canto operas of Vincenzo Bellini and Gaetano Donizetti.
Weimar Years (1848-1861)

• had been connected with Weimar since 1842 when he was appointed "Grand Ducal
Director of Music Extraordinary"; moved there in 1848 to focus on composing and
conducting
• worked as conductor and music director; mounted productions of new operas by
composers such as Hector Berlioz, Giuseppe Verdi, and Robert Schumann
• generously helped Berlioz and Wagner in their careers; conducted first performance
of Wagner's Lohengrin
• lived openly with Princess Carolyne Sayn-Wittgenstein, a married aristocrat he met
in Kiev while on tour; their home in Weimar was a major center for artists, musicians,
and writers
• composing activities focused mainly on orchestral music: symphonic poems, program
symphony, and piano concertos
• retired from hectic performing career; as a teacher, developed the "master class"
format and welcomed any capable student, occasionally offering instruction free of
charge
Late Years: Rome, Weimar, and Budapest (1861-1886)

• followed Princess Carolyne to Rome in 1861; relationship ended in 1864
• during a brief period of semi-retirement, he attained minor orders in the Catholic
Church
• continued to travel extensively in his final years; divided his time between Rome,
Weimar, and Budapest, where he was appointed president of the music academy
• final tours in 1886 included Paris and London
• died on July 31, 1886, in Bayreuth

"SORROWFUL AND GREAT IS THE • career activities often influenced his compositional output; during his years as a
artist's destiny." touring pianist he wrote and performed many piano transcriptions of symphonies,
Franz Liszt opera arias, Lieder
• musical works display the duality of his personal life: virtuosic, but also inspired by
his religious beliefs; many pieces have religious titles and symbolism
• changed the "culture" of piano performance: played from memory, sat with profile to
the audience, referred to concerts as "recitals"
• important figure in the development of modern piano technique; used unprecedented
bravura effects such as extreme registers, wide leaps, a variety of arpeggiated figures,
thunderous octaves, tremolos, cascading passages, rapid repeated notes
• influential teacher; inventor of the "master class" approach
• further developed Romantic idioms such as the concert etude, lyric piano piece
• cultivated programmatic writing: credited with inventing the symphonic poem and
contributed to the development of the program symphony
• many works display freedom and innovation in terms of form; for example, he wrote
single-movement works with complex internal structures, such as the Piano Sonata in
B Minor and the Piano Concerto in E flat Major
• advocate of "Music of the Future," a movement that supported the fusion of music and
drama (Gesamtkunstwerk)
• as a conductor, championed like-minded modernists such as Berlioz and Wagner
• employed thematic transformation-the process of modifying a theme through
changes to rhythm, harmony, and orchestration and presenting it in a new context
(Les preludes)
• harmonic language often chromatic and progressive; favored mediant relationships
over dominant relationships; used augmented triads and other altered chords; late
works such as Nuages gris foreshadow Impressionism
• elements of Hungarian folk and gypsy music evident in his works such as Hungarian
Rhapsodies and Hungarian Fantasy
THE LIFE and work of Franz Liszt has been thoroughly documented by English-Canadian
musicologist Alan Walker. Dr. Walker has spent several decades of his life immersed in
his study of Liszt. His monumental three-volume biography of the composer paints a
vivid portrait of the man and his music. A review in the New York Times pointed out that
"... Walker seems to know everything about Liszt, and anything connected with Liszt,
during every single day of the long life of that genius." See for yourself by reading the full
trilogy, published by Cornell University Press.
Genres and Titles

Orchestral symphonic poems, including Les preludes; program
symphonies, including Faust, Dante
Orchestral with piano 3 piano concertos; Malediction, Totentanz, Hungarian
Fantasy
Chamber organ compositions
Piano including Transcendental Etudes, Three Petrarch Sonnets,
Liebestraume, Consolations, 19 Hungarian Rhapsodies,
Annees de pelerinage (3 volumes), Mephisto Waltzes
Transcriptions including Lieder by Schubert, symphonies by Beethoven,
operatic fantasies
Vocal oratorios, masses, Lieder
--------------- ------------ ---------,--difiildiiilH·Hhi-
la Campanella
With his Grandes etudes de Paganini, Liszt elevated the piano etude to an
unprecedented level of virtuosity. The collection paid homage to Nicolo Paganini, one
of the century's most celebrated violinists.
Genre piano etude
Composition date 1838, revised in 1851
Original collection title Etudes d'execution transcendante d'apres Paganini
Source of thematic material Violin Concerto No. 2 in B minor (Niccolo Paganini)
Listening Guide
Listen to a recording or watch a performance of La Campanella from Grandes etudes
de Paganini. If possible, follow a score while you listen .
Key G sharp minor

Form ABA 1 B1 A 2 B2 A 3 coda
Tempo Allegretto
Meter g
Translation of title "The Little Bell"
Introduction (mm. 1-3)
Section A (mm. 4-20)
Ex. 1.24 Liszt, La Campanella: mm. 4-12

8"'- ---- ~ --.- -- ~ --: ---.- --. --------: ------.- ------. ------ ~ ------: ------.----------.- ------.,
&:-.--- --.--- --.--------.- ----- -----:----- ------. ------.- -

~ ~ ~ ~
--------------
. --., 8"'- -----------.- --.- --------------- ~ -.- --.,
• after a brief introduction, the main theme is played by the right hand
• pedal point on high D sharp represents the bell
• wide leaps in right-hand part add to technical difficulty
• this section is repeated with embellishment
Section B (mm. 21-41)

Ex. 1.25 Liszt, La Campanella: mm. 21-25
• in B major; builds sequentially in an ascending pattern

• increased chromatic harmony
Section A, (mm. 42-59)

• with the return of each section the dramatic intensity is heightened
• features rapid repeated notes and broken right-hand octaves
Section B, (mm. 60-78)

• B theme embellished
• the theme is now in the left hand with widely spaced right-hand accompaniment
figures
• ends with a cadenza-like section featuring chromatic passages and alternating hands

• the melody returns in the highest register, accompanied by thirty-second-note trills
and figures that mimic violin string-crossings
Section B2 (mm. 96-119)

• many leaps
• abrupt, sudden contrasts in volume, culminate in thundering octaves

• the melody is recapped forcefully with dramatic octaves
• chromatic octaves in contrary motion prepare for the coda
Coda (mm. 129-139)

• marked animato
• loud octaves bring the work to a compelling conclusion in tonic key of G sharp minor
unit o: LISZ L anu 1.,u 1..,umpun~uu
Reflection
How does La Campanella fulfi ll the 19th-century aud ience's desire fo r virtuosity?
Identify two additi ona l style traits associated w ith 19th-century music t hat are evident
in La Campanella.
------------------11-riii.PP·HiiiiliH·HHI•
Hungarian Rhapsody No. 2 in C sharp Minor
This enduring work has earned a special place in the repertoire of concert pianists. With its
dazzling display of virtuosity, it projects Liszt's fiery temperament and proud nationalism.
Many talented performers have interpreted this work, including Vladimir Horowitz, Lang
Lang, Martha Argerich, and Victor Borge.
Les preludes
This is not only the most famous of Liszt's symphonic poems, but also the prototype that
introduced the genre. Originally published in 1856, the score includes text beginning with
the words "What else is our life but a series of preludes to that unknown hymn, the first
and solemn note of which is intoned by death? Les preludes demonstrates Liszt's use of
thematic transformation. Most of the themes heard in the work grow out of the initial
three-note motive (C-B-E). A wide range of characteristics is displayed in this exciting
work, from the introspective and searching opening to the majestic climax and sweeping
grandeur of Liszt's orchestral writing.
48
Unit 7 Verdi and La traviata

Just as the fame of Frederic Chopin rests almost entirely on music for one instrument-
the piano-so too is Verdi known primarily for his accomplishments in one genre, namely,
Italian opera. Of Verdi's twenty-eight operas, most remain in the current repertory as
beloved favorites of opera companies and audiences. In his native Italy, Verdi is hailed as
a national hero. His international popularity can be attributed to his enduring melodies,
rich emotional expression, and compelling drama. Whether in a chorus of slaves (as in
Nabucco) or in an aria sung by an Ethiopian princess (as in Aida), Verdi's ability to project
human emotions has universal and timeless appeal.
Giuseppe Verdi (1813-1901)

«You MAY HAVE THE UNIVERSE IF I Use the outline below to write an account of the life and music of Giuseppe Verdi.
may have Italy."
Giuseppe Verdi Family Background and Education
• born in Roncole, in the Parma region of Italy
• father was a tavern-keeper who valued education; bought Verdi an old spinet (small
keyboard instrument) when he was seven
1825 • began lessons in Busseto with Ferdinando Provesi, a church musician and director of
the municipal music school and local philharmonic society
1831 • moved to Busseto to live in the home of Antonio Barezzi, a wealthy merchant and
enthusiastic amateur musician; gave singing and piano lessons to Barezzi's daughter,
Margherita, whom he later married
• Barezzi's patronage helped finance Verdi's musical education in Milan

• found work in Milan as conductor at the Piccolo Scala, adjacent to the renowned La
Scala opera house
1836 • married Barezzi's daughter, Margherita, with whom he had two children
• moved back to Busetto; directed local philharmonic society, gave private lessons
1839 • returned to Milan where he achieved his first major success with his opera Oberto;
resulted in commission for three new operas
• first commission, Un giorno di regno (I<ingfor a Day), was not successful
• endured the tragic deaths of his wife and both children within a two-year period
1842 • the opera Nabucco marked his triumphant return; launched international fame
• vigorous creative period ensued; on average, a new opera every nine months
• works were premiered throughout Italy and all over Europe
1847 • romantic relationship with opera singer Giuseppina Strepponi; they married twelve
years later
• became involved in the rising tide of Italian nationalism; his surname became an
acronym and rallying cry for unification of Italy under King Victor Emmanuel: Viva
V(ittorio) E(mmanuele) R(e) D'I(talia)!
1861 • Italian unification; Verdi accepted seat in new Italian parliament where he served for
four years
1871 • exotic opera Aida (set in ancient Egypt) premiered successfully at new opera house
in Cairo
• composed Messa da Requiem in honor of Italian writer Alessandro Manzoni
• Giulio Ricardi, his publisher, encouraged Verdi to work with librettist Arrigo Boito;
partnership produced his final triumphs: Otello and Falstaff
1901 • died on January 27, 1901, of a stroke; bequeathed a significant sum of money to a
retirement home for musicians in Milan, Casa di Riposo per Musicisti
UIIJL ,; Vt:fUl auu i..JU l,.f"UVLULU
♦ Building a Musical Vocabulary ♦
asterisk (*).
bel canto*
opera* • Italian for "beautiful singing"
• drama that is sung • a style used in early 19th-century Italian opera
• combines vocal and instrumental music with drama • demonstrated in the works of Rossini, Bellini, Donizetti,
(staging and acting), visual arts (costumes and scenery), and (early) Verdi
and often dance • emphasized purity of tone and lyrical melodies of a
• components include recitatives, arias, ensembles, and highly ornamented nature
choruses
• created in Italy ea 1600 and remains popular today libretto*
• the text of an opera, oratorio, or cantata
recitative* • usually written by someone other than the composer
• a speech-like style of singing used in operas, oratorios, • the writer of the libretto is referred to as the librettist
or cantatas
• follows inflections of the text, resulting in rhythmic ensemble
flexibility • a musical number in an opera featuring any number of
• usually used to advance the plot; moves through text soloists, but generally a group smaller than a "chorus"
quickly • often serves as a musical and dramatic climax
• each person expresses their own emotions directly to
aria* the audience
• Italian for "air" (an old English word for a song)
• a solo song with orchestral accompaniment heard in an coloratura soprano
opera, oratorio, or cantata • Italian for "coloring," referring to the embellishing of
• highly emotional, often virtuosic melodic lines
• may have lyrical or dramatic qualities; often serves to • a high female voice capable of singing florid lines in
reveal the characters' most intimate emotions an extended range, demanding great agility and often
creating virtuosic effects

• acknowledged as the greatest Italian composer of opera in the 19th century; works "SUCCESS JS IMPO SS IBLE FOR M Eif f
remain a staple of the operatic repertory worldwide cannot write as my heart dictates."
• influences range from early opera seria to opera buffa, including Parisian grand opera Giuseppe Verdi
(Giacomo Meyerbeer), bel canto composers (Vincenzo Bellini, Gaetano Donizetti, and
Gioachino Rossini); Italian operas of Mozart
• operas generally feature conventional "numbers" approach; the overture (or prelude)
is followed by a series of recitatives, arias, ensembles, and choruses alternating to
provide variety and support the drama
• unity and flow achieved through "signature" themes, recurrent motives; for example,
the Curse Motive in Rigoletto
• colorful orchestration, use of special effects to heighten drama
• virtuoso coloratura arias with soaring melodies, spectacular runs, and vivid
ornamentation; for example, Violetta's extended recitative-aria at the close of La
traviata , act 1
• favored traditional, diatonic harmonic language with moderate use of chromaticism
• arias feature a structured approach: well-defined sections with balanced phrasing and
lyrical melodies that are occasionally reminiscent of folk songs
• stirring arias and choruses sometimes convey nationalism; for example, "O patria
mia" from Aida
• librettos selected for dramatic possibilities and human elements: love, passion, fate,
intrigue, courage
• ten of his operas are based on librettos by Francesco Maria Piave
• among sources for librettos were writers Victor Hugo, Alexandre Dumas, and
William Shakespeare
His musical output can be divided into three periods:
First period (1839-1853)

• represents a gradual evolution within the Italian opera tradition
• operas include Oberto, Rigoletto, Il trovatore, and La traviata
"J ADORE ART . . . WHEN JAM ALONE Second period (1853-1871)

with my notes, my heart pounds
• demonstrates influences from French grand opera
and the tears streamfrom my eyes,
• longer works, larger casts, grandiose orchestration
and my emotion and my joys are
too much to bear." • operas include La forza del destino, Don Carlos, and Aida
• Messa da Requiem also from this period
Giuseppe Verdi
Third period (1871-1901)

• composed Otello and Falstaff in the twilight of his career
• continued to explore new approaches to form, including a more continuous musical
design, moving away from the traditional "numbers" approach
Genres and Titles

Operas 28, including Macbeth, Rigoletto, Il trovatore, La traviata, Un hallo in
maschera, Laforza del destino, Don Carlos, Aida, Otello, Falstaff
Vocal including the Messa da Requiem, sacred choral works, solo songs
Chamber 1 string quartet
. .HifiiiiifiiH·MHI-----------------------------------
La traviata
Act 2, Scene 2
Verdi often turned to the leading writers of his day for source material and inspiratior
La traviata was inspired by a novel and play by Alexandre Dumas. It is through Verdi'~
musical setting that this poignant story has achieved an enduring popularity.
The heroine in La traviata, Violetta Valery, is one of the most beloved characters
in Italian opera . A courtesan in 19th-century Paris, Violetta finds spiritual refuge frorr
consumption (tuberculosis) in her love for Alfredo Germont. Tragically, the redemptiv,
power of his love comes too late to save her from death. Verdi was moved to write
some of his most beautiful be/ canto melodies for this compelling character.
Genre opera
Premiere date 1853, at the Teatro La Fenice in Venice
Language Italian
Translation of title The Lost One
Source of text a play by Alexandre Dumas entitled La dame aux camelias (Th,
Lady of the Camellias), that the author adapted from his novel
of the same name
Librettist Francese Maria Piave
Structure three acts
unit 1: vera1 ana La iravtara
Principal Characters
Name Voice Type Description
Violetta Valery coloratura soprano a courtesan
Alfredo Germont tenor a young aristocrat
Giorgio Germont baritone Alfredo's father
Baron Douphol baritone Violetta's lover
Flora Bervoix mezzo-soprano Violetta's friend
"No GOOD OPERA PLOT CA N BE

Summary of Plot
sensible,for people do not sing
Act 1: in Paris, at the home of Violetta Valery when they are feeling sensible."
Violetta, one of the reigning beauties of her day, is hosting a lavish party. Her vivacious W.H. Auden
manner masks her declining health. During the course of the even ing, she meets
Alfredo Germont, one of her many admirers . She is touched by his declaration of love
for her and rewards him with a camellia flower with wh ich to remember her. After
all of the guests leave, she thinks of him and wonders whether love really can be so
simple and pure. In the end, she dedicates herself to the pursuit of pleasure.
Act 2, Scene 1: a country house near Paris

Some time later, Violetta and Alfredo enjoy an idyl lic existence far from their frenzied
lives in Paris. Their happiness is interrupted when, unbeknownst to Alfredo, his father
Giorgio Germont visits Violetta . Giorgio convinces her to leave his son alone to save
their family's reputation. When Alfredo finds her gone, he assumes that she has
rejected him and returned to her fast-paced life in the city witr.i her former lover, Baron
Douphol.
Act 2, Scene 2: in Paris, at the home of Flora Bervoix

Violetta attends an extravagant party at the home of her friend Flora, escorted by the
baron. Alfredo arrives and confronts Violetta, then proceeds to humiliate her in front of
the guests. Although she is devastated, she does not explain her motives but, instead,
reaffirms her love for him.
Act 3: in Paris, in Violetta's apartment

Lying on her deathbed, Violetta learns that Giorgio is prepared to give his blessing to her
rela tionship with Alfredo. Father and son arrive, but little time is left. As Violetta dreams
of the happy future she will have with Alfredo, she co llapses and dies in his arms.
Du MAS BASED his novel and play on the real life and death of Marie Duplessis (nee Rose
Alphonsine Plessis) one of the most famous Parisian courtesans. Dumas himself had a brief
affair with her. Her beauty caused many wealthy men to vie for her affections, for which
they paid her handsomely. Yet her pleasure-seeking existence could not protect her from
the ravages of tuberculosis. She died in 1847 at the tender age of twenty-three, debt-ridden
and alone. In that same year, Verdi visited Paris for the first time. There, he fell in love with
Giuseppina Strepponi, a retired opera singer with whom he had worked in Milan. This was
the beginning of a romantic relationship that lasted for more than fifty years. Around the
same time, Verdi befriended Dumas. While it is not known whether Verdi himself ever met
Duplessis, it is likely that he attended a performance of Dumas's play, La dame aux camelias.
Listening Guide
Watch a performance or listen to a recording of act 2, scene 2 of La traviata (from
"lnvitato a qui seguirmi . .. " to the end of the act). If possible, follow a score wh ile
you listen.
The Confrontation at Flora's Party

The lavish party at Flora's is unfolding with music, dancing, and gambling being
enjoyed by all. Violetta waits nervously for an opportunity to speak with Alfredo in
private. When he arrives they begin to argue. She begs him to leave, fearing that he
will duel with the baron and be injured or killed. Out of loving concern for Alfredo, sl
lies, telling him that she is real ly in love with the baron. Alfredo, outraged by Violetta
false declaration of love, drags her before all of the party guests and then denounces
and humiliates her by throwing his gambling winnings at her feet. Violetta collapses 1
Flora's arms. The party guests are shocked by Alfredo's cruel behavior. They demand
that he leave the party at once. Alfredo is stunned by their hostile outburst. Giorgio
Germont, Alfredo's father, steps forward and reprimands his son for his scornful atta
on Violetta . Alfredo feels deep remorse for his brutal treatment of Violetta. Physical!~
and emotionally exhausted, a devastated Violetta tells Alfredo that one day he will
understand the reason for her actions . In a dramatic musical ensemble, the character
express their thoughts: Alfredo continues to despair while Giorgio reflects on the rea
reason behind Violetta's actions . As the other guests try to comfort Violetta, the Ban
steps forward and chal lenges Alfredo to a duel. Overwhelmed with grief, Violetta
collapses.
Verdi creates a continuous musical fabric for this dramatic scene. The orchestra
provides a rich backdrop for the projection of the intense emotions of the main
characters. The party guests function as a chorus, reacting to the confrontation that
is unfolding, ranging from declamatory-style unison interjections to multi-voiced
choral writing . The music projects the deep and intense emotions surrounding the
confrontation.
Violetta and Alfredo's exchange
,~h rI~
Violetta
~
..l
In - vi - ta
If' p f' p I~
-
;j
to a qui
Ex. 1.26 Verdi, "lnvitato a qui seguirmi ... " from La traviata, act 2, scene 2
se - guir- mi,
l l r ~1~
~ ;J
ver - ra des - so?
l ~- ~r:b:1u l
vor -ra u - dir - mi?
-
,~h - f' p1J -

Ei ver- ra.
ll ~
~~
Jl~. Jll, ~ ~ ~~
Jl~.
che l'odio a - tro - ce puote in
~ ~
Jll,
Jui
~~
J)~-
piu di
~
J)I
mia
-&--&
VO
I 1J
ce
• an ominous B flat diminished seventh chord played by full orchestra ff introduces

Violetta's agitated solo line, beginning with the opening line of her recitative
• with a flurry of sixteenth notes, the first violins announce Alfredo's entrance
• a passionate exchange between Violetta and Alfredo unfolds
Ex. 1.27 Verdi, " S'ei cadra per mano mia . .. " from La traviata, act 2, scene 2
,,H~ ~ e £1 Ir·
Alfredo
p f'
>
D If f f f I
f~D
f'
> > > ~
D 1r
~
f
S 'ei ea - dra per ma - no mi - a, un sol col - po vi tor - ri a,
Alfredo: If I kill him, you will lose lover and protector at a single blow. Does such fa
not terrify you?
Violetta: But if he should be the killer? That is the only thought that puts the fear o1
death into me.
• doubled by woodwinds, A lfredo sings a broadly arched phrase suggesting both his
jealousy and reck less bravado
unu 1: verai ana 1.,a Lravw,Lu
Alfredo's Denunciation of Violetta

Ex. 1.28 Verdi, "Ogni suo aver tal femmina .. ." from La traviata, act 2, scene 2
Alfredo
'll J
0 - gni
JJ..
suo aver ta! fem min-a
iJ
per
JJ..
a - mor mio sper- de - a,,.
' Ji
lo
I
,n cie - co, * CJ *
1r-·
vi - le, mi ser-o, tut - to ac cet-tar po - te a,
Alfredo: For this woman lost all she possessed . I was blind, a wretched coward, I
accepted it all. But it is time now for me to clear myself from debt I call you all to
witness here that I have paid her back!
• the simplicity of the key (C major) underscores Alfredo's self-righteousness; it stands

in marked contrast with what follows
The Guests' Reaction and Response

Ex. 1.29 Verdi, "Oh, infamia orribile _.. " from La traviata, act 2, scene 2
Sop ,
Ten.
Oh, in-famia or - ri - bi - le tu corn-met - te - sti! un cor sen - si - bi - le co-si uc - ci - de - sti!
Bass
Oh , in-farnia or - ri - bi - le tu corn-met - te - sti! un cor sen - si - bi - le co-si uc - ci - de - sti!
All: What you have done is shameful! So to strike down a tender heart! You have
insulted a woman! Get out of here! We've no use for such as you! Go!
• with a sudden shift to minor mode, the unison chorus and orchestra convey furious
disapproval of Alfredo's actions
Ex. 1.30 Verdi, "Di sprezzo degno. _." from La traviata, act 2, scene 2
Germont
(con dignitoso fuo co)
tj· tj· ,.
Di- sprez - o de - goo se stes - so ren - de chi pur nell' - i - ra la donna of - fen - de,
Germont: A man who offends a woman, even in his anger, merits nothing but scorn.
Where is my son? I see him no more in you, Alfredo!
• Germont passionately condemns his son's callous behavior toward Violetta

Ex. 1.31 Verdi, "Ah si! che fecit .. ." from La traviata, act 2, scene 2
Alfredo
,~'qf ~- e ~f ff [ f gr f f qr
' '
Ah
'
sl !
':r f C
che fe - ci! ne sento
r f
or - ro - re!
C
Ge - lo - sa sma - nia,
f ''f
de - lu - so a -
'~\ er ' f f f ' r f r ' ' d J

~lb
mo - re
''f f 1 [ r J
mi - stra - zian !'al - ma piu non ra - gio - no
C
da lei per - do - no
j i,J
piu non a
IJ)
vro.
Alfredo: What have I done? Yes, I despise myself! Jealous madness, love deceived,
ravaged my soul, destroyed my reason. How can I ever gain her pardon? I would
have left her but I could not; I came here to vent my anger, but now I have done so,
wretch that I am, I feel nothing but deep remorse!
• Alfredo sings in short, breathless phrases, reflecting his remorse and agitation
Ex. 1.32 Verdi, "Alfredo, Alfredo, di questo core .. ." from La traviata, act 2, scene 2
Violetta con voce debolissima e con passione
,~•o1i - ~- K11ur .,. O@JF .,. ~>u1ijdr

(riavendosi) ~
Al-fre- do, Al- fre-do ,

___
di ques-to co - re
----------
non puoi com-pren-de-re tut-to l'a-mo - re,
Violetta: Alfredo, how could you understand all the love that is in my heart? How
could you know that I have proven it, even at the price of your contempt? But the
time will come when you will know, when you'll admit how much I loved you. God
save you from all remorse! Even after death, I shall still love you.
• Violetta sings a caressing melody be/ canto melody that soars above the soft
murmurings of the crowd
Reflection
Record your impressions of this dramatic scene. How does the music support the
drama that is unfolding on the stage?
Ullll ,: Vt!lUl a11u L,U LIUVLULU
Listening to La traviata
To complement your study of La traviata, listen to a recording or watch a performance of
the first act. In particular, observe how richly Violetta's character is developed, especially
in the final scene: "E strano, e strano" through to the aria "Sempre libera."
After the guests have departed, Violetta reflects on her encounter with Alfredo. Alone
on stage, she sings an extended scena (scene). In four distinct sections, the music reflects
her conflicting emotions: from considering the possibility of a changed life with Alfredo
(recitative), to an expression of yearning (short aria), to fear that she is deceiving herself
(recitative), to finally abandoning herself to the pursuit of pleasure (aria). Her final aria is
a frenzied waltz written to showcase the soprano's coloratura abilities.
------------------------------------- -Hii.PMiiriiiiMIH·Hhi•
The Triumphal March from Aida, Act 2, Scene 2
Among the most memorable moments in all of opera, the Triumphal March from Aida
best demonstrates Verdi's creative genius. He projects the grand return of the triumphant
warriors with rich orchestration and bold brass fanfares. In the context of the opera, the
march provides an opportunity for lavish staging and pageantry suitable for the dramatic
moment and typical of 19th-century grand opera. The march has also been borrowed and
repurposed outside of the opera for processionals at graduations and other ceremonial
events.

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Ho,v to Use This Book ..............................................................................................................

Part 1: The Romantic Era (ea 1825-ea 1900)

Part 2: The Modern Era (ea 1900)

Part 3: Independent Study Essay

Glossary ...................................................................................................................................... 153

How to Use This Book

Exam Study Outlines

Description of each work, including:

Elements of Romantic Musical Style

Genres of the Romantic Era

Musical Feature Yes No Comment

Musical Feature Yes No Comment

Unit 1 Schubert and the "Trout" Quintet

Musical Style and Contributions

Genres and Titles

~ Building a Musical Vocabulary~

chamber music* piano quintet

Ex. 1.1 Schubert, "Die Forelle": mm. 1-10

In ei - nem Bach-lein hel le, da scho/3 in fro - her_ Eil die

-·- - .. ' . --· -· --- - -- ::>"--.

.,.. --- ..-..

1-,, --". l'r-

... - -..•. - -------------- .:. .:.

... ..-•. - -- --. -- -

• theme is shared by all instruments; dialogue between piano and strings

··~ ." ..-

--- - --~... --- - - --

• theme is played by the cello

~-.. - ..-.. -- ! ! ii. ! R- It- i- i-

theme is played by the violin

Piano Quintet in A Major, D 667 ("Trout")

Movement Key Tempo Meter Features

Second F major Andante I lyrical, songlike

Third A major Scherzo: Presto I ABAform

Fourth D major Andantino ! theme and variations

Fifth A major Allegro giusto ! lively finale

Sonata in A Minor, D 821, for Arpeggione and Piano,

Unit 2 Mendelssohn and

Felix Mendelssohn (1809-1847)

Life and Musical Career

~ Building a Musical Vocabulary~

Musical Style and Contributions

Genres and Titles

Exposition (mm. 1-226)

First Theme (mm. 1-71)

FELIX MENDELSSOHN was a multitalented 19th-century "Renaissance man." Besides

Bridge Theme (Transition) (mm. 72-130)

Second Theme (mm. 131 - 168)

t. pp I I I I "':' "':' "':'

----- - ----- - ----- - - -

Codetta (Close) (mm. 168-209)

Transition (mm. 209-226)

Development (mm. 226-334)

, ~ jJ) {ijjJ#i)JiiVJM l@We aarr re aar

• features fragments of the opening motive of the first theme

Recapitulation (mm. 335-458)

Transition to Coda (mm . 459-472)

Coda (mm. 473-528)

Listening to Violin Concerto in E Minor, op. 64

First Movement Second Movement Third Movement

Rondo capriccioso, op. 14

Robert Schumann (1810-1856) "EVERYTHING BEAUTIFUL IS DIFFICULT,