T252 Unit 2

Hector Berlioz: Symphonie Fantastique, Op. 14

Jan 1, 1830

5 movements
modern-sounding instrumentation and extended techniques
idée fixe!! and thematic transformation + cyclical

Felix Mendelssohn: Songs Without Words (Lieder ohne Worte)

Mar 28, 1830

No. 1 in E major
Rounded binary form
I-bIII-I

Frédéric Chopin: Ballade in G minor, Op. 23

Mar 28, 1831

Hybrid form: sonata+rondo, but with variations
motivic transformation
"arch-shaped" cell first heard in the introduction

Frédéric Chopin: Nocturne in Db major, Op. 27, No. 2

Mar 28, 1835

Fioritura - embellishments
Chromaticism
Omnibus progression!
Intro ABA'B'A"B" Coda
Lyrical melody+arpeggiated accompaniment

Robert Schumann: Carnaval

Mar 28, 1835

Six movements
SCHumAnn
Eb-C-B-A in various permutations

Frédéric Chopin: Prelude Nos. 4 in E minor and 6 in B minor, Op. 28

Mar 28, 1836

Both assymetrical PIP
No. 4, E minor
Lament bass
neighbor figure motive
No. 6, B minor
tonicization of Neapolitan
compound melody in LH

Hector Berlioz: Requiem (Grand messe des morts), Op. 5

Mar 28, 1837

Mvt. 2, Dies irae
HUGE orchestration
Part 1: combinatorial counterpoint, phrase org, "archaic sound," Am-Bbm-Dm unorthodox tonal structure
Part 2: brass choirs enter (Tuba mirum-"wonderous trumpet"), EbM

Robert Schumann: Dichterliebe

Mar 29, 1840

Heinrich Heine
1840-Bob and Clara get hitched and Bob writes a bunch of songs
Tonal ambiguity and unresolved endings
Floating rhythm
modal mixture and expressive dissonance
No. 1 In the Beautiful Month of May
STROPHIC
2 From My Tears Spring Forth
AABA
12 On a Bright Summer Morning
QUASI-STROPHIC and EXTENSIVE POSTLUDE

Franz Lizst: Piano Sonata in B minor

Mar 28, 1852

Double-function form
four separate movements OR one movement sonata form

Pyotr Illyich Tchaikovsky: Romeo and Juliet

Mar 29, 1870

Based loosely on Shakespeare
slow theme=Friar Laurence
P=Montagues vs. Capulets
S=R+J
Bm, DbM, DM, BM (not in order)

Georges Bizet: Carmen

Mar 28, 1874

opéra comique, because of dialogue, but it's superdramatic
exoticism
transparent orchestration
rhythmic and melodic vitality
tension between order and transgression of order reflects plot
Carmen: gypsy woman
Don José: soldier
Micaëla: Don's fiancée
Escamillo: toreador

Johannes Brahms: Symphony No. 2 in D major, Op. 73

Mar 28, 1878

Conservative instrumentation, classical forms with fresh treatment
motivic transformation! and motivic material used across movements
Mvt. I (Allegro non troppo)
sonata form
3-key expo
N and arp. motives
invertible counterpoint, fugue, diminution, canon, augmentation
Mvt. III
minuet+rondo

Antonin Dvorák: Slavonic Dance in G minor

Mar 28, 1878

HEMIOLA

Johannes Brahms: Intermezzo in A minor, Op. 76, No. 7

Mar 28, 1879

E D# E Motivic figure
lyrical, with economical melodic style
Framed! (form)
Tonal ambiguity (Am/CM) "Schumannesque"
floating rhythm

Johannes Brahms: "Wie Melodien zieht es mir"

Mar 28, 1886

??

Johannes Brahms: Intermezzo in A major, Op. 118, No. 2

Mar 28, 1893

Compound ternary
mazimum value from economical use of rhythmic and melodic motives
Metric displacement and hemiola
modal mixture

Johannes Brahms: Intermezzo in C major, Op. 119, No. 3

Mar 28, 1893

HEMIOLA (small and large scale)
hypermetric ambiguity
metric displacement and syncopation