MUH 2 Exam 1 - Pieces

La Serva Padrona

Pergolesi

Intermezzo

1733

11 measures in a 3+2+2+2+2 pattern to indicate confusion

Opening Melodic Ideas:

includes patter

rapid succession of rhythmic patterns

tongue-twisting, angularity, repetition

Lyrical Idea:

melody short, legato phrases, not long phrases

Dramatic Change:

low whole notes

cadence on ii (atypical)

Sonata in D Major, K. 119

D. Scarlatti

Keyboard sonata

ca. 1740s

galant style

clear melody, short phrases, large leaps, rapid arpeggios, rushing scales

fairly periodic with clear cadences

Sonata in A Major, II

C.P.E. Bach

Keyboard sonata

1765

combination of galant and empfindsam

embellishment and ornamentation

emotional writing

A A’ form

rhythm constantly changes, asymmetrical, non-harmonic tones, chromaticism

unexpected harmony, dynamics, texture

Symphony in F Major, I

Sammartini

Symphony

c. 1740

2 violins, 1 viola, 1 cello, harpsichord

Rounded Binary

Double Return: melodic material in original key

opening hammerblows (set of 3 quarter notes)

String Quartet in E-flat Major, Op. 33, No. 2, II & IV

Haydn

String Quartet

1781

2nd mvmt typically slow but this one is fast; 3rd mvmt largo

2nd Movement

Scherzo: humorous due to awkward leaps, surprisingly soft

dissonant figure interrupts regular phrasing

dance like vs. learned styles

Trio: sliding 1st violin (no written), large leaps

4th Movement

subverts expectations

rounded binary, slows down and decrescendos unexpectedly

Near End: Adagio?!?!?

theme in fragments

final phrase is just the opening material of “a” phrase

Don Giovanni, Act I, Scene 1

Mozart

Opera (dramma giocoso)

1787

performance in Prague 1787, performance in Vienna 1788

legend of Don Juan

Opera Seria: Donna Anna

Opera Buffa: Leporello

Leporello Aria

leaps, scales (waiting)

Servitude: simple, repetitive, seperated

Gentleman: smoother elegant, syllabic

Trio

Don Giovanni “copier”

steals the commendatores intro

Commendatore pauses to signify struggle

Leporello comments on situation, lilted patter

Symphony No. 5, III & IV

Beethoven

Symphony

1808

Scherzo (mvmt 3):

fast, triple meter dance

widened upper and lower range due to addition of piccolo, contrabassoon and three trombones

hammerblows

continues into IV movement without a break which is novel

Conclusion (mvmt 4):

lots of V → I

a bunch of false endings

accelerando, loud ending all to represent heroism

sublime as opposed to beautiful

“grand chaos”