Transparency Masters For Listen, Seventh Edition

L i s t e n , seventh edition
Joseph Kerman and Gary Tomlinson contents No. 1 2 3 4 5 6 7 8 9 10 11 12 13ab 14 15 16 17 18 19 20 21 22 23 24 25 26ab 27 28 29 30 31 32ab 33 Title Listening Chart 1: Wagner, Prelude to The Valkyrie Listening Exercise 1: Rhythm, Meter, and Syncopation Listening Exercise 2: Rhythm, Meter, and Tempo Listening Exercise 3: Pitch and Dynamics Orchestral Seating Plan Listening Exercise 4: The Orchestra in Action Diatonic and Chromatic Scales Listening Exercise 5: Melody and Tune Listening Exercise 6: Texture Major and Minor Modes Listening Exercise 7: Mode and Key Listening Exercise 8: Musical Form Listening Chart 2: Britten, The Young Persons Guide to the Orchestra The Medieval Modes Plainchant, In paradisum Hildegard of Bingen, Columba aspexit Bernart de Ventadorn, La dousa votz Protin, Alleluia. Diffusa est gratia Machaut, Dame, de qui toute ma joie vient, first stanza Dufay, Ave maris stella Josquin, Pange lingua Mass, Kyrie; from the Gloria Map: Dispersion of the High Renaissance Style Josquin, Mille regrets Palestrina, Pope Marcellus Mass, from the Gloria Gabrieli, O magnum mysterium Monteverdi, The Coronation of Poppea, from Act I Purcell, Dido and Aeneas, Act III, final scene UNIT II: Early Music: An Overview UNIT I: Fundamentals Page(s) 5 10 11 13 21 22 28 31 35 36 38 42 45 51 52 53 55 59 61 67 7172 74 74 76 86 91 94 114 121 122 126 129 132
Transparency Masters for
The Basic and Festive Baroque Orchestras Ritornello Form Listening Chart 3: Vivaldi, Violin Concerto in G, first movement Listening Chart 4: Vivaldi, Violin Concerto in G, second movement Listening Chart 5: Bach, Brandenburg Concerto No. 5, I Fugue Form i
UNIT III: The Eighteenth Century
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Listening Chart 6: Bach, The Well-Tempered Clavier, Book 1, Fugue in C Major Handel, Julius Caesar, La giustizia Handel, Messiah, There were shepherds; Glory to God Handel, Messiah, Hallelujah Chorus Bach, Cantata No. 4, Christ lag in Todesbanden (Stanzas 3, 4, and 7) Map: Centrality of Vienna in the Classical Period The Classical Orchestra Sonata Form Listening Chart 7: Mozart, Symphony No. 40 in G Minor, first movement Listening Chart 8: Haydn, Symphony No. 95 in C Minor, second movement Listening Chart 9: Haydn, Symphony No. 95 in C Minor, third movement Listening Chart 10: Haydn, Symphony No. 95 in C Minor, fourth movement Double-Exposition Form Listening Chart 11: Mozart, Piano Concerto No. 23 in A, first movement Mozart, Don Giovanni, from Act I, scene iii Listening Chart 12: Beethoven, Symphony No. 5 in C Minor, first movement Listening Chart 13: Beethoven, Symphony No. 5 in C Minor, complete work A Typical Romantic Orchestra Schubert, Erlknig R. Schumann, Dichterliebe, Im wunderschnen Monat Mai R. Schumann, Dichterliebe, Die alten, bsen Lieder C. Schumann, Der Mond kommt still gegangen Listening Chart 14: Berlioz, Fantastic Symphony, fifth movement Verdi, Rigoletto, from Act III, scene i Wagner, The Valkyrie, Act I, scene i Puccini, Madame Butterfly, from Act II, Un bel d Listening Chart 15: Tchaikovsky, Overture-Fantasy, Romeo and Juliet Listening Chart 16: Brahms, Violin Concerto in D, third movement Listening Chart 17: Mahler, Symphony No. 1, third movement, Funeral March Map: Paris and Vienna as Musical Centers Listening Chart 18: Debussy, from Three Nocturnes, Clouds Listening Chart 19: Stravinsky, The Rite of Spring, Part I (excerpt) Berg, Wozzeck, Act III, scenes iii and iv Listening Chart 20: Ives, Second Orchestral Set, II, The Rockstrewn Hills Join in the Peoples Outdoor Meeting Listening Chart 21: Ravel, Piano Concerto in G, first movement Listening Chart 22: Bartk, Music for Strings, Percussion, and Celesta, second movement Listening Chart 23: Prokofiev, Alexander Nevsky Cantata, 5, The Battle on Ice Listening Chart 24: Ligeti, Lux aeterna Listening Chart 25: Reich, Music for 18 Musicians (excerpts) Saariaho, From the Grammar of Dreams (Songs 1, 3, and 4) UNIT V: The Twentieth Century and Beyond UNIT IV: The Nineteenth Century
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Adams, El Nio, Pues mi Dios ha nacido a penar, When Herod Heard, and Woe unto Them That Call Evil Good Navajo song, Kadnikiniya Inca processional music, Hanaq pachap kusikuynin Japanese gagaku, Etenraku Balinese gamelan, Bopong Japanese kabuki, Dojoji South African popular song, Anoku Gonda
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Copyright 2012 by Bedford/St. Martins ISBN-13 978-0-312-67212-6 ISBN-10 0-312-67212-8 All rights reserved. Manufactured in the United States of America. For information, write: Bedford/St. Martins, 75 Arlington Street, Boston, MA 02116 (617-399-4000) Instructors who have adopted Listen, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this set of transparency masters for their students.
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Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright 2012 by Bedford/St. Martins
L I S T E N I N G C H A RT 1
Wagner, Prelude to The Valkyrie

2 min., 41 sec.
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A B A B A
Scale theme in low strings; crescendo and rise in pitch Preliminary climax: Lightning theme in horns and woodwinds Scale theme, briefly subsiding; then crescendo Main climax: Lightning theme, extended, in full brass Collapse: Timpani roll; sporadic lightning strikes; diminuendo Scale theme
Access Interactive Listening Chart 1 at bedfordstmartins .com/listen
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LISTENING E X ER CI SE 1 Rhythm, Meter, and Syncopation

In Unit I of this book, we illustrate the concepts that are introduced with listening examples drawn from the Companion DVD. Follow the timings in these Listening Exercises, which are simplified versions of the Listening Charts provided for complete compositions later in the book. The charts are explained on page xxviii. For samples of duple, triple, and compound meters, listen to the following tracks on the DVD.
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DVD
Duple meter Duple meter Triple meter Compound meter
Count one two | one two . . . etc., for about half a minute. Count one two
THREE
four | one two
THREE
four . . . etc.
Count one two three | one two three . . . etc. Count one two three six . . . etc.
FOUR
five six | one two three
FOUR
five
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Syncopation: In Scott Joplins Maple Leaf Rag, listen to the piano left hand, with its steady one two | one two beat in duple meter, while the right hand cuts across it with syncopations in almost every measure.
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LI S T E N I N G E X E R C IS E 2 Rhythm, Meter, and Tempo

A more advanced exercise: Our excerpt, from the middle of Rhapsody on a Theme by Paganini, for piano and orchestra, by Sergei Rachmaninov, consists of four continuous segments in different meters and tempos, here labeled A, B, C, and D. (If you note a family likeness among the segments, that is because they are all variations on a single theme. See page 174.) 0:00 0:33 0:49 1:45 2:24 3:47 3:56 4:26 D C B A The piano starts in duple meter (one two | one two). The loud orchestral interruptions are syncopated. (After the interruptions the meter is somewhat obscured, but it gets clearer.) Clear duple meter by this time; then the music comes to a stop. No meter. The piano seems to be engaged in a meditative improvisation, as if it is dreaming up the music to come. Orchestral instruments suggest a slow duple meter? Not for long. Slow triple meter (one two three | one two three) Ritardando (getting slower) Fast triple meter, assertive (note one or two syncopated notes) Faster triple meter
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L I S T E N I N G E X E RC I S E 3
Pitch and Dynamics

High and low pitch and loud and soft dynamics are heard so instinctively that they hardly need illustration. Listen, however, to the vivid way they are deployed in one of the most famous of classical compositions, the Unfinished Symphony by Franz Schubert. Symphonies usually consist of four separate big segments, called movements; musicologists are still baffled as to why Schubert wrote two superb movements for this work and started but never finished the rest. pitch 0:00 0:15 0:22 0:35 0:47 1:07 1:15 1:52 3:07 3:45 Quiet and mysterious Rustling sounds Wind instruments Single sharp accent Gets louder Sudden collapse New tune Cuts off sharply; big sound Sinking passage Ominous First low, then high Higher instruments added Low range Middle range High sf dynamic pp
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Long crescendo, leading to f, then ff, more accents piano followed by diminuendo (Marked pp by Schubert, but usually played p or mp) ff, more accents
(Similar pitch and dynamic effects for the rest of the excerpt) Individual pitches, lower and lower Lowest pitch of all pp
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ORCHESTRAL SEATING PLAN
Timpani Percussion
Trombones
Tuba
French horns Harps
Trumpets
Double basses
Clarinets
Bassoons
Flutes Second violins
Oboes Violas
Cellos First violins Conductor
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L I S T E N I N G E XERCISE 4
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6:11 6:56 7:45 8:43 9:40 10:31 11:11 11:47 12:48 14:43
Violins Violas Cellos Double bass Harp French horns Trumpets Trombones, tuba percussion Full orchestra
The Orchestra in Action
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Take a break from reading now and listen to The Young Persons Guide to the Orchestra, a work devised by Benjamin Britten in 1946 to introduce the many tone colors of orchestral instruments. A full chart of this work is given on page 45. For now, the chart below will lead you one by one through the various sections and instruments of the orchestra.
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Full orchestra woodwind choir brass choir string choir percussion Full orchestra Flutes and piccolo Oboes Clarinet family: bass clarinet (1:42), clarinet (1:57), and E-flat clarinet (1:46) Bassoon
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0:39 1:42
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Diatonic and Chromatic Scales
C G A D F (D ) (E ) (G ) (A ) (B )
DIATONIC SCALE (one octave)
CHROMATIC SCALE (one octave)

Half step Half step Half step Half step Half step Half step Half step Half step Half step Half step Half step Half step
Whole step
Whole step
F E Half step
G Whole step
A Whole step
C B Half step
Whole step
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LISTENING EXERCISE 5 Melody and Tune

Division into phrases, parallelism and contrast between phrases, sequence, climax, and cadence: These are some characteristics of tunes that we have observed in The Star-Spangled Banner. They are not just inert characteristics they are what make the tune work, and they are present in tunes of all kinds. Our example is a song by George and Ira Gershwin from the Depression era, which was also the jazz era: Who Cares? from the musical comedy Of Thee I Sing (1932). In The Star-Spangled Banner the climax matches the text perfectly at free. Here jubilee makes a good match for the climax, and a melodic sequence fits the words I care for you / you care for me neatly. Who cares? comes at 0:57 on our recording by the great jazz singer Ella Fitzgerald, after an introduction (called the verse) typical of such songs a sort of subsidiary tune, with words that will not be repeated. 0:12 0:48 0:57 Tune: Who cares if the sky cares to fall in the sea? Who cares what banks fail in Yonkers? Long as youve got a kiss that conquers. Why should I care? Life is one long jubilee, So long as I care for you and you care for me. 1:55 Tune played by the jazz band, todays big band (with saxophone breaks: see page 382) Verse: Let it rain and thunder . . . (eight more lines) Includes a long sequence Tempo changes First phrase of the tune Contrasting phrase Parallel phrase starts like the preceding, ends higher Threefold sequence (Should I care / life is one / jubilee) Climax on jubilee Free sequence (I care for you/ You care for me) cadence
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L IS T E NIN G EX ERCI SE 6
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Texture
A famous passage from Beethoven furnishes a clear example of monophonic, polyphonic, and homophonic textures the initial presentation of the so-called Joy Theme in Symphony No. 9, the Choral Symphony. The theme, a tune known around the world, takes its name from the words set to it, an enthusiastic ode to the joy that comes from human freedom, companionship, and reverence for the deity. The words are sung by soloists and a chorus. But before anyone sings, the theme is played several times by the orchestra, in a way that suggests that joy is emerging out of nothingness into its full realization. Beginning with utterly simple monophony, and growing successively higher and louder, it is enriched by polyphony and then reaches its grand climax in homophony.
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Joy Theme Theme
Low register An octave higher
Monophony: a single melodic line; cellos and double basses playing together, with no accompaniment whatsoever Polyphony, non-imitative: the theme with two lines of counterpoint, in low strings (cello) and a mellow wind instrument (bassoon) Homophony: full orchestra with trumpets prominent
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Theme Theme
Two octaves higher Three octaves higher
Our example of imitative polyphony comes from the Symphony of Psalms, another symphony with chorus, a major work by the twentieth-century composer Igor Stravinsky.
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A slow, winding melody, unaccompanied, played by an oboe The same melody enters in another instrument, a flute, as the oboe continues with new material; this produces two-part imitative counterpoint. Third entry, second flute plays in a lower register three-part counterpoint Fourth entry, second oboe four-part counterpoint
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Major and Minor Modes
Middle D C
MAJOR MODE
Whole step
Whole step
DIATONIC SCALE
C
Focal point
D D
E F E F
Half step
Whole step
G G
Whole step
Whole step
B C B C
Focal point
Half step
A
Focal point
D D
Whole step
E F E F
Half step Whole step
G G
A A
Focal point
MINOR MODE
B C
Whole step
Whole Half step step
Whole step
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L I STENI NG EX E R CIS E 7 Mode and Key

Modality is probably most obvious when you hear a minor-mode melody (or phrase of melody) and then hear it with the mode changed to major. A short passage from the String Quartet in A Minor by Franz Schubert is a lovely illustration of this change.
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pp A melancholy melody in the minor mode. Listen to the first violin above the rustling accompaniment in the lower string instruments. The beginning of the melody returns, changed to the major mode.
Listen to more of the Schubert quartet for a change in key: 1:04 1:39 1:56 ff Agitated; back in the minor mode. Lower instruments alternate with the solo violin. p A quiet cadence, still in the same key, but followed by modulation p Reaching a new key, for a new theme. This theme is in the major mode, calm and sunny.
For a series of modulations to several different keys, go to a passage from Beethovens Piano Concerto No. 5, the Emperor Concerto. Here the key changes stand out clearly because the modulations are carried out so brusquely a Beethoven specialty.
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Lively music for the piano, f, followed by a f response from the orchestra Modulation (French horns) New key: Similar music for piano, but pp, followed by the same orchestral response, f Similar modulation (French horns). The music seems to be searching for a place to settle. Another new key: piano, p, and orchestra, f, as before The piano bursts in, f, in the same key but in the minor mode. It begins modulating to further new keys in a more complicated way than before.
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LISTEN IN G EXE RCI S E 8 Musical Form

The Star-Spangled Banner has one of the simplest forms, a a b. Oh, say can you see . . . the twilights last gleaming is a, Whose broad stripes . . . gallantly streaming is the second a, and the rest of the anthem is b. Section b makes a definite contrast with a by means of its new melody and higher range, as weve seen on page 30. When sections of music are not identical but are considered essentially parallel, they are labeled a, a, a, and so on. The first theme of Schuberts Quartet in A Minor is in a a a form.
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a a a
Melancholy Begins like a, but the melody lasts longer and goes higher and lower than in a The beginning now turns luminously to the major mode.
Smaller form elements (a, b, a) can be nested in larger ones, marked with capital letters: A, B, A. A more extended example comes from an all-time classical favorite, the Christmas ballet The Nutcracker by Pyotr Ilyich Tchaikovsky. Tchaikovsky used the Dance of the Sugar-Plum Fairy mainly to show off the celesta, a rare instrument (see page 20). The A B A form of the dance breaks down into a a b b a a.
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0:00 0:08 0:23 0:37 0:44 0:51 1:07 1:22 A B A
Introduction: The 2/4 meter is previewed by low stringed instruments. a Solo for celesta, with comments by a bass clarinet a Begins like a, but the ending is different on a new pitch and harmony b Contrast with a b Transition: The music has a preparatory quality. a Celesta an octave higher, with a quiet new click in the violins a The high celesta is a very striking sound.
The new orchestration is what gives this A B A form its prime mark not changes in melody or harmony, as is usually the case. More strictly, the form could be marked introduction A (a a) B (b b) transition A (a a), but this level of detail is seldom needed.
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Britten, The Young Persons Guide to the Orchestra

17 min., 13 sec.
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THEME Transition
Full orchestra
Note the prominent sequence in the middle of the Purcell tune. You will hear snatches of this in some of the variations. Diminuendo (getting softer). Further transitions occurring between thematic statements and variations will not be indicated on this chart.
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Theme Theme Theme THEME Variation 1 Variation 2 Variation 3 Variation 4
woodwind choir brass choir string choir percussion Full orchestra Flutes and piccolo Oboes Clarinet family Bassoon Ending is changed. Theme is changed further. Theme only in principle; only some rhythms remain. Same as the first time (harp accompaniment) Piccolo and flute play in harmony. Beginning of the tune transformed into a slow, romantic melody in oboe 1; oboe 2 joins in two-part polyphony. Solos for bass clarinet (1:42), clarinet (1:57), and E-flat clarinet (1:46) Typical qualities of the bassoon: staccato (comic effect) and legato (melodious)
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Variation 5 Variation 6 Variation 7 Variation 8 Variation 9
Violins Violas Cellos Double bass Harp
With chordal accompaniment particularly clear homophonic texture Slower Another slow, romantic melody: falls into a a form (clarinet in the background) Solo humorous In the background is a string tremolo, caused by bowing a single note extremely rapidly, so that it sounds like a single trembling note. With snare drum, suggesting a fast military march Typical qualities of the trombone: humorously pompous, and mysterious chords Timpani and bass drum (heard throughout the variation), cymbals (0:18), tambourine (0:28), triangle (0:32), snare drum (0:40), Chinese block (0:44), xylophone (0:50), castanets (1:01), gong (1:07), whip (1:14), marimba and triangle (1:41) Percussion instruments are described starting on pages 1920. Imitative polyphony starts with flutes, then oboe, clarinet (same order as above!). Climax: slower than before. The tune is superimposed on the fugue.
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Variation 10 Variation 11 Variation 12 Variation 13
French horns Trumpets Trombones, tuba percussion
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FUGUE THEME
Full orchestra Full orchestra
1:47
Access Interactive Listening Chart 2 at bedfordstmartins.com/listen
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The Medieval Modes
Middle C
Focal point
DORIAN
D
P H RY G I A N

F E Focal point
Focal point
LY DIAN
Focal point
M I XO LYDIAN
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LISTEN
0:00
Plainchant antiphon, In paradisum

1 1
1
In paradisum deducant te Angeli: in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.
May the Angels lead you to paradise, and the Martyrs, when you arrive, escort you to the holy city of Jerusalem. May the Angel choir sustain you, and with Lazarus, who was once poor, may you be granted eternal rest.
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LISTEN
0:02 A
Hildegard of Bingen, Columba aspexit
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Columba aspexit Per cancellos fenestrae Ubi ante faciem eius Sudando sudavit balsamum De lucido Maximino. Calor solis exarsit Et in tenebras resplenduit; Unde gemma surrexit In edificatione templi Purissimi cordis benevoli. Iste turis . . . Ipse velox . . . O pigmentarii . . . O Maximine . . .
The dove entered Through the lattices of the window, Where, before its face, Balm emanated From incandescent Maximinus. The heat of the sun burned And dazzled into the gloom, Whence a jewel sprang forth In the building of the temple Of the most pure loving heart. He is the high tower of Lebanon . . . The swift hart sped to the fountain . . . O you makers of incense . . . O Maximinus . . . (two more stanzas)
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B B C D
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0:07
Bernart de Ventadorn, La dousa votz

I have heard the sweet voice Of the woodland nightingale And my heart springs up So that all the cares And the grievous betrayals love has given me Are softened and sweetened; And I would thus be rewarded, In my ordeal, by the joys of others. In truth, every man leads a base life Who does not dwell in the land of joy . . . One who is false, deceitful, Of low breeding, a traitress Has betrayed me, and betrayed herself . . .
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St. 1: La dousa votz ai auzida Del rosinholet sauvatge Et es minsel cor salhida Si que tot lo cosirer Els mals traihz quamors me dona, Madousa e masazona. Et auriam be mester Lautrui joi al meu damnatge. St. 2: Ben es totz om davol vida Cab joi non a son estatge . . . St. 3: Una fausa deschauzida Trairitz de mal linhage Ma trait, et es traida . . .
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0:00 0:37 2:36 3:06 Chant Organum Chant
Protin, Alleluia. Diffusa est gratia

alleluia, alleluia Diffusa est gratia in labiis tuis; propterea benedixit te deus in aeternum. alleluia, alleluia Hallelujah. Grace has been poured out upon your lips; therefore, God has blessed you eternally.
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0:00 0:35 1:19 a a b
Guillaume de Machaut, Dame, de qui toute ma joie vient

Lady, source of all my joy, I can never love or cherish you too much, Or praise you as much as you deserve, Or serve, respect, honor, and obey you. For the gracious hope, Sweet lady, I have of seeing you, Gives me a hundred times more joy and boon Than I could deserve in a hundred thousand years.
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Dame, de qui toute ma joie vient Je ne vous puis trop amer et chierir Nasss loer, si com il apartient Servir, doubter, honourer nober. Car le gracious espoi, Douce dame, que jay de vous voir, Me fait cent fois plus de bien et de joie Quen cent mille ans desservir ne porroie.
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0 :00
Dufay, Ave maris stella
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STANZA 1 : Plainchant
Ave maris stella, Dei Mater alma, Atque semper Virgo, Felix coeli porta.
STANZA 2: Dufays paraphrase
Hail, star of the ocean, Kind Mother of God, And also still a virgin, Our blessed port to heaven.
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Sumens illud Ave Gabrielis ore, Funda nos in pace, Mutans Hevae nomen.
May that blessed Ave From Angel Gabriels mouth Grant us peace, Reversing the name Eva.
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Solve vincla reis . . .

STANZA 4 : Paraphrase
1:35
Monstra te esse matrem . . .

2:26
Virgo singularis . . .
STANZA 6 : Paraphrase
2:48
Sit laus Deo Patri, Summo Christo decus, Spiritui Sancto, Tribus honor unus, Amen.
Praise be to God the Father, To Christ on high, To the Holy Spirit: Three honored as one. Amen.
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0:09 0:53 2:10 Kyrie eleison.
Josquin, Pange lingua Mass, Kyrie

Lord have mercy. Christ have mercy. Lord have mercy.
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Christe eleison. Kyrie eleison.
(continued)
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Josquin, Pange lingua Mass, from the Gloria
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(Capital letters indicate phrases sung in homophony.) 0:00 0:34 Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, cum sancto spiritu, in gloria Dei Patris. amen. You who take away the sins of the world, have mercy upon us. You who take away the sins of the world, hear our prayer. You who sit at the right hand of the Father, have mercy upon us. For you alone are holy, you alone are the Lord, you alone are the most high, Jesus Christ, With the Holy Spirit, in the glory of God the Father. Amen.
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William Byrd
North Sea
LONDON
Baltic Sea
The dispersion of the High Renaissance style across Europe
AT LANTI C OCEAN
MUNICH Roland de Lassus
MADRID
ROME
Toms Luis de Victoria
Mediterranean Sea
Giovanni Pierluigi da Palestrina

0 0 250 250 500 miles
500 kilometers
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Josquin, Mille regrets

A thousand regrets at leaving you and departing from your loving look. I feel such great sorrow and grievous pain that all will see my days are numbered.
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Mille regrets de vous abandonner Et dlonger votre face amoureuse. Jai si grand deuil et peine douloureuse Quon me verra brief mes jours dffiner.
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Palestrina, Pope Marcellus Mass, from the Gloria
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(Capital letters indicate phrases sung in homophony.) 0:00 qui tollis peccata mundi, miserere nobis. qui tollis peccata mundi, Suscipe deprecationem nostram. qui sedes ad dexteram patris, miserere nobis. quoniam tu solus sanctus, tu solus dominus, tu solus altissimus, jesu christe, cum sancto spiritu, in gloria Dei Patris. Amen. You who take away the sins of the world, have mercy upon us. You who take away the sins of the world, hear our prayer. You who sit at the right hand of the Father, have mercy upon us. For you alone are holy, you alone are the Lord, you alone are the most high, Jesus Christ, With the Holy Spirit, in the glory of God the Father. Amen.
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0:00 0:29 0:51 1:16 1:51
Gabrieli, O magnum mysterium

O, what a great mystery, and what a wonderful sacrament that animals should see the Lord new born lying in the manger. Hallelujah, hallelujah.
1
15
O magnum mysterium, et admirabile sacramentum ut animalia viderunt Dominum natum iacentem in presepio: Alleluia, alleluia.
Transparency 26a
LISTEN
Monteverdi, The Coronation of Poppea, from Act I
1
1617
(Italics indicate repeated words and lines. For a word about singing Italian, see page 89.)
RECITATIVE 16
0:00
Poppea: Nero: Poppea: Nero: Poppea:

ARI OSO
Tornerai? Se ben io v, Pur teco io st, pur teco st . . . Tornerai? Il cor dalle tue stelle Mai mai non si disvelle . . . Tornerai?
Wont you return? Though I am leaving you, I am in truth still here . . . Wont you return? My heart can never, never be torn away from your fair eyes . . . Wont you return?
0:20
Nero:
Io non posso da te, non posso da te, da te viver disgiunto Se non si smembra lunit del punto . . .
I cannot live apart from you Unless unity itself can be divided . . .
RECITATIVE
0:52
Poppea: Nero: Poppea: Nero: Poppea: Nero: Poppea: Nero:
Tornerai? Torner. Quando? Ben tosto. Ben tosto, mel prometti? Tel giuro. E me losserverai? E sa te non verr, tu a me verrai!
Wont you return? I will return. When? Soon. Very soon you promise? I swear it! And will you keep your promise? If I do not come, youll come to me!
Transparency 26b
1:19
Poppea: Nero: Poppea: Nero: Poppea: Nero:

ARIA
Addio . . . Addio . . . Nerone, Nerone, addio . . . Poppea, Poppea, addio . . . Addio, Nerone, addio! Addio, Poppea, ben mio. (Section 1) Speranza, tu mi vai Il core accarezzando; Speranza, tu mi vai il genio lusingando; E mi circondi intanto Di regio si, ma immaginario manto. (Section 2)
Farewell . . .
Farewell, Nero, farewell! Farewell, Poppea, my love.
17
2:18
0:11 2:29 Poppea:
O hope, you Caress my heart; O hope, you entice my mind;
Many mens roles in early opera were written for castrati, male soprano singers (see page 142). On our recording, Nero is sung by a female mezzo-soprano, Guillemette Laurens.
As you cloak me In a mantle that is royal, yes, but illusory.
0:51
3:09
No no, non temo, no, no no, non temo, no di noia alcuna: (Section 3)
No, no! I fear no adversity:
1:08
3:26
Per me guerreggia, guerreggia, Per me guerreggia Amor, guerreggia Amor e la Fortuna, e la Fortuna.
I have fighting for me, I have fighting for me Love and Fortune.
Transparency 27
LISTEN
Purcell, Dido and Aeneas, Act III, final scene
1
1819
(Italics indicate repeated words and lines.)

R E C I TAT I V E 18
0:00
Dido:
Thy hand, Belinda! Darkness shades me; On thy bosom let me rest. More I would but death invades me: Death is now a welcome guest. When I am laid in earth May my wrongs create No trouble in thy breast; (repeated) Remember me, but ah, forget my fate; Remember me, but ah, forget my fate. (stabs herself) With drooping wings, ye cupids come And scatter roses on her tomb. Soft, soft and gentle as her heart. Keep here your watch; Keep here your watch, and never part.
Colored type indicates words treated with word painting.
ARIA
0:58
Dido:
2:17
C HORU S 19
4:01
Courtiers:
1:30
5:31
Transparency 28
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THE BASIC BAROQUE ORCHESTRA as in Vivaldis Concerto in G (page 122)

STRINGS KEYBOARD STRINGS
THE FESTIVE BAROQUE ORCHESTRA as in Handels Minuet from the Royal Fireworks Music (page 138)
WOODWINDS BRASS PERCUSSION KEYBOARD
Violins (divided into two groups, called violins 1 and violins 2) Violas Cellos Bass (playing the same music as the cellos an octave lower)
Harpsichord or organ
Violins 1 Violins 2 Violas Cellos Bass
2 Oboes 1 Bassoon
3 Trumpets
2 Timpani (kettledrums)
Harpsichord or organ
Transparency 29
RIT Solo 1
[RIT] Solo 2
[RIT] Solo 3
[RIT] Solo 4
[RIT]
TONIC KEY
OTHER KEYS
TONIC KEY
Transparency 30
Vivaldi, Violin Concerto in G, first movement

Ritornello form. 2 min., 46 sec.
1
24
1 DVD
3 5-9
0:00 0:11 0:18 0:26 0:41 0:49 1:17 1:33 1:52 2:10 2:24
Ritornello
a b c
Solo 1 Ritornello 2 Solo 2 Ritornello 3 Solo 3 Ritornello 4 Solo 4 Ritornello 5
Contrasting solo violin music c Virtuoso solo violin music; several different sections Continuo drops out for a short time. Part of this is derived from a and c; the rest is free. c a d e n c e in a minor key More expressive Even freer than Ritornello 3 Very fast bc
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LIS TE N IN G CHA RT 4
1 1
4
Vivaldi, Violin Concerto in G, second movement

Variation (ground bass) form. 2 min., 59 sec.
25
0:00 0:22 0:41 1:03 1:23 1:44 2:04 2:26
Theme Var. 1 Var. 2 Var. 3 Var. 4 Var. 5 Var. 6 Theme
Orchestra and Solo: descending bass Solo: Flowing material Faster flowing material Even faster music, though now in spurts Faster yet: rapid figuration c aden ce Brief stop at the cadence ending Variation 4 Thin texture (organ and lute drop out), with expressive violin material over a varied bass: in the minor mode Like Variation 5, but the violin is a little faster and more expressive. Orchestra and Solo: as at the beginning (i.e., back to the major mode, and the continuo returns)
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Transparency 32a
L I S T E N I N G C HART 5
Bach, Brandenburg Concerto No. 5, first movement

Ritornello form. 9 min., 44 sec.
2
15
1
59
1 5
0:00 0:20
Ritornello (a, b, and c) Solo
Complete ritornello is played by the orchestra, forte: bright and emphatic. Harpsichord, flute, and violin in a contrapuntal texture. Includes faster rhythms; the soloists play new themes and also play some of the motives from the ritornello. Orchestra, f Similar material to that of the first solo Orchestra, f Similar solo material Orchestra, f; minor mode Similar solo material at first, then fast harpsichord runs are introduced.
0:44 0:49 1:09 1:15 1:36 1:41
Ritornello (a only) Solo Ritornello (b) Solo Ritornello (b) Solo
Transparency 32b
2 6
2:23
Ritornello (b) Solo Central solo
Orchestra, f This solo leads directly into the central solo. Quiet flute and violin dialogue (accompanied by the orchestra, p) is largely in the minor mode. The music is less motivic, and the harmonies change less rapidly than before. Detached notes in cello, flute, and violin; sequence Long high notes prepare for the return of the ritornello.
0:06 2:29 0:31 2:54
0:55 3:19 1:34 3:52

3 7
4:06
Ritornello (a) Solo Ritornello (a and b) Solo Ritornello (b) Solo Harpsichord cadenza
Orchestra, f
0:04 4:10 0:48 4:54 1:00 5:05 1:27 5:34 1:33 5:40
4 8
Orchestra, f; this ritornello section feels especially solid because it is longer than the others and in the tonic key. Orchestra, f Fast harpsichord run leads into the cadenza. Section 1: a lengthy passage developing motives from the solo sections Section 2: very fast and brilliant Section 3: long preparation for the anticipated return of the ritornello
6:18
1:46 8:05 2:11 8:30

5 9
9:14
Ritornello (a, b, and c)
Orchestra, f, plays the complete ritornello.
Transparency 33
Fugue Form
Exposition Subject Subject Subject Subject

TONIC KEY
Episode
Entry Subject
Episode
Entry
Longer Episode
Entry Subject
Subject
ANOTHER KEY
ANOTHER KEY
TONIC KEY
Transparency 34
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LI STENI NG CHART 6
Bach, The Well-Tempered Clavier, Book 1, Fugue 1 in C Major

1 min., 55 sec.
2
7
DVD 1
5-9 11
0:00 0:00 0:06 0:12 0:18 0:24 0:32 0:38 0:51 0:52 1:01 1:33
Exposition
Fugue subject in: A (alto) S (soprano) T (tenor) B (bass)
0 0
First stretto, S and T Subject entry: A More stretto entries: B, A, T c a d en c e minor mode Quickest voice entries yet in stretto: A, T, B, S More stretto: S, A, T, B c a d enc e major mode, home key; but three more entries follow quickly in stretto: T, A, S
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LISTEN
0:00 0:16 A
Handel, Julius Caesar, Aria La giustizia

2
11
RITORNELLO
St. 1: first time
La giustizia ha gi sull arco Pronto strale alla vendetta Per punire un traditor La giustizia . . . etc. La giustizia . . . etc.
Justice now has in its bow The arrow primed for vengeance To castigate a traitor!
0:50 1:10 1:31 1:47 B
St. 1: second time St. 1: third time

RITORNELLO
St. 2:
Quanto tarda la saetta Tanto pi crudele aspetta La sua pena un empio cor.
The later the arrow is shot, The crueler is the pain suffered By a dastardly heart!
2:15 2:22
RITORNELLO
(abbreviated)
La giustizia . . . etc.
Justice . . . etc.
For a note on Italian pronunciation, see page 89: La joostidzia (ah) jah sool arco.
Transparency 36
LISTEN
Handel, Messiah, Recitative There were shepherds and Chorus Glory to God
2
12
1
14
(Bold italic type indicates accented words or syllables. Italics indicate phrases of text that are repeated.)
RECITATIVE PART 1 (secco)
0:01
There were shepherds abiding in the field, keeping watch over their flock by night.
PART 2 (accompanied)
0:22
And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them; and they were sore afraid.
PART 3 (secco)
Standard cadence
0:42
And the angel said unto them: Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
PART 4 (accompanied)
Standard cadence Standard cadence
1:39
And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying:
CHORUS
Standard cadence
1:51 2:30 2:48
Glory to God, glory to God, in the highest, and peace on earth, good will toward men good will Glory to God
Transparency 37
LISTEN
Handel, Messiah, Hallelujah Chorus
2
13
1
15
(Italics indicate phrases of text that are repeated.) 0:06 0:23 1:09 1:26 1:48 Hallelujah, Hallelujah! For the Lord God omnipotent reigneth. Hallelujah! For the Lord God omnipotent reigneth. The Kingdom of this world is become the kingdom of our Lord and of his Christ. And He shall reign for ever and ever, and he shall reign for ever and ever. KING OF KINGS for ever and ever, Hallelujah!
AND LORD OF LORDS for ever and ever, Hallelujah!
Transparency 38
LISTEN
14
Bach, Christ lag in Todesbanden

Jesus Christ, the Son of God, Has come on our behalf, And has done away with our sins, Thereby robbing Death Of all his power and might; There remains nothing but Deaths image; He has lost his sting. Hallelujah! It was a marvelous war Where Death and Life battled. Life gained the victory; It swallowed up Death. Scripture has proclaimed How one Death gobbled up the other; Death became a mockery. Hallelujah! We eat and live fitly On the true unleavened bread of Passover; The old yeast shall not Contaminate the word of grace. Christ alone will be the food To feed the soul: Faith will live on nothing else. Hallelujah!
2
1416
Stanza 3: Jesus Christus, Gottes Sohn, An unser Statt ist kommen, Und hat die Snde weggetan, Damit den Tod genommen All sein Recht und sein Gewalt; Da bleibet nichts denn Tods Gestalt; Den Stachl hat er verloren. Hallelujah! Stanza 4: Es war ein wunderlicher Krieg, Da Tod und Leben rungen; Das Leben da behielt das Sieg, Es hat den Tod verschlungen. Die Schrift hat verkndiget das Wie ein Tod den andern frass; Ein Spott aus dem Tod ist worden. Hallelujah! Stanza 7: Wir essen und leben wohl Im rechten Osterfladen. Der alter Sauerteig nicht soll Sein bei dem Wort der Gnaden. Christus will die Koste sein Und speisen die Seel allein, Der Glaub will keins andern leben. Hallelujah!
15
16
Transparency 39
North Sea
GERMANY
Beethoven BONN
The phrase Viennese Classical style brings to mind Haydn, Mozart, and Beethoven; each of them came to the capital city from other, smaller centers.
Bohemia
Mozart VIENNA SALZBURG EISENSTADT
AUSTRIA
Haydn
HUNGARY
dr
ia
ti
Se
Mediterranean Sea
Boundary of the Hapsburg Empire
Transparency 40
THE CLASSICAL ORCHESTRA

STRINGS WOODWINDS BRASS PERCUSSION
Violins 1 Violins 2 Violas Cellos Basses
2 Flutes 2 Oboes 2 Clarinets* 2 Bassoons *Optional
2 French horns 2 Trumpets* *Optional
2 Timpani
Transparency 41
Sonata Form
EXPOSITION
THEMES:
DEVELOPMENT
R E C A P I T U L AT I O N
CODA
Second group
d Bri ge
Second theme
Cadence theme
Various themes developed
First theme
Ret
ran
Second group
siti
on
First theme
Bridge
Second theme
Cadence theme
T O N A L I T Y:
Second key
Tonic key
unstable
First key (tonic key) Modulations
stable
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Transparency 42a
LIS T E N IN G C H A RT 7
Mozart, Symphony No. 40 in G Minor, first movement

Sonata form. 8 min., 14 sec.
2
1722
1
1621
17 16
E X P OS IT ION
0:01 Theme 1 (main theme) 0:25 0:34 Bridge
Theme 1, p, minor key (G minor); repeated cadences f Theme 1 repeats and begins the modulation to a new key. Bridge theme, f, confirms the modulation. caden ce Abrupt stop
Second Group
18 17
0:53 Theme 2 1:04 1:22
Theme 2, p, in major key; phrases divided between woodwinds and strings Theme 2 again, division of phrases is reversed. Other shorter ideas, f, and p: echoes of theme 1 motive
0:11 0:29 0:55
\ l l l [ \ [
1:48 Cadence theme Cadence theme, f, downward scales followed by repeated cadences caden ce Abrupt stop 2:04 Exposition repeated
1:11
Transparency 42b
DEVELOPMENT
19 18
4:10 Theme 1 developed 4:26 Contrapuntal passage 4:54 Fragmentation
Theme 1, p, modulating Sudden f: contrapuntal treatment by the full orchestra of theme 1 Sudden p: beginning of theme 1 echoes between strings and
0:16 0:44
1:01
5:11
Retransition f (full orchestra), p (woodwinds), which leads into the recapitulation
and finally to
woodwinds; theme fragmented from
to
Transparency 42c
20 19
R EC APITULATI O N
5:26 Theme 1 5:50 5:59 Bridge
Theme 1, p, G minor, as before Theme 1, modulating differently than before Bridge, f, longer than before caden ce Abrupt stop
0:24 0:33
Second Group
21 20
6:41 Theme 2
Theme 2, p, this time in the minor mode (G minor) All the other second-group themes are in the tonic key (minor mode); otherwise much the same as before
1:00
22 21
7:42 Cadence theme Scale part of the cadence theme, f

C ODA
7:54 8:04
New imitative passage, p, strings; based on theme 1 motive Repeated cadences, f Stop, this time confirmed by three solid chords
0:10
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LI ST E N I N G CHART 8
Haydn, Symphony No. 95, second movement (Andante cantabile)

Variation form. 5 min., 36 sec.
2
2630
1
2226
26 22
T H E ME
Strings only
0:00 a 0:17 a 0:34 b 0:59 b
l l \
27 23
VA RIAT ION 1
1:25 a 1:42 a1 1:57 b1 2:21 b1
Cello solo begins with the melody of a Triplet sixteenth notes
0:32 0:56
Cello now in triplets, then violins
0:16
l l l l l l l l \l 3 3
a1
3
Transparency 43b
28 24
VAR IAT ION 2
Minor mode Winds: f Ends with a transition to variation 3 Back to the major mode ( a; unvaried) Thirty-second notes, f Winds: f
2:45 a2 3:02 b2 3:26 b2

VAR IAT ION 3
0:16 0:41
29 25
3:53 a3 4:10 a3 4:25 b3

CODA
0:17 0:32
30 26
Strings More use of winds Still more
4:50 a4 5:30
New, expressive harmony Continuation: extra cadences Surprise! ff
Strings Wind solos

0:40
Transparency 44
L I S T E N I N G C H ART 9
Haydn, Symphony No. 95, third movement (Menuetto)

Minuet form. 4 min., 27 sec.
31 27
2
3133
1
2729
MI N U E T ( A )
0:00 a 0:09 0:24 a 0:49 b 0:58 a 1:12 1:18 1:29 b a
Theme Theme again, moving to the major mode Repetition (Picks up a motive introduced for the previous cadence) Theme (back in the minor) Unexpected pause, with fermata Strong return to the minor Repetition Slower tempo, major mode: cello solo Repetition
l l l l \
32 28
TRI O ( B)
2:10 c 2:19 c 2:29 d 2:39 c 2:43 2:53 d c

MI N U E T ( A )
0:09 0:19 0:29 0:34 0:44

33 29
l l l l l l CELLO \
Violins Repetition Repetition of a b a

3:18
Transparency 45
L I S T E N I N G C H ART 1 0
Haydn, Symphony No. 95, fourth movement (Finale. Vivace)

Rondo. 3 min., 44 sec.
34 30
2
3437
1
3033
0:00 0:07 0:14 0:21 0:35
A (Tune)
a a b c bc
Dynamic is p
\ l l l l [
Long extension (winds) First subject entry Second entry (rapid counterpoint in the bassoons) Third entry (stretto) Further material: many new, nonfugal ideas Seems to head for a big cadence; trumpets Fugue resumes: Expectant STOP Subject entry Final entry in the bass
35 31
0:55
B (Episode 1) Fugal exposition, f:
0:06 1:01 0:10 1:06 0:14 1:09 0:19 1:14 0:40 1:35 0:48 1:43 1:04 2:00
36 32
2:03
A C A Coda
abc
0:27 2:30 0:41 2:44 1:00

37 33
B (Episode 2) Fugue starts up again, f: seems to almost reach a cadence Surprise! sudden stormy section in the minor mode, ff Transition (in several short stages) a New, expressive harmony Brass fanfares p f
3:03 3:13
0:12 3:25
Transparency 46
Double-Exposition Form
ORCHESTRA EXPOSITION
SOLO EXPOSITION
(solo and orchestra)
DEVELOPMENT
SOLO CADENZA
THEMES:
First theme
Second group First (orchestra version) theme Second Cadence theme theme
id Br
ge
Second group (solo version)
Themes developed
Retransition
First theme Bridge
Second group (composite version)
Orchestras Cadence theme
TONALITY:
Second key Tonic key
Tonic key
Transparency 47a
LIS T E NING C HART 11
Mozart, Piano Concerto No. 23 in A, K. 488, first movement

Double-exposition form. 11 min., 42 sec. On this chart, the column arrangement distinguishes the main orchestra and solo sections.
1
3
15
ORCHESTRA EXPO SITIO N
0:00 Theme 1, p 0:34 f response 0:58 Theme 2, p 1:29 Deflection passage 2:01 Cadence theme, p
2
Orchestra Strings; woodwinds for the second playing
Two minor-mode keys are suggested.
\ \
Cadence theme
SOLO EXPOSITIO N
2:11 Theme 1
0:29 0:38 1:00 1:31 1:59
3
solo: melody is increasingly ornamented. Orchestra, with solo cutting in
2:40 f response 2:49 Bridge modulates 3:11 Theme 2 3:42 Deflection passage 4:10 Solo virtuoso passage 4:26 f response, leads to 4:39 New theme 4:51
0:13 0:25
Orchestra solo ornaments the new theme
Transparency 47b
DEV EL O PMENT
0:39 1:23 1:45

4
5:05 5:49 Retransition 6:11 Short cadenza

R EC API TUL ATI O N
Orchestra and solo: dialogue around the new theme; modulations in free time; ends with a fermata Orchestra, with solo cutting in for the second playing Orchestra, with solo cutting in again
0:30 0:38 1:00 1:30

5
6:30 Theme 1, p 7:00 f response 7:08 Bridge 7:30 Theme 2 8:00 Deflection passage
0:43 0:57 1:13 2:30 2:44 2:52
8:35 New theme (longer virtuoso passage) 9:18 f response, leads to 9:32 New theme 9:48 Main cadenza 11:05 f response 11:19 Cadence theme, p 11:27 Brief ending f p
(the first time the solo plays it without ornaments)
solo free, improvised passage Orchestra
Transparency 48a
LISTEN
Mozart, Don Giovanni: from Act I, scene iii

2 DVD
13 3941
(Italics indicate phrases of the text that are repeated.)

39 A RIA : Ho capito
0:03
Masetto: (to Don Giovanni)
Ho capito, signor, si! Chino il capo, e me ne v Ghiacche piace a voi cos Altre repliche non f. . . . Cavalier voi siete gi, Dubitar non posso aff, Me lo dice la bont, Che volete aver per me. (Briconaccia! malandrina! Fosti ognor la mia ruina!) Vengo, vengo! (Resta, resta! una cosa molto onesta; Faccia il nostro cavaliere cavaliera ancora te.)
I understand you, yes, sir! I touch my cap and off I go; Since thats what you want I have nothing else to say. After all, youre a lord, And I couldnt suspect you, oh no! Youve told me of the favors You mean to do for me! (You wretch! you witch! You have always been my ruin!) Yes, Im coming (Stay, why dont you? A very innocent affair! No doubt this fine lord Will make you his fine lady, too!)
0:31
(aside, to Zerlina) (to Leporello) (to Zerlina)
0:46 (last seven lines repeated)

R E CITAT IVE (with continuo only) 40
1:37
Giovanni:
Alfin siam liberati, Zerlinetta gentil, da quel scioccone. Che ne dite, mio ben, so far pulito? Signore, mio marito! Chi? colui? vi par che un onest uomo un nobil Cavalier, qual io mi vanto, possa soffrir che qual visetto doro, qual viso inzuccherato, da un bifolcaccio vil sia strapazzato?
At last, were free, My darling Zerlinetta, of that clown. Tell me, my dear, dont I manage things well? Sir, hes my fianc! Who? him? you think an honorable man, a noble knight, which I consider myself, could suffer your pretty, glowing face, your sweet face, to be stolen away by a country bumpkin?
Zerlina: Giovanni:
Transparency 48b
Zerlina: Giovanni:
Ma signore, io gli diedi Parola di sposarlo. Tal parola Non vale un zero! voi non siete fata Per esser paesana. Unaltra sorte Vi procuran quegli occhi bricconcelli, Quei labretti s belli, Quelle dituccie candide e odorose, Parmi toccar giuncata, e fiutar rose. Ah, non vorrei Che non voreste? Alfine Ingannata restar! Io so che raro Colle donne voi altri cavalieri siete onesti e sinceri. un impostura Della gente plebea! La nobilt Ha dipinta negli occhi lonest. Ors non perdiam tempo; in questistante lo vi voglio sposar. Voi? Certo io. Quel casinetto mio, soli saremo; E l, gioella mio, ci sposeremo.
But sir, I gave him My word that we would be married. That word Is worth nothing! You were not made To be a peasant girl. A different fate Is called for by those roguish eyes, Those beautiful little lips, These slender white, perfumed fingers, So soft to the touch, scented with roses. Ah, I dont want to What dont you want? To end up Deceived! I know its not often That with women you great gentlemen Are honest and sincere. A slander Of the lower classes! The nobility Is honest to the tips of its toes. Lets lose no time; this very instant I wish to marry you. You? Certainly, me; Theres my little place; well be alone And there, my precious, well be married.
Zerlina: Giovanni: Zerlina:
Giovanni:
Zerlina: Giovanni:
Transparency 48c
DUET: L ci darem la mano SECTION 1 41
Andante, 2/4 meter L ci darem la mano L mi dirai di si! Vedi, non lontano; Partiam, ben mio, da qui! Vorrei, e non vorrei; Mi tremo un poco il cor. Felice, ver, sarei, Ma pu burlarmi ancor. Vieni, mio bel diletto! Mi fa piet Masetto . . . Io cangier tua sorte! Presto non son pi forte . . . There [in the villa] youll give me your hand, There youll tell me yes! You see, it isnt far Lets go there, my dear! I want to, yet I dont want to; My heart is trembling a little; Its true, I would be happy, But he could be joking with me. Come, my darling! Im sorry for Masetto . . . I shall change your lot! All of a sudden Im weakening . . .
3:24
Giovanni: A
Zerlina:
0:45
4:09
Giovanni: B Zerlina: Giovanni: Zerlina:
(repetition of phrases [both verbal and musical] from stanzas 13)
1:10
4:34
1:41
5:04
Giovanni: A Zerlina: Giovanni: Zerlina: Giovanni: Zerlina: Giovanni: coda Zerlina: Giovanni: Zerlina: Giovanni; then Zerlina:
SECTION 2
Vieni, vieni! L ci darem la mano Vorrei, e non vorrei . . . L mi dirai di si! Mi trema un poco il cor. Partiam, ben mio, da qui! Ma pu burlarmi ancor. Vieni, mio bel diletto! Mi fa piet Masetto . . . Io cangier tua sorte! Presto non son pi forte . . . Andiam! Andiam, andiam, mio bene, A ristorar le pene Dun innocente amor. Let us go, my dear, And relieve the pangs Of an innocent love.
Allegro, 6/8 meter
2:09
5:33
Both:
(words and music repeated)
Transparency 49a
LI STENI NG C H A RT 1 2
Beethoven, Symphony No. 5 in C Minor, first movement

Sonata form. 7 min., 18 sec. E XPOSI TI ON
6 1
3
614
2
19
0:00 0:20
Theme 1
Main theme with two fermatas, followed by the first continuation (based on ); another fermata (the third) Main motive ( ), ff, is followed by a second continuation: timpani, crescendo.
q q [[ [[ ^[ ^[ \
FRENCH HORN
7 2
0:46
Bridge theme
French horn, f
Second Group
0:02
8 3
^[
0:49 1:17
Theme 2 Cadence theme
Major mode, p, strings and woodwinds ( Based on motive cade n ce
in background)
0:05 1:22 0:10 1:26

9 4
Exposition repeated
D EVEL OPMENT
2:52
First modulation, using minor mode
motive; French horns, ff;
0:05 2:58 0:29 3:21 0:36 3:28

10 5
Development of first continuation of theme 1 Climactic passage of powerful reiterations: Development of bridge theme Fragmentation of bridge theme to two notes, alternating between strings and winds Fragmentation of bridge theme to one note, alternating between strings and winds, p Retransition Based on , ff, runs directly into the recapitulation
3:39
[[
0:10 3:49 0:29 4:07
Transparency 49b
RECAPITULATION
11 6
4:13 4:31 5:06
Theme 1
Harmonized; two fermatas. First continuation of theme; woodwind background Slow oboe cadenza in place of the third fermata Second continuation of theme 1
Adagio
0:18 0:53
12 7
0:33 4:46
q q [ \
OBOE
Bridge theme
Bassoons, f
Second Group 5:09 5:42

COD A
Theme 2 Cadence theme
Strings and winds, p ( This time it does not stop.
in timpani); major mode
0:33
13 8
5:49
Another climax of reiterations (as in the development) Returns to the minor mode. New expanded version of bridge theme, in counterpoint with new scale figure New marchlike theme, brass; winds and strings build up Theme 1: climactic presentation in brass. Last fermatas First continuation of theme 1, with a pathetic coloration; oboe and bassoon figures Strong conclusion on
0:15 6:04 0:30

14 9
6:19 6:51
0:08 6:59 0:13 7:04
[ l l [[
Transparency 50a
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L IS T E NING CH ART 13
Beethoven, Symphony No. 5 in C Minor, complete work

31 min., 31 sec. F I R S T MOV E ME NT (Allegro con brio, 2/4; sonata form) See Listening Chart 12.
15 10
3
620
2
115
C minor, ff
S E COND MOV E ME NT (Andante, 3/8; variations)
A major, p
0:00 1:03 1:26 2:12 3:06 3:29 4:16 6:13 6:58 8:29
Theme 1 Theme 2 Theme 1 Theme 2 Theme 1 Theme 2 Theme 1 Coda
16 11
1:30
Ends with repeated cadences Played by clarinets and bassoons Trumpets enter (goes to C MAJOR, ff ) Variation 1, played by strings Clarinets and bassoons Trumpets enter (goes to C MAJOR, ff ) Variations 2 4 (without repeated cadences), ending f; then a long, quiet transition: woodwinds Trumpets C MAJOR, ff Variations 5 (minor; woodwinds) and 6 (full orchestra); cadences A major
q q [[ l \ [
TRUMPETS
Transparency 50b
T HI R D MO V E ME NT (Allegro, 3/4; A B A)
17 12
C minor, pp
Scherzo (A) 0:00 a b 0:41 ab 1:21 ab Trio (B) 1:52 2:25 2:56
Ends with a loud cadence built from b C MAJOR, ff Fugal Reorchestrated, p; runs into scherzo (goes back to C minor, pp) Scherzo repeated, shorter and reorchestrated, pp Timpani; leads directly into the fourth movement (goes to C MAJOR, ff )
18 13
0:33 1:03 1:38 2:54
|: c :| d c d c
\ b [ c [ fugue subject
a
CELLOS
FRENCH HORNS
DOUBLE BASSES
Scherzo (A) 3:30 4:46 Transition
Transparency 50c
F OURT H MOVE ME N T (Allegro, 2/2; sonata form)

19 14
C MAJOR, ff
with TROMBONES
Exposition 0:00 Theme 1 March theme 0:34 Bridge theme Low horns and bassoons 1:00 Theme 2 1:27 Cadence theme Development 1:57 Development begins; modulation 2:02 Theme 2 and its bass developed 3:31 Retransition Recall of the scherzo (A, 3/4 meter) Recapitulation 4:03 Theme 1 4:38 Bridge theme 5:07 Theme 2 5:33 Cadence theme Coda 6:01
bass:
l l l l l [[ l3 l 3 l 3 [[ l
20 15
(recall of C minor, pp) C MAJOR, ff
0:32 1:07 1:36 2:02 2:30
Coda; three sections, accelerating; uses parts of the bridge, cadence theme, and theme 1
C MAJOR, ff
Access Interactive Listening Charts 12 and 13 at bedfordstmartins.com/listen
Transparency 51
A TYPICAL ROMANTIC ORCHESTRA

STRINGS WOODWINDS BRASS PERCUSSION
First violins (1216 players) Second violins (1216) Violas (812) Cellos (812) Basses (610) Note: Each string section is sometimes divided into two or more subsections, to obtain richer effects. 2 Harps
2 1 2 1 2 1 1 2 1
Flutes Piccolo Oboes English horn Clarinets High E clarinet Bass clarinet Bassoons Contrabassoon
4 French horns 2 Trumpets 3 Trombones 1 Bass tuba
3 Timpani Bass drum Snare drum Cymbals Triangle Tubular bells
Piano
Transparency 52a
LISTEN
0:23
Schubert, Erlknig
Who rides so late through the night and wind? It is the father with his child. He holds the youngster tight in his arm, Grasps him securely, keeps him warm.
3
22
1
34
Wer reitet so spt, durch Nacht und Wind? Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hlt ihn warm. Mein Sohn, was birgst du so bang dein Gesicht? Siehst, Vater, du den Erlknig nicht? Den Erlenknig mit Kron und Schweif? Mein Sohn, est ist ein Nebelstreif. Du liebes Kind, komm, geh mit mir! Gar schne Spiele spiel ich mit dir; Manch bunte Blumen sind an dem Strand; Meine Mutter hat manch glden Gewand. Mein Vater, mein Vater, und hrest du nicht Was Erlenknig mir leise verspricht? Sei ruhig, bleibe ruhig, mein Kind: In drren Blttern suselt der Wind.
0:56
My son, what makes you afraid to look? Dont you see, Father, the Erlking there? The King of the forest with his crown and train? Son, its only a streak of mist. Darling child, come away with me! I will play some lovely games with you; Many bright flowers grow by the shore; My mother has many golden robes. Father, Father, do you not hear What the Erlking is softly promising me? Calm yourself, be calm, my son: The dry leaves are rustling in the wind.
1:29
1:52
Transparency 52b
2:14
Willst, feiner Knabe, du mit mir gehn? Meine Tchter sollen dich warten schn; Meine Tchter fhren den nchtlichen Reihn Und wiegen und tanzen und singen dich ein. Mein Vater, mein Vater, and siehst du nicht dort Erlknigs Tchter am dstern Ort? Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau. Ich liebe dich, mich reizt deine schne Gestalt, Und bist du nicht willig, so brauch ich Gewalt. Mein Vater, mein Vater, jetzt fasst er mich an! Erlknig hat mit ein Leids getan! Dem Vater grausets, er reitet geschwind, Er hlt in Armen das chzende Kind, Erreicht den Hof mit Mh and Not; In seinen Armen das Kind war tot.
Well, you fine boy, wont you come with me? My daughters are ready to wait on you. My daughters lead the nightly round, They will rock you, dance for you, sing you to sleep! Father, Father, do you not see The Erlkings daughters there in the dark? My son, my son, I see only too well: It is the gray gleam in the old willow trees. I love you, your beauty allures me, And if youre not willing, then I shall use force. Father, Father, he is seizing me now! The Erlking has hurt me! Fear grips the father, he rides like the wind, He holds in his arms the moaning child; He reaches the house hard put, worn out; In his arms the child was dead!
2:32
3:01
3:26
Transparency 53
LISTEN
0:28
Schumann, Im wunderschnen Monat Mai

In the wonderfully lovely month of May, When all the buds were bursting, Then it was that in my heart Love broke through. In the wonderfully lovely month of May, When all the birds were singing, Then it was I confessed to her My longing and desire.
3
23
1
35
Im wunderschnen Monat Mai, Als alle Knospen sprangen, Da ist in meinem Herzen Die Liebe aufgegangen. Im wunderschnen Monat Mai, Als alle Vgel sangen, Da hab ich ihr gestanden Mein Sehnen und Verlangen.
1:05
Transparency 54
LISTEN
0:05
Schumann, Die alten, bsen Lieder

The hateful songs of times past, The hateful, brutal dreams, Lets now have them buried; Fetch up a great coffin. Ive a lot to put in it Just what, I wont yet say; The coffin must be even bigger Than the Great Cask of Heidelberg. And fetch a bier, Boards that are strong and thick; They too must be longer Than the river bridge at Mainz. And fetch me, too, twelve giants Who must be stronger Than St. Christopher, the great statue At the Cathedral of Cologne on the Rhine. Its they that must haul the coffin And sink it in the sea, For a great coffin like that Deserves a great grave. Do you know why the coffin really Has to be so huge and heavy? Because I sank all my love in it, And all of my great grief.
3
24
Die alten, bsen Lieder, Die Trume bs und arg, Die lasst uns jetzt begraben: Holt einen grossen Sarg. Hinein leg ich gar Manches, Doch sag ich noch nicht, was. Der Sarg muss sein noch grsser Wies Heidelberger Fass. Und holt eine Todtenbahre Und Bretter fest und dick, Auch muss sie sein noch lnger Als wie zu Mainz die Brck. Und holt mir auch zwlf Riesen, Die mussen noch strker sein Als wie der starke Christoph Im Dom zu Kln am Rhein. Die sollen den Sarg forttragen Und senken ins Meer hinab, Denn solchem grossen Sarge Gebhrt ein grosses Grab. Wisst ihr, warum der Sarg wohl So gross und schwer mag sein? Ich senkt auch meine Liebe Und meinen Schmerz hinein.
0:23
0:41
0:59
1:18
1:49
Transparency 55
LISTEN
0:03
Clara Schumann, Der Mond kommt still gegangen

The moon has risen softly With gleaming rays of gold, Beneath its shining splendor The weary earths at rest. And on the drifting breezes From many faithful minds Endearing thoughts by the thousand Waft down on those who sleep. And down in the valley, a light can Be seen in my loved ones house; But I keep staring, in darkness, Silently out to the world.
3
25
3
1
St. 1: 1Der Mond kommt still gegangen 2 Mit seinen goldnen Schein, 3 Da Schlft in holdem Prangen 4 Die mde Erde ein. St. 2: 1Und auf den Lften schwanken 2 Aus manchem treuen Sinn 3 Viel tausend Liebesgedanken 4 ber die Schlfer hin. St. 3: Und drunten im Tale, da funkeln 2 Die Fenster von Liebchens Haus; 3 Ich aber blikke im Dunkeln 4 Still in die Welt hinaus.
1
0:30
Obvious way she might have set stanza 3 (yielding an unmodified strophic setting)

2 Be seen in my loved ones house; 1 And down in the val - ley, a
St. 3
light can
0:58
/Users/user-f499/Desktop/Temp Work/NOV_2010/18:11:10
Transparency 56a
LISTENING CHA RT 14
Berlioz, Fantastic Symphony, fifth movement

9 min., 59 sec.
4
511
2
1622
INTR ODUC TI ON
5 16
0:00 0:27 Fanfare 0:57

IDE FI X E
Mysterious orchestral effects Like a distant summons: trombones, then flutes plus piccolo echoed by muted French horns Free repetitions: mysterious sounds, fanfare
n \ ][
6
1:39
6 17
Prefatory statement: two phrases (only) of the ide fixe; note the bass drum. Riotous orchestral response, ff Entire tune presented in a grotesque transformation, in 6/8 meter, played by squeaky E-flat clarinets Big climax the first of many
1:59 Ide fixe 2:29 Crescendo
0:30 0:51 0:54 1:12
` [
2:50 Upward motive A short, expectant motive (later this motive initiates the fugue subject of the Round Dance) 2:53 Transition 3:11 Funeral bells Quiet descending passage Three sets of three bells (the third set is muted); the upward motive also appears
Transparency 56b
DIES IRAE
7 18
3:38 Segment 1 3:58 4:08 4:14 Segment 2 4:37 Segment 3 5:11 Transition
0:21 0:31 0:37 1:00 1:34
Segment 1 of plainchant Dies irae is played in three versions: (1) tubas and bassoons slow (2) horns and trombones faster (3) woodwinds faster still (the rhythm here recalls that of the ide fixe) Segment 2 of the plainchant, same three versions Segment 3 (begins like segment 1), same three versions The upward motive is developed; crescendo.
nnn [ n
Transparency 56c
8 19
WI T C HE S R OUND DA N C E (free fugue)
5:28 Exposition 5:55 Episode 1 6:15 Subject entries 6:30 Episode 2 6:52 7:10 7:26 8:06 Subject entry 8:12 Subject plus Dies irae 8:44 Subject entry 9:19 Dies irae 9:28 Conclusion
Four entries of the fugue subject Three more entries, in stretto A passage starting with a loud rhythmic motive, derived from the subject, comes four times. The music dies down. Fragments of the Dies irae Long transition; crescendo over a drum roll The original subject returns. The two themes together in a polyphonic combination. This is a climax; trumpets play the Dies irae for the first time. Final appearance of subject: over strings col legno (played with the wood, that is, the back of the bow). Some notes are lengthened. Segment 1 of the Dies irae hastily recollected; big drum strokes Final passage of cadences: very loud
0:26 0:46
9 20
nnnn
0:21 0:40 0:55 1:35

10 21
0:31
11 22
0:09
volume 203/MHBR231/wiL10849_disk1of1/0078110849/wiL10849_pagefiles/
Transparency 57a
LISTEN
Rigoletto, from Act III, scene i
4
1217
1
3944
The stage is divided, showing the inside and the outside of a sordid inn.
12 39 R E C I TAT I V E
The Duke enters the inn. Gilda: Duke: Sparafucile: Duke: Rigoletto: Sparafucile: (Ah! padre mio!) Due cose, e tosto: Quali? Una stanza e del vino. (Son questi i suoi costumi.) (Oh il bel zerbino!) (Ah! dear father!) Two things, and right now. What? A room and some wine. (Thats the way he does things.) (Big spender!)
13 40
ARIA
0:29
Duke:
La donna mobile / Qual pium al vento, Muta daccento / E di pensiero. Sempre un amabile / Leggiadro viso, In pianto o in riso / menzognero. La donna mobil / Qual pium al vento, Muta daccento / E di pensier! sempre misero / Chi a lei saffida; Chi le confida / Mal cauto il core! Pur mai non sentesi / Felice appieno Chi su quel seno / Non liba amore. La donna ` e mobil . . .
Woman is fickle, a feather in the wind; Changing her words and thoughts, Shes a lovable, sweet sight, When shes weeping or laughing, shes lying. Woman is fickle, a feather in the wind; Changing her words and thoughts! Mans always wretched who believes her; If you trust her, watch out for your heart! Yet hell never feel happy Who from that breast does not drink love! Woman is fickle . . .
1:11
1:28
Sparafucile gives the Duke a bottle of wine and glasses, then goes outside to Rigoletto.
14 41 R E C I TAT I V E
2:45
Sparafucile: Rigoletto:
l il vostruom, viver dee, o morire? Pi tardi torner lopra a compire.
Theres your man; does he live or die? Ill be back later to finish him off.
Sparafucile walks off; enter Maddalena, with the Duke inside; Gilda and Rigoletto remain outside.
Transparency 57b
15 42
QUA RT E T (from midway through the fast section)
3:05
Duke: Maddalena: Duke: Maddalena: Duke: Gilda (outside): Maddalena: Duke: Maddalena: Duke: Maddalena: Duke: Rigoletto: Gilda:
La bella mano candida! Scherzate voi, signore. No, no, Son brutta. Abbracciami! (Iniquo!) Ebro! . . . damore ardente! Signor lindifferente, Vi piace canzonar? No, no, ti vo sposar. Ne voglio la parola. Amabile figliuola! (E non ti basta ancor?) (Iniquo traditor!)
What lovely hands you have! Youre joking, sir. No, no . . . Im plain! Kiss me! (Villain!) You must be drunk . . . with burning love! You couldnt care less, sir, You like your little joke. No, I mean to marry you! Give me your word? Silly girl! (Isnt that enough for you?) (You horrible traitor!)
Transparency 57c
16 43
QUA RT ET (slow section)
3:38
Duke:
Bella figlia dellamore Schiavo son de vezzi tuoi; Con un detto sol tu puoi Le mie pene consolar. Vieni, e senti del mio core Il frequente palpitar. Ah! Ah! rido ben di core Ch tai baie constan poco, Quanto valga il vostro gioco Mel credete, s apprezzar. Son avvezza, bel signore, Ad un simile scherzare. (Ah! cos parlar damore! A me pur linfame ho udito! Infelice cor tradito, Per angioscie non scoppiar!) Taci, il piangere non vale, Chei mentiva sei sicura. Taci, e mia sar la cura La vendetta daffrettar. S, pronta fia, sar fatale, Io saprollo fulminar.
You gorgeous child of love, Im enslaved by your charms; With one word you can Stop my suffering. Come and feel My heart pounding! Ha, ha, Im laughing out loud. Talk doesnt mean a thing; Believe me, I know how much Your game counts for. My dear sir, Im used To such joking. (Oh, to talk about love like that! The villain has said the same to me! My unhappy, betrayed heart Dont burst with anguish!) (Quiet! Its no use weeping. You can see he was lying. Hush, and Ill take good care To get quick revenge. Yes, itll be swift and fatal, Ill know how to strike him down!)
1:00
4:38
Maddalena:
1:03
4:41
Gilda:
1:12
4:51
Rigoletto:
17 44
R E C I TAT I V E
7:25
Rigoletto:
Gilda: Rigoletto: Gilda: Rigoletto:
Modi: ritorna a casa, Oro prendi, un destiero, Una veste viril che tapprestai, E per Verona parti. Sarovvi io pur doman. Or venite. Impossibil. Tremo. Va!
Listen: go back home, Take the money, get the horse, And the mens clothes I got you, And ride to Verona. Ill join you there tomorrow. Come with me now! I cant. Im frightened! Go!
/Users/user-f499/Desktop/kerman
Transparency 58a
LISTEN
Wagner, The Valkyrie, Act I, scene i
4
1823
2
2328
The inside of a dwelling, built around a huge ash tree in its midst; to the right a hearth, and behind it an inner storeroom. Siegmund, exhausted, enters from outside as the storm subsides.
18 23
0:00 Siegmund: Wess Herd dies auch sei, hier muss ich rasten.
Whoevers hearth this may be, I must rest here.
\ l l
Siegmund Motive
He sinks back and lies motionless. Sieglinde enters, thinking her husband has returned; she is surprised to find instead a stranger. Hesitantly she approaches him closer and closer. Sieglinde: Ein fremder Mann? Ihn muss ich fragen. Wer kam ins Haus und liegt dort am Herd? Mde liegt er von Weges Mhn: schwanden die Sinne ihm? Wre er siech? Noch schwillt ihm der Atem; das Auge nur schloss er. Mutig dnkt mich der Mann, sank er md auch hin. A stranger here? I must ask him: Who has come into this house and lies on the hearth? Hes weary and travel-worn. Is he unconscious? Could he be sick? No, he is still breathing; hes only sleeping. He seems to me valiant, even though hes exhausted.
Sieglinde Motive
1:23
Siegmund: (suddenly raises his head) Ein Quell! Ein Quell! Sieglinde: Erquickung schaff ich.
A drink! A drink! Ill bring some water.
Transparency 58b
19 24
2:08 FIR ST OR C HEST R A L C LI MA X She quickly takes a drinking horn and goes out. She returns with the horn filled and offers it to Siegmund. Labung biet ich dem lechzende Gaumen: Wasser, wie du gewollt! Moisten your dry lips with this drink Ive brought: water, as you wished!
0:51 1:58
2:59 Siegmund drinks and gives the horn back. As he nods his head in thanks, his eyes fix on her face with growing interest. 4:06 Siegmund: Khlende Labung gab mir der Quell, des Mden Last machte er leicht; erfrischt ist der Mut das Aug erfreut des Sehens selige Lust. Wer ists, der so mir es labt? The water brings me cooling relief; it lightens my weary load; my heart is refreshed, my eyes relish a beautiful, glorious sight. Who is it who so revives me?
Love Motives
piu ` \
Transparency 58c
20 25
5:05 Sieglinde:
Dies Haus und dies Weib sind Hundings Eigen; gastlich gnn er dir Rast: harre, bis heim er kehrt!
This house and this wife belong to Hunding; hell welcome you as guest; wait here until he returns! I am weaponless; a wounded guest will not threaten your husband. Youre wounded? Where? Its nothing, pay no heed; my body is still strongly knit. If my shield and spear had been half as strong as my body, I never would have fled my foe. But spear and shield were shattered; the horde of enemies chased me down, the thunderstorm broke body and spirit; but now faster than I fled my weariness flees from me! Darkness sank on my eyes, but now the sun smiles on me anew!
Siegmund: Waffenlos bin ich: dem wunden Gast wird dein Gatte nicht wehren. Sieglinde: Die Wunden weise mir schnell! Gering sind sie, der Rede nicht wert; noch fgen des Leibes Glieder sich fest. Htten halb so stark wie mein Arm Schild und Speer mir gehalten, nimmer floh ich dem Feind; doch zerschellten mir Speer und Schild. Der Feinde Meute hetzte mich md, Gewitterbrunst brach meinen Leib; doch schneller, als ich der Meute, schwand die Mdigkeit mir; sank auf die Lider mir Nacht, die Sonne lacht mir nun neu.
0:28
5:33
Siegmund:
l l l
Storm Motive
0:46
5:51
Transparency 58d
21 26
6:24
SECOND O RCH ESTRAL CLI MAX
Sieglinde goes to the storeroom and fills a horn with mead; she returns and offers it to Siegmund. Sieglinde: Des seimigen Metes sssen Trank mgst du mir nicht verschmhn. Schmecktest du mir ihn zu? Surely youll not refuse a sweet drink of honeyed mead. Would you not taste it first?
Siegmund:
22 27
7:21
LOVE MOTI VES RETURN
Sieglinde drinks from the horn and gives it back. Siegmund takes a long drink, watching her all the while with growing warmth. At 1:12 he sighs deeply and his eyes sink to the ground. Siegmund: Einen Unseligen labtest du: Unheil wende der Wunsch von dir! Gerastet hab ich und sss geruht: weiter wend ich den Schritt. Wer verfolgt dich, dass du schon fliehst? Misswende folgt mir, wohin ich fliehe; Misswende naht mir, wo ich mich zeige. Dir, Frau, doch bleibe sie fern! Fort wende ich Fuss und Blick. Youve helped an unhappy man; may I keep Ill-fate from you! I have rested rested sweetly; now I must go on my way. Who follows you, making you flee? Ill-fate follows me, wherever I run; Ill-fate approaches, wherever I linger. You, wife, keep your distance! I must turn my path from you.
Sieglinde:
2:01
9:22
Siegmund:
2:33
9:54
Transparency 58e
He turns to leave. She calls after him impetuously.

23 28
10:10
Sieglinde:
So bleibe hier! Nicht bringst du Unheil dahin, wo Unheil im Hause wohnt!
No, remain here! Ill-fate is nothing new here, where Ill-fate makes its home!
Sorrow/empathy Motive
He turns back, looks searchingly at her; she lowers her eyes in sadness and shame. Siegmund: Wehwalt hiess ich mich selbst: Hunding will ich erwarten. I myself named me Wehwalt Woebound; Ill wait for Hunding.
E M PATHY M OTI V E D E V E L O P E D
He rests against the hearth, his eyes fixed on her; she raises her eyes to his, and they regard each other with deep emotion. At 2:16 Sieglinde starts as she hears Hunding outside.
l l llll l l l l
Hunding Motive
3
Transparency 59a
LISTEN
0:00
Puccini, Madame Butterfly, Aria Un bel d from Act II

One beautiful day, well see a tiny thread of smoke rise up on the horizon, out at sea; then the ship appears. Now the white ship sails into port; cannons roar a welcome; see? He has come! I dont run to meet him not I; I go to the brow of the hill and wait, and wait a long time, but the long wait doesnt bother me. Out of the crowd down in the city a man, a tiny speck, sets out up the hill.
4
24
2
29
Un bel d, vedremo levarsi un fil di fumo sullestremo confin del mare; e poi la nave appare. Poi la nave bianca entra nel porto; romba il suo saluto. Vedi? venuto! Io non gli scendo incontro io no; mi metto l sul ciglio del colle, e aspetto, e aspetto gran tempo, e non mi pesa la lunga attesa. E uscito dalla folla cittadina un uomo, un picciol punto, savvia per la collina.
0:38
1:24
1:49
Transparency 59b
2:18
Chi sar, chi sar? E come sar giunto, che dir, che dir? Chiamer: Butterfly dalla lontana . . . Io senza dar risposta me ne star nascosta un po per celia, e un po per non morire al primo incontro! Ed egli alquanto in pena chiamer, chiamer: Piccina mogliettina, Olezza di verbena i nomi che mi dava al suo venire. Tutto questo averr, te lo prometto! Tienti la tua paura; io con sicura fede laspetto!
Who is it? Who is it? And as he comes, what will he say? what will he say? Hell call out: Butterfly from afar . . . Without answering Ill hide myself, partly to tease him, and partly so as not to die when we first meet! And then hell be worried and call: Little child-wife! Verbena blossom! the names he gave me when he first came. All this will happen, I promise you! Dont be afraid; I await him knowing hell come!
2:56
3:40
Transparency 60a
LISTENING CHART 1 5
Tchaikovsky, Overture-Fantasy, Romeo and Juliet

20 min., 25 sec.
4
2536
3
213
INT R O DUC T IO N (Andante)

25 2 26 3
0:00 0:35 1:28 2:09 4:08 4:45
Hymn theme Low woodwinds, pp String motives Anguished quality; contrapuntal Strumming harp With announcements in the high woodwinds Hymn theme Buildup Preparation High woodwinds with pizzicato strings. Followed by the string motives and harp; the announcements are now in the strings. Ends with drum roll, f Prepares for the main section; p, then crescendo
2:00
27 4 28 5
MAIN S E C T IO N (Allegro)
0:25 0:54 1:07 1:30 2:18

29 6 30 7
5:26 5:51 6:20 6:33 6:56 7:44 8:07 8:57 10:05
Vendetta theme
Full orchestra, f Development of the Vendetta theme; contrapuntal Reaches a climax: cymbals Full orchestra, ff Relaxes, in a long slowdown Prefatory statement of Love theme (English horn): phrase a Sighing theme; muted strings, pp Form is a b a, in woodwinds, with the sighing motive played by the French horn. Harp. Cadences; the music dies down and nearly stops.
n [ \
Vendetta theme
Love theme
1:08
Transparency 60b
31 8 32 9
D EVELO PM EN T
11:13 12:34 13:00
Developmental combination Hymn theme
Vendetta theme fragments are combined with the Hymn theme, which now sounds more like a march than a hymn. This works up to a climax, marked by a cymbal crash. Played by trumpets; syncopated rhythm in the cymbals
CYMBALS
0:25
33 10
FREE RECA PI TU LATI ON (abbreviated)
13:30 13:56 14:38 15:47
Vendetta theme Love theme
Full orchestra, ff Sighing theme a b a; ecstatically in the strings, with the sighing motive again in the French horn; the last a is ff. Fragments of the Love theme Sounds like another ecstatic statement, but is interrupted Interruption by the Vendetta theme: conflict! Cymbals Vendetta theme fragments combined with the Hymn theme; buildup to fff Then dies down, rather unwillingly; ends on drum roll, f
0:26 1:08
34 11
0:32 16:18 0:42 0:53 1:35

35 12 36 13
(Love theme) Developmental combination
16:28 16:39 17:21

CO D A (Moderato)
17:55 18:32 19:31 20:03
Love theme New theme Love theme
A broken version of the Love theme, with muffled funeral drums. The music seems to be ending. Woodwinds; ends with a transformation of the sighing motive Section a in a slow cadential transcendent version. The strumming harp of the slow introduction has returned. Final cadences; a drum roll and solemn ending gestures
0:59 1:31
\ \
Transparency 61a
LIS T E NING C H ART 1 6
Brahms, Violin Concerto, third movement

Rondo. 7 min., 43 sec.
37
4
3742
0:00 0:00 0:11 0:22 0:35 0:46 1:04
A (Tune) a a b a
The entire tune is presented. Solo violin, with double stops Orchestra Solo violin Orchestra The solo violin begins the cadences ending the tune, which lead into a transition. Fast scales prepare for B.
l l l [
38
1:14 1:34 1:49 2:00 2:00
B (Episode 1)
Melody (emphatic upward scale) in the violin, with inverted motive below it, in the orchestra Melody in the orchestra, with inverted motive above it Cadential passage (orchestra), f
0:20 0:35
39
o o o o o o o [ [
A a a Solo Orchestra Transition (orchestra and solo), p
0:11 2:11 0:20
2:20
Transparency 61b
40
2:38 3:11 3:22 3:27 3:35 4:22 4:43 5:08 5:25 6:09
C (Episode 2)
Lyrical tune (solo and orchestra), p Expressive climactic section, solo Orchestra interrupts, f. Scales prepare for B.
0:33 0:44 0:49 0:57

41
/ 0 \
B A a Short cadenza Starts with b (solo) In orchestra, extended; the real feeling of return comes only at this point. Solo, double stops again; orchestra soon enters. Solo trills and scales; motive Passage of preparation: motive Short cadenza Coda Mostly in 6/8 time. Starts with a marchlike transformation of phrase a (solo), over a drum beat References to B Final-sounding cadences The music dies down and ends with three loud chords. in low French horns
0:20 0:46 1:02
1:31 5:54
42
0:11 6:20 0:35 1:07 1:20
2) (4
6:44 7:16 7:29
l l l l l l n \
Transparency 62a
L IS TE N IN G C H A RT 17
Mahler, Symphony No. 1, third movement, Funeral March

10 min., 20 sec. SECTION 1
5 32
5
512
2
3239
0:00 0:07 0:28 0:48 1:02 1:15 1:35
Funeral March
Drum beat, then four main entries of the round Frre Jacques (minor mode), which is the march theme Entry 1: Double bass, muted Entry 2: Bassoon (a subsidiary entry follows: cellos) Entry 3: Tuba (Additional fragment: oboe) Entry 4: Flute in low register (Additional fragment). The march gradually dies away; the drumbeat finally stops.
l l l l l l l l l l l l m \
OBOE
SECTION 2
6 33
2:09 2:39 2:53 3:24 3:42 4:12
Dance-Band Phrases
a b a
Oboes, p, repeated (trumpets in counterpoint); pizzicato string beat Faster, mf; high (E-flat) clarinets, bass drum, and cymbals Strings, with varied repeat (trumpets in counterpoint)
0:29
7 34
0:31 0:49 1:19
b With new continuation Conclusion Return to Funeral-March Motives Descending cadential passage, a little slower, based on a The funeral-march drumbeat, which entered during the previous passage, continues in the background. The march dies away; the drumbeat almost stops.
\ l p
rit.
a tempo
Transparency 62b
S E CT IO N 3
2:00
8 35
4:53 5:09 6:25 6:43 6:50
Trio (Song)
The rhythm gradually picks up: a gentle triplet accompaniment with a throbbing background A songlike melody starts in muted strings, then moves to the flute, two solo violins, clarinet, and oboe. The trio dies away (violins). Gong strokes Flutes play two new phrases, as though waiting.
1:16
9 36
m m m \ \
0:07
S E CT IO N 4
10 37
7:02 7:18 7:36 8:00 8:17 8:37 9:38 9:53
March
Drumbeat, faster, in a new key: march (Frre Jacques) (Additional fragment: E-flat clarinet, strings, flute) March theme with new, parodistic counterpoint: trumpets Dance-band phrase b: clarinets, cymbals, drums March theme with new trumpet counterpoint; new sudden speedup: clarinets, ff
0:16
11 38
p p m m p m m m m m m m
0:23
12 39
0:19 1:21 1:35
Conclusion
Descending cadential passage, based on a, with drumbeat as in section 2; slower (Additional fragment, in low range: bassoon) The music dies down; gong strokes
Transparency 63
North Sea
20th century: Mahler, Schoenberg, Berg 19th century: Beethoven, Schubert, Brahms, Mahler 18th century: Haydn, Mozart, Beethoven
PARIS
ATLANTIC OCEAN
20th century: Debussy, Ravel, Stravinsky 19th century: Berlioz, Chopin, the young Liszt
VIENNA
dr
ia
ti
Se
Mediterranean Sea
Paris and Vienna as musical centers
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LIS T E NING C HART 18
Debussy, Clouds
7 min., 3 sec.
13 14
5
1318
3
1419
0:00 A 0:15 0:20 0:34
Cloud theme: clarinets and bassoons English-horn motive Quiet timpani roll music almost stops Cloud theme: high strings Downward parallel chord passage Further development: strings English-horn motive, with a new echo in the French horn Downward chord passage
3 3 3
ENGLISH HORN
14 15
0:47 1:02 1:21 1:49 2:10 2:41 2:48 b
0:15 0:34 1:02

15 16
Rising section, more restless: woodwinds added Brief climax English-horn motive (with new even-note rhythm accompaniment) is repeated several times, until it dies away.
0:30 0:37
Transparency 64b
16 17
3:38 3:54 4:12 B 4:40 4:56 (A) 5:19 5:51
Cloud theme, with new solo viola counterpoint Downward chord passage A new tune enters tentatively, but then repeats itself; flute and harp Tune in strings and solo violin Tune in flute and harp Not a real return of A, only of selected elements standing in for A English-horn motive, with its echo Quiet timpani and low strings prominent until the end Recollection of thematic fragments:
0:16
17 18

FLUTE
0:27 0:44
18 19
0:31
0:54 1:13 1:21
6:14 6:32 6:40
Cloud theme: bassoons, then cellos B tune French-horn echo to the English-horn motive
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L I S T E N I N G C HART 1 9
Stravinsky, The Rite of Spring, from Part I

Ballet score. 10 min., 45 sec.
19 20
5
1925
3
2026
0:00 Introduction 1:04 1:40 2:04 2:33
Bassoon fanfare, p, twice interrupted by English horn Fanfares in oboe, high (E ) clarinet, bass clarinet Buildup New motive in the oboe and E clarinet Stop; return of the bassoon fanfare, p
q 0 0
20 21
0:29 0:37 0:58

21 22
2:41 Omens of Spring Dance of the Adolescents is foreshadowed; the music stops and starts, ending with a high violin chord. 3:02 3:08 Dance of the Adolescents 3:44 3:53 4:21 4:30 4:46 5:20 5:44 Tempo is established; trill, rhythm introduced.
Loud rhythmic passage with irregular accents (French horns); various motives are introduced. Rhythmic passage again Folk-song fragment no. 1 bassoons and contrabassoon, etc. Abrupt interruption of the regular rhythm Return of the introductory Omens music Folk-song fragment no. 2 French horn, flutes Folk-song fragment no. 3 trumpets (triangle) Folk-song fragment no. 2 piccolos; big buildup
nn
no. 1
0:36
22 23
0:28 0:37 0:53 1:27 1:50
n n n
no. 2
no. 3
Transparency 65b
23 24
6:16 The Game of Abduction 7:12 7:33 Round Dances of Spring 8:08 8:45 9:39 10:01 10:19 10:34
Faster; frantic rhythms. Brass is prominent; sliding horn calls Ending passage: alternation between scurrying figures in the winds and heavy booms in the drums Slower; introduction: flute trills, clarinet melody The main slow dance rhythm is introduced; woodwind motive Folk-song fragment no. 3 (slower than before) violas, mf Folk-song fragment no. 3, ff, with cymbals Climactic passage brass Short coda: faster, with violent rhythmic interjections Brief return of the slow introduction, p
0:56
24 25
[[
Very fast Slow
0:34
25 26
0:54 1:16 1:34 1:50
m mm ][
Transparency 66a
LISTEN
Berg, Wozzeck, Act III, scenes iii and iv

5 DVD
45 2832
SC ENE iii: A tavern 28
0:28
Wozzeck:
Tanzt Alle; tanzt nur zu, springt, schwitzt und stinkt, es holt Euch doch noch einmal der Teufel!
Dance, everyone! Go on, dance, sweat and stink, the devil will get you in the end. (Gulps down a glass of wine) (Shouts above the pianist:) Three horsemen rode along the Rhine, They came to an inn and they asked for wine. The wine was fine, the beer was clear, The innkeepers daughter . . . Hell! Come on, Margret! (Dances with her) Come and sit down, Margret! Margret, youre hot! Wait, you too will be cold! Cant you sing? (She sings:) But Swabia will never be The land that I shall want to choose, For silken dresses, spike-heeled shoes, Are not for servant girls like me. No shoes! You can go to hell just as well barefoot! Im feeling like a fight today!
Es ritten drei Reiter wohl an den Rhein, Bei einer Frau Wirtin da kehrten sie ein. Mein Wein ist gut, mein Bier ist klar, Mein Tchterlein liegt auf der . . . 0:58 Wozzeck: Verdammt! Komm, Margret! Komm, setzt dich her, Margret! Margret, Du bist so heiss. . . . Wart nur, wirst auch kalt werden! Kannst nicht singen? Ins Schwabenland, da mag ich nit, Und lange Kleider trag ich nit. Denn lange Kleider, spitze Schuh, Die kommen keiner Dienstmagd zu. Nein! keine Schuh, man kann auch blossfssig in die Hll gehn! Ich mcht heut raufen, raufen. . . .
1:36
Margret:
Wozzeck:
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29
2:22
Margret: Wozzeck: Margret: Wozzeck: Margret: Wozzeck: Margret: Wozzeck:
Aber was hast Du an der Hand? Ich? Ich? Rot! Blut! Blut? Blut? Freilich . . . Blut! Ich glaub, ich hab mich geschnitten, da an der rechten Hand. . . . Wie kommts denn zum Ellenbogen? Ich habs daran abgewischt.
But whats that on your hand? Me? My hand? Red! Blood! Blood? Blood? Yes, it is blood! I think I cut myself, on my hand. . . . Howd it get right up to the elbow, then? I wiped it off there. . . . Your right hand on your right arm? What do you want? Whats it to you? Gross! It stinks of human blood! (curtain) (People gather around)
Apprentices: Mit der rechten Hand am rechten Arm? Wozzeck: Margret: Was wollt Ihr? Was gehts Euch an? Puh! Puh! Da stinkts nach Menschenblut!
Confusion. The people in the Inn crowd around Wozzeck, accusing him. Wozzeck shouts back at them and escapes.
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SCENE iv: A pond in a wood 30
3:45
Wozzeck:
Das Messer? Wo ist das Messer? Ich habs dagelassen . . . Nher, noch nher. Mir grauts! Da regt sich was. Still! Alles still und tod . . . Mrder! Mrder! Ha! Da rufts! Nein, ich selbst. Marie! Marie! Was hast Du fr eine rote Schnur um den Hals? Hast Dir das rote Halsband verdient, wie die Ohrringlein, mit Deiner Snde? Was hangen Dir die schwartzen Haare so wild?
The knife! Where is the knife? I left it there, around here somewhere. Im scared! Somethings moving. Silence. Everything silent and dead . . . Murderer! Murderer! Ah, someone called! No, it was just me. Marie, Marie! Whats that red cord around your neck? A red necklace, payment for your sins, like the earrings? Why is your dark hair so wild?
1:12
4:56
Mrder! Mrder! Sie werden nach mir suchen. . . . Das Messer verrt mich! Da, da ists! So! da hinunter! Es taucht ins dunkle Wasser wie ein Stein. Aber der Mond verrt mich . . . der Mond ist blutig. Will denn die ganze Welt es ausplaudern?! Das Messer, es liegt zu weit vorn, sie findens beim Baden oder wenn sie nach Muscheln tauchen. Ich finds nicht . . . Aber ich muss mich waschen. Ich bin blutig. Da ein Fleck . . . und noch einer. Weh! Weh! Ich wasche mich mit Blut! Das Wasser ist Blut . . . Blut. . . .
Murderer! Murderer! They will come look for me. . . . The knife will betray me! Here, here it is. There! Sink to the bottom! It plunges into the dark water like a stone. But the moon will betray me. . . . The moon is bloody. Is the whole world going to betray me? The knife is too near the edge theyll find it when theyre swimming or gathering mussels. I cant find it. But I have to get washed. Theres blood on me. Heres one Get up and try to use spot . . . heres another. . . . Oh, woe! I am washing myself in blood! The water is blood . . . blood. . . . Charles Ives (drowns)
your ears like a man!
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Transparency 66d
31
6:46 Captain: Doctor: Captain: Doctor: Captain:
Halt! Hren Sie? Dort! Jesus! Das war ein Ton! Ja, dort. Es ist das Wasser im Teich. Das Wasser ruft. Es ist schon lange Niemand entrunken. Kommen Sie, Doktor! Es ist nicht gut zu hren. Das sthnt . . . als strbe ein Mensch. Da ertrinkt Jemand! Unheimlich! Der Mond rot und die Nebel grau. Hren Sie? . . . Jetzt wieder das Achzen. Stiller, . . . jetzt ganz still. Kommen Sie! Kommen Sie schnell!
Wait! Dont you hear? There! Jesus! What a sound! Yes, there. Its the water in the pond, the water is calling. Its been a long time since anyone drowned. Come away, Doctor! This is not good to hear. Theres a groan, as though someone were dying. Somebodys drowning! Its weird! the red moon, the gray mist. Now do you hear? . . . That moaning again. Its getting quieter now its stopped. Lets get away! Come quickly! (curtain)
Doctor: Captain:
Doctor: Captain:
32
8:15 OR C HEST R A L MU SIC (LAMENT)

Berg, Wozzeck. 1926 by Universal Edition A.G., Vienna. English translation 1952 by Alfred A. Kalmus, London W.1. renewed. All rights reserved. Used by permission of European American Music Distributors LLC, U.S. and Canadian agent for Universal Edition A.G., Vienna.
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LI STEN IN G CH ART 20
Ives, The Rockstrewn Hills

4 min., 47 sec.
33 28
5
3334
3 DVD
2829 5-9
0:00 0:17 0:29 0:49 1:27 1:58 2:07 2:34 2:44 3:00
Introductory Dance fragment, strings; interrupted Dance fragment, woodwinds; interrupted Ragtime fragment, piano Kaleidoscopic array of fragmentary ideas; buildup Brass becomes prominent. Cakewalk fragment Climax: homophony Slowdown and pause (solo stringed instruments) March fragment, trombones The hymn is prefigured. Dance fragment from beginning, brass collapse Hymn, clearer At last the hymn emerges clearly: I am coming, Lord! Fades: a fragmentary whole-tone scale in the piano
I remember, when I was a boy at the outdoor Camp Meeting services in Redding (Conn.), all the farmers, their families and eld hands, for miles around, would come afoot or in their farm wagons. I remember how the great waves of sound used to come through the trees . . . There was power and exaltation in those great conclaves of sound from humanity.
Charles Ives
34 29
3:14 3:27 3:57 4:08
0:13 0:43 0:54
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LI STENI NG C HA RT 2 1
Ravel, Piano Concerto in G, first movement

Free sonata form. 8 min., 15 sec.
1
6 DVD
15 5-9
E X POSI TI ON
0:00 0:24 0:36 Second 0:44 2 1:40 0:37 2:17 0:55 2:35 1:14 2:54 1:47 3:27
Theme 1, piccolo, syncopated strings pizzicato Theme 1, trumpet, syncopated brass Sudden modulation group Theme 2, piano: slower; interrupted by the break Theme 3, piano Theme 3, orchestra bassoon, trumpet Vigorous, driving music for the piano Break Approach to a cadence
Transparency 68b
3:36
Retransition: upward scales in the piano Theme 1, piano, ff; returns to the tonic key Sudden modulation group Theme 2, piano with gong Dreamlike episode: theme 2, harp Break; melody continues in the French horn Cadenza: theme 3, with extensive trills theme 3, piano and orchestra Piano: vigorous, brilliant Approach to a cadence
RE CAP I T UL AT I ON
0:09
3:45 0:20 3:57 Second 4:05 4:30 5:08 5:44 6:34 7:04 7:37
CODA
0:29
4
0:38 1:14 2:04 2:34 3:07
7:42 0:17 7:59

5
Orchestra (trumpet), f, in the original tonic key, with motives derived from theme 1 ff
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L IST E NING CHART 22
Bartk, Music for Strings, Percussion, and Celesta, second movement (Allegro)
Sonata form. 7 min.
6
612
EXPOSITION
6
0:00 0:22 0:25
Theme 1 Bridge
With pizzicato preface Held note, drum c a d e n c e Big stop, after drumbeat
l l [ l l l l l
Second group 0:56 Theme 2 Theme 3 Theme 4 Cadence theme Folklike tune, strong beat Developmental Over a string trill Piano c a d e n c e Exaggerated cadence; drumbeat
DEVELOPMENT
0:14 1:10 0:36 1:32 1:08 2:04

8
l l l l l l l
2:24
0:49 3:14
Section 1 Section 2
Irregular rhythms: piano and percussion, leading to the Stravinskian passage Pizzicato scales, from the preface
Transparency 69b
3:34 Section 3 (retransition)
New folklike tune Drum prepares: Crescendo Drum grows insistent; slowdown
0:30 4:04 1:20 4:54
10
5:10
Theme 1 Bridge Theme 2 Theme 4 Cadence theme
With timpani; meter change
0:18 5:28
11
Second group 5:40 Transformation: triple meter New continuations Transformation: triple meter Piano, as before
0:11 5:51 0:24 6:04 0:44 6:24

CODA
12
6:32
New fast dialogue on theme 1
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LIST E NING CHART 23

5
Prokofiev, Alexander Nevsky Cantata, 5: The Battle on Ice

FI R ST EXC ER PT
36
DVD
5-9
3637
0:00 1:19 1:45 1:53 2:14 2:55 3:58 4:08
The frozen lake; the Russians wait. The German battle call: muted, offstage trombone Staccato eighth notes in strings, drum Tuba and saxophones state battle call, overlapping. Trumpet and tuba state three-note threat motive; then descending chromatic melody for trumpet and violins German chant Climactic statements of battle call The armies meet.
SEC O ND EXC ER PT
37
0:00
The Russians close in.
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L I STEN ING CH A RT 2 4
Ligeti, Lux aeterna

7 min., 54 sec.
18
6 DVD
1821 5-9
0:00 1:39 2:02 2:22
womens voices
Single pitch, high voices (Lu) The sound expands, up and down. A high pitch is added softly: soprano. The sound contracts upward, ending in . . . a single pitch (octave).
19
2:28 2:36 3:04 3:58 4:03 5:33 5:45 6:13 6:43 7:30
mens voices
The high pitch stops, replaced by a chord (Domine) in the high mens voices. The sound expands downward. More lower voices; higher mens voices drop out; the sound slowly focuses to . . . a held, dissonant chord.
0:08 0:36 1:30

20
men and women
Complex sound, f (with a clear high, low, middle) The sound contracts downward to a lengthy focus, ultimately to a single pitch. Complex sound low voices (Domine) Sound expands, up. A high note is added: soprano. The high note is dropped, replaced by a very low note: bass. Sound contracts downward to . . . a two-note dissonant chord.
1:30
21
0:28 0:58 1:45
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LISTEN IN G CHART 25
Reich, Music for 18 Musicians, opening

8 min., 3 sec.
23
6 DVD
2324 5-9
INTRODUCTION
0:00 0:19 0:40 0:58 1:16 3:47

24
Neutral pulse First harmony Second harmony Third harmony Fourth harmony etc. Neutral pulse Theme begins to emerge. Vibraphone cue: Theme extended, cello prominent Vibraphone cue: Theme extended again, voices prominent Vibraphone cue: cello shifts harmony slightly; pulsing clarinets MIDPOINT Clarinets resume theme (with voices). Vibraphone cue: Disassembly of theme begins. etc. Vibraphone cue begins Section 2.
SECTION 1
0:00 0:26
3:57 4:24 0:44 4:41 1:15 5:12

2:31 2:51
6:28 6:42
4:01 7:58
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LISTEN
25 34 S ONG 1
Kaija Saariaho, From the Grammar of Dreams
6
2527
3
3436
Soprano 1 (Paralytic, stanzas 14)
It happens. Will it go on? My mind a rock, No fingers to grip, no tongue, My god the iron lung That loves me, pumps My two Dust bags in and out, Will not Let me relapse While the day outside glides by like ticker tape. The night brings violets, Tapestries of eyes, Lights, The soft anonymous Talkers: You all right? The starched, inaccessible breast.
Soprano 2 (from The Bell Jar; sung simultaneously with soprano 1) A bad dream. I remembered everything.
Transparency 73b
26 35
SON G 3
Sopranos 1 and 2 (Paralytic, stanza 8 the last stanza) The claw Of the magnolia, Drunk on its own scents, Asks nothing of life.
SON G 4
27 36
Soprano 1 (The Bell Jar) I thought I would swim out until I was too tired to swim back. As I paddled on, my heartbeat boomed like a dull motor in my ears. I am I am I am
Soprano 2 (The Bell Jar) I took a deep breath and listened to the old brag of my heart. I am I am I am
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Transparency 74a
LISTEN
6
John Adams, El Nio
DVD
68
1 . P U E S MI D I O S HA NACID O A PENAR
1 Pues mi Dios ha nacido a penar, djenle velar. 2 Pues est desvelado por mi, djenle dormir. 3 Djenle velar, que no hay pena, en quien ama como no penar. 4 Djenle dormir, que quien duerme, en el sueo se ensaya a morir. 5 Silencio, que duerme. 6 Cuidado, que vela. 7 No le despierten, no! 8 Si le despierten, si! 9 Djenle velar! 10 Djenle dormir!
Because my Lord was born to suffer, let him stay awake. Because he stays awake for me, let him sleep. Let him stay awake, for there is no suffering for him who loves, as if there were no pain ever. Let him sleep, for one who sleeps, in his dreaming rehearses his own death. Silence, let him sleep! Take care, let him stay awake! Dont wake him, no! Yes, wake him, yes! Let him stay awake! Let him sleep!
Transparency 74b
2 . WHEN HEROD H EARD
Now when Jesus was born in Bethlehem of Judaea, in the days of Herod, the king, behold, there came wise men from the east to Jerusalem, saying, Where is he that is born King of the Jews? for we have seen his star in the east, and are come to worship him. Now when Herod had heard these things, he was troubled, and he privily called the wise men, inquired of them diligently what time the star appeared. And he sent them to Bethlehem, saying, Go and search diligently for the young child, and when you have found him bring me word again, that I may come and worship him also. Matthew 2
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3. WOE UNTO THEM THAT CALL EVIL GOOD
Woe unto them that call evil good, and good evil; that put darkness for light and light for darkness; that put bitter for sweet and sweet for bitter! Woe unto them that are wise in their own eyes, and prudent in their own sight! Woe unto them that seek deep to hide their counsel from the Lord, and their works are in the dark, and they say, Who seeth us? and who knoweth us? I will also choose their delusions, and will bring forth their fears upon them. Isaiah 5; 29; 66
Transparency 75
LISTEN
1
29
3
42
Kadnikiniya
0:00 a 0:12 a 0:22 b 1:06 a Refrain Refrain repeated
7 parallel phrases, each of 11 drumstrokes Refrain
Transparency 76
LISTEN
Hanaq pachap kusikuynin Waranqakta muchasqayki Yupay ruru puquq mallki Runakunap suyakuynin Kallpannaqpa qimikuynin Waqyasqayta
Hanaq pachap kusikuynin
1
30
Bliss of heaven, A thousand times I adore you. Tree of myriad fruits, Hope of peoples, Pillar of the weak: Hear my cry. (one more stanza)
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0:00 0:51 1:11 1:31 2:18 3:15 4:04 4:46 b b c c a a
Etenraku
3
30
Ryuteki, kakko, tsuridaiko only Sho and hichirikis enter. Biwa enters.
Gakuso enters, completing the orchestra.
Paired beats of tsuridaiko every 8 beats Gakuso and biwa gradually play more and more fragments of main melody, joining in heterophony of hichirikis and ryuteki.
5:25 6:02 6:37 7:11
a a b b After the phrase is completed (at 7:55), biwa and gakuso end the piece with a brief coda.
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0:00 0:04 0:30 1:19 2:06 2:38 2:41 4:04 4:21
I Lotring, Bopong
3
31
Introduction: a few gangsas alone Gong; introduction continues with fast gangsa figuration Gong; first statement of melody begins Gong; second statement of melody Gong; third statement of melody Melody truncated Ostinato begins (fourteen times through); gong every eight beats Syncopated, unison closing melody Final gongstroke
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0:00 0:55 1:56 2:12 3:07 Part 1 Part 2 Part 3 Part 4 Part 5
Nagauta Music from the Kabuki Play Dojoji
5
38
Instrumental: shamisens play the main melody, accompanied by drums and a bell-like gong. Flute plays an independent melody. Exclamations by percussionists can also be heard. Main melody in heterophony (singer, shamisens, flute), supported by percussion Singer pauses; main melody in shamisens and flute Main melody (singer, shamisens); flute plays independent melody. Free heterophony for singer and shamisen alone
Transparency 80
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6
Anoku Gonda
0:00 0:00 0:13 0:25 0:30 0:35 0:47 0:57 Unmetered choral declamation a a b b a a Metrical call and response:
36
Solomon Linda against the full chorus 1:27 Metrical call and response: Basses against the full chorus

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UNIT III: The Eighteenth Century

64 82 203 206 301 409

Wagner, Prelude to The Valkyrie

0:00 0:48 0:59 1:20 1:45 2:09

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LISTENING E X ER CI SE 1 Rhythm, Meter, and Syncopation

Duple meter Duple meter Triple meter Compound meter

four | one two

five six | one two three

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LI S T E N I N G E X E R C IS E 2 Rhythm, Meter, and Tempo

Pitch and Dynamics

ORCHESTRAL SEATING PLAN

French horns Harps

Flutes Second violins

Cellos First violins Conductor

The Orchestra in Action

0:45 1:34 2:32 3:29

0:00 0:42 1:11 1:42 2:07 2:26

2:50 3:29 4:32

Diatonic and Chromatic Scales

DIATONIC SCALE (one octave)

CHROMATIC SCALE (one octave)

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LISTENING EXERCISE 5 Melody and Tune

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Joy Theme Theme

Low register An octave higher

Two octaves higher Three octaves higher

0:00 0:25 0:58 1:20

Major and Minor Modes

Whole Half step step

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L I STENI NG EX E R CIS E 7 Mode and Key

0:00 0:28 1:03 1:36

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LISTEN IN G EXE RCI S E 8 Musical Form

0:00 0:21 0:47

0:00 0:08 0:23 0:37 0:44 0:51 1:07 1:22 A B A

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Britten, The Young Persons Guide to the Orchestra

0:42 1:11 1:42 2:07 2:26

Theme Theme Theme THEME Variation 1 Variation 2 Variation 3 Variation 4

2:50 3:04 3:29 4:32 5:14

0:14 0:39 1:42 2:24

6:11 6:56 7:45 8:43 9:40

Variation 5 Variation 6 Variation 7 Variation 8 Variation 9

Violins Violas Cellos Double bass Harp

0:45 1:34 2:32 3:29

10:31 11:11 11:47 12:48

Variation 10 Variation 11 Variation 12 Variation 13

French horns Trumpets Trombones, tuba percussion

Full orchestra Full orchestra

Access Interactive Listening Chart 2 at bedfordstmartins.com/listen

The Medieval Modes

Plainchant antiphon, In paradisum

Hildegard of Bingen, Columba aspexit