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TitleExcerptComposerYearGenreLanguageRegionListenContextListening KeyNAWM
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Gretchen am SpinnradeN/AFranz Schubert1814art songGermanViennaYoutube, NortonSchubert’s song features Gretchen, a maiden, romantically fantasizing about Faust at her spinning wheel. The text comes from Johann Wolfgang von Goethe’s play. Schubert's lieder were a central component to his output. His lyrical melodies had a lasting legacy on every Western musical genre for the next century.The billowing piano arppegios introduce the soprano voice. The song is in minor but frequently explores different chord relationships for expressive effect. The song is in modified strophic form, or a seven-part rondo. Listen for "Meine ruh' ist hin..." at the beginning of some sections.132
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String Quartet in C MajorFirst movementFranz Schubert1828string quartetN/AViennaYoutube, NortonChamber music was less popular in the Romantic period; Schubert modeled his works after Mozart and Haydn. His early quartets were for his friends' enjoyment, but later chamber works are dramatic concert pieces. This piece was composed two months before his death. It is scored for string quarted with an additional cello, creating varying textures. The first movement utilizes three keys in the exposition that are thirds apart. Listen for sudden changes in moods, as the gentle introduction becomes turbulent. The second theme, gentle again, is introduced by the cellos in parallel thirds. The other instruments pizzicato at this point before the violins pick up the theme. The recapitulation is in A-flat. 144
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Carnaval"Eusebius"Robert Schumann1834-35piano cycleN/ALeipzig*Youtube, NortonEach of the character pieces in this cycle represents a figure from Schumann's life; he imagines these characters during the Carnaval season before Lent. Two of these figures are stock characters that Schumann used as a rhetorical device in his music criticism. Eusebius and Florestan represent opposing facets of Schumann's personality (these polar extremes lead scholars to infer that he had bipolar disorder). Eusebius is a placid dreamer and Florestan is a turbulent artist. He also encodes the letters of his then-fiancée's hometown, Aesch, into many of the works through a musical cryptogram: A-Eb-C-B (Eb and B can be referred to as Es and H, respectively). The dreamy and calm piano melody mirrors Florestan's contour, but with an entirely different atmosphere. The same melodic idea is repeated in multiple sequences with varying harmonies. The second to last statement of the idea is played in octaves. The last statement fades away before leading into the dramatic entrance of the next piece.136
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"Florestan"Youtube, NortonFrantic and passionate runs on the keyboard oscillate with brief light moments. Phrases repeatedly hang on the leading tone, adding to the suspenseful character. An A-Eb-C-B motif is clearly outlined in the melody.
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"Coquette"Youtube, NortonA grace note-laden melody gallops about, reflecting the delicate and playful character implied by the title. These notes also spell out the same motif as the other two pieces.The ending is punctuated with the tonic chord ringing out in the high register.
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Dichterliebe"Im wunderschonen monat Mai"Robert Schumann1840song cycleGermanLeipzigYoutube, NortonRobert Schumann wrote 120 songs in the year he married Clara Weick. These pieces for piano and vocalist are incredibly expressive. The text is taken from Heinrich Heine's Lyrical Intermezzo (1823).A dreamy and suspenseful piano intro plays before a tenor sings the opening line. The voice is expressive and expansive, emoting desire. The piece ends unresolved. It ambiguously floats between a major and minor sound. The piece is less than 2 minutes long.133a
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St. Paul"Mache dich auf, werde Licht"Felix Mendelssohn1846oratorio (chorus)GermanDüsseldorfYoutube, NortonMendelssohn wrote this oratorio after his travels to England. Amateur choral societies in Germany also provided an incentive to publish such works. It was written for a choral festival and is still regularly programmed today. The oratorio uses a wide array of textures and styles. The two titles translate to "let there be light" and "awake, the voice is calling us."A crescendoing introduction, as the low strings are followed by upper strings and brass adds a grand effect. A chromatic progression just before the whole chorus enters is effective and dramatic. The lower voices sing the title before the treble voices join. There are points of imitation as the piece progresses, but the text remains overall clear.143c
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"Wachet auf, ruft uns die Stimme"Youtube, NortonThe voices and strings enter immediately together. Trumpet fanfare follows each of the phrases. Adapted from a chorale, it's less energetic that "Mache dich auf," but retains a mighty, processional feeling.143d
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Piano Trio in G MinorThird movement (andante)Clara Schumann1846piano trioN/ADresdenYoutube, NortonClara Schumann wrote this piano trio while her husband had a depressive episode. The couple traveled to the North Sea, hoping to improve his health. There, she suffered a miscarriage and had to perform the next day. The work was well received when she premiered it a year later; critics remarked on the "calm mastery...not expected of a woman composer."The piano enters solo, introducing the G Major andante melody in 6/8 before the violin joins on the melody. The cello enters with a continuation of the melody before all three parts abruptly contrast the sweet emotion with a minor key idea with dotted rhythms. As the piece returns to the A theme, the trio engages in contrapuntal ideas, reflecting Clara Schumann's amalgamation of Baroque, Classic, and Romantic traits. The overall effect is songlike and melancholic.145
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Das Jahr"December"Fanny Mendelssohn-Hensel1841character piece from a piano cycleGermanBerlin*Youtube, NortonThe twelve months of the year are represented in this piano cycle. Mendelssohn-Hensel expressed that the pieces were inspired by her trip to Rome. She initially intended on not publishing the cycle, but was encouraged to do so by her husband. He illustrated the pages of the manuscript, and each piece is accompanied with a poem.Tremolos and arpeggios leap across the keys with virtuosic color. After this energetic section settles, Mendelssohn quotes "vom Himmel hoch da, komm ich her," a Lutheran chorale associated with Christmas. It begins gently before an octave run up the piano, where it is repeated in the upper register with a full bass accompaniment. The opening statement of the chorale is repeated several times, interspersed with ideas from the character piece's introduction.137
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Mazurkas, Op. 7Mazurka in Bb Major, Op. 7, No. 1Frederic Chopin1830-31mazurkaN/AParisYoutube, NortonMazurkas are Polish dances popular for ballrooms. This is the only collection of five mazurkas that Chopin published, others contained three or four. The piece was published soon after a failed Polish revolt against the Russians, when Chopin decided to settle in Paris.A lively piece in rondo form with a main theme consisting of a rising figure answered by a descending interval of a ninth. Typical of mazurkas, the left hand bass pattern accentuates the 3/4 time signature with a boom-cha-cha feel that accents the second and third beats. The second theme in the dominant key is brief but graceful; the third theme is tonally ambiguous. Dotted rhythms pervade the piece, adding to the dance-like feeling. Ornaments decorate the melody.138
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Nocturnes, Op. 27Nocturne in Db Major, Op. 27, No. 2Frederic Chopin1836nocturneN/AParisYoutube, NortonNocturnes are introspective pieces, evoking the intimacy of the nighttime. Irish composer John Field first conceived of the idea. Chopin's nocturne is influenced by the "bel canto" vocal style of Vincenzo Bellini's operas.The arpeggiated bass pattern underlies a melody with unexpected rhythmic subdivisions. It is played with rubato, especially in the bar preceding the reentry of the main idea. The piece alternates between repeated and varied A and B themes, increasing in complexity and drama, before relaxing into a coda.139
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Symphonie fantastique"Dream of Witches' Sabbath (Fifth movement)"Hector Berlioz1830program symphonyN/AParisYoutube, NortonBerlioz composed this symphony to get the attention of Harriet Smith, an Irish actress with whom he was obsessed (and later married). The programmatic story follows a young musician who falls into despair due to unrequited love, attempting suicide with opium. The final movement is a depiction of his drug-laced descent. An idée fixe incessantly returns in each movement. Here, the yearning melody is transformed into a shrill and taunting motif. The movement begins with unsettling timbres and repeated phrases that build tension. The strange return of the idee fixe with the clarinet is initially bombarded with a fortissimo statement from the orchestra. Funeral tolls precede the Dies irae, menacingly played by the Ophicleide (a precursor to the tuba). The motif is repeated in a metric modulation by the rest of the brass section. One of two orchestral pieces on the listening exam, stands out due to its unmistakable haunting character.146
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The Barber of SevilleUna voce poco faGioachino Rossini1816comic operaItalianRomeYoutube, Norton, This is now Rossini's best-known opera. The comedy follows Figaro and Rosina. Rosina's introductory aria (cavatina) has contrasting cantabile and cabaletta sections, showing her loving and scheming nature. She is determined in her love for Lindoro and her ability to outsmart her greedy guardian. Rossini writes expertly for the singer, using a bel canto style that emphasizes "beautiful singing" through seemingly effortless technique and tone that highlights the performer's agility, control, and range.The double aria begins with an orchestra (the YouTube video has dramatic sneezing). The rich soprano sings of "Lindoro" with playful energy and agility. The orchestra then increases in energy as the soprano approaches a coloratura section. It is after this point (2:30) that the orchestra actually introduces the A section to the aria beginning with "Io sono docile." The B section, "Ma se mi toccano" is characterized with sudden vocal leaps. Typical of a coloratura soprano, the repeated A section is heavily adorned with impressive and agile vocal runs.149
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La traviataAct, III, Scena, signoraGiuseppe Verdi1853scene from operaItalianVeniceYoutube, NortonVerdi's opera about a "woman gone astray" depicts Violetta's moral dilemma, in which she must abandon her beloved in order to save his and his family's honor. Verdi composed with plain harmony, centering the vocal expression as the most vital part of the performance. This opera concludes his early period of operatic composition, when his works were structured sectionally into distinct numbers.Two sopranos call out to one another, Annina calls out to Violetta: "Signora!" The strings build as they anticipate the arrival of Alfredo. The tenor and soprano excitedly exchange lines after celebrating their reunion with a really loud sustained note.154a
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Act, III, Cabaletta, Ah! Gran Dio! Morir si giovaneduet from operaYoutube, NortonSeen as prodigious in either of her choices, Violetta's moral redemption is achieved only through death. She and Alfredo embrace one last time before she dies of tuberculosis (then romanticized as consumption). It was among the first tragic operas set in contemporary Paris, reflecting Verdi's interest in the trend of realism. Violetta opens the excerpt with a dramatic entrance of "Ah! Gran Dio" with a subdued orchestral accompaniment. Alfredo responds, repeating the same melody. The orchestra occasionally punctuates his lines. This is followed by smaller vocal imitations between the two, coalescing into a harmony. Violetta then sings the melody while Alfredo sings a contrapuntal line. 154e
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Der FreischutzAct II Finale, Wolf's Glen Scene, Chorus and dialogue, Milch des Mondes fiel aufs KrautCarl Maria von Weber1821German Romantic operaGermanBerlinYoutube, Norton (part 1/3), Norton (part 2/3), Norton (part 3/3)In this scene, the "moon's milk falls upon the weeds," Kaspar pleads with Samiel (a devil), conspiring to have Max dragged to hell in his place. Kaspar boasts of his plan as "marvelous service" to the devil. The spirit of Max's mother warns him of using evil forces, but the devil tempts him with a vision of his beloved drowning in despair. He and Kaspar then pray to the "marksman who dwells in shadows." Such depictions of the supernatural reflected Romantic literary trends.A chorus menacingly sings with interjections of the brass above soft strings. A clock strikes 12. Kaspar cries out (or whispers) to Samiel. He sings his pleading dialogue. Samiel returns with dry, non-musical responses (Nein!). Kaspar's bass voice intensifies until Samiel ambiguously concedes, giving new terms to the forester. The dialogue ends with a gloomy minor chord.152a
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Act II Finale, Wolf's Glen Scene, Accompanied recitative with spoken dialogue, Trefflich bedient!Maintaining the same spooky atmosphere, Max sings a recitative. He says "whoosh, whoosh" at one point which sounds funny in such a serious moment.152b
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Act II Finale, Wolf's Glen Scene, Melodrama, Schütze, der im Dunkeln wachtKaspar speaks an incantation of Samiel. The orchestra depicts the forest scene: woodwinds depict the forest birds, tempestuous violin figures represent storms, blaring trumpets represent barking dogs, etc.152c
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Tristan and IsoldePreludeRichard Wagner1865music dramaN/AWeimar (not Bayreuth!)Youtube (full production), Norton (prelude), Norton (end of act I)A prelude typically differs from an overture due to its slow tempo. Motives and passages from the prelude return in Act I, taking on new significance.The prelude opens with the half-diminished Tristan Chord that does not resolve. The first several minutes repeats these dissonances without clear resolutions, rising to a fortissimo. Another thematic idea enters afterward with sweeping gestures in the violins. An oboe line follows the section. Listen for a slow tempo with unresolved dissonances.153a
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Act I (conclusion)GermanTristan and Isolde drink a love potion, beliving it to be poison. The tenor (Tristan) sings with a brighter tone than Max does in the excerpts from Der Freischütz. As he raises the "poison," Isolde sings "I drink to you!" before they both collapse. The melody is not even like Rossini's duet between Violetta and Alfredo.153b
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TitleExcerptComposerYearGenreLanguageRegionListenContextListening KeyNAWM
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