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CHAPTER 36 Mourning a Hero: Mozart and the Requiem
MULTIPLE CHOICE
1. What were the principal genres of sacred choral music during the Classical era?
a. oratorio c. Requiem
b. Mass d. All answers shown here.
2. A musical setting of the Mass for the Dead is called a(n)
a. oratorio. c. Requiem.
b. opera. d. cantata.
3. Oratorios primarily drew their stories from
a. the Bible. c. Milton’s Paradise Lost.
b. Greek myths. d. newly created stories.
4. Mozart’s Requiem was
a. his first work. c. his last work, incomplete at his death.
b. performed on the death of his father. d. dedicated to Haydn.
5. Who completed Mozart’s Requiem?
a. Mozart himself c. Beethoven
b. Salieri d. Süssmayr
6. The Dies irae text from the Requiem Mass describes
a. the Resurrection of Christ. c. devotion to the Virgin Mary.
b. the birth of Christ. d. Judgment Day.
7. Which of the following correctly describes the musical forces for Mozart’s Requiem?
a. winds, strings, and choir
b. strings, choir, and four soloists
c. strings, choir, and a soloist
d. winds, brass, strings, timpani, choir, and four soloists
8. The ________ accompanies the baritone voice in the Tuba mirum section of Mozart’s Requiem.
a. trombone c. trumpet
b. tuba d. oboe
9. Which of the following best describes the mood of the Dies irae from Mozart’s Requiem?
a. gentle and comforting c. fearful and then wondering
b. lively and excited d. humorous and light
10. The text of Mozart’s Requiem is sung in
a. Italian. c. German.
b. Latin. d. English.
11. Which work is an example of an oratorio?
a. Handel’s Messiah c. Mozart’s Don Giovanni
b. Mozart’s Requiem d. Bach’s Cantata No. 140
12. A Mass is a musical setting of the most solemn service of
a. the Roman Catholic Church. c. Judaism.
b. the Lutheran Church. d. None of the answers shown here.
13. Who wrote the text of the Dies irae?
a. Mozart c. Süssmayr
b. a thirteenth-century friar d. Salieri
14. Mozart’s Requiem was written in honor of
a. the death of Mozart’s father.
b. the composer’s vision of his own death.
c. Haydn.
d. None of the answers shown here.
15. What instrument performs a solo during the Tuba mirum section of Mozart’s Requiem?
a. trombone c. trumpet
b. tuba d. French horn
16. The trombone performs a solo during the ________ section of Mozart’s Requiem?
a. Tuba mirum c. Rex tremendae majestatis!
b. Lacrimosa d. Quantus tremor est futurus
17. ________ is a musical setting of the most solemn service of the Roman Catholic Church.
a. The Mass c. An oratorio
b. A Requiem d. The cantata
18. What was Mozart’s last large-scale composition?
a. Requiem c. Le nozze di Figaro
b. Don Giovanni d. Messiah
19. Soloists during the Tuba mirum include
a. soprano, alto, tenor, bass, and trombone.
b. only the trombone.
c. soprano, alto, tenor, and bass.
d. soprano, alto, tenor, bass, and tuba.
20. A Requiem is a musical setting of
a. the Mass for the Dead. c. Christmas Mass.
b. Easter Mass. d. the Mass for the Living.
1. During the nineteenth century, the Mass was sung only in church.
2. Mozart composed his Requiem out of gratitude for a long life of artistic creativity.
3. The Requiem was Mozart’s first major composition in Vienna.
4. Mozart died before finishing the Requiem, and one of his students completed the work for him.
5. The Dies irae is a poem in three-line rhymed verses.
6. The Dies irae from Mozart’s Requiem includes solo voices.
7. Mozart’s Requiem was sung in a worldwide memorial for the victims of the September 11 terrorist attacks on the United States.
8. The predominant texture of the Dies irae from Mozart’s Requiem is contrapuntal.
9. Mozart’s Requiem was sung at the 1963 funeral of President John F. Kennedy.
10. The Dies irae from Mozart’s Requiem is a cheerful vision of the afterlife.
11. The Dies irae from Mozart’s Requiem does NOT include text-painting.
12. Mozart’s untimely death helped to perpetuate myths about his Requiem.
13. The Tuba mirum section of Mozart’s Requiem features a trombone solo.
14. Mozart’s Requiem has only been accepted by western European audiences.
15. The score for Mozart’s Requiem was lost after his death and the work was only first performed in 1963.
1. Discuss the musical characteristics in Mozart’s Requiem.
2. Discuss how artists and works of art, including musical compositions, can become enveloped in myth. Include a modern-day example
in your answer.
3. Discuss the enduring legacy of Mozart’s Requiem.
4. Discuss how an artist’s premature death, such as Mozart’s, shapes our culture’s notions of creative genius. Include a modern-day
example in your answer.
PART 5: THE NINETEENTH CENTURY
PRELUDE 5 Music as Passion and Individualism
MULTIPLE CHOICE
1. When did Romanticism in music come into its own?
a. the middle of the eighteenth century
b. the last few decades of the eighteenth century
c. the first few decades of the nineteenth century
d. the middle of the nineteenth century
2. Which of the following is identified as the first great creative Romantic?
a. Goya c. Schiller
b. Beethoven d. Wagner
3. Which of the following describes Romanticism?
a. Art should unsettle rather than soothe.
b. Artworks display their creators’ originality.
c. Struggling artists are working against society and conventions.
d. All answers shown here.
4. The French Revolution signaled the
a. end of Classicism.
b. transfer of power from the aristocracy to the middle class.
c. beginning of the Enlightenment.
d. end of Romanticism.
5. The nineteenth century saw the rise of a new social order shaped by the
a. monarchies of the major political powers.
b. aristocracies.
c. technological advances of the Industrial Revolution.
d. Catholic Church.
6. The democratic character of the Romantic movement is illustrated by
a. sympathy for the oppressed. c. faith in humankind and its destiny.
b. interest in folk culture. d. All answers shown here.
7. Which of the following is true of Romantic poets?
a. They rebelled against conventional forms and subjects.
b. They leaned toward the fanciful and picturesque.
c. They expressed their new spirit of individualism with passion.
d. All answers shown here.
8. Which of the following were major themes of Romantic writers?
a. idolizing of kings and queens c. idealized heroes of Greece and Rome
b. recounting Biblical tales d. None of the answers shown here
9. Which of the following was France’s greatest prose writer?
a. Victor Hugo c. John Keats
b. Jean-Jacques Rousseau d. Percy Bysshe Shelley
10. During the nineteenth century, concert life began to center on the
a. palace. c. university.
b. church. d. public concert hall.
11. Which of the following describes orchestras of the nineteenth century?
a. The conductor emerged as a central figure.
b. The range of dynamics increased.
c. New instruments were added to the ensemble.
d. All of the answers shown here.
12. What trend inspired composers to write music evoking scenes or sounds of far-off lands?
a. exoticism c. chromaticism
b. nationalism d. virtuosity
13. Romantic composers sought to make instruments sing. This statement best describes the element of
a. rhythm. c. harmony.
b. melody. d. texture.
14. Which of the following characterizes Romantic music?
a. atonal melodies c. intimate forms
b. subdued harmonies d. None of the answers shown here.
15. Which of the following describes Romantic orchestral music?
a. Classical forms were expanded.
b. Music established connections to paintings and poetry.
c. New genres emerged, some of which incorporated voices.
d. All answers shown here.
16. Which of the following characterizes musicians of the Romantic era?
a. Virtuoso soloists became stars.
b. Some composers were exploited by their publishers.
c. Many musicians became savvy businessmen.
d. All answers shown here.
17. Which of the following gained prominence as a virtuoso violinist?
a. Liszt c. Paganini
b. Mendelssohn d. Schumann
18. Which figure was a prominent performer and composer for piano?
a. Clara Wieck Schumann c. Nadezhda von Meck
b. George Sand d. Carolyne Sayn-Wittgenstein
19. Which of the following was the mysterious woman who supported Tchaikovsky?
a. Clara Wieck Schumann c. Nadezhda von Meck
b. George Sand d. Carolyne Sayn-Wittgenstein
20. The split between light music and art music occurred during the ________ century.
a. late eighteenth c. late nineteenth
b. early nineteenth d. early twentieth
21. The Romantic era grew out of
a. the social and political upheavals of the French Revolution.
b. the social and political upheavals of the American Revolution.
c. the social and political upheavals of the Russian Revolution.
d. aristocratic notions of the ideal life.
22. What was the slogan of the French Revolution?
a. “Liberty, Equality, Fraternity” c. “All men are created equal”
b. “Liberty and the pursuit of happiness” d. “Death to the tyrants!”
23. Which German poet became a favorite of Romantic composers?
a. Victor Hugo c. John Keats
b. Heinrich Heine d. Percy Bysshe Shelley
24. Which composer was exploited by the growing music publishing industry?
a. Stephen Foster c. Clara Wieck Schumann
b. Giuseppe Verdi d. Franz Liszt
25. Which composer was also a savvy businessman that helped to establish economic models that benefit musicians to this day?
a. Stephen Foster c. Tchaikovsky
b. Giuseppe Verdi d. Franz Liszt
TRUE/FALSE
1. Music did NOT embrace the Romantic movement until the mid-1800s.
2. The French Revolution had little impact on the Romantic movement.
3. The Romantics embraced conventional forms.
4. One of the prime traits of Romantic artists was their emphasis on intense emotional expression.
5. The Industrial Revolution led to the production of less expensive musical instruments but with no technical improvements.
6. The nineteenth-century novel found its great theme in the conflict between the individual and society.
7. The Romantic orchestra was the same size as the Classical orchestra.
8. The dynamic range of nineteenth-century orchestras was far greater than that of orchestras of the previous century.
9. Romantic music is characterized by relatively less expression than music of earlier periods.
10. Nineteenth-century composers communicated their desire for increased expressiveness to the performer through new descriptive
terms.
11. An interest in folklore and folk music resulted from the rise of nationalism.
12. Composers depicted exoticism by incorporating folk music of their own countries in their compositions.
13. A typical Romantic symphony is generally longer than a typical Classical symphony.
14. Nineteenth-century society continued to view musicians as glorified servants.
15. During the Romantic era, solo performers became stars idolized by the public.
16. Romanticism was a self-conscious break from the ideals of the Enlightenment.
17. Lord Byron was a British nobleman.
18. Romanticism embraced a longing for far-off lands.
19. Orchestration became an art in itself during the Romantic era.
20. Puccini’s opera Madame Butterfly is an example of musical exoticism.
MSC: Applying
ESSAY
1. Discuss the style traits of Romantic music.
2. What are the principal ideals underlying Romanticism? How are they reflected in the art and literature of the period?
3. Discuss the rise of the virtuoso performer in the nineteenth century. How did this phenomenon affect music?
4. Discuss the rise of nationalism that inspired composers during the Romantic era.
5. Discuss the rise of exoticism that inspired composers during the Romantic era.
