978-0393602517 Chapter 32 Part 2

Unlock access to all the studying documents.

View Full Document

Timbre/Instruments:

Rhythm (meter, tempo)/Dynamics:

Harmony (major, minor)/Texture:

Relationship to scene/Comic and serious elements:

Part 4: Classroom-Ready Activity 2

ACTIVITY DESCRIPTION

In this class activity, students will understand Beethoven’s music as a transition between the

Classical and Romantic eras. They will compare Mozart’s Eine kleine Nachtmusik and

Beethoven’s Fifth Symphony to demonstrate the development of Beethoven’s musical style.

INSTRUCTIONS

Distribute the worksheet and have students work in pairs to fill out the information. They

should have their textbooks or listening guides in view while you play the examples. Play each

of the movements from Mozart’s Eine kleine Nachtmusik and Beethoven’s Fifth Symphony

back to back respectively—that is, play the Mozart first movement followed by the Beethoven

first movement, Mozart second movement, and so on. If time will not permit playing all the

movements, play just the first and third movements of each work. After each movement, allow

students three to five minutes to collaborate on their worksheet responses. At the conclusion of

the excerpts, give students about five minutes to summarize the formal and stylistic differences

they have heard and invite them to share their responses with the class.

Student Worksheet

Name:

Mozart: Eine kleine Nachtmusik

Movement I: Allegro

Key:

Form:

Exposition

Theme 1 in G Major

Theme 2 in

Closing Theme in

Repeat of Exposition

Length of Expo: 1:00

Development

Length:

Recapitulation

Theme 1 in

Theme 2 in

Closing Theme in

Length of Recap:

Coda

Length:

Movement II: Romanze; Andante

Key:

Form:

(fill in the formal elements and timings below)

Movement III: Allegretto

Key:

Form:

(fill in the formal elements and timings below)

Movement IV: Allegro

Key:

Form:

(fill in the formal elements and timings below)

Beethoven, Symphony No. 5

Movement I: Allegro

Key:

Form:

Exposition

Theme 1 in

Theme 2 in

Closing Theme in

Repeat of Exposition

Length of Expo:

Development

Length:

Recapitulation

Theme 1 in

Theme 2 in

Closing Theme in

Length of Recap:

Coda

Length:

Movement II: Andante con moto

Key:

Form:

(fill in the formal elements and timings below)

Movement III: Allegro

Key:

Form:

(fill in the formal elements and timings below)

Movement IV: Allegro

Key:

Form:

(fill in the formal elements and timings below)

Part 4: Listening Quiz

Name:

1. Haydn: String Quartet Op. 76, No. 3 (Emperor) (0:00–1:01)

What is the genre of this piece?

a. Symphony

b. Trumpet concerto

c. Sonata

d. String quartet

2. Mozart: Eine kleine Nachtmusik, I (0:00–0:53)

Where in the form does this excerpt stop?

a. At the beginning of the first theme

b. In the development section

c. At the start of the second theme

d. At the end of the coda

3. Mozart: Don Giovanni, Act I, scene 2: “Madamina!” (6:12–7:05)

Which describes the musical character of this excerpt?

a. The characters engage in speechlike recitative.

b. This fast, patter-like aria is composed for comic effect.

c. Sudden dynamic shifts reflect this character’s anger.

d. Slow and chromatic recitative reflects this character’s sorrow.

4. Mozart: Eine kleine Nachtmusik, III (complete)

What is the form of this movement?

a. Ternary (A-B-A´)

b. Theme and variations

c. Rondo

d. Binary (A–B)

5. Haydn: Trumpet Concerto in E-flat Major, III (02:56–end)

This excerpt comes from a larger piece called a .

a. Symphony

b. String Quartet

c. Concerto

d. Sonata

6. Beethoven, Symphony No. 5, IV (5:28–6:01)

What does the opening of this excerpt signal?

a. The second theme in the recapitulation

b. The theme of a new set of variations

c. A new movement with new motivic material

d. A triumphant return of the symphony’s motive, in the key of C major

7. Mozart: Requiem, Dies irae (0:00–1:45)

This excerpt comes from .

a. Bach’s Wachet Auf

b. Mozart’s Requiem

c. Mozart’s Don Giovanni

d. Beethoven’s Symphony No. 5

8. Beethoven: Symphony No. 5, II (0:00–0:52)

Given the tempo and form of this symphony excerpt, in which movement would you expect

to encounter this music?

a. First movement in sonata-allegro form

b. Second movement in theme-and-variations form

c. Third movement in minuet-and-trio form

d. Fourth movement in rondo form

9. Beethoven: Moonlight Sonata, I (0:00–0:41)

Which best describes the musical character of this excerpt?

a. Mysterious, dreamlike melody with rolling chords beneath

b. A series of phrases based on a short, assertive motive

c. Stately melody with a marchlike accompaniment

d. Many voices sounding in polyphony

10. Haydn: Symphony No. 100 in G Major, II (1:40–3:00)

How does the composer create contrast between the opening and the ending sections of this

excerpt?

a. The time signature and rhythm go through substantial changes.

b. The opening begins very softly with only a few instruments and ends loudly with rich

instrumentation.

c. The opening section begins in a minor tonality and ends in a major one.

d. There is a lengthy pause between the sections, indicating a new movement.

CHAPTER 33

Musical Reading: Schubert and the Early Romantic Lied

OVERVIEW

Chapter 33 begins the Romantic era with a discussion of the early nineteenth-century German

Lied. After introducing the basic characteristics of the Lied, Schubert’s Elfking (Erlkönig) brings

the topic into closer focus.

LEARNING OBJECTIVES

1. To understand the Lied, the German art song for voice and piano, as a fundamental

Romantic music genre of the nineteenth century

2. To recognize strophic form, through-composed form, and modified strophic form as the

main song structures of the Romantic era

3. To understand Schubert’s Elfking as a representative example of the early nineteenth-

century Romantic Lieder tradition

LECTURE SUGGESTIONS

1. Ask four volunteers from the class to act out the roles of the Narrator, Father, Son, and

Elfking while reading the script from their textbooks. As the students perform, display

Moritz von Schwind’s painting The Legend of the Elfking, which is reproduced in the

textbook on p. 188. After reciting the text, ask students how the poem and Schwind’s

painting reflect the themes of Romanticism. Before playing Schubert’s setting of the poem,

ask students to consider how the composer depicts the Romantic elements of the story as

well as how he composed the music to depict this miniature dramatic scene featuring three

characters.

2. Play the piano introduction from Schubert’s Elfking and display the score on the board.

What does the piano part offer that would otherwise be missing from the musical setting of

this particular poem? What dramatic role does the piano play in this Lied?

ASSIGNMENT SUGGESTIONS

1. Do through-composed structures have any narrative advantages over strophic forms, or vice

versa? Are certain narrative effects easier to achieve with through-composed structures than

with strophic forms? How does Schubert’s Elfking reflect this?

2. Elfking illustrates the Romantic age’s fascination with childhood, the supernatural, and

fantasy. To what extent have we inherited this tradition? Do we still cultivate a Romantic

tradition in popular-media stories than mingle childhood with the supernatural? Can you

think of any examples? What social purpose or cultural relevance do you think these tales

have?

TEACHING CHALLENGES

Though mostly through-composed, Schubert’s Elfking also incorporates a memorable musical

refrain (“Mein Vater, mein Vater”) and may trip up students who are listening for the absence of

repetitive music. When going through the listening guide for this piece, point out to students that

although the form is labeled “through–composed,” the song does have some strophic elements

reflecting the text. Chapter 29 focuses on three distinct types of song forms, so you may want to

briefly play a song with a clear strophic structure (e.g., Schubert’s Die Forelle) to distinguish it

from Elfking.

SUPPLEMENTAL REPERTORY

Schubert: Gretchen am Spinnrade, D. 118

Schumann: Liederkreis, Op. 39

SUPPLEMENTAL BIBLIOGRAPHY

Hallmark, Rufus. German Lieder in the Nineteenth Century. 2nd ed. London: Routledge, 2010.

An expanded and revised version of the 1996 original. Features essays on Goethe and the

Lied by Harry Seelig (“The Literary Context: Goethe as Source and Catalyst”) and on

Schubert by Susan Youens (“Franz Schubert: The Lied Transformed”).

Parsons, James, ed. The Cambridge Companion to the Lied. Cambridge and New York:

Cambridge University Press, 2004. Fifteen essays on the German Lied since the eighteenth

century. Chapters 4–6 focus on the Lieder of Schubert and Schumann.

CHAPTER OUTLINE

Musical Reading: Schubert and the Early Romantic Lied (Chapter 33)

I. The Lied (plural, Lieder): Romantic art song

A. German-texted solo song with piano accompaniment

1. favored Romantic-era genre

a. emergence, popularity of the piano

b. amateurs and professionals, home and concert hall

2. prominent composers: Franz Schubert, Robert Schumann, Johannes Brahms, Fanny

Mendelssohn Hensel, Clara Wieck Schumann

3. favored poets: Johann Wolfgang von Goethe (1749–1832), Heinrich Heine (1797–

1856)

a. short, personal “lyric” poems

b. tender sentiment to dramatic balladry

c. common themes: love, longing, beauty of nature

4. unity of expression: text and music

5. song cycle: group of Lieder, unified theme

B. Types of song structure

1. strophic: same melody every stanza

2. through-composed: whole sections without repetitions

3. modified strophic: features of strophic and through-composed

II. Schubert and the Lied

A. Franz Schubert (1797–1828)

1. Vienna-born composer

2. member of Vienna Boys’ Choir

3. rejected career as a schoolteacher, struggled financially

4. songwriting prodigy: melodic gift, subtle interactions

5. Schubertiads: private gatherings of writers, artists, musicians

6. music: confluence of Classical and Romantic styles

a. Lieder and piano music: Romantic, lyric

b. symphonies, chamber music: more Classical

7. output: over 600 Lieder, song cycles, nine symphonies, piano and chamber music,

choral music

B. Elfking (Erlkönig)

1. written by Schubert at age eighteen: instant public recognition

2. text: ballad by Goethe

a. four characters (one singer): narrator, father, child, Elfking

b. Elfking: king of the elves

c. whoever is touched by Elfking must die

3. Romantic trends:

a. use of folklore

b. intense emotional expression

c. passionate and fanciful subjects

C. Listening Guide 22: Schubert, Elfking (Erlkönig) (1815)

1. through-composed Lied

2. fast, dramatic, eerie atmosphere

3. constant triplets in piano unify: horse’s hooves

4. Elfking lures child from father: suavely melodious phrases, shift to major key

5. child’s terror: dissonance, high vocal range

6. father reassures, calms fears: rounded vocal line, low register

7. tension builds to the end