Download File - Matt Schroeder

Listening Log for Music Theory
Matt Schroeder
11/19/2010
Music of the 19th century, often referred to as Romantic music due to the increased
emotional weight of many of the pieces of this time, has many aspects and features which set the
genre apart from the earlier parts of the Common Practice Period and signify the onset of the 20th
century. Romantic music differentiates itself though a combination of expansion on previous
practices as well as the use of brand new techniques and ideas.
This style utilizes dissonances and chromaticism much more frequently than that of
earlier works. In addition, composers began to experiment with modulating to distant, unrelated
keys. These increased complexities, combined with the technological advances of instruments at
the time, saw a shift of focus from vocal music to instrumental music.
Romantic music brought with it a slew of new innovations including advanced chord
progressions and brand new chords. These chords were often heavily influenced by
chromaticism, such as the Neapolitan triad and chromatic mediance, and some were even
unclassifiable by previous methods, including altered dominance and the Italian, French, and
German augmented sixth chords. With these new chords also came the idea of “borrowing”
chords from the parallel minor key. New chords such as these greatly expanded the set of tools
and tricks composers could use to better convey their feelings and ideas.
These changes combined to give music of the 19th century both a much deeper and
complex feel as well as a new sense of freedom which was not present in the strict rules of the
early common practice period. Works from this time began to feel much more unique and
individualized. Romantic music continued to evolve throughout the 1800s until finally
culminating in the end of the common practice period in the 20th century.
Les Preludes
Andante Maestoso
Franz Liszt (1811-1886)
Dayton Philharmonic Orchestra
6 November 2010
This piece begins in a major key in 4/4 time. There is a brief grand pause and then the
orchestra comes back in quietly, making use of sequencing to build up to the climax of the
introduction. The brass is prominently featured and sounds like a fanfare. The prelude continues
to use sequencing and contrasting phrases of differing lengths. Near the end, the time switches
to a three feel in a light, bouncy section which contrasts with the heaviness of the rest of the
piece. It ends, sort of unexpectedly, with a quiet and deceptive flute cadence. The work utilized
a number of tonicizations, mostly leading tones, as well as a few modulations, most of which
were to closely or somewhat-closely related keys. The piece sounded very chromatic at several
times, typical of the style of romantic music of the 19th century.
Les Preludes
Allegretto Pastorale
Franz Liszt (1811-1886)
Dayton Philharmonic Orchestra
6 November 2010
This movement begins rather mysteriously, with light, imitative woodwind melodies over
an ascending bass line in a minor key. The feel stays very light and simplistic as the three feel in
a new major key keeps the piece moving in a sequence on the main theme which alternates
between different sections of the orchestra. The phrasing is relatively simple, with most phrases
being identical or similar and generally in eight-measure sections. Some brass fanfare takes the
piece to a powerful restatement of the main idea but this time in four. A bit of sequencing in the
strings then builds to the regal maestoso climax, which has returned the time from four to three.
This prelude ends with a short yet powerful tonic chord, resolving the perfect authentic cadence.
This movement was not as chromatic as the first, and made use of less tonicizations and
modulations.
Fidelio
Overture
Ludwig van Beethoven (1770-1827)
Dayton Philharmonic Orchestra
25 September 2010
This piece opens with some loud brassy fanfare followed by a progression of dark and
mysterious chromatic chords. The overture is in a major key and a bouncy compound time
signature. The dynamics contrast greatly as the strings bring forth the wild melody, using quick
crescendos and sequenced patterns to build the excitement. Tonicizations and other chromatic
chords are used to build tension as the piece becomes more and more wild, but a sudden and
unexpected grand pause leads the way for a short, relaxed phrase with melody in the woodwinds.
This doesn’t last long, though, and the strings create havoc with rapid, ascending scalar patterns.
The climax feels as though the piece is about to fly out of control, but the tight perfect authentic
cadence at the end ties everything together beautifully. This piece felt a little simpler than a lot
of other romantic music, which is probably due to the fact that this piece was written very early
in the romantic time period.
Leonore
Overture #3
Ludwig van Beethoven (1770-1827)
Dayton Philharmonic Orchestra
25 September 2010
This overture begins suddenly with a powerful chord which slowly steps down the scale
of the major key. Chromatic pitches are used to convey a sense of uncertainty and mystery
beneath a dark melody in the flutes and strings. An ostenato in the strings builds rapidly to a
section where the woodwinds play quarter notes accented by commanding chords in the rest of
the orchestra. Suddenly the melody feels very march-like, and the same string ostenato as before
raises the piece to an exciting battle between the brass and strings. A reoccurring theme in this
piece involves a few sections playing simple melodies which are suddenly interrupted by quick
blasts from the rest of the orchestra. After a long section of this, a trumpet fanfare gives way to a
calm, playful melody in the flute which contrasts with the power and energy of the rest of the
overture. This piece plays around a lot with sudden changes between loud and soft dynamic
levels. Like the previous Beethoven Overture, it was early in the romantic period and does not
have the usual chromaticism but does feel very free.
Impromptu in G Major, op.90
No. 3
Franz Schubert (1797-1828)
David Watanabe (Friday at 1)
12 November 2010
The piece begins with a simple melody over a figuration in the left hand. The A section
is repeated once, and then followed by the move active B section. This section has more
chromatic pitches and more intricate harmonies than the first. Following that, the A section is
repeated once more, but this time is extended by an unexpected deceptive cadence which leads
into some phrases reminiscent of the more volatile B section. These alternate with themes from
the A section and ultimately lead to a perfect authentic cadence at the end. This ballad-like piece
is very representative of the Romantic period; it comes off as very free and expressive and has a
certain lyrical feel to it. Compared to other pieces of the era, though, it is harmonically not as
complex (not the ear, at least).
Sonata, op.13
Grave: Allegro di molto e con brio
Ludwig Van Beethoven (1770-1827)
Kristin Mullen-Muhr (Friday at 1)
22 October 2010
Powerful chromatic chords open this piece, creating a very dark tone for the rest of the
piece. The introduction feels very improvisatory, and is played with much rubato and marked by
numerous embellishment-like runs. The main theme begins intensely and is accented with many
short sequences, followed by a few long ones which are used to build the piece. After a booming
half cadence, this section repeats. The harmony sounds very complex, although the heavily
ornamented style of the piece helps to retain some of the free-flowing motives set up in the
introduction, which makes a return after the repeat of the A section concludes. It is cut short,
however, by the arrival of a new B section, which utilizes sequences much like the A section.
After a quick bridge in the form a sweeping scalar run, the first section makes another return,
followed again by a few phrases of the introduction, and then ends strongly with a traditional
perfect authentic cadence.
Notturno op.54
No. 4, Notturno
Edvard Grieg (1843-1907)
Meredith Schlabig (Friday at 1)
17 September 2010
This piece opens with a descending sequence in the bass under a free-flowing lyrical
melody. Ornamentation, such as long, dramatic trills, is prevalent. The section ends with a half
cadence, but cleverly leads the listener to believe it will resolve to tonic as an authentic cadence.
The section then repeats, and ends with a perfect authentic cadence. This piece is unusual for
this time period because it lacks any sort of contrasting B section. The strophic form of this
piece contributes to the free and expressive style, however, which is very typical of the lyrical
styles of the Romantic period.
Requiem in D minor
Introit
Wolfgang Amadeus Mozart (1756-1791)
Dayton Philharmonic Orchestra
15 October 2010
Mozart’s Requiem opens with a canon among the woodwinds above a simple harmonic
pattern in the strings, which disappears as the chorus enters. The piece begins in a minor key but
after a short section modulates to a major key. The motive from the canon returns in a short
instrumental bridge between sections. At this point the piece seems to periodically drift between
major and minor keys. In the section following, sequences are used to build the piece to the
climax, which ends abruptly with a half cadence.
Requiem in D minor
Recordare, Jesu Pie
Wolfgang Amadeus Mozart (1756-1791)
Dayton Philharmonic Orchestra
15 October 2010
The introduction of this movement gives way to a duet between the soprano and bass,
which uses both imitation as well as unison lines. The two are joined by a couple more voices,
and in the next section the bass and tenor soloists sing in a sort of mini-canon while the soprano
and alto sing in harmony above them. This movement begins in a major key, but has an entire
middle section in minor, along with a couple shorter modulations to minor keys throughout the
piece, which bring contrast to the selection. After a return to the global key, the A section
repeats. The movement ends with a perfect authentic cadence.
Requiem in D minor
Benedictus
Wolfgang Amadeus Mozart (1756-1791)
Dayton Philharmonic Orchestra
15 October 2010
A brief introduction by the orchestra sets the tone for the first soloist, who imitates the
motive performed in the opening statement. This motive has a lot of ti-do motion. The
following section has more complex harmonies and is more chromatic than most of the other
movements of this Requiem so far. Following this section, though, the A section returns but the
solo this time is performed by a bass instead of soprano. Both times this section has been
performed there has been a deceptive cadence about halfway through. An orchestral interlude
leads into a new section full of sequencing and imitation, which ends suddenly with a perfect
authentic cadence.
My experience with this music from the nineteenth century confirms all of the
characteristics assumed to be typical of the Romantic period. These pieces all have a very lyrical
feel and emotional weight unlike most of the works of the earlier common practice period.
Many utilize very complex harmonies and chromaticism, while still retaining or even expanding
on many techniques and traditions which had long been established by classical composers such
as song form and cadence structure. Another noticeable feature of these works is the use of
imitation and sequencing to build the melodic and harmonic material. Many pieces feel both
deeper and more free thanks to the less strict rules of this era combined with the new tricks and
techniques developed by nineteenth-century composers.