Transparency Masters for Listen, seventh edition pot

Transparency Masters for Listening Chart 1: Wagner, Prelude to The Valkyrie Listening Exercise 1: Rhythm, Meter, and Syncopation Listening Exercise 2: Rhythm, Meter, and Tempo Listeni

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Transparency Masters for

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 Person’s Guide to the Orchestra

The Medieval Modes

Plainchant, “In paradisum”

Hildegard of Bingen, “Columba aspexit”

Bernart de Ventadorn, “La dousa votz”

Pérotin, “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

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

UNIT II: Early Music: An Overview

UNIT III: The Eighteenth Century

CONTENTs

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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, “Erlkönig”

R Schumann, Dichterliebe, “Im wunderschönen Monat Mai”

R Schumann, Dichterliebe, “Die alten, bösen 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 dì”

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 People’s Outdoor Meeting”

Listening Chart 21: Ravel, Piano Concerto in G, first movement

Listening Chart 22: Bartók, 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)

135

144

147

148 152

155

162

169 173 179

182

185 189 191 198–199

218 220 232 241 243 244 248 258 266–267 276–277 280 285 294 299

318 320 324 332–335 338 342 346 353 364 369 372

UNIT IV: The Nineteenth Century

UNIT V: The Twentieth Century and Beyond

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Adams, El Niño, “Pues mi Dios ha nacido a penar,” “When Herod Heard,” and

“Woe unto Them That Call Evil Good”

Navajo song, “K’adnikini’ya’”

Inca processional music, “Hanaq pachap kusikuynin”

Japanese gagaku, Etenraku

Balinese gamelan, Bopong

Japanese kabuki, Dojoji

South African popular song, “Anoku Gonda”

375

64 82 203 206 301 409

ISBN-13 978-0-312-67212-6

ISBN-10 0-312-67212-8

Manufactured in the United States of America.

For information, write:

Bedford/St Martin’s, 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.

iii

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Transparency 1 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson

Wagner, Prelude to The Valkyrie

2 min., 41 sec

0:00 A Scale theme in low strings; crescendo and rise in pitch

0:48 B Preliminary climax: Lightning theme in horns and woodwinds0:59 A Scale theme, briefl y subsiding; then crescendo

1:20 Bⴕ Main climax: Lightning theme, extended, in full brass1:45 Collapse: Timpani roll; sporadic lightning strikes; diminuendo

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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 simplifi ed 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

Duple meter Count one two | one two etc., for about half a minute.

Duple meter Count one two THREE four | one two THREE four etc.

Triple meter Count one two three | one two three etc.

Compound meter Count one two three FOUR fi ve six | one two three FOUR fi ve

six etc.

Syncopation: In Scott Joplin’s “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

DVD

10, 14

L I S T E N I N G E X E R C I S E 1

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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 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.)

0:33 Clear duple meter by this time; then the music comes to a stop

0:49 B No meter The piano seems to be engaged in a meditative improvisation, as if it is dreaming

up the music to come

1:45 Orchestral instruments suggest a slow duple meter? Not for long.

2:24 C Slow triple meter (one two three | one two three)

3:47 Ritardando (getting slower)

3:56 D Fast triple meter, assertive (note one or two syncopated notes)

4:26 Faster triple meter

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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 “Unfi nished” Symphony by Franz Schubert Symphonies usually consist of four separate big segments, called movements;

musicologists are still baffl ed as to why Schubert wrote two superb movements for this work and started but never fi nished the rest

0:00 Quiet and mysterious Low range pp

0:15 Rustling sounds Middle range0:22 Wind instruments High

0:47 Gets louder Higher instruments Long crescendo, leading to f, then ff,

1:15 New tune First low, then high (Marked pp by Schubert, but usually

1:52 Cuts off sharply; big sound ff, more accents

(Similar pitch and dynamic effects for the rest of the excerpt)

3:07 Sinking passage Individual pitches, lower and lower

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DVD

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Timpani

Trumpets Percussion

Harps

French horns

Double basses

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DVDThe Orchestra in Actio n

Take a break from reading now and listen to

The Young Person’s 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.

0:00 Full orchestra 0:42 woodwind choir 1:11 brass choir

1:42 string choir

2:07 percussion 2:26 Full orchestra 2:50 Flutes and piccolo

4:32 Clarinet family: bass clarinet (1:42),

clarinet (1:57), and E-fl at clarinet (1:46)

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22

23 24

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

0:40 1:16

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Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson

Transparency 7

BŁ

Ł

Ł Ł

Ł

ŁCHROMATIC SCALE

(one octave)

DIATONIC SCALE

Halfstep

Wholestep

Halfstep

D

Halfstep

Wholestep

Halfstep

E

Halfstep

F

Halfstep

Wholestep

Halfstep

G

Halfstep

Wholestep

Halfstep

A

Halfstep

Wholestep

Halfstep

Diatonic and Chromatic Scales

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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 fi ts 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 Verse: Let it rain and thunder (eight more lines) Includes a long sequence

0:57 Tune: Who cares if the sky cares to fall in the sea? First phrase of the tune

Who cares what banks fail in Yonkers? Contrasting phrase

Long as you’ve got a kiss that conquers Parallel phrase — starts like the preceding, ends higher

Why should I care? Life is one long jubilee, Threefold sequence (“Should I care / life is one / jubilee”)

Climax on “jubilee”

So long as I care for you and you care for me Free sequence (“I care for you”/ “You care for me”) —

cadence

1:55 Tune played by the jazz band, today’s “big band”

(with saxophone breaks: see page 382)

DVD

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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.

0:00 Joy Theme Low register Monophony: a single melodic line; cellos and double basses

playing together, with no accompaniment whatsoever0:49 Theme An octave higher Polyphony, non-imitative: the theme with two lines of

counterpoint, in low strings (cello) and a mellow wind

instrument (bassoon)1:36 Theme Two octaves higher

2:21 Theme Three octaves higher Homophony: full orchestra with trumpets prominent Our example of imitative polyphony comes from the Symphony of Psalms, another sym-

phony with chorus, a major work by the twentieth-century composer Igor Stravinsky

0:00 A slow, winding melody, unaccompanied, played by an oboe0:25 The same melody enters in another instrument, a fl ute, as the oboe continues with new material;

this produces two-part imitative counterpoint.

0:58 Third entry, second fl ute plays in a lower register — three-part counterpoint1:20 Fourth entry, second oboe — four-part counterpoint

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MiddleC

Wholestep Wholestep Wholestep Wholestep Wholestep

B

Halfstep

B

Halfstep

C

Wholestep

D

Wholestep

E

Halfstep

F

Wholestep

G

Wholestep

A

Major and Minor Modes

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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

0:00 pp A melancholy melody in the minor mode Listen to the fi rst violin above the rustling

accompaniment in the lower string instruments

0:47 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 ff Agitated; back in the minor mode Lower instruments alternate with the solo violin.

1:39 p A quiet cadence, still in the same key, but followed by modulation

1:56 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 Beethoven’s

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

0:00 Lively music for the piano, f, followed by a f response from the orchestra

0:28 Modulation (French horns)

New key: Similar music for piano, but pp, followed by the same orchestral response, f

1:03 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

1:36 The piano bursts in, f, in the same key but in the minor mode It begins modu lating to

further new keys in a more complicated way than before

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16

18

Musical Form

“The Star-Spangled Banner” has one of the simplest forms, a a b “Oh, say can you

see the twilight’s 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 defi nite contrast with

a by means of its new melody and higher range, as we’ve seen on page 30.

When sections of music are not identical but are considered essentially parallel,

they are labeled a, aⴕ, aⴖ, and so on The fi rst theme of Schubert’s Quartet in A Minor

is in a a ⴕ aⴖ form.

0:21 a ⴕ Begins like a, but the melody lasts longer and goes higher and

lower than in a

0:47 aⴖ The beginning now turns luminously to the major mode

Smaller form elements (a, b, aⴕ) can be nested in larger ones, marked with capital ters: A, B, Aⴕ A more extended example comes from an all-time classical favorite, the

let-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 ⴕ form of the dance breaks down into a aⴕ b b a aⴕ.

0:00 Introduction: The 2/4 meter is previewed by low stringed instruments

0:08 A a Solo for celesta, with comments by a bass clarinet

0:23 a ⴕ Begins like a, but the ending is different — on a new pitch and harmony

0:37 B b Contrast with a

0:51 Transition: The music has a preparatory quality

1:07 A ⴕ a Celesta an octave higher, with a quiet new click in the violins1:22 a ⴕ The high celesta is a very striking sound.

The new orchestration is what gives this A B Aⴕ form its prime mark — not changes in

melody or harmony, as is usually the case More strictly, the form could be marked

intro-duction A (a a ⴕ) B (b b) transition Aⴕ (aⴖ aⴕⴖ), but this level of detail is seldom needed.

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0:00 THEME Full orchestra Note the prominent sequence in the middle of the Purcell tune

You will hear snatches of this in some of the variations

0:23 Transition Diminuendo (getting softer) Further transitions occurring

be-tween thematic statements and variations will not be indicated

on this chart

0:42 Theme woodwindchoir

1:11 Theme brass choir Ending is changed

1:42 Theme string choir Theme is changed further

2:07 percussion “Theme” only in principle; only some rhythms remain

2:26 THEME Full orchestra Same as the fi rst time 2:50 Variation 1 Flutes and piccolo (harp accompaniment)

3:29 Variation 2 Oboes Beginning of the tune transformed into a slow, romantic melody

in oboe 1; oboe 2 joins in two-part polyphony.

4:32 Variation 3 Clarinet family Solos for bass clarinet (1:42), clarinet (1:57), and E-fl at clarinet

19–24

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the background) 8:43 Variation 8 Double bass Solo — humorous 9:40 Variation 9 Harp In the background is a string tremolo, caused by bowing a single

note extremely rapidly, so that it sounds like a single trembling note

10:31 Variation 10 French horns 11:11 Variation 11 Trumpets With snare drum, suggesting a fast military march 11:47 Variation 12 Trombones, tuba Typical qualities of the trombone: humorously pompous, and

mysterious chords 12:48 Variation 13 percussion 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 19–20.

14:43 FUGUE Full orchestra Imitative polyphony starts with fl utes, then oboe, clarinet (same

order as above!)

16:30 THEME Full orchestra Climax: slower than before The tune is superimposed on the fugue

Access Interactive Listening Chart 2 at bedfordstmartins.com/listen

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

0:40 1:16

1:47

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EFocal point

FFocal point

GFocal point

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The Medieval Modes

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Plainchant antiphon, “In paradisum”

L I S T E N

0:00 In paradisum deducant te Angeli:

in tuo adventu suscipiant te Martyres,

et perducant te in civitatem sanctam Jerusalem.

0:36 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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Hildegard of Bingen, “Columba aspexit”

Per cancellos fenestrae Ubi ante faciem eius Sudando sudavit balsamum

De lucido Maximino.

0:28 A ⴕ Calor solis exarsit

Et in tenebras resplenduit;

Unde gemma surrexit

Purissimi cordis benevoli.

0:56 B Iste turis 1:29 B ⴕ Ipse velox 2:03 C O pigmentarii

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

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Bernart de Ventadorn, “La dousa votz”

0:07 St 1: La dousa votz ai auzida I have heard the sweet voice

Del rosinholet sauvatge Of the woodland nightingale

Et es m’insel cor salhida And my heart springs up

Si que tot lo cosirer So that all the cares

E’ls mals traihz qu’amors me dona, And the grievous betrayals love has given me

M’adousa e m’asazona Are softened and sweetened;

Et auria’m be mester And I would thus be rewarded,

L’autrui joi al meu damnatge In my ordeal, by the joys of others.

0:48 St 2: Ben es totz om d’avol vida In truth, every man leads a base life

C’ab joi non a son estatge Who does not dwell in the land of joy 1:28 St 3: Una fausa deschauzida One who is false, deceitful,

Trairitz de mal linhage Of low breeding, a traitress

M’a trait, et es traida Has betrayed me, and betrayed herself

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3

L I S T E N

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Pérotin, “Alleluia Diffusa est gratia”

0:00 Chant alleluia, alleluia—— Hallelujah.

0:37 Organum Diffusa est gratia in labiis tuis; Grace has been poured out upon your lips;

propterea benedixit te deus therefore, God has blessed you

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4

L I S T E N

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Guillaume de Machaut,

“Dame, de qui toute ma joie vient”

0:00 a Dame, de qui toute ma joie vient Lady, source of all my joy,

Je ne vous puis trop amer et chierir I can never love or cherish you too much, 0:35 a ⴕ N’assés loer, si com il apartient Or praise you as much as you deserve,

Servir, doubter, honourer n’obeïr Or serve, respect, honor, and obey you.

1:19 b Car le gracious espoi, For the gracious hope,

Douce dame, que j’ay de vous vëoir, Sweet lady, I have of seeing you,

Me fait cent fois plus de bien et de Gives me a hundred times more joy and joie boon

Qu’en cent mille ans desservir ne Than I could deserve in a hundred

porroie thousand years.

L I S T E N

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Transparency 20

Dufay, “Ave maris stella”

0:00 STANZA 1: Plainchant

Ave maris stella, Hail, star of the ocean,

Dei Mater alma, Kind Mother of God,

Atque semper Virgo, And also still a virgin,

Felix coeli porta Our blessed port to heaven.

STANZA 2: Dufay’s paraphrase

0:22 Sumens illud Ave May that blessed “Ave”

Gabrielis ore, From Angel Gabriel’s mouth

Funda nos in pace, Grant us peace,

Mutans Hevae nomen Reversing the name “Eva.”

2:48 Sit laus Deo Patri, Praise be to God the Father,

Summo Christo decus, To Christ on high,

Spiritui Sancto, To the Holy Spirit:

Tribus honor unus, Three honored as one.

Amen Amen.

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L I S T E N

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Josquin, Pange lingua Mass, Kyrie

0:09 Kyrie eleison Lord have mercy.

0:53 Christe eleison Christ have mercy.

2:10 Kyrie eleison Lord have mercy.

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Transparency 21 (continued)

Josquin, Pange lingua Mass, from the Gloria

(Capital letters indicate phrases sung in homophony.)

0:00 Qui tollis peccata mundi, You who take away the sins of the world,

miserere nobis have mercy upon us.

0:34 Qui tollis peccata mundi, You who take away the sins of the world,

suscipe deprecationem nostram hear our prayer.

Qui sedes ad dexteram Patris, You who sit at the right hand of the Father,

1:18 Quoniam tu solus sanctus, For you alone are holy,

tu solus Dominus, you alone are the Lord,

tu solus altissimus, you alone are the most high,

Jesu Christe, Jesus Christ,

cum sancto spiritu, With the Holy Spirit,

in gloria Dei Patris in the glory of God the Father.

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L I S T E N

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North Sea

Mediterranean Sea

Baltic Sea

MUNICH LONDON

MADRID

ROME

The dispersion of the High Renaissance style across Europe

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Josquin, “Mille regrets”

Mille regrets de vous abandonner A thousand regrets at leaving you

Et d’élonger votre face amoureuse and departing from your loving look.

J’ai si grand deuil et peine douloureuse I feel such great sorrow and grievous pain

Qu’on me verra brief mes jours déffi ner that all will see my days are numbered.

L I S T E N

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Palestrina, Pope Marcellus Mass, from the Gloria

(Capital letters indicate phrases sung in homophony.)

0:00 qui tollis peccata mundi, You who take away the sins of the world,

qui tollis peccata mundi, You who take away the sins of the world,

Suscipe deprecationem nostram hear our prayer.

1:23 qui sedes ad dexteram patris, You who sit at the right hand of the Father,

2:00 quoniam tu solus sanctus, For you alone are holy,

tu solus dominus, you alone are the Lord,

tu solus altissimus, you alone are the most high,

jesu christe, Jesus Christ, 2:36 cum sancto spiritu, With the Holy Spirit,

in gloria Dei Patris in the glory of God the Father.

L I S T E N

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Gabrieli, “O magnum mysterium”

Hallelujah, hallelujah.

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Transparency 26a

Monteverdi, The Coronation of Poppea, from Act I

(Italics indicate repeated words and lines For a word about singing Italian, see page 89.)

RECITATIVE

Pur teco io stò, pur teco stò I am in truth still here

Mai mai non si disvelle from your fair eyes

ARIOSO

0:20 Nero: Io non posso da te, non posso I cannot live apart from you

da te, da te viver disgiunto

Se non si smembra l’unità del punto Unless unity itself can be divided

RECITATIVE

tu a me verrai!

16

16–17

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Transparency 26b

Poppea: Nerone, Nerone, addio

Nero: Poppea, Poppea, addio

Il core accarezzando; Caress my heart;

Speranza, tu mi vai O hope, you entice my mind;

il genio lusingando;

E mi circondi intanto As you cloak me

Di regio si, ma immaginario manto In a mantle that is royal, yes, but illusory.

3:09 No no, non temo, no, no no, No, no! I fear no adversity:

non temo, no di noia alcuna:

3:26 Per me guerreggia, guerreggia, I have fi ghting for me,

Per me guerreggia Amor, I have fi ghting for me Love and Fortune.

guerreggia Amor e la Fortuna, e la Fortuna.

Many men’s 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.

0:11

0:51

1:08

17

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Purcell, Dido and Aeneas, Act III, fi nal scene

(Italics indicate repeated words and lines.)

RECITATIVE

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.

ARIA

May my wrongs create

No trouble in thy breast;

(repeated)

Remember me, but ah, forget my fate (stabs herself)

CHORUS

4:01 Courtiers: With drooping wings, ye cupids come

And scatter roses on her tomb.

Soft, soft and gentle as her heart.

Keep here your watch, and never part.

19

words treated with word painting.

1:30

18–19

L I S T E N

1

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THE BASIC BAROQUE ORCHESTRA

as in Vivaldi’s Concerto in G (page 122)

THE FESTIVE BAROQUE ORCHESTRA

as in Handel’s Minuet from the Royal Fireworks Music (page 138)

STRINGS

Violins (divided into

two groups, called

violins 1 and violins 2)

Violas

Cellos

Bass (playing the

same music as the

cellos an octave lower)

STRINGS

Violins 1 Violins 2 Violas Cellos Bass

KEYBOARD

Harpsichord

or organ

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DVD

5-9

Vivaldi, Violin Concerto in G, fi rst movement

Ritornello form 2 min., 46 sec

0:49 Solo 2 Virtuoso solo violin music; several different sections

Continuo drops out for a short time

1:17 Ritornello 3 Part of this is derived from a and c; the rest is free.

1:33 Solo 3 More expressive1:52 Ritornello 4 Even freer than Ritornello 32:10 Solo 4 Very fast

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Vivaldi, Violin Concerto in G, second movement

Variation (ground bass) form 2 min., 59 sec.

0:00 Theme Orchestra and Solo: descending bass

0:22 Var 1 Solo: Flowing material

0:41 Var 2 Faster fl owing material

1:03 Var 3 Even faster music, though now in spurts

1:23 Var 4 Faster yet: rapid fi guration cadence Brief stop at the cadence ending Variation 4

1:44 Var 5 Thin texture (organ and lute drop out), with expressive

violin material over a varied bass: in the minor mode

2:04 Var 6 Like Variation 5, but the violin is a little faster and more

expressive

2:26 Theme Orchestra and Solo: as at the beginning

(i.e., back to the major mode, and the continuo returns)

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Transparency 32a

Bach, Brandenburg Concerto No 5,

fi rst movement

Ritornello form 9 min., 44 sec.

0:00 Ritornello Complete ritornello is played by the orchestra,

(a, b, and c) forte: bright and emphatic.

0:20 Solo Harpsichord, fl ute, and violin in a contrapuntal

texture Includes faster rhythms; the soloistsplay new themes and also play some of the motivesfrom the ritornello

1:41 Solo Similar solo material at fi rst,

then fast harpsichord runs are introduced

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Transparency 32b

2:23 Ritornello Orchestra, f

(b)

2:29 Solo This solo leads directly into the central solo

2:54 Central solo Quiet fl ute 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

3:19 Detached notes in cello, fl ute, and violin; sequence3:52 Long high notes prepare for the return of the ritornello

(a)

4:10 Solo

4:54 Ritornello Orchestra, f; this ritornello section feels especially solid

(a and b) because it is longer than the others and in the tonic key

5:05 Solo

(b)

5:40 Solo Fast harpsichord run leads into the cadenza

6:18 Harpsichord Section 1: a lengthy passage developing motives from the

cadenza solo sections8:05 Section 2: very fast and brilliant

8:30 Section 3: long preparation for the anticipated return of the

3 7

4 8

5 9

0:06 0:31

0:55 1:34

0:04 0:48 1:00 1:27 1:33

1:46 2:11

Access Interactive Listening

Chart 5 at bedfordstmartins

.com/listen

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Fugue Form

Tiêu đề	Transparency Masters for Listen, Seventh Edition Pot
Tác giả	Joseph Kerman, Gary Tomlinson
Trường học	University of Music and Performing Arts Vienna
Chuyên ngành	Music Education
Thể loại	textbook
Thành phố	Vienna

Định dạng
Số trang	119
Dung lượng	5,27 MB