Quals- Symphony - 4

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sandygoldie1
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157186
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Quals- Symphony - 4
Updated:
2012-06-10 07:59:19
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Qualifying Exams Symphony Beethoven
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Study guide of Beethoven's 9 Symphonies
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  1. 10 ways that Beethoven expanded the scope and dimension of the symphony
    • Coda as 2nd development
    • III as scherzo
    • longer intro, dev and codas
    • Instruments- add trombone, picc., contrabassoon, voice
    • Thematic unitiy - unified structure of all movments and within movements
    • Expanded variation form
    • 5 part scherzo form and dev. nature of scherzo
    • Separate cello/bass lines and fuller use of viola and use timpani motivically
    • Use of WW- extraordinary solo examples
    • Development within exposition
    • Expanded Variation form
  2. Extraordinary solo passages for woodwinds occur in Beethoven symphonies. Name one for flute.
    No. 7, I
  3. Extraordinary solo passages for woodwinds occur in Beethoven symphonies. Name one for oboe.
    • No. 5, I
    • No. 3, III
  4. Extraordinary solo passages for woodwinds occur in Beethoven symphonies. Name one for clarinet.
    • No. 8, trio
    • No. 2, II
  5. Extraordinary solo passages for woodwinds occur in Beethoven symphonies. Name one for bassoon.
    No. 9, IV
  6. Name an unusual feature about each movement of Beethoven's first symphony.
    • I- intro has series of dominant 7 chords in "wrong key" leading away from tonic.
    • II. fugato within sonta form. FM is the subdominant key (not dominant). metronome marking is faster than Andante.
    • III- Is a scherzo!!! in nature although named minuet. Proportions of ABA (8, 36,35). Based on scales and triads of I.
    • IV- Coda is a second development and includes a new theme! The recap of 2nd theme in subdominant.
  7. List of the keys of Beethoven symphonies in chronological order.
    C, D, Eb, Bb, cm, F, A, F, dm
  8. In Beethoven's Symphony No. 4, which movement is most astonishing in regard to form?
    III because it is a Five-Part Scherzo
  9. Which Beethoven Symphony features the timpani in a most distinct, motivic part?
    • No. 9
    • Development of the Scherzo
  10. Beethoven Symphony No. 1- date, key and importance
    • 1799
    • CM
    • I- intro has series of dominant 7 chords in "wrong key" leading away from tonic.
    • II. fugato within sonta form. FM is the subdominant key (not dominant). metronome marking is faster than Andante.III- Is a scherzo!!! in nature although named minuet. Proportions of ABA (8, 36,35). Based on scales and triads of I.
    • IV- Coda is a second development and includes a new theme! The recap of 2nd theme is in subdominant.
  11. Beethoven Symphony No. 2- date, key and importance
    • 1802
    • DM
    • Scherzo replaces minuet.
    • Expanded intro and coda (2nd dev) in I. Cello doubling of melody in II.
  12. Beethoven Symphony No. 3- date, key, name and importance (5 characteristics)
    • 1803. EbM. Eroica
    • Expands form (I: as long as entire symphonies before it and the development is longer than exposition and recap and contains a new theme).
    • Expands tonality- abrupt key changes in succession.
    • Expands song form with trio with double fugue and coda in Neapolitan key (III).
    • Much greater thematic unity than before.
    • Established a new style norm- changed the basic nature of the symphony.
  13. Beethoven Symphony No. 4- date, key and importance
    • 1806
    • BbM
    • first 5 part scherzo (sch-trio-sch-trio-sch)
  14. Beethoven Symphony No. 5- date, key and importance
    • 1807
    • c minor
    • motivic unity of movements and within movments.
    • adds piccolo, trombone and contrabassoon for first time.
    • separated cello and bass lines
    • scherzo is developmental
    • includes dev. in the exposition and coda
    • expanded variation form
  15. Beethoven Symphony No. 6- date, key, name and importance
    • 1808
    • FM
    • Pastoral
    • 5 movements
    • Programmatic in nature.
    • I- Cheerful impressions upon arriving in the country (key scheme like Schubert: BbGDE)
    • II. By the Brook. 2 solo cellos and solo clarinet
    • III. Scherzo- no repeat signs. Trio in duple meter and atacka to IV
    • IV. The Storm goes attacka into the V.
    • V. The Shephards Hymn- Happy feelings after the storm- features shephard's horn call.
  16. Beethoven Symphony No. 7- date, key and importance
    • 1812
    • AM
    • Expanded scope and expression of classical dimensions
    • Progressive tonality (emphasis on C and F)
    • II is hybrid variation and song form (theme, 5 variations, trio and coda)
    • III. Presto scherzo in 5 part form
    • IV. Based on Irish folk song "Nora Creina"- expansive form (includes 2 developments, many themes and lengthy coda)
  17. Beethoven Symphony No. 8- date, key and importance.
    • 1812
    • FM
    • Contains a scherzando (II) and minuet (III) in sonatina form with trio in AbM.
    • IV is sonata-rondo form with lengthy coda that recaps ABA.
    • Unusual mysterious C# emphasis (disguised as Db before resolution)
  18. Beethoven Symphony No. 9- date, key and importance
    • 1824
    • d minor
    • 1st use of voice (choral symphony)
    • Scherzo (II) comes before slow movement (III) and is not only standard ternary form, but also complete sonata allegro form. Written in triple, often sounds duple. Motivic timpani solo.
    • IV. Voices!(4 soloists and chorus) Symphony within a symphony- quotes all movements. Univeral brotherhood. Based on Ode to Joy by Schiller.
  19. Which of Beethoven's symphonies are classicist in nature?
    • 1,2,4,8
    • (7 is hybrid romanticist)
  20. Which Beethoven symphonies are Romanticist in expression?
    3,5,7,9
  21. Which is the only Beethoven Symphony that is programmatic in nature?
    • 6 in F Major
    • Inscription: We give Thee thanks for thy great glory.
    • The Pastoral

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