Listening Journal 4 - Brianna Berg Dave Wells Section 307...

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Brianna Berg Dave Wells Section 307 14 December 2007 Listening Journals 60-82 “E Susanna non vien! . .. Dove sono,” from The Marriage of Figaro by Wolfgang Amadeus Mozart This recitative opera showcases the vocal range of the singer and therefore the orchestra supports the singer. The opera is about human conflict and struggle, centered on the topics of love and social classes. The style of singing is very vibrato and she has a large vocal range. Her voice tells us the story of the “Marriage of Figaro” through the length of certain notes. The higher notes are more emotional and tell a greater chunk of the story. The tempo is largo throughout the excerpt we were given. This excerpt is divided into two sections: a recitative section and an aria. In the first section, there is a free rhythm that is dictated by the lyrics and their melody with very thin orchestral expression. During the aria the meter is duple and largo and there is a wide range of lyrical expression. Also, the orchestral accompaniment remains thin in this section and solely supports the melody. Symphony No. 39 in E-flat Major (IV) by Wolfgang Amadeus Mozart This piece is a symphony written in a sonata form in 1788. This excerpt includes an exposition, development, and a recapitulation and clearly demonstrates sonata format with contrast and repetition followed by development. There are many scales that provide us with direction or pattern in the piece. The contrast comes from the change in fullness and volume of the orchestra. The two main parts in the exposition include an initial slower, quieter part played by less instruments. It includes a diatonic melody, soft strings, and open cadence. Then all of a sudden there are loud instruments and closed cadence. This theme is repeated throughout the first half of the exposition in varying complexities. The second theme is in a new key and is adapted from the first theme. It is also soft but has a thin texture where the violins are answered by the woodwinds. This morphs to become a conversation between the flute and bassoon with a strong cadence in B-flat major. The second portion of the piece is the deposition or conclusion. This is demonstrated first with a full orchestra playing a thick texture followed by a segment of thin texture played by the oboe and bassoon. There is a short return to the full texture and gives us the final cadence of the exposition, which is then repeated. This style is classic sonata form. String Quartet in C Major, Op. 76, No. 3 (String Quartet) by Franz Joseph Haydn Performed by the Tatrai Quartet, this piece is one of Haydn’s 82 string quartet works. It was composed in 1797 and includes a hymn that Haydn was asked to write for the emperor’s birthday. Today, it is the Austrian national anthem. This piece is rigidly crafted where there are 4 bar long segments that each last approximately 15 seconds. Beginning with the primary phase, it is largo and smooth.
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This note was uploaded on 03/27/2008 for the course MUSIC 101 taught by Professor Chybowski during the Fall '08 term at University of Wisconsin.

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Listening Journal 4 - Brianna Berg Dave Wells Section 307...

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