Excerpts for Chapter 13
No excerpts in this chapter.
Copland's Musical Recommendations for Chapter 13 (sonata form and symphony)
1) Beethoven—“Waldstein” Sonata, Op. 53
2) Mahler—Symphony No. 2 in C minor
3) Brahms—Symphony No. 4 in E minor
4) Schumann—Symphony No. 4 in D minor
5) Sibelius—Symphony No. 4 in A minor More about this symphony at Wikipedia.
6) Jean Sibelius, Symphony no. 5. Read about it at Wikipedia.
Additional, for Chapter 13 (sonata form and symphony)
• H. Berlioz, Symphonie Fantastique At least listen to the last movement. Read more about it HERE. Although it is entitled "Symphonie", Copland talks about it in the next chapter on free forms.
• R. Vaughan-Williams, Symphony no. 3, A London Symphony Ralph Vaughan Williams paints a tribute to his capitol city. This YouTube version connects the symphony beautifully to art of the composer's time, with links that identify each painting, and allow you to jump to them. Click on READ MORE (below the video frame) to see these features.
Symphonies and Opera Overtures?
Copland tells us that the classical symphony did not derive from baroque concertos and concerti grossi, but instead from the overtures of Italian operas.
• W.A. Mozart, The Magic Flute, Overture Can you find elements of sonata form or symphony in this overture?
• If you are an opera fan, listen again to the overture of a favorite opera. Can you find elements of sonata form or symphony in it?
• Here are some overtures to works of musical theatre:
-- A. Lloyd Webber, Cats, Overture and Phantom of the Opera, Overture
-- S. Sondheim, A Little Night Music, Overture
-- H. Schmidt and T. Jones, The Fantasticks, Overture
Are there discernible elements of sonata form or symphony in these overtures?
More to Think About
Listening Assignments
1) Let's listen to a symphony.
Listen to Jean Sibelius, Symphony no. 5. In one of the comments, there is a list of movements and their timing. This performance lasts about 36 minutes.
First, just listen to it. Then read about it at Wikipedia, HERE. Begin by looking down through the article for simple renditions of the main themes. Do they sound familiar now that you have heard the symphony?
Don't worry too much about the fine details of this article, which has an especially long discussion of the first movement. But do notice how much controversy there is about the analysis, and of just whether, or even how, the first movement fits the definition of sonata form.
To repeat, on your first listening, just let it carry you away.
2) The second listening assignment is the ultimate challenge for those of you trying to read musical scores. Listen to the first movement of Beethoven's "Waldstein" Sonata (analyzed in detail in Appendix III). See if you can follow the score just well enough to keep your place.
Now if for you, this is like leaping over tall buildings at a single bound, I certainly understand. This stretches me farther than I've ever been stretched in try to understand a piece of music. Don't worry about it. Just forget the score and listen to the first movement (we listened to it earlier in the course). To keep your spirits up, you might want use this version, and just watch the performer sweat instead. You've seen the score; you know why he's sweating. Just listen for short and simple melodies repeated, moved around, and frilled up.
For those intrepid enough to face this score, notice that the score includes numbered measures, so it fits perfectly with Copland's detailed analysis in Appendix III. This is still a challenging proposition, even with this aid, but worthwhile to give it a try. Copland probably picked it for its fit to truly standard sonata form, and the simplicity of its theme, but it is fast. I have the best luck with it when I watch the measure marks and count 1-2-3-4 for each measure. Still, I get tripped up by changes of tempo, when the performer slows greatly, which means that the 1-2-3-4 count goes more slowly. The movement lasts only ten minutes, so give a try or two at keeping with it.
When you can keep up with it a bit, then try to identify the three elements the Copland mentions on page 242-3. They are short but they stick out when first played, and they will be repeated often, and with many different variations. You'll find them all in the first four measures. Try to hear them on first appearance. Sing them to yourself. Ear worm warning: you might be singing them later when you (or others nearby) don't want to hear them.
See what you can do. Don't be dismayed. At least, do enjoy the music.
Listen !
••••••
More to Think About
Listening Assignments
1) Let's listen to a symphony.
Listen to Jean Sibelius, Symphony no. 5. In one of the comments, there is a list of movements and their timing. This performance lasts about 36 minutes.
First, just listen to it. Then read about it at Wikipedia, HERE. Begin by looking down through the article for simple renditions of the main themes. Do they sound familiar now that you have heard the symphony?
Don't worry too much about the fine details of this article, which has an especially long discussion of the first movement. But do notice how much controversy there is about the analysis, and of just whether, or even how, the first movement fits the definition of sonata form.
To repeat, on your first listening, just let it carry you away.
2) The second listening assignment is the ultimate challenge for those of you trying to read musical scores. Listen to the first movement of Beethoven's "Waldstein" Sonata (analyzed in detail in Appendix III). See if you can follow the score just well enough to keep your place.
Now if for you, this is like leaping over tall buildings at a single bound, I certainly understand. This stretches me farther than I've ever been stretched in try to understand a piece of music. Don't worry about it. Just forget the score and listen to the first movement (we listened to it earlier in the course). To keep your spirits up, you might want use this version, and just watch the performer sweat instead. You've seen the score; you know why he's sweating. Just listen for short and simple melodies repeated, moved around, and frilled up.
For those intrepid enough to face this score, notice that the score includes numbered measures, so it fits perfectly with Copland's detailed analysis in Appendix III. This is still a challenging proposition, even with this aid, but worthwhile to give it a try. Copland probably picked it for its fit to truly standard sonata form, and the simplicity of its theme, but it is fast. I have the best luck with it when I watch the measure marks and count 1-2-3-4 for each measure. Still, I get tripped up by changes of tempo, when the performer slows greatly, which means that the 1-2-3-4 count goes more slowly. The movement lasts only ten minutes, so give a try or two at keeping with it.
When you can keep up with it a bit, then try to identify the three elements the Copland mentions on page 242-3. They are short but they stick out when first played, and they will be repeated often, and with many different variations. You'll find them all in the first four measures. Try to hear them on first appearance. Sing them to yourself. Ear worm warning: you might be singing them later when you (or others nearby) don't want to hear them.
See what you can do. Don't be dismayed. At least, do enjoy the music.
Listen !
••••••
