The composer whose career was a model for many romantic composers was |
Ludwig van Beethoven |
A composer who earned his/her living as a violin virtuoso was |
Niccolo Paganini |
One of the few composers fortunate enough to be supported by private patrons was |
Peter Illyich Tchaikovsky |
Musical criticism was a source of income for both Berlioz and |
Robert Schumann |
When music conservatories were founded, women |
were at first accepted only as student of performance, but by the late 1800s could study musical composition |
A very important musical part of every middle-class home during the romantic period was the |
piano |
Public concerts had developed during the eighteenth century, but only in the nineteenth century did regular ___________ concerts become common |
subscription |
It is interesting to note that an American orchestra, the __________, is one of the two orchestras that are the third-oldest in the world. |
New York Philharmonic |
In the 1830s, Paris was |
a center of romanticism the artistic capital of Europe the home of Victor Hugo, Honore de Balzac, and Heinrich Heine |
Chopin was |
shy and reserved |
Most of Chopin’s pieces |
are exquisite miniatures |
Chopin’s Revolutionary Etude in C Minor develops the pianist’s left hand because |
the left hand must play rapid passages throughout |
A study piece, designed to help a performer master specific technical difficulties, is known as a(n) |
etude |
A slow, lyrical, intimate composition for piano, associated with nighttime, is known as a(n) |
nocturne |
The __________ is a dance in triple meter that originated as a stately processional for the Polish nobility. |
polonaise |
Chopin expressed his love of Poland by composing ______________ and _____________. |
polonaises/mazurkas |
Among Liszt’s favorite inspirations were the literary works of |
Johann Wolfgang von Goethe |
Liszt typified the romantic movement because he |
had a charismatic personality was an innovative composer was a stupendous performer |
Liszt’s piano works are characterized by |
arpeggios rapid octaves and daring leaps an unprecedented range of dynamics |
In many of his works, Liszt unified contrasting moods by a process known as |
thematic transformation |
During his teens and twenties, Liszt lived in |
Paris |
As a youth, Liszt was influenced by the performances of |
Niccolo Paganini |
Liszt created the __________, a one-movement orchestral composition based to some extent on a literary or pictorial idea. |
symphonic poem |
Liszt abandoned his career as a traveling virtuoso to become a court conductor at ___________, where he championed works by contemporary composers. |
Weimar |
Until the age of thirty-six, Liszt toured Europe as a virtuoso |
pianist |
The high point of Mendelssohn’s career was the triumphant premiere of his oratorio __________ in England. |
Elijah |
Mendelssohn’s Concerto for Violin in E Minor opens with a(n) |
soloist, who present the main theme |
The three movements of Mendelssohn’s Concerto for Violin |
are played without pause |
In the first movement of the Concerto for Violin, the cadenza |
appears at the end of the development sections as a transition to the recapitulation |
Mendelssohn is known as the man who rekindled an interest in the music of |
Johann Sebastian Bach |
The work referred to by Beethoven as an "expression of feeling rather than painting" was his |
Symphony No.6 |
A _________ is a one-movement orchestral composition based to some extent on a literary or pictorial idea. |
symphonic poem |
The composer who developed the symphonic poem was |
Franz Liszt |
Today’s movie scores may be regarded as examples of |
incidental music |
Nonprogram music is also known as _________ music. |
absolute |
In order to support his family, Berlioz turned to |
musical journalism |
Parisians were startled by Berlioz’s Fantastic Symphony because of its |
sensationally autobiographical program amazingly novel orchestration vivid description of the weird and diabolical |
In 1830 the Paris Conservator awarded Berlioz |
the Prix de Rome |
The liturgical melody quoted in the last movement of the Fantastic Symphony is the |
Dies irae |
Outside France, Hector Berlioz enjoyed a great career as a(n) |
conductor |
Berlioz’s Fantastic Symphony is unified by the recurrence of a theme known as the |
idee fixe |
The Fantastic Symphony reflects Berlioz’s |
love for actress Harriet Smithson |
The fourth movement of the Fantastic Symphony depicts a |
march to the scaffold |
Which of the following was not composed by Berlioz? |
The Sorcerer’s Apprentice |
The second movement of the Fantastic Symphony is a ___________, the most popular dance of the romantic era. |
waltz |
The most original, and probably greatest of the Russian five, was |
Modest Mussorgsky |
The founder of the Czech national music was |
Bedrich Smetana |
Liberetti that fanned the public’s hatred for its Austrian overlords were deliberately chosen by the composer |
Giuseppe Verdi |
Smetana grew up when Bohemia was under _________ domination. |
Austrian |
Smetana’s most popular opera is _________. |
The Bartered Bride |
Even though Smetana was deaf at the time, he composed a musical work depicting Bohemia’s man river as it flows through the countryside. The name of the river and the musical composition, is the |
Moldau |
The first American concert pianist to gain international recognition was |
Louis Moreau Gottschalk |
Antonin Dvorak’s music was first promoted by |
Johannes Brahms |
Dvorak _________ quoted actual folk tunes in his compostions. |
rarely |
In the first movement of the New World Symphony, Dvorak introduces a gracious melody that resembles the spiritual |
Swing Low, Sweet Chariot |
In 1892, Dvorak went to ______________, where he spent almost three years as director of the National Conservatory of Music. |
New York |
Dvorak "found a secure basis for a new national [American] musical school" in the |
African-American spirituals |
The popular character of the Dvorak’s New World Symphony can be traced to the composer’s use of ____________ often found in folk music. |
syncopations modal scales pentatonic scales |
Nadezhda con Meck was |
a wealthy benefactress who provided Tchaikovsky with an annuity |
At its premiere in 1870, Tchaikovsky’s Romeo and Juliet Overture was |
a dismal failure |
Which of the following was not composed by Tchaikovsky? |
Russian Easter Overture |
Tchaikovsky’s Romeo and Juliet is a(n) |
concert overture |
Tchaikovsky’s Sixth Symphony |
ends with a slow, despairing finale |
Brahm’s works though very personal in style, are rooted in the music of |
Joseph Haydn Ludwig van Beethoven Wolfgang Amadeus Mozart |
Brahm’s musical trademarks included |
the use of two notes against threee |
Johannes Brahm’s Symphony No.3 in F Major |
is the shortest of his four symphonies is characterized by thematic connections among its four movements contains striking contrasts between major and minor |
Which of the following statements about the third movement of Brahm’s Symphony No. 3 in F Major is not true? |
It utilizes a large orchestra |
In comparison to some earlier compositions, Brahm’s musical output may be considered small. This is explained in part by the fact that Brahms |
was extremely critical of his own work, and endlessly revised his compositions |
The composer who had an overwhelming influence on the young Wagner was |
Ludwig van Beethoven |
Wagner called his works musical dramas rather than opera because |
there is a continuous musical flow within each act there are no breaks where applause can interrupt the vocal line is inspired by the rhythms and pitches of German text |
Wagner’s last opera was |
Parsifal |
The librettos to the Ring of the Nibelung was written by |
Wagner himself |
A short musical idea associated with a person, object, or thought, used by Wagner in his operas is called |
leitmotif |
Valhalla in Wagner’s Ring cycle, is |
the castle of the gods |
Wagner had an opera house built to his own specifications in |
Bayreuth |
Wagner’s first successful opera was |
Rienzi |
Sigmund, in Wagner’s opera Die Walkure, is |
Sieglinde’s brother, then wife Siegfried’s father Wotan’s son by mortal womean |
Which of the following operas was not composed by Wagner? |
Fidelio |
Instrumental music endowed with literary or pictorial associations, popular during the romantic period, is called |
program music |
The typical orchestra of the late romantic period numbered about ___________ musicians. |
100 |
Music intended to be performed before or during a play, to set the mood for scenes or highlight dramatic action, is known as |
incidental music |
Instrumental music that is written for its own sake, and for which the composer does not provide a program, is called |
absolute music |
Drawing creative inspiration from cultures of lands foreign to the composer is known as |
exoticism |
Approximately, the romantic period encompassed the years |
1820-1900 |
All of the following composers are associated with the romantic period except |
Wolfgang Amadeus Mozat |
Which of the following is not a characteristic of romanticism? |
emotional restraint |
The movement in opera known as verismo is best exemplified by |
Giacomo Puccini |
The Romantic Period
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