The Boy In The Striped Pajamas Book
Paper instructions:
Write me one paragraph about the setting of the novel and another paragraph about the conflict of the novel and be sure to preview it so i can make sure you are on the right track.
#94
Modest Mussorgsky : Dawn on the Moskva River, Introduction to the Opera “Khovanshchina”
Sergei Rakhmaninov : Piano Concerto No. 2 in C minor, op. 18
Nikolai Rimsky-Korsakov : Symphonic Suite “Scheherazade” op. 35
As you listen to the concert, then as you write your review/critique, think about and
address the following questions:
1) Concerning the compositions performed on the program:
— What are the titles of the compositions which you heard, who were the composers, and
when (and during what period) were they written?
— What was the instrumentation? (= what instruments were used – large orchestra, small orchestra, piano solo, piano & violin, voice & piano…?)
— What were the genre of the compositions performed (symphony? opera? Lied? concerto?…)
— How did the music you heard compare to compositions we have listened to in class?
(for example, is it similar to something we have studied? If so, how? – if you hear a “concerto,” you might compare it to Vivaldi’s “Spring” Concerto; if you hear a
“symphony,” how is it the same as/different from Beethoven’s 5th Symphony?
If you hear a composition from the Romantic period, how does it compare with
the characteristics of Romanticism which we studied in class?, etc.)
— What characteristics of the music help you to identify it with the period during which
it was composed?
— What is your reaction to each composition (i.e., what was your impression of the music –
did you like or dislike the music, and why?, etc.)
2) Concerning the performance:
— How is live performance different from recorded performance?
— What is your reaction to/impression of the way the performers play the music? (is it a
“good” performance, is it an “emotional” performance, are the players “in tune,” are
the musicians skillful at playing their instruments?, etc.) If you feel that it was a good
performance, why? – if you think that it was not an effective performance, why not?
3) And, finally:
— What is your overall reaction to your concert experience? (i.e., what effect did the concert
have on you, and why/how?)
Along with your written report, submit:
(a) your ticket stub from the concert
(b) the printed concert program
Due Date: The assignment can be turned in at any time during the remainder of the course,
but no later than 3:00 p.m. on Monday, July 28th (our final exam day/time).
Exploring to Music – Mus St 0812
CD #5
(Romanticism continued)
Pictures at an Exhibition (1874) [31’49] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Modest Mussorgsky
(1839-1881)
1) Promenade [1’44]
2) The Gnome [2’44]
3) Promenade [0’55]
4) The Old Castle [4’18]
5) Promenade [0’34]
6) Tuileries [1’08]
7) Bydlo [2’17]
8) Promenade [0’46]
9) Ballet of the Chicks in Their Shells [1’18]
10) Samuel Goldenberg and Schmuyle [2’17]
11) Limoges – The Market [1’25]
12) Catacombs (Sepulchrum romanum) [1’41]
13) Con mortuis in lingus mortus [1’49]
14) The Hut on Hen’s Legs (Baba Yaga) [2’35]
15) The Great Gate of Kiev [5’18]
The 20th Century (. . . and beyond) (ca. 1900-the present)
16) Le Sacre du Printemps (The Rite of Spring) (1913) [beginning only: 7’36] . . . . . . Igor Stravinsky
(1882-1971)
from Part I: “The Adoration of the Earth”:
16) – Introduction: The Harbingers of Spring
18) – Dance of the Adolescents
22) – Mock Abduction
24) Voiles (1910) [4’25] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy
(1862-1918)
29) Pierrot Lunaire (Song #18: Der Mondflek) (1912) [0’55] . . . . . . . . . . . . . . . . . Arnold Schönberg
(1874-1951)
31) Wozzeck (excerpts from the opera: Act III, scenes 4 & 5) (1925) [9’36] . . . . . . . . . . . Alban Berg
(1885-1935)
36) The Unanswered Question (1906) [6’08] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charles Ives
(1874-1954)
24) Poème électronique (1958) [8’00] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edgard Varèse
(1883-1965)
Exploring Music – Mus St 0812
CD #4
Transition: from Classicism to Romanticism
Symphony #5 in C minor (1808) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ludwig van Beethoven
1-8) I. Allegro con brio [8’58]
9-14) II. Andante con moto [11’15]
15-18) III. Allegro [6’14]
19-25) IV. Allegro [13’20]
The “Romantic” Era (ca. 1800-1900)
26-31) Erlkönig (1815) [4’13] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz Schubert
(1797-1828)
32) Die Männer Sind Méchant (1828) [2’25] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz Schubert
33-36) Und wüssten’s die Blumen (“And if the flowers knew”) (1840) [1’14] . . . . . Robert Schumann
[from the song cycle Dichterliebe (A Poet’s Love), 1840] (1810-1856)
37) Wilder Reiter (1848) [0’33] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann
[from Album für die Jugend (Album for the Young), 1848]
38) Etude #12 in c minor, Op.10 (Revolutionary) (1830) [2’42] . . . . . . . . . . . . . . Frederic Chopin
(1810-1849)
39-42) Symphonie fantastique (4th movement: March to the Scaffold) (1830) [4’46] . . . Hector Berlioz
(1803-1869)
43-49) The Moldau (from Ma Vlast, 1874) [12’03] . . . . . . . . . . . . . . . . . . . . . . . . . . . Bedrich Smetana
(1824-1884)
Exploring Music – Mus St 0812
CD #3
Music of the Classic Period (ca.1750-1800)
Eine Kleine Nachtmusik (in G major) (1787) . . . . . . . . . . . . . . . . . . . . . . . . . . Wolfgang Amadeus Mozart
(1756-1791)
1-5) I. Allegro [5’30]
6-11) II. Romanze: Andante [5’50]
12-14) III. Menuetto: Allegro [2’09]
15-20) IV. Rondo: Allegro [4’06]
Symphony #40 in g minor (1788) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W.A.Mozart
21-29) I. Molto Allegro [8’17]
30-32) II. Andante [7’54]
33-35) III. Menuetto [4’48]
36-42) IV. Allegro assai [4’55]
Symphony #94 in G
major (“Surprise”) (1791) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz Joseph Haydn
(1732-1809)
43-48) II. Andante (Theme and Variations) [6’12]
String Quartet in c minor, Op.18, no.4 (1798-1800) . . . . . . . . . . . . . . . . . . . . . . . . Ludwig van Beethoven
(1770-1827)
49-52) IV. Rondo (Allegro) [4’14]
Piano Sonata #8 in c minor, Op.13 (“Pathètique”) (1798) . . . . . . . . . . . . . . . . . . . Ludwig van Beethoven
53-59) I. Grave – Allegro di molto e con brio [8’29]
60-63) II. Adagio cantabile [4’59]
64-67) III. Rondo (Allegro) [4’46]
Exploring Music – Mus St 0812
CD #2
Music in the Baroque (ca.1600-1750)
Excerpts from the opera Dido and Aeneas (1689) [6’27] . . . . . . . . . . . . . . . . . . . . . . . . . . . . Henry Purcell
(1659-1695)
from Act III, Final Scene:
1) recitative: “Thy Hand, Belinda!”
2-3) aria: “When I am Laid in Earth”
4) chorus: “With Drooping Wings”
Concerto in E Major, Op.8, no.1 (“Spring”) (1725) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Antonio Vivaldi
(1678-1741)
5-9) I. Allegro [3’20]
10) II. Largo e pianissimo [2’38]
11) III. Dance pastorale (Allegro) [3’43]
“Brandenburg” Concerto No. 5 in D Major (ca. 1720) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.S. Bach
(1685-1750)
12-16) I. Allegro [9’43]
17-18) II. Affettuoso [5’09]
19-21) III. Allegro [5’05]
Prelude & Fugue No.21 in C Minor (1722) (played on a harpsichord) [3’24] . . . . . . . . . . . . . J.S.Bach
22-24) Prelude
25-27) Fugue
Prelude & Fugue No.21 in Bb Major (1722) [2’33] (played on a piano) . . . . . . . . . . . . . . . . . . J.S.Bach
28) Prelude
29) Fugue
