Repertoire list for final

J.S. Bach
Mass in b minor, Kyrie I (1749)
Matthäus-Passion (BWV 244) 1727, “Kommt, ihr Töchter, helft
mir klagen”, 38a -40 choral (p.175-185)
J. Haydn String Quartet op.20 no.5, finale (1770)
Symphony No.49 “La Passione” (1768)
W. A. Mozart String Quartet K.168, finale (1773)
Overture to Die Zauberflöte (1791)
Franz Schubert Mass No.6 in E-flat major, “Cum sancto Spiritu” (1824)
Piano Sonata in B-flat major, D960, first movement (1828)
Richard Wagner Die Meistersinger van Nürnberg, (1845-68)
prelude and excerpt from Act III, 5
G. Verdi Falstaff (1893) finale “Tutto nel mondo è burla”
Giovanni Pergolesi La serva padrona (1733) “Sempre incontrasti”
Niccolò Piccinni La Cecchina, ossia la buona figliuola (1760) “Una povera
ragazza”
Domenico Scarlatti Sonata K. 175 (c.1740)
C.P.E. Bach Fantasia II, from Sonaten, freien Fantasien und Rondos für
Kenner und Liebhaber, vol.5 (1786)
R. Schumann Dichterliebe (1840),
Piano Sonata in f# minor, op.11, first movement (1836)
L.Beethoven Piano Sonata in c minor, “Pathétique”, Op.13, first movement
(1797-98)
String Quartet Op. 18 no.1, first movement (1799)
Op. 18 no. 6, finale: “La Malinconia” (1800)
Symphony No. 3, “Eroica”, Op. 55, first and second movements
(1803)
Song cycle “An die ferne Geliebte”, Op.98 (1816)
String Quartet in Bb, Op. 130 and Grosse Fuge Op. 133 (1825-26)

Rameau   Dardanus (1739) II,5
Handel  Giulio Cesare (1724) III, 2­4
Gluck  Orfeo (1762)  II, 1
Mozart  Le nozze di Figaro (1786) Act I No.7 Terzetto
Wagner Tristan und Isolde (1857­59/1865) exceprts Act III
Verdi  Othello (1887) excerpts Act IV
Offenbach  Orphée aux enfers, opéra bouffon (1858) Act II, No.12 

Be able to identify composer,title, genre, approximate date,

significant stylistic features, the significance of the work to music history.
San Francisco Conservatory of Music/ Fall 2008
MHL602 Topics in Music History: Eighteenth and Nineteenth Centuries  
Study guide for final: written portion (For listening and score portion, see Repertoire list.)

The written portion of the final will offer you four sets of topics for mini essays, drawn
from the themes listed below. You will choose one topic from each set. The essays should
be one page long; feel free to use point form and diagram rather than complete sentences.

I
Uses and meaning of fugue in baroque period
Uses and meanings of fugue in classic and romantic period
Significant features of sonata principle (as opposed to sonata form)
The romantic approach to sonata
Standard terminology for sonata, fugue
Contributions to the development of sonata principle by D.Scarlatti, C.P.E. Bach.
Contribution to development of sonata of baroque dance forms and aria forms

II
Significance of Pietism to modern sense of the self and expression in music of 18th c.
Structure and styles found in J.S. Bach’s passion settings
The concept of the sublime as it relates to romantic aesthetics and expression in music
The cult of sentiment; Empfindsamkeit, and expression in music of 18th century

III
Beethoven’s approach to sonata
Beethoven’s use of fugue
The significance to Beethoven of song
Beethoven and early romantic concepts of the self, of the sublime

IV
Changing approach to role of orchestra in opera
Act and scene structure of Italian and French 18th-c opera
Act and scene structure of Wagner music drama and late Verdi opera.
Significance to opera of Goldoni, Metastasio, Gluck
San Francisco Conservatory of Music/ Fall 2008
MHL602 Topics in Music History: Eighteenth and Nineteenth Centuries  
Final examination: written portion

Answer one question from each category I through IV. Respond in as much detail as you
can in one page; feel free to use point form and diagram as well as complete sentences.

I
Discuss the changing meanings and uses of fugue in the 18th and 19th centuries.

Discuss the evolution of sonata (principle as well as form) in the 18th century.

II
Discuss the ways that Pietism is reflected in J.S. Bach’s passion settings.

Discuss the concept of the sublime as it relates to romantic aesthetics and expression in
music (including Beethoven).

Discuss the rise of the cult of sentiment in the 18th century, and its expression in music.

III
Discuss Beethoven’s approach to sonata form, mentioning specific works as examples.

Discuss the significance of song (“the lyrical impulse”) in Beethoven’s compositions

from 1816 on, mentioning specific examples, including instrumental works.

IV
Discuss the similarities and differences in the role of the orchestra between the music
drama of Wagner and the late operas of Verdi.

Discuss the “reforms” of opera by Metastasio, Goldoni, and Gluck.

Discuss the differences between French and Italian opera of the first half of the 18th
century.
San Francisco Conservatory of Music/ Fall 2008
MHL602 Topics in Music History: Eighteenth and Nineteenth Centuries  
Final examination: listening and score identification

Writing on the excerpt page, for each of the excerpts:

A. identify composer, title, genre, approximate date
B. point out significant stylistic features that helped you make the identification
C. briefly discuss the significance of the work in music history. The questions below are
intended to help you formulate your answers, but feel free to address any other issues that
seem important to you.

1. What literary movement is represented by the style of this work? What part of the
formal structure is shown in this excerpt, and what characteristic features are here?

2. What literary movement is represented by this work?

3. What part of the formal structure is shown in this excerpt? How is this typical of its
period’s approach to form?

4. How does this excerpt reflect its genre’s approach to scene structure?

5. How does this excerpt reflect the composer’s broader compositional concerns?

6. What compositional processes are represented in this excerpt? What part of the formal
structure is shown in this excerpt?

7. The performing forces shown in this excerpt are divided into sections I and II and a
separate soprano line: how does this organization reflect the expressive purpose of the
composer?

8. How does this excerpt reflect the composer’s approach to scene structure?

9. What attitudes toward subjectivity and emotion are represented by this excerpt and its
genre?

10. What philosophical values of its composer and period are reflected in this excerpt?