(eBook PDF) Concise History of

Western Music 5th Edition

Visit to download the full and correct content document:
https://ebooksecure.com/download/ebook-pdf-concise-history-of-western-music-5th-e
dition/
 Concise History of
Western Music
FIFTH EDITION

183660_00_i-xxxiv,1_r3_as.indd 1 06/12/13 12:33 AM

 viii 2 Contents

PA R T F I V E

The Nineteenth Century: The Age of

Romanticism
Introduction 390
From Classic to Romantic 392 • Europe in the Nineteenth Century 396
• Romanticism in Music 400

19. The Early Romantics 403

Prelude 403 • Franz Schubert (1797–1828) 404 • Robert Schumann
(1810–1856) 413 • Clara Schumann (1819–1896) 417 • Felix Mendelssohn
(1809–1847) 418 • Fanny Mendelssohn Hensel (1805–1847) 420 • Fryderyk Chopin
(1810–1849) 421 • Hector Berlioz (1803–1869) 426 • Two Americans: Foster and
Gottschalk 431 • Postlude 433

20. Opera and Music Drama in the Nineteenth Century 434

Prelude 434 • French Grand (and Not So Grand) Opera 435 • Italian
Opera 440 • German Romantic Opera 450 • Postlude 460

21. The Later Romantics 462

Prelude 462 • Franz Liszt (1811–1886) 464 • Anton Bruckner
(1824–1896) 468 • Johannes Brahms (1833–1897) 469 • Piotr Il’yich
Tchaikovsky (1840–1893) 475 • Bedřich Smetana (1824–1884) and
Antonín Dvořák (1841–1904) 478 • Postlude 481

22. Music in the Late Nineteenth Century: Nationalism,

Romanticism, and Beyond 483
Prelude 483 • The Austro-German Tradition 484 • National Trends Beyond
Germany and Austria 490 • New Currents in France and Italy 495 • The
Classical Tradition in the United States 499 • Postlude 501

PA R T S I X

The Twentieth Century and Today

Introduction 502
The Arts and the Modern Human Condition 508 • The Technological
Revolution 512 • The Changing World of Music 514

23. Classical Modernism 517

Prelude 517 • The First Generation of Modernists 518 • Modernism and
National Traditions 524 • The Avant-Garde 528 • Postlude 532

24. Vernacular Music in America 533

Prelude 533 • Vernacular Styles and Genres 533 • Popular Song and
American Musical Theater 537 • The Jazz Age 544 • Postlude 551

183660_00_i-xxxiv,1_r3_as.indd 8 06/12/13 12:33 AM

 Contents 2 ix

25. Radical Modernism 553

Prelude 553 • Arnold Schoenberg (1874–1951) 554 • Alban Berg (1885–1953)
561 • Anton Webern (1883–1945) 564 • Igor Stravinsky (1882–1971) 566 •
Béla Bartók (1881–1945) 574 • Charles Ives (1874–1954) 579 • Postlude 584

26. Music between the Two World Wars 586

Prelude 586 • France 587 • Germany 589 • The Soviet Union 592 • The
Americas 597 • Postlude 605

27. The Changing World of Postwar Music 608

Prelude 608 • Developments in Jazz 608 • Heirs to the Classical Tradition 610
• The Avant-Garde 614 • Serial and Nonserial Complexity 618 • New Sounds
and Textures 622 • Postlude 629

28. Into the Twenty-First Century 630

Prelude 630 • Digital Technologies 630 • Minimalism and
Postminimalism 632 • Interactions with Non-Western Musics 637
• Postmodernism and Other Trends 638 • Postlude 645

Further Reading A1

Glossary A9

Music Credits A25

Index A27

183660_00_i-xxxiv,1_r3_as.indd 9 06/12/13 12:33 AM

183660_00_i-xxxiv,1_r3_as.indd 10 06/12/13 12:33 AM
 MAPS

Fi g ure I.2 The Roman Empire at the death of Augustus in 14 c.e. 7

Fi g ure I. 4 Europe in the mid-fourteenth century 9
Fi g u re 2.1 The diffusion of Christianity 28
Fi g u re 2.7 The Holy Roman Empire under Charlemagne around 800 33
Fi g ure II.6 Major centers for training musicians in the Renaissance 96
Fi g ure 5.1 The growth of Burgundian possessions, 1363–1477 98
Fi g ure 6.1 Western Europe about 1500 112
Fi g u re III.1 Europe, about 1610 171
Fi g u re 12.13 Italy around 1650 228
Fi g u re 14 .9 Cities that figured in J. S. Bach’s career 275
Fi g ure 17.10 Cities that figured in Mozart’s career 355
Fi g ure 17.14 Vienna—the capital of the Hapsburg Empire 363
Fi g ure V.7 Map of Europe, 1815–1848 396
Fi g ure V I.1 Europe during the Cold War (1945–1991) 505

xi

183660_00_i-xxxiv,1_r3_as.indd 11 06/12/13 12:33 AM

183660_00_i-xxxiv,1_r3_as.indd 12 06/12/13 12:33 AM
 GUIDE TO RECORDINGS

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

Volu m e 1: A nc i e n t to Baroque

1 Epitaph of Seikilos Concise 16

2 Euripides, Orestes: Stasimon chorus

3 Mass for Christmas Day 32

a) Introit: Puer natus est nobis Concise
b) Kyrie Concise
c) Gloria Concise
d) Gradual: Viderunt omnes Concise
e) Alleluia: Dies sanctificatus
f) Credo
g) Offertory: Tui sunt caeli
h) Sanctus
i) Agnus Dei
j) Communion: Viderunt omnes
k) Ite, missa est

4 Chants from Vespers for Christmas Day 36

a) First Psalm with Antiphon: Tecum principium and Dixit Dominus Concise

b) Hymn: Christe Redemptor omnium

5 Ascribed to Wipo of Burgundy, Victimae paschali laudes Concise 39

6 Tropes on Puer natus: Quem queritis in presepe and melisma 39

7 Hildegard of Bingen, Ordo virtutum: Closing chorus, In principio omnes Concise 41

8 Bernart de Ventadorn, Can vei la lauzeta mover Concise 45

9 Comtessa de Dia, A chantar 46

10 Adam de la Halle, Jeu de Robin et de Marion: Rondeau, Robins m’aime

11 Walther von der Vogelweide, Palästinalied (Nu� alre�st lebe ich mir werde) 47

xiii

183660_00_i-xxxiv,1_r3_as.indd 13 06/12/13 12:33 AM

 xiv 2 Guide to Recordings

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

12 Cantiga 159: Non sofre Santa Maria, from Cantigas de Santa Maria Concise 48

13 La quarte estampie royal, from Le manuscrit du roi

14 Organa from Musica enchiriadis 51

a) Tu patris sempiternus es filius
b) Sit Gloria domini
c) Rex caeli domine

15 Alleluia Justus ut palma, from Ad organum faciendum Concise 52

16 Jubilemus, exultemus 52

17 Leoninus and colleagues, Viderunt omnes Concise 53

18 Clausulae on Dominus, from Viderunt omnes 57

a) Clausula No. 26
b) Clausula No. 29

19 Perotinus, Viderunt omnes 57

20 Ave virgo virginum 63

21 Motets on Tenor Dominus 58

a) Factum est salutare/Dominus
b) Fole acostumance/Dominus Concise
c) Super te/Sed fulsit virginitas/Dominus

22 Adam de la Halle, De ma dame vient/Dieus, comment porroie/Omnes 61

23 Petrus de Cruce, Aucun ont trouvé/Lonc tans/Annuntiantes

24 Sumer is icumen in Concise 99

25 Philippe de Vitry, Cum statua/Hugo, Hugo/Magister invidie Concise 69

26 Guillaume de Machaut, La Messe de Nostre Dame 71

a) Kyrie Concise
b) Gloria

27 Guillaume de Machaut, Douce dame jolie Concise 73

28 Guillaume de Machaut, Rose, liz, printemps, verdure Concise 74

29 Philippus de Caserta, En remirant vo douce pourtraiture 84

30 Jacopo da Bologna, Non al suo amante 77

31 Francesco Landini, Così pensoso 80

32 Francesco Landini, Non avrà ma’ pietà Concise 79

33 Alleluia: A newë work 99

34 John Dunstable, Quam pulchra es Concise 99

35 Binchois (Gilles de Bins), De plus en plus Concise 102

36 Guillaume Du Fay, Resvellies vous 103

37 Guillaume Du Fay, Christe, redemptor omnium 103

38 Guillaume Du Fay
a) Se la face ay pale Concise 103
b) Missa Se la face ay pale: Gloria Concise 106

183660_00_i-xxxiv,1_r3_as.indd 14 06/12/13 12:33 AM

 Guide to Recordings 2 xv

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

39 Antoine Busnoys, Je ne puis vivre

40 Jean de Ockeghem, Missa prolationum: Kyrie 114

41 Henricus Isaac, Innsbruck, ich muss dich lassen 116

42 Josquin Desprez, Faulte d’argent

43 Josquin Desprez (?), Mille regretz 116

44 Josquin Desprez, Ave Maria . . . ​virgo serena Concise 117

45 Josquin Desprez, Missa Pange lingua 120

a) Kyrie Concise
b) Credo, excerpt: Et incarnatus est and Crucifixus

46 Martin Luther, Nun komm, der Heiden Heiland and Ein feste Burg 155
a) Attributed to St. Ambrose, Hymn, Veni redemptor gentium
b) Martin Luther, Nun komm, der Heiden Heiland
c) Martin Luther, Ein feste Burg
d) Johann Walter, Ein feste Burg, setting for four voices

47 Loys Bourgeois, Psalm 134 156

a) Psalm 134, Or sus, serviteurs du Seigneur
b) William Kethe, Psalm 100, All people that on earth do dwell

48 Thomas Tallis, If ye love me 158

49 William Byrd, Sing joyfully unto God Concise 165

50 Nicolas Gombert, Ave regina caelorum

51 Giovanni Pierluigi da Palestrina, Pope Marcellus Mass 160

a) Credo
b) Agnus Dei I Concise
52 Tomás Luis de Victoria, O magnum mysterium
a) O magnum mysterium Concise 164
b) Missa O magnum mysterium: Kyrie Concise 164

53 Orlande de Lassus, Cum essem parvulus Concise 165

54 Juan del Encina, Oy comamos y bebamos 127

55 Marchetto Cara, Mal un muta per effecto 126

56 Jacques Arcadelt, Il bianco e dolce cigno Concise 129

57 Cipriano de Rore, Da le belle contrade d’oriente Concise 130

58 Luca Marenzio, Solo e pensoso 131

59 Carlo Gesualdo, “Io parto” e non più dissi Concise 133

60 Claudin de Sermisy, Tant que vivray Concise 135

61 Orlande de Lassus, La nuict froide et sombre 135

62 Claude Le Jeune, Revecy venir du printans

63 Thomas Morley, My bonny lass she smileth Concise 136

64 Thomas Weelkes, As Vesta was Concise 136

65 John Dowland, Flow, my tears Concise 137

183660_00_i-xxxiv,1_r3_as.indd 15 06/12/13 12:33 AM

 xvi 2 Guide to Recordings

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

66 Tielman Susato, Dances, from Danserye 144

a) No. 5: Basse danse La morisque Concise
b) No. 38: Pavane La dona Concise
c) No. 50: Galliard La dona Concise
67 Anthony Holborne, Dances
a) The Night Watch, Almain
b) The Fairie-round, Galliard

68 Luis de Narváez, From Los seys libros del Delphín 146

a) Cancion Mille regretz Concise
b) Cuatro diferencias sobre “Guárdame las vacas” Concise

69 William Byrd, John come kiss me now Concise 148

70 Giovanni Gabrieli, Canzon septimi toni a 8, from Sacrae symphoniae 150

71 Claudio Monteverdi, Cruda Amarilli Concise 183

72 Giulio Caccini, Vedrò ’l mio sol Concise 185

73 Jacopo Peri, Le musiche sopra l’Euridice: Excerpts 190

a) Aria: Nel pur ardor
b) Dialogue in recitative: Per quel vago boschetto

74 Claudio Monteverdi, L’Orfeo: Excerpt from Act II 192

a) Aria/canzonetta: Vi ricorda o boschi ombrosi Concise
b) Song: Mira, deh mira Orfeo
c) Dialogue in recitative: Ahi, caso acerbo Concise
d) Recitative: Tu se’ morta Concise
e) Choral madrigal: Ahi, caso acerbo Concise
75 Claudio Monterverdi, L’incoronazione di Poppea: Act I, Scene 3 196
a) Dialogue in recitative: Signor, deh non partire Concise
b) Aria: In un sospir Concise
c) Aria: Signor, sempre mi vedi Concise
d) Dialogue in mixed styles: Adorati miei rai Concise
76 Antonio Cesti: Orontea, Act II 197
a) Scene 16, Recitative: E che si fa?
b) Scene 17, Opening aria: Intorno all’ idol mio

77 Barbara Strozzi, Lagrime mie Concise 204

78 Giovanni Gabrieli, In ecclesiis Concise 205

79 Alessandro Grandi, O quam tu pulchra es 207

80 Giacomo Carissimi, Historia di Jephte: Excerpts 208

a) Recitative: Plorate colles Concise
b) Chorus: Plorate filii Israel Concise
81 Heinrich Schütz, Saul, was verfolgst du mich, SWV 415,
from Symphoniae sacrae III Concise 209

82 Girolamo Frescobaldi, Toccata No. 3 Concise 215

83 Girolamo Frescobaldi, Ricercare after the Credo, from Mass for the Madonna,
in Fiori musicali 217

84 Biagio Marini, Sonata IV per il violino per sonar con due corde 219

183660_00_i-xxxiv,1_r3_as.indd 16 06/12/13 12:33 AM

 Guide to Recordings 2 xvii

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

85 Jean-Baptiste Lully, Armide 247

a) Overture Concise
b) Conclusion of divertissement from Act II, Scene 4: Laissons au tendre amour
c) Act II, Scene 5: Enfin il est en ma puissance Concise
86 Jean-Baptiste Lully, Te Deum: Conclusion 251

87 Denis Gaultier, La Coquette virtuose 224

88 Elisabeth-Claude Jacquet de la Guerre: Suite No. 3 in A Minor, from Pièces de clavecin 225
a) Prelude Concise
b) Allemande Concise
c) Courante I and II Concise
d) Sarabande
e) Gigue
f) Chaconne
g) Gavotte
h) Menuet

89 Henry Purcell, Dido and Aeneas: Conclusion 253

a) Recitative: Thy hand, Belinda Concise
b) Lament: When I am laid in earth Concise
c) Chorus: With drooping wings

90 Tomás de Torrejón y Velasco, La púrpura de la rosa: Excerpts 323

a) Dialogue in strophic song: Y bien, ¿qué es lo que adviertes?
b) Chorus: Corred, corred, cristales

91 Juan de Araujo, Los conflades de la estleya

92 Alessandro Scarlatti, Clori vezzosa, e bella: Conclusion 244

a) Recitative: Vivo penando
b) Aria: Sì, sì ben mio

93 Alessandro Scarlatti, La Griselda: Excerpt from Act I, Scene 2 241

94 Arcangelo Corelli, Trio Sonata in D Major, Op. 3, No. 2 230

a) Grave Concise
b) Allegro Concise
c) Adagio Concise
d) Allegro Concise
95 Dieterich Buxtehude, Praeludium in E Major, BuxWV 141 Concise 220

96 Antonio Vivaldi, Concerto for Violin and Orchestra in A Minor, Op. 3,

No. 6, from L’estro armonico 267
a) Allegro Concise
b) Largo
c) Presto

97 François Couperin, Vingt-cinquième ordre 269

a) La Visionaire Concise
b) La Muse victorieuse Concise
c) Les Ombres errantes

98 Jean-Philippe Rameau, Hippolyte et Aricie, Act IV 273

a) Conclusion of Scene 3 Concise
b) Scene 4 Concise

183660_00_i-xxxiv,1_r3_as.indd 17 06/12/13 12:33 AM

 xviii 2 Guide to Recordings

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

99 Georg Philipp Telemann, Paris Quartet No. 1 in G Major (Concerto Primo),

Movements 3–5 257
a) Presto
b) Largo
c) Allegro

100 Johann Sebastian Bach, Prelude and Fugue in A Minor, BWV 543 276
a) Prelude
b) Fugue

101 Johann Sebastian Bach, Chorale Prelude on Durch Adams Fall, BWV 637 277

102 Johann Sebastian Bach, The Well-Tempered Clavier, Book I 278

a) Prelude No. 8 in E b Minor Concise
b) Fugue No. 8 in D # Minor Concise

103 Johann Sebastian Bach, Nun komm, der Heiden Heiland, BWV 62 283
a) Chorus: Nun komm, der Heiden Heiland Concise
b) Aria: Bewundert, o Menschen
c) Recitative: So geht aus Gottes Herrlichkeit und Thron
d) Aria: Streite, siege, starker Held!
e) Accompanied recitative: Wir ehren diese Herrlichkeit
f) Chorale: Lob sei Gott, dem Vater, ton

104 Johann Sebastian Bach, St. Matthew Passion, BWV 244 284
a) No. 36, Biblical narrative: Und der Hohepriester antwortete
b) No. 37, Chorale: Wer hat dich so geschlagen
c) No. 38, Biblical narrative: Petrus aber saß draußen im Palast
d) No. 39, Aria: Erbarme dich
e) No. 40, Chorale: Bin ich gleich von dir gewichen

105 George Frideric Handel, Giulio Cesare: Act II 292

a) Scene 1: Eseguisti, oh Niren
b) Scene 2: V’adoro, pupille Concise

106 George Frideric Handel, Saul: Act II, Scene 10 295

a) No. 66, Accompanied recitative: The Time at length is come Concise

b) No. 67, Recitative: Where is the Son of Jesse? Concise

c) No. 68, Chorus: O fatal Consequence of Rage Concise

Volu m e 2: C l a s sic to Romantic

107 Giovanni Battista Pergolesi, La serva padrona 315

a) Recitative: Ah, quanto mi sta male Concise
b) Aria: Son imbrogliato io Concise
108 Johann Adolf Hasse, Cleofide: Act II, Scene 9, Digli ch’io son fedele 320

109 John Gay, The Beggar’s Opera: Scene 13 316

a) Aria XV: My heart was so free
b) Aria XVI: Were I laid on Greenland’s coast

110 Christoph Willibald Gluck, Orfeo ed Euridice: Excerpt from Act II, Scene 1 322

111 Giovanna Battista Pergolesi, Stabat mater

a) No. 4, Alto solo: Quae maerebat et dolebat
b) No. 5, Duet: Quis est homo

183660_00_i-xxxiv,1_r3_as.indd 18 06/12/13 12:33 AM

 Guide to Recordings 2 xix

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

112 William Billings, Creation, from The Continental Harmony 324

113 Domenico Scarlatti, Sonata in D Major, K. 119 Concise 328

114 Carl Philipp Emanuel Bach, Sonata in A Major, H. 186, Wq. 55/4:
Second movement, Poco adagio Concise 333

115 Giovanni Battista Sammartini, Symphony in F Major, No. 32: First movement, Presto 330

116 Johann Stamitz, Sinfonia a 8 in E b Major, Op. 11, No. 3: First movement, Allegro assai 330

117 Johann Christian Bach, Concerto for Harpsichord or Piano and Strings in E b Major,
Op. 7, No. 5: First movement, Allegro di molto 334

118 Joseph Haydn, String Quartet in E b Major, Op. 33, No. 2 (The Joke), Hob. III:38 347
a) Allegro moderato, cantabile
b) Scherzo: Allegro
c) Largo sostenuto
d) Finale: Presto Concise
119 Joseph Haydn, Symphony No. 88 in G Major, Hob. 1:88 342
a) Adagio—allegro Concise
b) Largo
c) Menuetto: Allegretto
d) Finale: Allegro con spirito

120 Joseph Haydn, The Creation: No. 2, In the beginning God 352

121 Wolfgang Amadeus Mozart, Piano Sonata in F Major, K. 332: First movement, Allegro 357

122 Wolfgang Amadeus Mozart, Piano Concerto in A Major, K. 488:

First movement, Allegro Concise 362

123 Wolfgang Amadeus Mozart, Symphony No. 41 in C Major (  Jupiter), K. 551: Finale 361

124 Wolfgang Amadeus Mozart, Don Giovanni: Act I 366

a) Scene 1 Concise
b) Scene 2 Concise
125 Ludwig van Beethoven, Piano Sonata in C Minor, Op. 13 (Pathétique):
First movement Concise 372

126 Ludwig van Beethoven, Symphony No. 3 in E b Major, Op. 55 (Eroica):

First movement, Allegro con brio Concise 376

127 Ludwig van Beethoven, String Quartet in C # Minor, Op. 131 386
a) First movement, Adagio ma non troppo e molto espressivo Concise

b) Second movement, Allegro molto vivace Concise

128 Franz Schubert, Gretchen am Spinnrade, D. 118 Concise 409

129 Franz Schubert, Winterreise, D. 911, No. 5, Der Lindenbaum Concise 409

130 Robert Schumann, Dichterliebe, Op. 48, No. 1, Im wunderschönen Monat Mai Concise 416

131 Stephen Foster, Jeanie with the Light Brown Hair 431

132 Robert Schumann, Carnaval, Op. 9 413

a) No. 5: Eusebius Concise
b) No. 6: Florestan Concise
c) No. 7: Coquette

183660_00_i-xxxiv,1_r3_as.indd 19 06/12/13 12:33 AM

 xx 2 Guide to Recordings

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

133 Fanny Mendelssohn Hensel, Das Jahr, No. 12, December 421

134 Fryderyk Chopin, Mazurka in B b Major, Op. 7, No. 1 Concise 421

135 Fryderyk Chopin, Nocturne in D b Major, Op. 27, No. 2 Concise 422

136 Franz Liszt, Trois études de concert, No. 3, Un sospiro Concise 466

137 Louis Moreau Gottschalk, Souvenir de Porto Rico (Marche des Gibaros), Op. 31 433

138 Hector Berlioz: Symphonie fantastique: Fifth movement,

“Dream of a Witches’ Sabbath” Concise 426

139 Felix Mendelssohn, Violin Concerto in E Minor, Op. 64: First movement,
Allegro molto appassionato Concise 418

140 Robert Schumann, Symphony No. 4 in D Minor, Op. 120: First movement,
Ziemlich langsam—lebhaft 416

141 Franz Schubert, String Quintet in C Major, D. 956: First movement,

Allegro ma non troppo 411

142 Clara Schumann, Piano Trio in G Minor, Op. 17: Third movement, Andante Concise 417

143 Felix Mendelssohn, Elijah, Op. 70: Chorus, And then shall your light break forth 419

144 Franz Schubert, Die Nacht, Op. 17, No. 4, D. 983c

145 Gioachino Rossini, Il barbiere di Siviglia: Act I, No. 7, Una voce poco fa Concise 440

146 Vincenzo Bellini, Norma: Excerpt from Act I, Scene 4, Casta diva 443

147 Giacomo Meyerbeer, Les Huguenots: Conclusion of Act II 436

a) Orchestral introduction and scene: Entrée de la Cour, Oui, d’un heureux hymen
b) Slow section: Serment, Par d’honneur
c) Accompanied recitative: Scène, Et maintenant
d) Fast conclusion: Strette, O transport!

148 Carl Maria von Weber, Der Freischütz: Act II, Finale, Wolf’s Glen Scene 450
a) Chorus and dialogue: Milch des Mondes fiel aufs Kraut
b) Accompanied recitative with spoken dialogue: Trefflich bedient!
c) Melodrama: Schütze, der im Dunkeln wacht

149 Richard Wagner, Tristan und Isolde 456

a) Prelude to Act I
b) Conclusion of Act I Concise
150 Giuseppe Verdi, La traviata, Act III, Scena and Duet 446
a) Scena: Signora Concise
b) Tempo d’attacco: Colpevol sono Concise
c) Cantabile: Parigi, o cara Concise
d) Tempo di mezzo: Ah non più Concise
e) Cabaletta: Ah! Gran Dio! Morir sì giovane Concise
151 Giacomo Puccini, Madama Butterfly: Excerpt from Act I 498

152 Georges Bizet, Carmen: Act I, No. 10, Seguidilla and Duet 437

153 Modest Musorgsky, Boris Godunov: Coronation Scene 491

154 Arthur Sullivan, The Pirates of Penzance: Act II, No. 17, When the foeman bares his steel 437

155 Johannes Brahms: Symphony No. 4 in E Minor, Op. 98: Fourth movement Concise 471

183660_00_i-xxxiv,1_r3_as.indd 20 06/12/13 12:33 AM

 Guide to Recordings 2 xxi

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

156 Johannes Brahms, Quintet for Piano and Strings in F Minor, Op. 34:
First movement, Allegro non troppo 470

157 Anton Bruckner, Virga Jesse, WAB 52 469

158 Richard Strauss, Don Quixote, Op. 35: Themes and Variations 1–2 Concise 488

159 Gabriel Fauré, Avant que tu ne t’en ailles, from La bonne chanson, Op. 61, No. 6 496

160 Piotr Il’yich Tchaikovsky, Symphony No. 6 in B Minor (Pathétique), Op. 74:
Third movement, Allegro molto vivace 476

161 Antonín Dvořák, Slavonic Dances, Op. 46, No. 1, Presto 480

162 Amy Beach, Piano Quintet in F# Minor, Op. 67: Third movement, Allegro agitato 500

163 John Philip Sousa: The Stars and Stripes Forever 534

Volu m e 3: T h e T w e n t i e t h C e n t u r y and After

164 Scott Joplin, Maple Leaf Rag 536

165 Gustav Mahler, Kindertotenlieder, No. 1, Nun will die Sonn’ so hell aufgeh’n Concise 486

166 Richard Strauss, Salome, Op. 54: Scene 4, Conclusion: Ah! Ich habe deinen Mund geküsst 489

167 Claude Debussy, Nocturnes, No. 1, Nuages Concise 520

168 Maurice Ravel, Le tombeau de Couperin: Menuet 523

169 Serge Rachmaninoff, Prelude in G Minor, Op. 23, No. 5 525

170 Alexander Scriabin, Vers la flamme, Op. 72 Concise 525

171 Erik Satie, Embryons desséchés, No. 3, De Podophthalma 529

172 Arnold Schoenberg, Pierrot lunaire, Op. 21 557

a) No. 8: Nacht Concise
b) No. 13: Enthauptung Concise
173 Arnold Schoenberg, Piano Suite, Op. 25 560
a) Prelude Concise
b) Menuet and Trio Concise
174 Alban Berg: Wozzeck, Op. 7: Act III 561
a) Scene 2
b) Scene 3 Concise
175 Anton Webern, Symphony, Op. 21: First movement, Ruhig schreitend 565

176 Igor Stravinsky, The Rite of Spring 568

a) Danse des adolescents Concise
b) Danse sacrale

177 Igor Stravinsky, Symphony of Psalms, First movement 572

178 Béla Bartók, Mikrokosmos, No. 123, Staccato and Legato Concise 576

179 Béla Bartók, Music for Strings, Percussion and Celesta: Third movement, Adagio Concise 577

180 Charles Ives, General William Booth Enters into Heaven Concise 582

181 George Gershwin, I Got Rhythm, from Girl Crazy Concise 540

182 Bessie Smith, Back Water Blues Concise 545

183660_00_i-xxxiv,1_r3_as.indd 21 06/12/13 12:33 AM

 xxii 2 Guide to Recordings

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

183 King Oliver, West End Blues Concise 546

184 Duke Ellington, Cotton Tail Concise 550

185 Darius Milhaud, La Création du monde, Op. 81a: First tableau 588

186 Kurt Weill, Die Dreigroschenoper: Prelude, Die Moritat von Mackie Messer Concise 589

187 Paul Hindemith, Symphony Mathis der Maler: Second movement, Grablegung 591

188 Sergey Prokofiev, Alexander Nevsky, Op. 78: Fourth movement, Arise,
Ye Russian People Concise 594

189 Dmitri Shostakovich, Symphony No. 5, Op. 47: Second movement, Allegretto 595

190 Heitor Villa-Lobos, Bachianas brasileiras No. 5, No. 1, Aria (Cantilena) Concise 597

191 Silvestre Revueltas, Homenaje a Federico García Lorca: First movement, Baile 598

192 Edgard Varèse, Hyperprism 599

193 Henry Cowell, The Banshee 601

194 Ruth Crawford Seeger, String Quartet 1931: Fourth movement,

Allegro possibile Concise 601

195 Aaron Copland, Appalachian Spring: Excerpt with Variations

on ’Tis the Gift to Be Simple Concise 604

196 William Grant Still, Symphony No. 1 (Afro-American):

First movement, Moderato assai Concise 605

197 Charlie Parker and Dizzy Gillespie, Anthropology 609

198 Leonard Bernstein, West Side Story: Act 1, No. 8, “Cool” 542

199 Vincent Persichetti, Symphony No. 6 for Band, Op. 69:

First movement, Adagio—Allegro

200 Benjamin Britten, Peter Grimes: Act III, Scene 2, To hell with all your mercy! 613

201 Olivier Messiaen, Quartet for the End of Time: First movement,
Liturgie de cristal Concise 611

202 Pierre Boulez, Le Marteau sans maître: Movement 6, Bourreaux de solitude 620

203 John Cage, Sonatas and Interludes: Sonata V Concise 615

204 John Cage, Music of Changes: Book I 616

205 George Crumb, Black Angels: Thirteen Images from the Dark Land 623
a) Image 4: Devil-Music Concise
b) Image 5: Danse macabre Concise
206 Edgard Varèse, Poème électronique Concise 624

207 Milton Babbitt, Philomel: Section I Concise 626

208 Krysztof Penderecki, Threnody for the Victims of Hiroshima 627

209 Bright Sheng, Seven Tunes Heard in China, for solo cello, No. 1, Seasons 637

210 Steve Reich, Tehillim: Part IV 633

211 John Adams, Short Ride in a Fast Machine 636

212 György Ligeti, Étude No. 9, Vertige 639

183660_00_i-xxxiv,1_r3_as.indd 22 06/12/13 12:33 AM

 Guide to Recordings 2 xxiii

NAW M TE X T
NO. COMPOSER A ND TITLE PAGE

213 Sofia Gubaidulina, Rejoice! Sonata for Violin and Violoncello: Fifth movement,
Listen to the still small voice within Concise 642

214 Alfred Schnittke, Concerto Grosso No. 1: Second movement, Toccata

215 Arvo Pärt, Seven Magnificat Antiphons 639

a) No. 1: O Weisheit
b) No. 6: O König aller Völker

216 Kaija Saariaho, L’Amour de loin: Act IV, Scene 3: Tempête Concise 628

217 Osvaldo Golijov, La Pasión según San Marcos 644

a) No. 24: Scorn and Denial
b) No. 25: The Rending of the Robe
c) No. 26: Colorless Moon—Aria of St. Peter’s Tears

218 Elliott Carter, Caténaires, for piano 621

219 John Adams, Doctor Atomic: Act I, Conclusion, Batter my heart Concise 636

220 Jennifer Higdon, blue cathedral: Opening 643

183660_00_i-xxxiv,1_r3_as.indd 23 06/12/13 12:33 AM

183660_00_i-xxxiv,1_r3_as.indd 24 06/12/13 12:33 AM
 P R E FA C E

Like so many music students, I came to music history through performance.

But it was my good fortune to have studied music history in college and beyond
with instructors for whom music history was just one branch of the history of
ideas, a reflection of broader movements of cultural history, the history of sci-
ence, of art and literature, or religion and philosophy—in short, a record of
human thought and creative activity.
From the beginning of my work on the first edition of Concise History of West-
ern Music, I have striven to introduce performers and liberal arts students to the
forces that shaped the works discussed in the text. In discovering how those
forces played out in the works of successive generations of composers, I hope
that students will be excited—as I was—to see how new discoveries, new ways of
thinking, and conflicts and their resolutions influence human choices and
values.
The fifth edition of Concise History of Western Music parallels the ninth edition
of A History of Western Music (HWM) by J. Peter Burkholder, Donald J. Grout, and
Claude V. Palisca, and matches the seventh edition of the Norton Anthology of
Western Music (NAWM) by Burkholder and Palisca. The first fourteen chapters
of Concise, organized into three parts that survey music from Antiquity and the
Middle Ages, Renaissance music, and Baroque music through Bach and Han-
del, are intended for use with Volume I of NAWM; Chapters 15–22 of Concise (or
Parts 4 and 5) discuss the Classic and Romantic repertories presented in Vol-
ume II of NAWM, including some music from the New World; and the final sec-
tion of Concise (Part 6), now containing six chapters, 23–28, corresponds to
NAWM Volume III, which is devoted to twentieth- and twenty-first-century
music in Europe and the Americas and has been considerably expanded.
At the suggestion of some of the reviewers of the fourth edition, I have given
the new text three more chapters than it had in the previous version. One of
these is accounted for by the separation of a previously overstuffed Chapter 7
into two smaller chapters treating vocal and instrumental music of the Renais-
sance, respectively. The other new chapters appear in Part 6, where I have
­thoroughly revised, updated, and expanded coverage of the twentieth and
twenty-first centuries. Reorganized chapters on the early twentieth century

xxv

183660_00_i-xxxiv,1_r3_as.indd 25 06/12/13 12:33 AM

Another random document with
no related content on Scribd:
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
 copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the
Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed

editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.