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TOP 100+Listening choices for Independent Listening Report #1.docx
- 1. TOP 100+ Listening choices for Independent Listening Report #1 Albinoni – Adagio for Strings and Organ (1671-1750) Bach, J.S. Brandenburg Concerti (all 6) (1685-1750) Cantata No. 80 St. Matthew Passion Concerto for two violins Suite for Orchestra, No. 3 in D (“Air”) Jesu Joy of Man’s Desiring “Sheep May Safely Graze” Contrapunctus IX Barber, Samuel- Adagio for Strings (1910-1981) Bartok Mysterious Mandarin (1881-1945) Concerto for Orchestra (except Mvt. 2) Beethoven Symphonies (All except No. 5) (1770-1827) Piano Concerto No. 5 “Emperor” Concerto in D for violin Piano Sonatas Piano Trio “Archduke” Fur Elise Fidelio (Opera, Overture) Leonore Overture Egmont Overture Prometheus Overture Missa Solemnis Berlioz Symphony Fantastique (all but IV, “March to the Scaffold”) (1803-1869) Requiem
- 2. Bernstein Candide Overture (19 - 2007) On the Waterfront (Suite) Bizet Carmen (Opera, Suite) (1838-75) L’Arlesienne Suites (except No. 2, “Farandole”) Brahms Symphonies (4) (1833-97) Academic Festival Overture Piano Concerti No. 1 and 2 Violin Concerto in D Concerto in A for Violin and Cello “Double” German Requiem Intermezzos for Piano “Nanie” for Chorus and Orchestra Prelude on “Lo How a Rose E’r Blooming” (transcribed for orchestra) Chamber music Chopin Ballades (1810-49) Nocturnes Waltzes Mazurkas Etudes (except Op. 9, No. 2 and Op. 10, No. 12 “Revolutionary”) Copland Appalachian Spring (except for No. 7: Theme and Variations on “Simple Gifts”) (1900-1990) Rodeo Billy the Kid Concerto for Clarinet Debussy Clair de Lune (1862-1918) La Mer Dukas Sorcerer’s Apprentice
- 3. (1865-1935) Procession of the Nobles Dvorak Symphonies (except No. 9 “From the New World”, Mvt. 1) (1841-1904) Cello Concerto Serenade in E Major Slavonik Dances Faure Requiem (1845-1924) Gershwin An American in Paris (1898-1924) Porgy and Bess (Opera) Grieg Peer Gynt Suite, Op. 46 (1843-1907) Piano Concerto in A Minor Grofe Grand Canyon Suite (1892-1972) Handel Messiah (except “Ev’ry Valley” and “Hallelujah”) (1685-1759) Water Music Music for the Royal Fireworks Organ Concerto Haydn, F.J. Symphonies (104!) (except No. 94, Mvt. 2 “Surprise”) (1732-1809) Trumpet Concerto in Eb Horn Concerto No. 2 in D The Creation (oratorio) Holst The Planets (1874-1934) Suite in Eb for Band Honneger Pacific 231 (20th C) Khachaturian Violin Concerto
- 4. ((1903-1978) Sabre Dance Suite Liszt Piano Concerto No. 1 in Bb Hungarian Rhapsodies (6 ) Les Preludes Mahler Symphonies (10) Das Lied von der Erde Mendelssohn Incidental Music from A Midsummer Night’s Dream Symphonies (5) Elijah (Oratorio) Hebrides Overture (Fingal’s Cave) Menotti Amahl and the Night Visitors (Christmas Opera) Mozart Piano Concerti (27) Symphonies (42+) Requiem String Quartets Flute Quartets Piano Quintet Horn Quintet in Eb Mussorgsky Pictures at an Exhibitiion (Ravel orchestration) Pachelbel Canon in D Prokoviev Peter and the Wolf Simple Symphony Puccini Operas (Madame Butterfly, La Boheme, The Girl of the Golden West, Tosca)
- 5. Rachmaninoff Piano Concerto No. 2 Rhapsody on a Theme of Paganini Ravel Bolero Pavane pou une infant defunte Respighi Pines of Rome Festivals of Rome Fountains of Rome Church Windows Rimsky-Korsakov Scherherazade Flight of the Bumblebee Saint-Saens Carnival of the Animals Symphony No. 3 “Organ” Sibelius Symphonies (5) Finlandia Schubert Symphonies (8) String Quartets Mass in C Sousa Marches Still Afro-American Symphony, Mvts. 1, 2, 4) Any chamber works Strauss, Johann Waltzes (Blue Danube, Voices of Spring) Strauss, Richard Also Sprach Zarathustra Til Eulenspiegel’s Merry Pranks Ein Heldenleben Stravinsky Pulcinella Suite Firebird Rite of Spring
- 6. Tchaikovsky Symphonies (6) 1812 Overture Swan Lake Sleeping Beauty Nutcracker (except “Dance of the Reed Pipes”) Serenade for Strings Capriccio Italien Capriccio Espaniol Vaughn Williams Fantasia on Greensleeves Rhosymedre Folk Song Suite (Wind Band) Variations on a Theme of Thomas Tallis Sea Symphony Vivaldi The Four Seasons Gloria Wagner Overtures to Operas: The Flying Dutchman, Tannhauser, The Ring Cycle, Die Meistersinger, Parsifal Siegfried Idyll Walton Serenade to Music Crown Imperial March Belshazzar’s Feast INDEPENDENT LISTENING REPORT #1 “A written report on a recording of a musical work or a movement of a musical work.”
- 7. The first ILR is a report on a physical recording (CD, DVD, VHS) of a musical work. The work must be “art music” as defined in class and in the text The Enjoyment of Music. The work may not be chosen from those included in your textbook’s Listening Guides. Suggested works come from the following. Symphonies, operas, chamber music, concert band music, solo vocal or instrumental works. To find works of this nature, look in the “classical” section of the CD collection in your local library. DVD’s and VHS’s are usually shelved according to “opera”, “chamber music”, etc. The librarian or the catalog on computer will be able to assist you in finding Dewey Decimal numbers for works of art music. As a starting point, music is cataloged in the 780’s. As you listen to your chosen work, take notes. Plan to listen to it at least twice. This will give you a clearer picture of the organization of the work, compositional elements used by the composer, and a fair idea of the work’s overall impact. To be“fair” to the work, never evaluate it on the basis of one hearing. SETTING UP YOUR REPORT Your report should include, but need not be limited to, the following information. I. A short introductory paragraph including: A. The composer and name of the work. B. The historical style period of the work, and the composer’s birth/death dates. C. The type of work. (Symphony, concerto, brass quintet, etc.)
- 8. II. A description of the work. THIS IS THE MOST IMPORTANT SECTION OF YOUR REPORT AND IS WEIGHTED THE MOST HEAVILY. A. Beginning 1. Dynamics, tempo, instruments/voices, ranges 2. Was there an opening theme? How was it stated? B. Development 1. What kind of form is evident in this work? 2. How did the composer use repetition, contrast, or variation? 3. How did the composer bring the work to a satisfying end? III. Conclusion What did you think of this work? This composer, based on this work? Would you check out another recording by him/her? Did you enjoy this style period? FORMATTING YOUR REPORT 1. About 250 words long—no less than one full page. 2. Double space 3. Times New Roman or Arial font 4. 12 pt. font size 5. black ink 6. no cover sheet 7. include your name, section, and ILR No. 1 at the top right of the first page.
- 9. 8. staple pages together (if necessary) 9. PROOFREAD!! Rules of grammar and composition count. CREDIT SOURCES USING PARENTHETICAL CITATIONS, IF YOU BORROW AN AUTHOR’S IDEAS OR WORDS.