MuHL 232: Music History II



MuHL 232: Music History II

From Late Baroque to Romanticism

(ca. 1680-1850)

Spring Semester 2010

Instructor: Prof. Bruce Alan Brown Lecture: M/W 10:00-11:20, LPB G100

Office hours (by appointment): M 1:00-2:00, Tu 3:00-4:00, WPH 304A

Tel.: 213/740-3212 (departmental assistant: 740-3211) E-mail: brucebro@usc.edu

Teaching assistant: Eric Davis (E-mail: ericd@usc.edu)

In this course we will survey Western art music from the emergence around 1680 of a more stable tonal vocabulary and a broad array of quite durable musical forms (in what became known as the “Common-Practice Period”), through the mid-Romantic period, when both this musical language and its associated genres and forms were changing in important ways. Pre-requisites for MuHL 232 are MuCO 132a-b and 133a-b, or their equivalents at another institution. MuHL 331, given during the next fall semester, will continue this history up to the present. Our approach will be both historical and analytical; musical works will be considered as parts of larger cultural, intellectual and political contexts, on the one hand, and as embodiments of musical craft on the other.

Required texts (available at the University Bookstore, third floor; texts with call number are on reserve or in the reference section of the Music Library); you should already have most of these from MuHL 231:

❖ Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd edn. (Belmont, CA: Thomson/Schirmer, 2008) ML160.M865 2008 ref.

❖ either: Craig Wright and Bryan Simms, Music in Western Civilization (Belmont, CA: Thomson/ Schirmer, 2006) (= the full version of the textbook)

❖ or: Craig Wright and Bryan Simms, Music in Western Civilization, vol. 1: Antiquity through the Baroque; and: vol. 2: The Enlightenment to the Present (Belmont, CA: Thomson/Schirmer, 2006)

ML160.W955 2006b v.1-2

❖ or: Craig Wright and Bryan Simms, Music in Western Civilization, vol. B: The Baroque and Classical Eras; and: vol. C: Romanticism to the Present (Belmont, CA: Thomson/Schirmer, 2006)

ML160.W955 2006 v.B-C

❖ either: Timothy Roden, Craig Wright and Bryan Simms, Anthology for Music in Western Civilization, vol. 1: Antiquity through the Baroque; and: 2: The Enlightenment to the Present (Belmont, CA: Thomson/Schirmer, 2006)

❖ or: Timothy Roden, Craig Wright and Bryan Simms, Anthology for Music in Western Civilization, vol. B: The Baroque and Classical Eras; and: vol. C: Romanticism to the Present (Belmont, CA: Thomson/Schirmer, 2006) MT6.A575 2006, v.B-C

❖ either: CD sets for Craig Wright and Bryan Simms, Music in Western Civilization, vol. 1: Antiquity through the Baroque; and: vol. 2: The Enlightenment to the Present (Belmont, CA: Thomson/ Schirmer, 2006)

❖ or: CD sets for Craig Wright and Bryan Simms, Music in Western Civilization, vol. B: The Baroque and Classical Eras; and: vol. C: Romanticism to the Present (Belmont, CA: Thomson/Schirmer, 2006)

11003 v.B-C

❖ Supplementary Score Anthology of pieces not included in the Roden/Wright/Simms Anthology – on sale in the custom-publishing section of the bookstore.

Our basic historical text will be Wright/Simms, which will be useful both for general background and for analysis of specific works. Readings are assigned for each lecture, but you should feel free also to browse or read ahead. NB: The textbook is not a substitute for lectures, on which exams will primarily be based.

Weiss and Taruskin's anthology of primary writings on music aims to give a more direct feeling for the history of music by presenting the documents themselves, rather than a filtered interpretation of them. You should try to keep ahead of the readings in both this book and the main textbooks.

The choice of pieces has been dictated in large part by the selection offered in the Roden/Wright/ Simms Anthology. These are pieces that history has “canonized” as first-rate examples of their forms and styles. The main advantages to using an anthology are: 1) ease of reference while listening in class, or away from the library, 2) freedom to mark the scores – which you may not do with library scores! – and 3) low cost, compared to what you'd pay for all these scores separately. Please bring your anthology to every class in which we will cover works included there (see schedule below).

Scores of shorter works not included in the published anthology will be in a Supplementary Score Anthology (a custom-publishing text available for purchase in bookstore). Please bring this anthology to every class in which we will cover works included there (see schedule below).

Scores and other library materials meant for use in connection with writing projects will be on reserve either in the Music Library (for use in the Music Library only) or on the Ares system for electronic reserves. To register for the latter, use the password “trazom” (= “mozart” backwards).

This class will use Blackboard for various purposes: announcements, posting of assignments and handouts, online discussions, and submission of written assignments. Stayed tuned for details.

SUGGESTED FURTHER READINGS

Source readings (in addition to Weiss/Taruskin):

Oliver Strunk, ed., Source Readings in Music History, rev. edn. by Leo Treitler (New York: Norton, 1998)

ML60 S89 1998 ref.

A more comprehensive survey of music history:

Richard Taruskin, The Oxford History of Western Music. 6 vols. Oxford and New York: Oxford University Press, 2005. Vol. 3: The Nineteenth Century; vol. 4: The Early Twentieth Century, vol. 5: The Late Twentieth Century. ML160.T18 2005 v. 4-5 ref.

Various Grove dictionaries (in the Music Library's reference section):

Stanley Sadie and John Tyrrell, eds., The New Grove Dictionary of Music and Musicians, revised edn. (London: Macmillan, 2001; online version at ) ML100.N48 200 ref.

Stanley Sadie, ed., The New Grove Dictionary of Opera (London: Macmillan, 1992; online version at ) ML102.O6N5 1992 ref.

Listening: Assigned class listenings are largely available in the CD set that accompanies the Wright/ Simms textbook. A few supplemental assigned listenings are available on a class website, accessible with a user i.d. and password (to be given out in class). As a necessary precaution (in terms of copyright), access to the class website is restricted to USC accounts only (i.e., addresses ending in @usc.edu).

For these pieces on the website, you can listen from any computer with an Internet connection and the (free) RealPlayer program on it (the Leavey Library computers are so equipped, as are also those in the computer lab in the basement of Waite Phillips Hall [WPH]). The Music Library's computers are not equipped with RealPlayer. Consult the separate sheet of instructions for the website, distributed in class. NB: If listening on a non-USC computer (e.g., at home via cable Internet or WiFi), you will need to use USC’s Web-based VPN (Virtual Private Network) in order to get around the USC firewall; see and the further instructions for your operating system.

Wherever you listen, you should plan a regular schedule of at least two listening sessions per week, in order to keep up with lectures. Do NOT leave all your listening to just before exam time! You may also check out the Music Library's regular CDs (for use in the library) of pieces for which these are available (see Homer catalogue). You may also wish to purchase commercial CDs or audio downloads of some of the pieces from the listening list, on your own.

A certain number of our pieces are also available via online listening services to which USC subscribes, Classical Music Library and Naxos Music Library (accessed via the USC Library system’s electronic resources: ). Note that these are restricted to persons with USC e-mail addresses, or using USC’s public computer terminals, or using the library remote-access portal: . The content of the CDs in the Simms/Wright CD anthology is duplicated (though with different performances) in the “Companion to Wright” playlist on Classical Music Library; click on the “Playlists” tab, then either search or scroll through the results to find this playlist.

Attendance: Attendance is mandatory, and will be taken most days. You are responsible for all material, whether you were there when it was presented or not. If for some legitimate reason you must miss class, arrive late, or leave early, please inform me in advance (in person, by phone or by e-mail; if I'm not in my office, the phone will ring through to my voice-mail). Unexcused absences or tardiness will cause your grade in the class to be lowered. Legitimate excuses include illness, personal emergencies, or occasional conflicts with master classes or rehearsals of large ensembles, but NOT lessons or outside gigs.

General expectations:

Regardless of educational, linguistic, or national background, all students in this course, are expected to have a good command of spoken and written English. You should come to class prepared to take full and accurate notes on the lectures, and to participate in discussions. If you are having trouble following the lectures, try 1) sitting closer to the front of the room, 2) recording lectures, and 3) getting help outside of class (with one of the teaching assistants, for instance) – either on lecture material, or with English comprehension. But if you are still having trouble, or spending too much time on coursework, after trying these remedies, you should consider dropping the class and waiting to take it until you are better prepared. Please feel free to talk to me or the teaching assistant about any problems you are having.

Written work must be prepared on computer (double-spaced), and include your name (student identification number is not necessary), the course number, the date the work was submitted, and the title of the assignment. All work must be entirely your own, unless you are specifically instructed to collaborate. See the guidelines on academic integrity (the URL is given below) if you are uncertain as to what constitutes plagiarism, or proper and improper use of sources.

Since this class covers a large amount of material, it is to your advantage to make use of my office hours – not only if you are having problems with the material, but also simply in order to find out on a topic more than can be covered in class, or so that we can become better acquainted. The pieces and information covered in class are only a starting point; don't limit yourself to just that!

The teaching assistant will also be holding office hours (though not always in an actual office). Times and places will be announced in class.

All students enrolled in MuHL 232 MUST have completed, with a passing grade, MuCO 132a-b and MuCO 133a-b, or their equivalents at another institution – as measured by the MuCO Equivalency Exam.

Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me as early in the semester as possible. DSP is located in STU 301 and is open from 8:30 a.m. to 5:00 p.m., Monday through Friday; phone: 213/740-0776.

Evaluation:

• 2 midterm exams and a final exam (20-25% ea., at my discretion); these involve definitions and term/person identifications, listening and objective questions, and short essays. Exams are based on lectures, and assigned readings and listenings, and are not cumulative.

• 2-3 short listening/(reading) quizzes (unannounced, 5% total). No make-ups are possible; if you miss one of the quizzes due to a verifiable illness or emergency, you may average your scores for the other quiz(zes). I reserve the right to cancel quizzes if we need the time for lecture.

• 1 or more written assignments (25-30% total), either analytical or historical in nature, on pieces or topics to be assigned; due as announced in class.

• Class participation (+/- 5%): active, productive participation in class and online (Blackboard) discussions, and demonstration of acquaintance with assigned readings and listening excerpts, can raise your grade; lack of participation and/or preparation, or disruption of class, will lower it.

THERE WILL BE NO MAKE-UPS FOR EXAMS

except in cases of a verified illness or emergency,

of which I am informed in advance.

THERE WILL BE NO EARLY FINAL EXAMS

(these are banned by University regulations)

WRITTEN ASSIGNMENTS ARE DUE BY THE DATE AND TIME INDICATED, ON BLACKBOARD

Do not skip class in order to finish writing a paper. Late papers and any other written work will normally be graded down by one increment (e.g., B to B-) for each day late, except in cases of a verified illness or emergency. If you think you may not be able to meet a deadline, please contact me before it arrives, to discuss your options.

In the event of an emergency, please contact the USC Emergency Information office at 213/740-9233. Students are also encouraged to enroll in USC’s new TrojansAlert system, which allows University officials to contact members of the campus community during an emergency by sending messages (text or voice) to e-mail accounts, cell phones, pagers, BlackBerries, smart phones, and land-line phones; see , and also the more general website .

The USC Code of Academic Integrity applies to all portions of this course; see summary below, and the pertinent sections of the Student Judicial Affairs website , and especially the online publications there “Guide to Avoiding Plagiarism” and “Understanding and Avoiding Academic Dishonesty.”

Academic Dishonesty Sanction Guidelines

|Violation |Recommended Sanction for Undergraduates* |

|Copying answers from other students on exam.** |F for course. |

|One person allowing another to cheat from his/her exam or |F for course for both persons. |

|assignment. | |

|Possessing or using material during exam (crib sheets, notes, |F for course. |

|books, etc.) which is not expressly permitted by the instructor. | |

|Continuing to write after exam has ended. |F for course. |

|Taking exam from room and later claiming that the instructor lost |F for course and recommendation for further disciplinary action |

|it. |(possible suspension). |

|Changing answers after exam has been returned. |F for course and recommendation for further disciplinary action |

| |(possible suspension). |

|Fraudulent possession of exam prior to administration. |F for course and recommendation for suspension. |

|Obtaining a copy of an exam or answer key prior to administration. |Suspension or expulsion from the university; F for course. |

|Having someone else take an exam for oneself. |Suspension or expulsion from the university for both students; F |

| |for course. |

|Plagiarism. |F for course. |

|Submission of purchased term papers or papers done by others. |F for course and recommendation for further disciplinary action |

| |(possible suspension). |

|Submission of the same term papers to more than one instructor, |F for both courses. |

|where no previous approval has been given. | |

|Unauthorized collaboration on an assignment. |F for the course for both students. |

|Falsification of information in admission applications (including |Revocation of university admission without opportunity to reapply.|

|supporting documentation). | |

|Documentary falsification (e.g., petitions and supporting |Suspension or expulsion from the university; F for course when |

|materials; medical documentation). |related to a specific course. |

|Plagiarism in a graduate thesis or dissertation. |Expulsion from the university when discovered prior to graduation;|

| |revocation of degree when discovered subsequent to graduation. |

*Assuming first offense

**Exam, quiz, tests, assignments or other course work.

S C H E D U L E

B = Brown MuHL 280a/b listening websites (= the former numbers for this course)

C = Classical Music Library (among the USC Library’s electronic databases)

CD = Roden/Wright/Simms CD set (on reserve)

N = Naxos Music Library (among the USC Library’s electronic databases)

R = Roden/Wright/Simms anthology

S = piece in Supplementary Score Anthology

WS = reading (listed by chapter and/or page numbers) in Wright/Simms textbook

WT = reading (listed by reading number, not page number) in Weiss/Taruskin, Music in the Western World, 2nd edition [2008]); smaller number after / = reading number in 1st edition

|week |date |topics, readings, assignment |

| | | |

|I |M 11 Jan. |Introduction to the class |

| | |Lully and French tragédie lyrique |

| | |French keyboard and instrumental music |

| |Read |WS Chs. 35, 36 |

| | |WT 54-55/53-54, 67/66 |

| |Listen |Jean-Baptiste Lully, Overture and monologue “Enfin, il est en ma puissance” from Armide (1686); R101, |

| | |CD5/13-14 |

| | |Denis Gaultier, “Tombeau de Madamoiselle Gaultier” from La Rhétorique des Dieux (1652); R103, CD5/17 |

| | |François Couperin, “La Favorite” (Pièces de clavecin, premier livre, 1713) and “L'Arlequine” (Pièces de |

| | |clavecin, quatrième livre, 1730); R104-5, CD5/18-19 |

| |W 13 Jan. |German keyboard and instrumental music |

| |Read |WS Ch. 34 |

| | |WT 59/58 |

| |Listen |Johann Jakob Froberger, Suite No. 6 in C for harpsichord (1654); R96, CD5/5-8 |

| | |Heinrich Ignaz Franz von Biber, “The Resurrection” from Mystery Sonatas (ca. 1674); R97, CD5/9-10 |

| | |Dieterich Buxtehude, chorale fantasy “Wie schön leuchtet der Morgenstern” (ca. 1690); R98, CD5/11 |

| | |Johann Pachelbel, Canon in D major (1690); R100, N (London Baroque), B |

|II |M 18 Jan. |NO MEETING (Martin Luther King Day) |

| |W 20 Jan. |Purcell’s London |

| | |Ballad opera |

| |Read |WS Ch. 37, pp. 370-71 |

| |Listen |Henry Purcell, recitative “Thy hand Belinda” and aria “When I am Laid in Earth” from Dido and Aeneas (1689);|

| | |R106, CD5/20-21 |

| | |John Gay/Johann Christoph Pepusch (arr.), excerpts from The Beggar’s Opera (1728); R119, CD6/17-20 |

|III |M 25 Jan. |Handel in London: opera, oratorio, music for the court |

| |Read |WS Ch. 38 |

| | |WT 69-70/68-69 |

| |Listen |George Frideric Handel, Minuet and Trio, Hornpipe from Water Music (1717); R109, CD5/26-27 |

| | |Handel, aria “V’adoro, pupille” from Giulio Cesare in Egitto (1724); R110, CD5/28 |

| | |Handel, aria “He shall feed his flock” and “Hallelujah” chorus from Messiah (1741); R111, CD6/1-2, N |

| | |(Chandos) |

| |W 27 Jan. |J. S. Bach: keyboard and instrumental music |

| |Read |WS Ch. 39 |

| | |WT 72-73/71-72 |

| |Listen |Johann Sebastian Bach, chorale preludes “In dulci jubilo” and “Durch Adams Fall” from Orgelbüchlein (ca. |

| | |1710); R112-13, CD6/3-4 |

| | |Bach, Prelude and Fugue in C minor from Book I (1722) of Das wohltemperierte Clavier (The Well-Tempered |

| | |Clavier); R114, CD6/5-6 |

| | |Bach, first movement from “Brandenburg” Concerto No. 5 in D, BWV 1050 (1721); R115, CD6/7 |

|IV |M 1 Feb. |J. S. Bach: sacred vocal music |

| |Read |WS Ch. 40 |

| | |WT 71/70 |

| |Listen |Bach, Cantata “Wachet auf, ruft uns die Stimme,” BWV 140 (1731); R116, CD6/8-13, N (Koopman) |

| | |Bach, “Crucifixus” and “Et resurrexit” from Credo of B-Minor Mass, BWV 232 (1749); R117, CD 6/14-15, C |

| | |(King’s Consort), N (Chandos) |

| |W 3 Feb. |Italian opera: dramma per musica, the comic intermezzo |

| | |Scarlatti keyboard sonatas |

| |Read |WS pp. 364-65, Ch. 41 (through p. 372), pp. 387-89 |

| | |WT 61-65/60-64, 79/78 (Wöchentliche Nachrichten) |

| |Listen |Johann Adolf Hasse, aria “Digli ch’io son fedele” from Cleofide (1731); R118; CD6/16 |

| | |Giovanni Battista Pergolesi, recitative “Io non so chi mi tien...” and duet “Lo conosco a quegli occhietti” |

| | |from La serva padrona (1733); R120; CD6/21-22 |

| | |Domenico Scarlatti, Sonata No. 26 in A from Essercizi per gravicembalo (1738); R125, CD7/7 |

|V |M 8 Feb. |Italian opera buffa |

| | |Review |

| |Read |WT 79/78 (final part by Hiller) |

| |Listen |Baldassare Galuppi, finale from Act I of Il mondo alla roversa (1750); N, B |

| |W 10 Feb. |1st MIDTERM |

| | | |

|VI |M 15 Feb. |NO MEETING (Presidents' Day) |

| |W 17 Feb. |Rameau: tragédie lyrique, opéra-ballet |

| | |Parisian opéra-comique at mid-century |

| |Read |WS pp. 320-21, 373-74 |

| | |WT 79/78 (Letter to a Lady…) |

| |Listen |Jean-Philippe Rameau, excerpts from Pygmalion (1748); S1, C, B |

| | |Antoine Dauvergne, ariette “Sa nonchalance” from Les Troqueurs (1753); S2, B |

|VII |M 22 Feb. |Viennese reform opera and ballet |

| |Read |WS pp. 374-77 |

| | |WT 83/82 |

| |Listen |Gluck, finale from Don Juan, ou Le Festin de pierre (1761); S3, B |

| | |Christoph Willibald Gluck, excerpts from Orfeo ed Euridice (1762); R122, CD7/1-2, N |

| |W 24 Feb. |The German Sturm und Drang: keyboard music, Melodram |

| |Read |WS pp. 410, 389-92 |

| | |WT 78/77 |

| |Listen |Carl Philipp Emanuel Bach, Fantasia in C minor from 18 Probestücke in 6 Sonaten (1753); R126, CD7/8 |

| | |Georg Anton (Jiří Antonín) Benda, excerpt from Ariadne auf Naxos (1774); S4, N, B |

|VIII |M 1 Mar. |The mid-18th-century symphony |

| |Read |WS Chs. 42, 44, 45 (through p. 410) |

| | |WT 82/81 |

| |Listen |Giovanni Battista Sammartini, first movement from Symphony in D, J-C 15 (early 1740s); R123, CD7/5 |

| | |Johann Stamitz, first movement from Symphony in E flat (La melodia germanica, No. 3; ca. 1755); R124, CD |

| | |7/6 |

| | |Joseph Haydn, first movement from Symphony No. 6 in D, “Le Matin” (Morning, 1761); R128, CD7/9 |

| |W 3 Mar. |The classical string quartet |

| |Read |WS pp. 410-15, 428-29 |

| |Listen |Haydn, first movement from String Quartet in C, op. 33, no. 3 (1781); R129, CD7/10 |

| | |Wolfgang Amadè Mozart, first movement from String Quartet in C, K. 465 (1785); R135, B, C (Salomon Quartet),|

| | |N |

|IX |M 8 Mar. |The late-18th-century piano concerto |

| |Read |WS pp. 422-23, 431-33 |

| |Listen |Mozart, first movement from Piano concerto in A, K. 488 (1786); R136, CD8/1 |

| |W 10 Mar. |Viennese Singspiel and opera buffa |

| |Read |WS Ch. 48 |

| |Listen |Mozart, aria “Solche hergelauf’ne Laffen,” from Die Entführung aus dem Serail (1782); S5, N, B |

| | |Mozart, excerpts from Le nozze di Figaro (1786); R137, CD8/2-5 |

| |M 15 Mar. |} |

| | |} NO MEETING (Spring break) |

| |W 17 Mar. |} |

|X |M 22 Mar. |Mozart: late symphonies |

| |Read |WS pp. 423-28 |

| |Listen |Mozart, first movement from Symphony No. 40 in G minor, K. 550 (1788); R133, CD7/14 |

| | |Mozart, finale Symphony No. 41 in C, K. 551 (1788); R134, CD7/15 |

| |W 24 Mar. |Term-paper tips |

| | |Review |

|XI |M 29 Mar. |2nd MIDTERM |

| | | |

| |W 31 Mar. |Haydn after the death of Mozart |

| |Read |WS Ch. 46 |

| | |WT 89-90/87-88 |

| |Listen |Haydn, first movement from Symphony No. 99 in E flat (1794); R131, CD7/12 |

| | |Haydn, excerpts from Die Schöpfung (The Creation, 1798); R132, CD7/13, N (Norrington or Spering), B |

|XII |M 5 Apr. |Beethoven in Vienna: early and “heroic” periods |

| |Read |WS Chs. 49-50 |

| | |WT 92/90, 94/92 |

| |Listen |Ludwig van Beethoven, first movement from Sonata No. 8 in C minor, “Pathétique,” op. 13 (publ. 1799); R139, |

| | |CD8/8 |

| | |Beethoven, second movement from Symphony No. 3 in E flat, “Eroica,” op. 55 (1805); R141, CD8/10 |

| |W 7 Apr. |Beethoven: late works |

| |Read |WS Ch. 51 |

| | |WT 95/93 |

| |Listen |Beethoven, Kyrie from Missa solemnis (1823); R143, CD8/12 |

| | |Beethoven, fifth movement (Cavatina) from String Quartet in B flat, op. 130 (1826); R142, CD8/11 |

| | | |

|XIII |M 12 Apr. |Schubert: lieder and instrumental works |

| |Read |WS pp. 472-75, Ch. 52 |

| | |WT 99/97 |

| |Listen |Schubert, “Nähe des Geliebten,” D. 162 (1815); R146, CD9/3 |

| | |Franz Schubert, “Erlkönig,” D. 328 (1815); R144, CD9/1 |

| | |Schubert, “Ganymed,” D. 544 (1817); R145, CD9/2 |

| | |Schubert, Impromptu No. 3 in G flat, D. 899/3 (1827); S6, N, B |

| |W 16 Apr. |Paris: Berlioz and Chopin |

| |Read |WS Ch. 53 |

| | |WT 103-4/101-2, 108/106 |

| |Listen |Hector Berlioz, fourth movement (March to the Scaffold) from Symphonie fantastique, op. 14 (1830); R147, |

| | |CD9/4 |

| | |Berlioz, “Absence” from Les Nuits d’été, op. 7 (1840); R148, CD9/5 |

| | |Frédéric Chopin, Nocturne in D flat, op. 27, no. 2 (1835); R149, CD9/6 |

| | | |

|XIV |M 29 Apr. |Leipzig: the Mendelssohns and the Schumanns |

| |Read |WS Ch. 54 |

| | |WT 105/103, 109/107 |

| |Listen |Felix Mendelssohn, first movement from Piano Trio in D minor, op. 49 (1839); R150, CD9/7 |

| | |Fanny Mendelssohn, “Sehnsucht” (by 1830); S7, C (Baird), N (Kolb), B |

| | |Clara Schumann, “Liebst du um Schönheit” (1841); R152, CD9/9 |

| |W 21 Apr. |Weber, Wagner, and Romantic opera |

| |Read |WS Ch. 55 |

| | |WT 111/108 |

| |Listen |Carl Maria von Weber, finale to Act II of Der Freischütz (1821); R153, CD9/10 |

| | |Richard Wagner, Entrance of the Gods into Valhalla from Das Rheingold (1854); R154, CD9/11 |

| | | |

| | | |

|XV |M 26 Apr. |Italian opera of the early and middle Ottocento |

| |Read |WS Ch. 56 |

| | |WT 98/96, 110/— |

| |Listen |Gioachino Rossini, excerpts from Il barbiere di Siviglia (1816); R155, CD9/12-13 |

| | |Giuseppe Verdi, scene and aria “Quale d’armi fragor” from Il Trovatore (1853) ; S8, C (Pappano), N, B |

| |W 28 Apr. |Review |

FINAL EXAMINATION: Monday, 10 May, 8:00-10:00 a.m. (sorry!)

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