Additional Practice 2011 ESSAYS

Polonaise in A flat major, op. 53

The Polonaise in A flat major, op. 53 is a solo piano work that was written by Frdric Chopin and was
composed in 1842. The key of the piece is in A flat major, with a time signature of . The tempo of the piece
is Maestoso (majestic"). The form may be viewed as intermediate between ternary (A-B-A) and rondo (A-B-A-C-A),
since the first interlude is much shorter than the second (16 vs. 74 bars). The main theme is preceded by an
introduction of about thirty seconds in length. The piece features a grand introduction with fast
ascending chromatic notes in both hands, setting the mood of the piece, yet it shows the heroic side of Chopin's art.
The first theme is a dance-like theme and in the tonic key of A-flat major. It is the familiar part of the piece and has
the left hand moving in pounding octaves. The theme is repeated up an octave with short trills that fill some of the
auditory gaps in the theme. The first interlude presents a series of chord progressions that lead into a recount of the
traditional polonaise melody, with the polonaise rhythm employed in the left-hand accompaniment. The main theme
then repeats once more. The second main interlude (or trio section) opens with six loud arpeggio chords before
switching to a very soft bass ostinato of descending octaves first in the key of E major and then in E-flat
major (written as D-sharp major). A march-like melody follows the descending octaves and this occurs twice, and
then a long lyrical interlude firstly with harmonic chord progressions and frequent modulations. This ends in a
descending passage before the main theme is replayed. The theme is played louder and more dramatically and
ends in a Coda including material derived from the main theme.

Eine kleine Nachtmusik, K 525: Romanza

The second movement, in C major, is a "Romanza", with the tempo marked Andante. A feeling of intimacy and
tenderness remains throughout this movement. It is in rondo form, taking the shape ABACA plus a final coda. The
keys of the sections are C major for Sections A and B, and C minor for Section C. The middle appearance of A is
truncated, consisting of only the first half of the theme. The movement has an evoking gavotte rhythm: each of its
sections begins in the middle of the measure, with a double upbeat. In Section A, the character is lyrical, understated,
simple, yet elegant, and unfolds over a tonic pedal. The balance is achieved through four-measure phrases with clear-cut
cadences and the internal structure of this section is rounded binary form. Section B has a new melody that is
introduced and becomes more active rhythmically, yet the melodic line is embellished. In Section C, it is in a new key: C
minor, where there is imitative dialogue between the outer parts and has repeated sixteenth-note figures in the inner
voices. It then comes back to Section A, where the key returns in C major, and ends with a Coda that grows out of the
Section A material and brings the movement to a gentle close.

Symphony no. 5 in C minor, op. 67: First

Movement
The first movement opens with the four-note motif discussed above, one of the most famous in western music. There is
considerable debate among conductors as to the manner of playing the four opening bars. Some conductors take it in strict
allegro tempo; others take the liberty of a weighty treatment, playing the motif in a much slower and more stately tempo; yet
others take the motif molto ritardando (a pronounced slowing through each four-note phrase), arguing that the fermata over
the fourth note justifies this. Some critics consider it crucial to convey the spirit of and-two-and one, as written, and consider
the more common one-two-three-four to be misleading.

The first movement is in the traditional sonata form that Beethoven inherited from
his classical predecessors, Haydn and Mozart (in which the main ideas that are introduced in the first few pages undergo
elaborate development through many keys, with a dramatic return to the opening sectionthe recapitulationabout threequarters of the way through). It starts out with two dramatic fortissimo phrases, the famous motif, commanding the listener's
attention. Following the first four bars, Beethoven uses imitations and sequences to expand the theme, these pithy imitations
tumbling over each other with such rhythmic regularity that they appear to form a single, flowing melody. Shortly after, a very
short fortissimo bridge, played by the horns, takes place before a second theme is introduced. This second theme is in E flat
major, the relative major, and it is more lyrical, written piano and featuring the four-note motif in the string accompaniment.
The codetta is again based on the four-note motif. The development section follows, including the bridge. During the
recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a
massive coda.

MAY 2012 ESSAY

Madama Butterfly
Madama Butterfly is an Italian verismo opera in three acts that was written by Puccini, premiered in 1904, and was based on a play by David
Belasco. There are 4 main characters in the play known as Cio-Cio-San (soprano), Suzuki (mezzo soprano), B.F. Pinkerton (tenor), and
Sharpless (baritone). Madama Butterfly tells a tragic story of a Japanese geisha who marries an American naval officer, only to have him
abandon her and return three years later with his American wife.
Act I
A US Naval Lieutenant, B. F. Pinkerton, is inspecting the house he has leased from a Japanese marriage broker, Goro. Goro has also
obtained a young geisha wife, Cio-Cio-San, and servants for the Lieutenant. Sharpless, the American Consul arrives and Pinkerton begins to
boast about how great the sailors life is - collecting women around the world from port to port. And though she does not know it yet, CioCio-San is no exception. She believes that the 999-year marriage contract Pinkerton has signed is proof of his devotion even though the
contract includes a chance for annulment at the end of every month. Sharpless warns the young Lieutenant that Cio-Cio-San may not be
taking the marriage so lightly, but Pinkerton brushes him off saying that one day he will marry a real American wife. Meanwhile Cio-CioSan is heard singing about her new life. As she enters the room to tell Pinkerton how she became a geisha and how happy she is now, her
relatives cut in with their objections. In an adjacent, quiet room she shows her bridegroom her dearest possessions and informs him of her
plan to convert to his Christian faith. The wedding is then performed by the Imperial Commissioner and all toast to the happy couple. The
festivities are soon interrupted by Bonze, a Buddhist priest and Cio-Cio-Sans uncle, who scolds the young bride for renouncing her
ancestors religion. Angered by this outburst, Pinkerton sends his guests away and the couple is left alone to sing of their love.
The first act is in C minor, has a tempo Allegro, and the texture is fugal. It is short in length approximately 67 measures, it leads directly
into the action, and features strings. There is marked vigoroso and the act has an agitated quality that is achieved through aggressive
articulation, strong accents, incisive rhythms, and the accumulation of fugal voices. This polyphonic section (a European element) stands in
marked contrast to the many monophonic passages heard later in the score (Japanese element).
Act II
Three years have passed as Cio-Cio-San eagerly awaits her husbands return from America as Suzuki, Cio-Cio-Sans servant prays to the gods
to help. She then shows Cio-Cio-San what little money they have left in hopes that she will realize Pinkerton is not returning and that she
needs to move on. Cio-Cio-San, still veiled by ignorance, tells her servant to have faith and that Pinkerton is returning. Sharpless enters with
a letter from the Lieutenant, but before he has the chance to read it, Goro enters with a rich suitor for her, Prince Yamadori. Cio-Cio-San
will not entertain the idea of a new husband, as she still believes that Pinkerton will return. After Goro and the Prince exit, Sharpless is left
to read the letter to Cio-Cio-San, which suggests that her husband may not return. In response she brings out her son, Trouble, insisting
that once Pinkerton knows he has a son he will return and, if not, she would rather die than go back to the life of a geisha. Seeing her
devotion, Sharpless decides not to reveal the full contents of the letter. A canon is heard in the distance as Pinkertons ship has arrived. CioCio-San is full of joy and excitement and has Suzuki help her fill the house with flowers. Night falls as Cio-Cio-San, Suzuki and Trouble begin
their waiting vigil.
This act is Butterflys Aria: Un bel di vedremo and is sung by Cio-Cio-San to Suzuki, in response to Suzukis doubts that Pinkerton will ever
return to Japan. The formal structure of the act is in A-B-A-C where Section A is in G flat major with a tempo Andante molto calmo and
begins with Un del di, vedremo (One fine day). This section is a homophonic texture and has an opening melody that displays the
characteristic features of Puccinis style: it begins high, slowly works its way down, contains frequent leaps of 3rds and 4ths, and employs
violinata. It also has rubato-like effects through the sections continual changes of tempo (rit., rall., etc.). In Section B, it begins with Mi
metto la sul ciglio del colle (I wander to the crest of the hill) where the time signature changes to and there is a use of pentatonic
minor melodies, implying F minor. This section is also marked con semplicita (with simplicity) and has recitative-like parlando style that is
achieved through fast-repeated notes, often on the same pitch, supported by sustained orchestral chords. This act then returns back to
Section A, but begins with per nom morire al primo incontro (so I dont die at the first encounter and is then marked con forza,
recommencing on a high G flat on the word die (which is the tragic foreshadowing). This section still has a melodic contour the same as
before, but delivered now with the quasi-parlando effect of the previous passage. Than in the last section, Section C, it begins with Tutto
questo averra (All this will happen) and has a recitative-like style maintained. The melody rises broadly, building in pitch and volume,
to a climatic high B flat on the words await him. Then the orchestral postlude presents the principal theme one last time.
Act III
The morning comes and Suzuki insisters that Cio-Cio-San rest. She carries her child to his bed as she hums a lullaby. A few moments later,
Sharpless and Kate arrive; they announce that Pinkerton wants to take the boy back to America. Butterfly enters and guesses the tragic
circumstances; she agrees to give up her son only if Pinkerton comes for the boy himself. Butterfly cannot face a life of shame and
humiliation; taking the dagger once used by her father to commit suicide, she is about to stab herself when Suzuki pushes the boy into the
room in order to distract his mother. Butterfly bids a tearful farewell to her son then sends him off to play. Just as she stabs herself,
Pinkertons voice is heard from off in the distance calling out her name.