Quote of The Week

“If the facts are against you, argue the law. If the law is against you, argue the facts. If both the law and the facts are against you, pound the table and yell.”

Carl Sandburg


Music Workshop at Stony Brook

With David Bouchier
Workshop Outline –Spring 2019
Fridays 12 – 1:15 pm in Wang Center Lecture Hall 2*


Our classical music workshop this semester began on February 15. You should have received a confirmation of registration from the OLLI office. If you believe that you are not or do not want to be registered, please contact the office as soon as possible. The workshop is full at the moment, and has a long wait list.

Music excerpts for the second session – February 22

Paris and the Music of France

Gregorian Chant (9th – 11th centuries)
Guillaume de Machaut: Dame qui toute me joie vient (mid-1300s)
Guillaume Dufay : Kyrie (early 1400s)
Josquin Desprez: Petite Camusette (about 1500)
Jean-Phillipe Rameau : Les Paladins (about 1760)
La Marseillaise (1798 – arr. Berlioz)
Hector Berlioz: Symphonie Fantastique (1830 – excerpts)
Frédéric Chopin: Piano Concerto #2 (second movement) 1829
Frédéric Chopin: Mazurka, op. 7 #1
Frédéric Chopin: Nocturne No. 5 in E-Sharp
Jacques Offenbach: Can Can, from Orpheus in the Underworld (1858)
César Franck: Sonata for Violin and Piano in D (1886)
César Franck: Symphony in D (closing moments)
Camille Saint Saens: Symphony No. 3 in c (“Organ symphony”) Final Mvt. (1886)
Camille Saint Saens: Cello Concerto No. 1 in a
Camille Saint Saens: Piano Concerto
Leo Delibes : The Flower Duet from Lakmé (1883)
Georges Bizet : Intermezzo from Carmen (1874)
Georges Bizet : Duet from The Pearl Fishers
Gabriel Fauré: In Paradisium (1888)
Claude Debussy : La Mer ; Prelude à l’après midi d’un faune (1905/1892)
Maurice Ravel : Bolero ; Daphnis & Chloe ; Introduction and allegro (1909 & later)
Eric Satie : Trois morceaux en forme de poire (circa 1920s)

Outline of the Semester

The outline below is tentative. It may change depending on the progress we make through the topics, your own suggestions, the exigencies of weather, and life itself. Any changes will be reported by e-mail, both by the OLLI office and by me, so please check your mail regularly. You can reach me by e-mail at davidbouchier5@gmail.com

February 15: Introduction – the Grand Tour begins in London
February 22: Paris and the music of France
March 1: Venice, Rome, and Italy
March 8: Salzburg and Vienna
March 15: Revolutionary from Bonn: Beethoven
March 22: Spring break – no meeting
March 29: The Musical Genius of Germany
April 5: Music of South America (live performance with the Serenade Duo)
April 12: Spain and the Sunny South
April 19: Norway, Sweden, and the frozen north
April 26: Moscow, St. Petersburg, and Central Europe – final meeting

Recommended books: The Story of Music: from Babylon to the Beatles, by Howard Goodall (Pegasus Books 2013). This is an excellent general history for the non-specialist, and is also a TV series available on You Tube with musical examples.

The Classical Music Encyclopedia by Stanley Sadie (2014) – a useful reference book. There are many others including the NPR Guide to Classical Music.

*Location: lecture hall 2 in the Wang Center is on the Gallery floor. Enter via the main entrance (facing the perimeter road Circle Drive). There is a ramp beside the steps. Turn left and climb another short flight of steps (also with ramp), stay on the same floor and look for a short corridor on your left. With “Lecture Halls” posted over it. Lecture hall 2 is at the end of this corridor on the left.

A Few Useful Musical Terms

Adagio: slow movement or passage (often romantic or sad)
Allegro: quick, lively movement or passage
Atonal: not in any key (rather nasty)
Baroque: dominant style of music roughly from 1600-1750 (elaborate, complex)
Cadence: progression of chords leading to the end of a piece of music.
Cantata: a piece to be sung.
Chamber music: composed for a small group of instruments
Classical music: technically the style of the Vienna School, roughly 1750-1805 (Haydn, Mozart)
Concerto: any work for solo instrument with orchestra (usually violin or piano).
Fugue: an elaborate, complex, highly disciplined polyphonic composition for three or four parts.
Harmony: more than one note played at the same time but blending together.
Key: the set of notes chosen as the main material for a composition.
Libretto: the text of an opera.
Lied/lieder: short song based on a poem, popular in 19th century Germany (e.g.Schubert)
Madrigal: lyrical poem sung by several unaccompanied voices (16th/17th cent.)
Monophony: (Greek – “one sound”) a single melody, one note at a time (see “polyphony”)
Movement: self-contained division of a larger composition (see “symphony”).
Oratorio: sacred work sung by a choir without action, scenery or costumes.
Polyphony: two or more parts combined harmoniously but with different melodies.
Program Music: paints a picture or tells a story (e.g. Berlioz’s “Symphonie Fantastique”).
Romanticism: style of expressive music popular from 1805 to the early 20th century.
Scherzo: (Italian – “a joke”) a lively, amusing movement or piece.
Sonata/Sonata form: extended work for piano or solo instrument with piano accompaniment, in three or four movements. The form of each movement is clearly defined.
Suite: (French – “a series”) a cycle of pieces, often dances, popular in the Baroque period.
Symphony: an extended musical composition for orchestra, usually consisting of four movements, typically: 1. Long opening introducing themes; 2. slow movement, such as adagio; 3. minuet or scherzo with trio; 4.lively allegro, rondo or sonata conclusion.