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Example Candidate Responses
(Standards Booklet)
Cambridge Pre-U
Music
9800
Cambridge Advanced
Cambridge International Examinations retains the copyright on all its publications. Registered Centres
are permitted to copy material from this booklet for their own internal use. However, we cannot give
permission to Centres to photocopy any material that is acknowledged to a third party even for internal use
within a Centre.
© Cambridge International Examinations 2012
Contents
Introduction ........................................................................................................................... 2
Assessment at a glance ........................................................................................................ 3
Component 1 – Paper 11 ...................................................................................................... 4
Component 1 – Paper 12 .................................................................................................... 72
Introduction
Introduction
The main aim of this booklet is to exemplify standards for those teaching Cambridge Pre-U, and to show
how different levels of candidates’ performance relate to the subject’s curriculum and assessment
objectives.
Cambridge Pre-U is reported in three bands (Distinction, Merit and Pass) each divided into three grades (D1,
D2, D3; M1, M2, M3; P1, P2, P3).
In this booklet candidate responses have been chosen from Paper 11 and Paper 12 to demonstrate the
requirements of the three grades, Pass, Merit and Distinction. Each candidate response is followed by
an examiner comment on performance. Comments are given to indicate where and why marks were
awarded, and how additional marks could have been obtained. In this way, it is possible to understand what
candidates have done to gain their marks and what they still have to do to improve their grades.
Specimen Papers, Examiner Reports and other teacher support materials are available on Teacher Support
at http://teachers.cie.org.uk
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Assessment at a glance
Assessment at a glance
Teachers are reminded that a full syllabus and other teacher support materials are available on
www.cie.org.uk
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Component 1 – Paper 11
Component 1 – Paper 11
Questions and mark scheme
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Example candidate response – Distinction
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Examiner comment – Distinction
Section A: Question 1
The candidate begins by discussing the difference in instruments between the two performances,
accurately identifying that Performance 1 uses modern instruments and Performance 2 period instruments.
Whereas some of the other candidates had come to this conclusion based on the difference in pitch alone,
this candidate also describes the actual difference in timbre between the two performances. There is also
a clear demonstration of an understanding of performance practice as applied to this recorded performance
when the candidate refers to ‘the more choppy attack typical of the pre-Tourte bow’. The candidate
describes the slower tempo at the start of Performance 1 but also the increase in speed from bb14 – 21;
there is also discussion of other tempo differences, with the effect of these differences also commented
upon, e.g. ‘the passage from bars 137–141 is played slower than the rest of the performance to highlight the
expressive harmonies’. There is further detailed discussion of phrasing, dynamics and interpretation. Overall
this is a thorough and detailed comparison demonstrating excellent aural perception, which is informed by a
well-developed understanding of performance practice issues.
Mark awarded = 21 out of 24
Section B: Topic B1
The candidate demonstrates excellent aural skills in Questions 2–4, gaining full marks. Question 5 is also
well answered, including a correct use of the term ‘antiphony’. The key is incorrectly stated in Question
6 although the bar number is correct. Question 7 is answered partially correctly, and in Question 8 the
candidate not only names the correct key, but can also explain why this is unusual (cf. Question 8 for the
candidate gaining Merit, who identified the key but was not able to see the significance). In Question 9 the
candidate correctly observes that this movement is the equivalent of a scherzo movement and then makes
some valid comparisons with other scherzos. The answer draws a number of comparisons between the
extract and the pieces chosen for comparison.
Mark awarded = 28 out of 36
Summary
The candidate has performed strongly in both sections; overall the candidate response is a clear example of
a Distinction.
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Example candidate response – Distinction
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Examiner comment – Distinction
Section A: Question 1
The candidate begins by commenting on the differences in tempo between the two performances.
(Although there is an inaccurate reference to Performance 1, it is clear from the context of the rest of
the sentence that the candidate meant to write Performance 2). There is also a discussion of the effect
of the two different tempi, and an accurate observation of the change of tempo in Performance 1. After
some further discussion of rubato and a comment that one passage of Performance 2 is in strict time, the
candidate makes the slightly curious statement that ‘this is perhaps due to Mozart, who was regarded as
a brilliant performer for being able to keep strict time’. The relevance of this statement to the performance
of a piece by Vivaldi is not clear. There is yet more discussion of tempo; in fact, almost half of the essay
is on this one area. Although the tempo does vary considerably between the two performances, this area
is dwelt upon perhaps more than necessary. There is some discussion of dynamic levels, and once more
a slightly unconvincing reference, this time to Leopold Mozart. The candidate is perhaps trying too hard
to demonstrate an understanding of performance practice by using these references even if they are not
relevant to the performances. There is then an accurate identification of the use of period instruments in
Performance 2. A discussion of articulation includes a quote from CPE Bach, although this time it is a better
chosen example. The candidate correctly observes that Performance 2 is lower in pitch than Performance
1. The answer concludes with yet another quote, again from CPE Bach: ‘even the best melody is empty
without embellishment’ – given that the candidate then comments that neither performance actually uses
any embellishment this quotation is again misjudged. Overall this is a detailed comparison demonstrating
good aural perception and a well-developed understanding of performance practice issues; it is let down,
however, by the over-use of references with limited relevance and the over-emphasis on the issue of tempo.
Mark awarded = 17 out of 24
Section B: Topic B2
Question 10 is answered partially correctly, and the candidate answers Question 11 excellently, making
four valid observations. The aural skills demonstrated in Questions 12–15 are reasonably strong overall; the
second part of the melody dictation is less accurate than the first, but the musical features and errors are
located and corrected accurately. Question 16 is answered very well, although the candidate is not able
to answer Question 17 convincingly. The candidate writes a detailed answer to Question 18 and makes
a number of valid comparisons, for instance the importance of the orchestral scene-setting and use of
rhythm. It is clear that the candidate knows in detail the pieces which have been chosen for comparison.
However, there also appears to be some misunderstanding when the candidate implies that the extract is
not from a ‘number opera’. Overall, though, the candidate identifies a range of similarities with illustrations
from music language and compositional technique.
Mark awarded = 25 out of 36
Summary
The candidate has performed sufficiently well in all areas of the paper to achieve a mark which satisfies the
requirements for a Distinction.
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Example candidate response – Merit
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Examiner comment – Merit
Section A: Question 1
The candidate begins by making some interesting observations about the differences between the
relationship between the soloist and orchestra in each performance. There is then a correct identification
of the differences in pitch and tempo, which is connected to an observation that Performance 1 uses
modern instruments, followed by a comment about the use of vibrato. The candidate refers to differences
in dynamics between the two performances and then returns to tempo in more detail. There is a clear
sense that the candidate has tried to engage with the effect of the interpretative differences, rather than
merely cataloguing them; e.g. ‘[in Performance 1] the pace of the music has already increased to suit the
more lively melody whereas in the second performance the tempo remains more steady throughout,
perhaps detracting from the lively nature of the brighter phrases’. Overall this answer is fairly detailed and
demonstrates some understanding of performance practice issues.
Mark awarded = 13 out of 24
Section B: Topic B1
The candidate answers Questions 2–4 (melody dictation, locating chords and features and error-spotting)
excellently, gaining full marks. Question 5(a) is well answered too, with the candidate commenting on the
antiphony between wind and strings (credit is given even though this technical term isn’t used, as the
meaning is clear) and the harmony which rises chromatically. The answer to Question 5(b) is imprecise,
however. In Question 6 the key is stated incorrectly but the correct bar number is given. The answer to
Questions 7 is again imprecise; the correct key is named for Question 8 but the candidate has not realised
that this is the recapitulation and hence the significance of this not being the tonic key is missed. In
Question 9 the candidate makes a good comparison with Beethoven’s use of motivic material; the answer is
detailed in its discussion of this particular feature but the commentary does not consider any other features
apart from a superficial mention of major keys.
Mark awarded = 22 out of 36
Summary
Section A is answered in reasonable detail and with some understanding of performance practice; Section
B demonstrates some excellent aural skills at times, but there is also imprecision in some of the longer
answers. The candidate response as a whole scores a mark equivalent to a top Merit.
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Examiner comment – Merit
Section A: Question 1
The candidate begins by correctly observing that the tempo is slower in Performance 1 than Performance 2,
and then comments on the effect of this in Performance 2 ‘which seemed to portray the image of the hunt
more through the use of a faster tempo’. The candidate also correctly states that the tempo of Performance
1 changes at b14. The candidate comments on an accelerando which is only heard in Performance 1 and
gives a reason for this not happening in Performance 2: ‘perhaps because the music was at a faster tempo
anyway’. The candidate then writes about differences in dynamic contrast between the performances,
followed by some differences in the approach to the harpsichord parts. A section follows on balance which
makes some interesting comments about the use of the orchestra, e.g. ‘the hunt represented by the
orchestra is catching up with the beast represented by the soloist’. The candidate discusses articulation and
phrasing in some detail, and then notes the difference in pitch between Performance 1 and Performance
2. This answer was very detailed in its comparison of differences between the performances; however,
it rarely demonstrated any understanding of performance practice issues to explain or comment on these
differences. As a consequence, the candidate received a lower mark than would have been the case if the
answer had been stronger in the area of performance practice.
Mark awarded = 14 out of 24
Section B: Topic B2
The candidate gives the correct technical terms in Question 10, and in Question 11 makes a couple of valid
points, but does not consider any of the music beyond the very opening of the introduction. The candidate
does not correctly identify any of the pitches in Question 12; the pitch in melodic dictation in Question 13
is inaccurate although some credit is given for a correct melodic shape. Question 14 is more successful,
with three of the features being located accurately, and in Question 15 both of the errors in the score are
spotted and corrected. Questions 16 and 17 are answered well, with the candidate making a number of
valid observations. In Question 18 the candidate comments on similarities with other ‘number operas’ and
also differences from ‘through composed’ operas and is able to name examples of each. There is also a
valid mention of the ‘rescue opera’ genre with examples given; the relevance of the points made is slightly
limited, though.
Mark awarded = 20 out of 36
Summary
Section A was strong in the area of comparison, but weaker in its demonstration of understanding of
performance practice issues. In Section B, the candidate’s aural skills in areas such as melody dictation
are much less strong than the first candidate, but conversely the longer questions are answered better;
both candidates ultimately gain a similar final mark, and this candidate response as a whole therefore also
satisfies the requirements for a Merit.
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Example candidate response – Pass
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Examiner comment – Pass
Section A: Question 1
The candidate begins by stating that the pitch of Performance 1 is a tone higher than Performance 2.
Although the candidate has correctly observed that Performance 1 is higher, it is in fact only by a semitone
(as might be expected), not a whole tone. The candidate correctly states that Performance 2 is quicker and
uses period instruments. The candidate states that ‘both performances employ a steady tempo throughout’,
whereas in fact there is a substantial increase in tempo at bb14 – 21 and bb142 – 145 in Performance 1 (the
candidate does eventually refer to this, but not until towards the end of the second page of the answer).
The candidate observes that both performances make a ritardando, but that Performance 1’s starts in
b154 as opposed to b156 – this is unconvincingly taken as evidence that ‘Performance 2’s interpretation
is more historically informed in this regard’. The following paragraphs make some minor observations
about articulation and dynamics. The candidate makes the rather surprising statement that ‘in general, the
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performances sound rather similar’. The answer shows some aural awareness of interpretative differences,
although there are also some inaccuracies, and understanding of performance practice issues is generally
unconvincing.
Mark awarded = 8 out of 24
Section B: Topic B1
Questions 2–4, testing specific aural skills, are answered very well by the candidate, who makes just one
error in the melody dictation question. Question 5 is much less convincing; the candidate doesn’t comment
on the important events in the music and there is also some inaccuracy. The key is stated incorrectly in
Question 6, but the bar number is correct. In Question 7 the answers are either too imprecise to gain credit
or are inaccurate. The key is incorrectly stated in Question 8, as is its significance. The answer to Question 9
is very unconvincing in that the candidate does not refer to any specific symphonies in the answer, and any
valid points made are very superficial.
Mark awarded = 15 out of 36
Summary
The candidate performed somewhat better at the beginning of Section B1 than in the other sections of the
paper, and overall satisfies the requirements for a Pass.
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Examiner comment – Pass
Section A: Question 1
The candidate begins by correctly stating that the tempo of Performance 1 is slower, and then makes
an interesting observation that this affects how different beats of the bar are accented. There is then a
discussion of dynamics. After a promising start to the answer, some inaccuracies are now found, however.
The candidate incorrectly states that ‘the instruments in Performance 1 are more authentically baroque’ and
that ‘we can hear a harp being used instead of a piano’. The candidate perhaps meant to write ‘harpsichord’.
There is then some further inaccurate reference to metal strings in Performance 2 as opposed to gut strings
in Performance 1. The final sentence in this paragraph, ‘baroque orchestras are known to play without a
conductor and to be lead [sic] by the solo violin’ may be true, but it is irrelevant here. The whole of this
paragraph seems to be concerned with demonstrating knowledge of performance practice, but this is not
in fact connected to accurate listening. The answer then becomes more convincing again, as the candidate
writes about ornamentation, balance and phrasing, etc. The answer concludes by commenting on the
difference in pitch between the two performances, but again the listening is inaccurate, as Performance 1 is
higher, not lower as stated. Overall, the answer is fairly detailed and does demonstrate some understanding
of performance practice issues, although inaccuracies in the listening compromise the final mark.
Mark awarded = 11 out of 24
Section B: Topic B2
The technical terms in Question 10 are correctly stated, and the answer to Question 11 is excellent with the
candidate making four correct observations. However, the answers to Questions 12–15 are very weak; the
candidate only attempts one section of the melodic dictation and the pitch is very inaccurate; only one of
the specific features in Question 14 is correctly located and the errors in the score for Question 15 are not
found and corrected. Questions 16–17 are also unsuccessfully answered with no convincing observations.
The answer to Question 18 is long, but unfortunately some of the points are either irrelevant to the question
or show misunderstanding (e.g. ‘storm and stress was another technique of the 19th century found in both
Wagner’s and Verdi’s work’). Nevertheless, the answer does draw some creditable comparisons between
the extract and the chosen pieces.
Mark awarded = 11 out of 36
Summary
Although the answer to Section A is stronger than the previous candidate’s, and Section B2 starts well, the
very weak answers in Questions 12–17 mean that overall this candidate response satisfies the requirements
for a Pass.
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Questions – Section C
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Questions – Section D
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Examiner comment – Distinction
Section C: Topic C3(a)
The strength of this essay lies not so much in its comprehensiveness (there are some relevant issues
which are not discussed) but in its accuracy. The candidate selects appropriate features to consider and
makes extensive references to later passages in the score, all of which clearly support the points being
made. These include the use of instruments (extreme ranges, extended techniques); the quotation of folk
melodies and the composition of melodies with a folk-like character; bitonality; vertical layering; the use of
the octatonic scale; and (briefly) rhythm.
The candidate has not written very extensively about semitone relationships (though the importance of
these is certainly implied), nor about the use of ostinatos. The section on rhythm is fairly perfunctory
and does not mention the significance of irregular metre. Nevertheless the answer is quite thorough; it
demonstrates a good understanding of the score and the ability to apply this understanding to address the
specific thrust of the question.
Mark awarded = 14 out of 18
Section C: Topic C3(b)
This essay begins by categorising three ‘waves’ of stylistic development in French music, beginning
with Franck and his followers, then composers such as Saint-Saëns or Fauré and finally Debussy. The
chronology is broadly accurate, although a fourth ‘wave’ might well have been identified to include Satie and
Les Six.
The bulk of the answer is taken up by a discussion of Debussy which demonstrates a good understanding
of his style. The only reference is to the Prélude à l’après-midi d’un faune, although much of what is said
could apply to other works besides. In the final paragraphs there is a brief consideration of Satie and Les Six
which makes a number of accurate points about their music.
This is a succinct essay which (although it refers to only a few specific works) demonstrates that the general
history of the Topic has been thoroughly absorbed and understood.
Mark awarded = 17 out of 18
Section D: Question D5
This is an example of an answer in which the normal meaning of the term ‘crossover’ ( a relatively recent
phenomenon which blurs the distinction between ‘classical’ and ‘popular’ styles) was misinterpreted
(a common feature of answers to this question, as mentioned in the Examiner Report). This candidate
takes the term to refer to the transition between one style period and another and briefly considers
Beethoven, Liszt, Debussy and Satie. Even discounting the misinterpretation of the question, this is quite a
disappointing essay. The paragraphs about Beethoven are the strongest, referring to the ‘three periods of
his life and works’ and defining the Eroica Symphony as a seminal work. Thereafter the candidate seems
to flounder, bringing in a succession of brief references to later composers without ever really getting to the
point. This is the weakest answer in the whole Paper.
Mark awarded = 10 out of 24
Summary
The candidate has demonstrated a very sound understanding of the Topic and Prescribed Work in Section
C, though the Section D answer is relatively weak. Nevertheless the Paper as a whole satisfies the
requirements for a Distinction.
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Examiner comment – Distinction
Section C: Topic C3(a)
This is another example of an essay which is not altogether comprehensive, but which makes up for its
omissions in other ways. The initial discussion of thematic fragmentation is not easy to follow (some of
the references to the way the cor anglais melody is used seem to be a little confused), but the comparison
with the horns in the Jeu du rapt is appropriate. The following observations of semitone relationships are
also accurate, as is the reference to the opening of Part 2. There is a good explanation of the use of layered
ostinatos.
Although it is rather brief, this essay makes some good points, with accurate references to the score.
Mark awarded = 14 out of 18
Section C: Topic C3(b)
This essay focuses in turn on Cocteau, Satie, Debussy and Ravel. The contrast between Wagner’s Ring
and the kind of music recommended by Cocteau is clearly summarised, and there is a good description of
Satie’s Parade with an emphasis on the way it reflects Cocteau’s influence.
The paragraph about Debussy begins by noting that he was ‘heavily influenced’ by Wagner in his early
works. There is a good summary of the non-functional use of 7th and 9th chords in his later music. In the
final paragraph about Ravel there are references to his use of stylistic features drawn from Spanish music
and from jazz.
This is a well-illustrated account of the subject, with entirely appropriate examples drawn from a good range
of music.
Mark awarded = 17 out of 18
Section D: Question D4
Here the candidate draws heavily on personal experiences: seeing Rossini’s Il Barbiere di Siviglia on the
stage, hearing Edward Naylor’s Vox dicentis in a large church and finding it easier to hear the detail in The
Rite of Spring in a live performance. There is a convincing description of the added dimensions that acting
and stage setting bring to the opera; similarly, the atmospheric effect of music resonating in a church is
vividly captured. Where the essay is somewhat weaker is in its attempt to account for missing detail in
recordings. The statement that ‘the width of sound on recordings is so narrow that you often miss key
rhythmic or melodic features’ needs some clarification. It may be true of some compressed formats
such as mp3, but modern recording equipment is much more sophisticated than the candidate appears to
suggest.
Mark awarded = 13 out of 24
Summary
The candidate has demonstrated a thorough knowledge of the Topic and Prescribed Work in Section C and
has been able to refer to a wide range of music to support the points made. In Section D there is evidence
of the ability to draw on relevant personal experience to formulate a clear argument. In spite of the slight
unevenness of the first and third essays, the candidate response as a whole satisfies the requirements for a
Distinction.
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Examiner comment – Distinction
Section C: Topic C2(a)
This long essay begins well, using the Messenger’s scene in Act II to illustrate the use of techniques
associated with the Seconda Prattica, including dissonances, contrasts of tonal centre and the use of
instruments to underline the dramatic situation as it develops. There are some inaccuracies, mainly
concerning the identification of keys, but the candidate nevertheless manages to convey a good
understanding of the music.
The next section of the essay is taken up with a discussion of Orfeo’s monody Possente spirto from Act
III. The elaborate ornamentation is mentioned in passing, but the primary emphasis is placed on the use
of different pairings of instruments, portraying Orfeo ‘calling up all the realms of music to help him’. The
candidate then goes on to consider the bass part of this monody in some detail, convincingly explaining how
thoroughly the musical content is determined by one particular dramatic consideration. This demonstrates
an unusually thorough understanding of the close relationship between the text and the music.
The third section of the essay considers the scene of Orfeo’s final loss of Euridice in Act IV. The description
of this passage is again very detailed, referring to the change from major to minor in bar 101, the use of
tritones in the voice part in bars 102 and 104, the rapid changes of instrumentation between bars 116 and
122 and the further use of tritones in bars 122 and 126 (including the inversion of the interval in the melodic
lines). The identification of key centre in Euridice’s last phrases is unfortunately incorrect, but this does not
seriously detract from an otherwise very good account of this scene.
There is no doubt that this candidate knows L’Orfeo very well indeed, and understands the music in great
detail. By choosing these particular passages from the opera, however, the candidate has answered a
rather different question from the one set. If the essay had explored a wider range of different approaches
it would have merited a somewhat higher mark, but the level of knowledge and understanding that has
been demonstrated here goes some way towards compensating for that omission.
Mark awarded = 15 out of 18
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Section C: Topic C2(b)
This essay not only provides a clear definition of Prima Prattica and Seconda Prattica as the question
demands, but also summarises very effectively some of the polemical debates that accompanied the
emergence of the new style. There are references to Zarlino, Artusi and Giulio Cesare Monteverdi in this
connection and it is clear that the candidate has absorbed the arguments very thoroughly. Three composers
are mentioned in passing (Palestrina, Gesualdo and Vecchi) and there is more extensive discussion of
Willaert (the Salmi spezzati published in collaboration with Jacq uet of Mantua in 1550), Marenzio (the
madrigal Non vidi mai) and Monteverdi (the madrigal Cruda Amarilli).
This essay demonstrates a thorough understanding of the issues discussed, together with knowledge of a
good range of appropriate repertoire.
Mark awarded = 16 out of 18
Section D: Question D2
In view of the length and comprehensiveness of this candidate’s essays in Section C, it is not altogether
surprising that the Section D answer shows signs of having been rather rushed. It begins with an account
of Mozart’s Piano Concerto No. 1. This is a rather strange choice, since it is one of the works arranged by
the 11-year-old Mozart from pre-existing sonata movements by other composers. An example drawn from
Mozart’s later and more famous concertos might have made the point about virtuosity more effectively.
The candidate then turns to Vivaldi and chooses, very appropriately, to consider The Four Seasons. A
reference to ‘each soloist’ being exploited may suggest that the candidate thinks that these concertos make
use of more than one solo instrument.
The remainder of the essay is somewhat repetitious, presenting an argument about the extent to which
the concerto was an established genre in the baroque period, compared with the classical. This view is not
very well expressed.
This is an altogether weaker essay than those in Section C.
Mark awarded = 16 out of 24
Summary
This candidate has demonstrated a thorough and very mature understanding of the Topic and Prescribed
Work in Section C. In spite of the relative weakness of the Section D answer, the candidate response as a
whole satisfies the requirements for a Distinction.
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Section C: Topic C2(a)
The candidate selects three monodies from L’Orfeo: the Messenger in Act II, Possente Spirto in Act
III and Orfeo’s final loss of Euridice in Act IV. These extracts provide ample material for a discussion
of Monteverdi’s technique, but they do not illustrate the ‘various approaches to word setting that were
common in his time’ as the question demands.
With that reservation in mind, the candidate nevertheless gives a good account of some significant features
in each passage. The major 7th clash between A in the bass and G sharp in the Messenger’s part (bar 135)
is a good example of word painting (acerbo), as is the dramatic rest in bar 169 (though this rest is hardly
‘random’). Possente Spirto is indeed both ‘virtuosic and lyrical’. In bar 117 of Act IV, Orfeo’s diminished 5th
does bring tension and unease, while Euridice’s line at bar 125 is underpinned by a ‘largely chromatic bass
line, making the tonality ambiguous’.
The candidate’s main weakness lies in the identification of keys. For example, the Messenger’s lines end
in A minor, not A, and the previous sections were in G major, not minor (paragraph 1); in the fifth verse of
Possente Spirto the key moves from G minor to B flat (and back again), not from G to E flat (paragraph 2).
This essay demonstrates good knowledge of the Prescribed Work, although the candidate’s analytic skills
are only moderately good. There is only partial evidence, however, of an ability to apply knowledge and
understanding to address the specific question.
Mark awarded = 8 out of 18
Section C: Topic C2(b)
This essay begins with a reasonable account of Prima Prattica technique, drawing attention to the fact that
imitative counterpoint tends to obscure the audibility of the text. The example of Palestrina is well chosen,
but to assert that ‘the words were not the main focus’ for Gesualdo is questionable.
There is a good summary of the Florentine Camerata’s interest in ancient Greek drama (although it may be
overstating the case to say that they thought that music had become ‘corrupt’). It is, however, true to say
that they believed that ‘the words should be the focal point, rather than the music’. To illustrate this point,
a broadly accurate description of Peri’s Euridice follows. Finally there are references to Caccini’s Le nuove
musiche and Cavalieri’s Rappresentatione di Anima e di Corpo, which is correctly identified as ‘a great
example of the new style’.
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In the space of two pages the candidate has demonstrated good knowledge of the Topic, supported by
some familiarity with a range of relevant music.
Mark awarded = 10 out of 18
Section D: Question D2
The candidate starts with a brief account of Corelli’s Concerti Grossi, stressing the fact that these works do
not require great virtuosity. All is well until the end of the first paragraph, when the statement that ‘he wrote
mainly oboe concerti’ presumably refers to Albinoni rather than Corelli.
A contrast is then drawn with Vivaldi, using Autumn from The Four Seasons to illustrate some of the
virtuoso playing techniques that can be found in his concertos. The explanation for ‘very high, fast, complex
passages in high positions’ is not to be found in modifications to the design of the violin, however, since
these changes came much later than Vivaldi’s lifetime.
A paragraph follows in which the increasing preference for the piano as a solo instrument during the
classical period is linked to Bach’s Brandenburg Concerto No. 5. The subsequent reference to developments
in piano design is again placed rather earlier than it actually occurred, but in other respects the account of
classical piano concertos (with passing references to Beethoven’s Emperor and Mozart’s Piano Concerto
K.488) is reasonably accurate. The main drawback here is a lack of detail in describing how virtuosity was
exploited in the concertos that are mentioned.
Mark awarded = 15 out of 24
Summary
In spite of a lack of detail in all three essays, this candidate has demonstrated some familiarity with a range
of music and has made a number of good points. The candidate response as a whole therefore satisfies the
requirements for a Merit.
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Examiner comment – Merit
Section C: Topic C3(a)
In the first two paragraphs this candidate writes about the improvisatory feel of some of the music in The
Rite of Spring, the quotation of folk melodies from the Juskiewicz anthology and the use of pentatonic and
octatonic scales. There are several references to points in the score after the Introduction, most (but not
all) of which are accurate. The final paragraph mentions polyrhythm, ostinati and pedal notes, again with
several references to later passages in the score.
So far as it goes, this is quite a good answer to the question. It does not address some of the most
significant aspects of the music, however, including the issues of semitone relationships and irregular
metre. The brevity of the answer also works against the candidate: in a slightly longer essay it would have
been possible to develop the points raised in greater detail and that would have allowed the examiners to
give this essay more credit.
Mark awarded = 9 out of 18
Section C: Topic C3(b)
Here the candidate primarily writes about Debussy and Satie, with a few additional points about d’Indy
and Franck. A contrast is drawn between Wagner’s style of orchestration and Debussy’s, emphasising
Wagner’s sometimes strident use of brass (presumably in Wagner’s Ring) and Debussy’s more muted
sonorities. The influence of Parsifal on Debussy in this regard is not mentioned. In relation to Satie, the use
of a typewriter and a gun in Parade are cited as placing Satie ‘at the complete opposite end of the spectrum
from Wagner’. This overlooks the fact that the extra-musical effects in Parade were not Satie’s idea but
Cocteau’s, and that they were incorporated against Satie’s wishes.
In the next paragraph the candidate makes a number of rather sweeping generalisations. Not all German
romantic music was ‘geared towards expressing human emotions and tales of gods and great heroes’,
however much this may be true of Wagner’s Ring in particular. Nor is it wholly accurate to say that
‘French music looked more towards nature than humans’, in view of the large amount of German romantic
music, from Weber, Mendelssohn and Schumann to Wagner and Richard Strauss, that is concerned with
depictions of Nature. While it is entirely true that Satie often gave his pieces humorous titles, it is debatable
whether Parade ‘reflected everyday life’. The references to Le Piccadilly and Je te veux, however, are good
examples of Satie’s fondness for the popular styles of his time.
A discussion of whole-tone scales in the music of Debussy and Ravel follows. The reference to ‘major 7ths
and 9ths’ should presumably mean dominant 7ths and 9ths; the candidate seems to miss the point that
it is the manner in which such chords are used by Debussy and Ravel that makes the difference, not the
mere fact of using them (since both chords occur frequently in Wagner’s music). The point about parallel
harmonies in La Cathédrale engloutie is well made.
The candidate goes on to mention La Bande à Franck and d’Indy in particular, as good examples of
composers who remained ‘in awe of German romanticism’. There is an entirely apt reference to d’Indy’s
Fervaal. In the concluding paragraph, the music of Debussy, Ravel and Satie is linked, not altogether
appropriately, to José Ortega y Gasset’s theory of the dehumanisation of art.
This essay provides clear evidence that the candidate knows enough about the general history of the
Topic to be able to answer the question, drawing on appropriate examples from the repertoire. There are,
however, several generalisations which do not really stand up to scrutiny.
Mark awarded = 11 out of 18
Section D: Question D1
The first paragraph of this essay alludes to a number of significant issues: the impossibility of recreating
the original social contexts of the music; the desirability of performing in accordance with the composer’s
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empathising with a composer in particular circumstances. It is a pity that the candidate does not expand on
any of these points, though it is good to see that so many relevant considerations have been listed.
In the second paragraph Telemann is cited as an example of a composer who ‘never recorded any of
his music’, in contrast with Rachmaninov, although there is no mention of the wider concerns of how
to evaluate written evidence for performance practice in the centuries before recording technology was
available. The reference to a Stravinsky adaptation of Telemann’s music ‘for a large symphony orchestra’ is
presumably a mistake (perhaps the candidate was thinking of Pulcinella?)
Although some contemporary composers may indeed get angry when their music is not performed as they
think it should be, it seems an exaggeration to present this as the main reason why performers should strive
for authenticity. The subsequent passage about Stravinsky’s different recorded performances of The Rite of
Spring rather contradicts that argument, although it is a thoroughly valid point in itself.
This essay makes a number of good points, but its main weakness lies in the fact that none of them is
explored in detail. As a result, the answer to this question is rather superficial.
Mark awarded = 13 out of 24
Summary
Each answer in this paper makes some relevant and accurate points, although there is little detail in any of
the essays. This candidate response satisfies the requirements for a Merit.
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Examiner comment – Pass
Section C: Topic C2(a)
At the top of the essay there is a brief summary of the points which the candidate intends to cover.
Although not comprehensive, this signals an understanding of some relevant issues.
After a false start (the original first paragraph is crossed out) the candidate begins by writing about
Monteverdi’s use of keys to represent characters. The first section addressed comes from Act V, but is
wrongly stated as beginning at bar 85 rather than bar 83. The key at bars 98 – 99 is also wrongly identified
as D rather than G. Similarly, the candidate writes about ‘the use of the key E’ at bar 117, without realising
that the chord of E major is not a tonic at this point, but occurs in a phrase which refers to A minor before
reaching a cadence in C major. Again, the key ‘just before Orfeo turns around’ is wrongly identified as E;
Euridice’s phrase beginning at bar 128 is also not in E and the key does not change to A from bar 140.
Whether or not Monteverdi consciously used particular key centres to represent characters in the drama,
the point that the candidate is trying to make is undermined by the inaccuracy of key identification in this
passage. Nevertheless the candidate has selected an appropriate section of the opera to write about, even
though the significant points about it are rather different from those addressed in this essay.
The candidate goes on to consider word painting, which is correctly identified as an ‘important device used’.
The passage discussed is Rosa del ciel, bars 87–108 (the candidate does not say that this is in Act I, but it is
reasonable to assume that this is understood). The one point the candidate makes about this passage is the
use of rests to represent sighs in bars 97–100, which is correct and entirely valid.
The final paragraph is about the use of instruments, referring to Possente spirto and correctly stating that
the different instruments are employed as a symbol of the power of music.
The essay as a whole is concerned more with characterisation through the use of various musical devices
than with the use of different approaches to word setting that were common in the early seventeenth
century. It does not address all the points listed in the initial plan; if it had done so it might have come closer
to being an answer to the question as set. Brief though it is, however, the essay demonstrates that the
candidate has some knowledge of the Prescribed Work, in spite of a number of inaccuracies.
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Mark awarded = 8 out of 18
Section C: Topic C2(b)
The essay on Prima Prattica and Seconda Prattica is even shorter. It is not true to say that in the Prima
Prattica ‘…the music is written first and the words set to the music’, though there may perhaps be a sense
in which the music of composers such as Palestrina might be interpreted as ‘emotionless’ (but sadly the
candidate cannot remember the name of a relevant composer at this point).
A further example of confusion comes in the next paragraph, where the candidate refers to ‘…madrigals
such as those of Corelli’ (presumably the reference should be to Caccini). The reference to madrigalian
word painting is valid, but it is hard to justify the statement that this was not successful before Monteverdi’s
L’Orfeo. The final sentence, however, is entirely accurate.
This essay demonstrates a very imperfect understanding of the definition of Prima Prattica and Seconda
Prattica. References to composers other than Monteverdi are either inaccurate or missing, suggesting that
the candidate has not fully understood the central issues of the wider Topic. This is the weakest essay in
the Paper.
Mark awarded = 6 out of 18
Section D: Question D4
This is the candidate’s longest and most complete essay. There are references to ballet and one particular
ska punk group, making the point that live performances can communicate more effectively than a
recording. The central thrust of the essay is effectively summed up in the final paragraph: ‘…in a society
where there are music lovers, there will always be a place for live performances. The loss of these will be
the loss of the heart and the soul of music’.
The essay makes only one specific reference to music that has presumably been heard in both live and
recorded performances. The lack of other precise examples is a distinct weakness, but the candidate
manages to convey a belief in the importance of live music with some passion. This is the best essay in the
Paper.
Mark awarded = 10 out of 24
Summary
As a whole, this candidate response satisfies the requirements for a Pass. None of the essays is very
precise and two of them contain evidence of confusion or misunderstanding, but there are some valid and
relevant points in all three.
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Section C: Topic C3(a)
The candidate begins by stating that ‘the opening of The Rite of Spring features use of the woodwind only,
very peculiar for a ballet introduction’. It is unclear whether this refers to the whole Introduction up to fig. 13
(in which case it is not accurate) or just to the passage up to fig. 4 (which might just be interpreted as ‘the
opening’). There is an unfortunate lack of precision in identifying exactly what is meant by this statement,
even though it is true that the passage in question is heavily dominated by the woodwind. The candidate
then seems to imply that the introduction employs more quotations from the Juskiewicz anthology of
Lithuanian folk songs than just the bassoon melody, although again it is true to say that the original form of
this melody is disguised by manipulation of rhythm and ornamentation. Certainly the high tessitura of the
bassoon part is typical of the extreme demands on playing technique used throughout the work. There
is, however, a tendency to overstate various aspects of the music in the first paragraph, which is often
characteristic of responses at this level.
In the following paragraphs there are correct points about irregular metre, the use of the octatonic scale and
the ‘Augurs’ chord, though references to the use of such features later in the work are rather sketchy. The
final paragraph, even though it contains some accurate information, is not entirely relevant to the question.
As a whole, this essay is disappointingly superficial.
Mark awarded = 9 out of 18
Section C: Topic C3(b)
In spite of its length, this essay reveals a number of weaknesses. It is not very well planned and conveys
little sense of the chronology of the period under discussion. At the outset, it is questionable whether
Beethoven makes a good starting-point for an examination of a reaction against late romanticism. The
choice of Stravinsky as an example of a late romantic composer is also unfortunate. It is not clear whether
the candidate knows when, and on which work, Stravinsky collaborated with Picasso; the instrumentation
of The Soldier’s Tale has been incorrectly learned (or incorrectly recalled).
There is evidence in the next paragraph that the candidate knows a certain amount about Wagner. Whether
it is really appropriate in this context to move on to a discussion of Ravel is debatable. The subsequent
discussion of Liszt is irrelevant (unless the candidate believes Liszt to be an early twentieth-century
composer). The section dealing with Satie contains some accurate information, but it is disappointing to
note that the candidate believes that Satie composed the Prélude à l’après-midi d’un faune, even if the
information about this work is largely correct. The final paragraph is not very well expressed, but makes a
fair summary of the subject.
The essay is rather muddled, jumping from one example to another with little sense of logic. Some of the
examples are of questionable relevance and there are several inaccuracies which reveal a distinct vagueness
about the general history of the Topic.
Mark awarded = 7 out of 18
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Section D: Question D3
In this essay the candidate considers music of the nineteenth and twentieth centuries. As in the answer to
Question C3(b), there is evidence of confusion over chronology and several historical facts appear to have
been misunderstood. At the beginning of the essay Dadaism is stated as being an aspect of the romantic
era; in the second paragraph there is a reference to ‘civil war … in the early 1800s’ (presumably this means
the French Revolution?); programme music is described as occurring ‘for the first time’ during the romantic
period; and a tone poem based on Romeo and Juliet is ascribed to Liszt. The composers discussed are, in
the candidate’s order, Satie, Beethoven, Berlioz, Richard Strauss, Stravinsky, Tchaikovsky, Mahler and Liszt;
it is not always made clear which composers belong to which historical period.
In spite of these problems, the essay contains a number of accurate points. Satie’s music did use modal
progressions, and it was influenced by early forms of Jazz (paragraph 1); the French Revolution (assuming
that is what is meant) did bring economic problems and social instability across Europe (paragraph 2), while
Berlioz did expand the size of the orchestra and he did consider acoustics (if not ‘sound projection’ as such)
in his Traité d’instrumentation. The section on Strauss’s Alpine Symphony suggests that the candidate has
probably heard this work.
Perhaps the most significant weakness in this essay is its lack of emphasis on the ways in which music
reflected the nature of society in the candidate’s chosen periods. There are occasional references to this
issue, but they are not sufficiently developed: the essay concentrates more on giving an account of musical
developments, which was not the point of the question.
Mark awarded = 10 out of 24
Summary
The evidence of misunderstanding and chronological confusion in the candidate response as a whole is
offset to some extent by the accurate information that is given. Consequently this candidate response
satisfies the requirements for a Pass.
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