Coordination of Ideas and Styles in the Western Musical Tradition with Oxford Anthology of Western
Music, vol. 2 (OAWM 2)
Ideas and Styles
chapter
16
Page(s)
Piece
OAWM 2
247, 249-50
Wilhelm Friedemann Bach, Sonata in F Major (Falck 6a)
1
16
246-47
Carl Philipp Emanuel Bach, Fantasia in C Minor, Wq. 63/6/iii
2
17
260-62, 273-77
Johann Christian Bach, Sonata in D Major, Op. 5, No. 2, First movement
3
15
224
Giovanni Battista Pergolesi, La serva padrona (The maid as mistress): A
Serpina penserete” (You’ll think of Serpina)
4a
15
224
Giovanni Battista Pergolesi, La serva padrona (The maid as mistress): “Son
imbrogliato io già” (I’m really in a fix)
4b
17
266
Niccolò Piccinni, La buona figliuola (The virtuous maiden), Act 2, Finale
5
17
266-69
Christoph Willibald Gluck, Orfeo ed Euridice (Orpheus and Eurydice):
Opening chorus and recitative
6a
17
266-69
Christoph Willibald Gluck, Orfeo ed Euridice (Orpheus and Eurydice): “Che
farò senza Euridice?”(What am I to do without Eurydice?): Act 3, Scene 1
6b
16
249-51
Giovanni Battista Sammartini, Symphony No. 13 in G Major
7
17
260-62, 26970, 273-78
Johann Christian Bach, Symphony in B♭Major, Op. 18, No. 2, First
movement
8
17
262-64, 26970, 273-78
Franz Joseph Haydn, Symphony No. 45 in F# Minor (“Farewell”), First
movement
9
17
262-64, 27071, 273-78
Franz Joseph Haydn, String Quartet in E♭Major (“The Joke”), Op. 33, No.
2
10
17, 18
269-70, 27378, 281-85
Franz Joseph Haydn, Symphony No. 104 in D Major (“London”)
11
18
281-83
Franz Joseph Haydn, The Creation, No.1, Overture: “Die Vorstellung des
Chaos” (The Representation of Chaos); and No. 2, Recitative and chorus
12
17, 18
262, 264-66,
281-83, 288-90
Wolfgang Amadeus Mozart, Don Giovanni, K. 527: Act 1, Overture and
Introduction
13a
18
281-83, 287-90
Wolfgang Amadeus Mozart, Don Giovanni, K. 527: Act 2, Finale
13b
18
281-83, 291-93
Wolfgang Amadeus Mozart, Symphony No. 40 in G Minor, K. 550, First
movement
14
17, 18
281-83, 291-93
Wolfgang Amadeus Mozart, Symphony No. 41 in C Major (“Jupiter”), K.
551, Fourth movement
15
17
264-66, 272
Wolfgang Amadeus Mozart, Piano Concerto No. 17 in G Major, K. 453
16
18
293-97
Ludwig van Beethoven, Sonata No. 8 in C Minor (“Pathétique”), Op. 13,
First movement
17
18
293-97
Ludwig van Beethoven, Septet in E♭ Major, Op. 20: Fourth Movement:
Tema con Variazione (Andante); Fifth Movement: Scherzo (Allegro molto e
vivace)
18
19
309-15
Ludwig van Beethoven, Symphony No. 3 in E♭ Major, Sinfonia Eroica
(Heroic Symphony), Op. 55, First movement
19
19
309-15
Ludwig van Beethoven, Symphony No. 5 in C Minor, Op. 67
20
19
315-18
Ludwig van Beethoven, String Quartet in B♭ Major, Op.130, “Cavatina”
21
19
324-25
Gioachino Rossini, Il Barbiere di Siviglia (The barber of Seville), Overture
22
19
324-25
Gioachino Rossini, L’Italiana in Algeri (The Italian woman in Algiers), Act 1,
Finale
23
19
324-25
Gioachino Rossini, Tancredi, Act 1, Scene 5, “Oh patria!... Tuche accendi
questo core . . . Di tanti palpiti” (O homeland . . . You who set fire to this
heart . . . So many heart throbs)
24
20
334-36
Vincenzo Bellini, Norma, “Casta diva” (O pure Goddess)
25
20
334-36
Gaetano Donizetti, Lucia di Lammermoor (Lucy of Lammermoor), Act 3,
Scene 2, Mad Scene, “Il dolce suono . . . Spargi d’amaro pianto” (I hear the
sweet sound . . . Shed your bitter tears)
26
19
326-27
Carl Maria von Weber, Der Freischütz (The Free Marksman): Overture
27a
19
326-27
Carl Maria von Weber, Der Freischütz (The Free Marksman): Wolf ’s Glen
Scene, Act 2, Finale
27b
19
318-23
Franz Schubert, Heidenröslein (Little rose on the heath)
28
19
318-23
Franz Schubert, Erlkönig (The Elf King)
29
19
327-28, 345-46
Franz Schubert, Moments musicaux (Musical moments), No. 6 (D. 780)
30
19
318
Franz Schubert, Symphony No. 8 in B Minor (“Unfinished”), D. 759, First
movement
31
19
327-29
Franz Schubert, Piano Trio in E♭ Major, Op. 100, D. 929, Second
movement
32
19
318-23
Franz Schubert, Der Doppelgänger (The Double)
33
20
340-41
Niccolò Paganini, Caprices, Op. 1, Nos. 17 and 24
34
20
340-41
Franz Liszt, Grandes Études d’après Paganini (Grand Studies after
Paganini), No. 6
35
20
340-41
Franz Liszt, Rèminiscences de Don Juan (The Don Juan Fantasy)
36
19, 20
325, 339
Daniel-François-Esprit Auber, La muette de Portici (The mute girl of
Portici), “Mieux vaut mourir” (It is better to die)
37
20
339-40
Giacomo Meyerbeer, Les Huguenots, “Bénédiction des poignards”
(Blessing of the swords) and “Grand Duo”
38
20, 21
346-52
Hector Berlioz, Symphonie fantastique, Fifth movement
39
20
346-50
Felix Bartholdy Mendelssohn, Ein Sommernachtstraum (A Midsummer
Night’s Dream), Overture
40
20
352-53
Felix Bartholdy Mendelssohn, Paulus (St. Paul), Op. 36, Overture and No.
36
41
20
344-46, 350-52
Robert Schumann, Phantasie (Fantasy), Op. 17, First movement
42
20
344-45, 350-52
Robert Schumann, Dichterliebe (Poet’s Love), Op. 48: No. 1, “Im
wunderschönen Monat Mai” (In the lovely month of May)
43a
20
344-45, 350-52
Robert Schumann, Dichterliebe (Poet’s Love), Op. 48: No. 2, “Aus meinen
Tränen” (From my tears)
43b
20
334, 342
Clara Schumann, “Er ist gekommen in Sturm und Regen” (He has come in
storm and rain), Op. 12, No. 2
44
20
332, 342-44,
345, 350
Frédéric Chopin, Préludes, Op. 28, Nos. 1–4
45
20
342-46
Frédéric Chopin, Mazurka, Op. 17, No. 4
46
20
342-46
Frédéric Chopin, Ballade in G Minor, Op. 23
47
21
375
Louis Moreau Gottschalk, Bamboula, danse des nègres (negro dance), Op.
2
48
21
377
Mikhail Glinka, A Life for the Tsar, Finale from Epilogue, “Slav’sya,
slav’sya” (Glory, glory)
49
21
377
Mikhail Glinka, Kamarinskaya
50
21
356-58
Franz Liszt, Les préludes (Preludes), Symphonic Poem No. 3 (piano
reduction)
51
20
352
Felix Bartholdy Mendelssohn, Violin Concerto in E minor, Op.64, First
movement
52
21
358-66
Richard Wagner, Tristan und Isolde (Tristan and Isolde): Prelude
53a
21
358-66
Richard Wagner, Tristan und Isolde (Tristan and Isolde): Act 3, Isolde’s
transfiguration
53b
20
334-39
Giuseppe Verdi, Rigoletto, Act 3, conclusion
54
21
376-77
Bedřich Smetana, Má vlast (My Fatherland), “Vltava” (The Moldau or
Vltava River)
55
21
377-79
Modest Musorgsky, Boris Godunov, “Coronation Scene”
56
21
377-79
Pyotr Ilyich Tchaikovsky, Eugene Onegin, Act 1, Scene 2 (Letter
Scene)
57
21
377-79
Pyotr Ilyich Tchaikovsky, Symphony No. 4 in F Minor, Op. 36, First
movement
58
21
367-68
Johannes Brahms, Piano Quartet in G Minor, Op. 25, Fourth movement
59
21
367-68
Johannes Brahms, Symphony No. 1 in C Minor, Op. 68, Fourth movement
60
21
376-77
Antonín Dvořák, Piano Quintet in A Major, Op. 81: Second movement
(“Dumka”)
61
21
376-77
Antonín Dvořák, Symphony No. 9 in E Minor (“From the New World”),
Second movement
62
21
369-70
Camille Saint-Saëns, Samson et Dalila (Samson and Delilah), Bacchanale
63
21
374-75
George Bizet, Carmen,“L’amour est un oiseau rebelle” (Love is a rebellious
bird) (“Habanera”)
64
21
377-79
Alexander Borodin, Prince Igor, “Polovtsian Dances,” Act 2, No. 17
65
19
327-29
Johann Strauss II, An der schönen, blauen Donau (On the Beautiful Blue
Danube), Op. 314
66
21
379
Arthur Sullivan and William S. Gilbert, Ruddigore,“My eyes are fully open
to my awful situation” (“Patter Trio”)
67
21
373-75
Ruggero Leoncavallo, Pagliacci (Clowns or Players), “Vesti la giubba” (Put
on the costume)
68
21
373-76
Giacomo Puccini, Madama Butterfly, “Un bel dì vedremo” (One fine day
we’ll see)
69