Study Guide Corrections and Clarifications
Despite our best efforts (and relentless proofreading), some mistakes find their way into the Study Guide. Please make a note of these (and check back for updates):
p. iv (Table of Contents) Mozart's piece is Sinfonia Concertante for Violin, Viola, and Orchestra in Eb Major (K364) - Mvt. III (not e flat major, Mvt. II). (The piece is listed correctly in the Study Guide pages.)
p. v (Table of Contents) Hindemith - Mathis der Maler is omitted. It should be listed for p.34, CD II:10; Schnittke - In Memoriam is p. 35, CD II:11, and Larsen - Collage: Boogie is p. 36, CD II:12 (These are listed correctly in the Study Guide pages.)
p. vii Orchestral Suite #2 (not Orchestra)
p. ix The Glossary is on pp. 69-71 (first paragraph)
p. 11 – A clarification regarding the explanation of the organizing principle for this Purcell hymn (paragraph 3): The attempt was to describe a constantly repeating bass melody forming a harmonic basis for the complete composition. A harpsichord quietly fills in chords (see p. 10) while the triple meter, 14-note bass line is presented in full at the outset. The singer’s melody unfolds above it as this bass line is repeated five times, At this point, the bass line is varied for some measures in related keys until it resumes, repeating 12 more times. This format is properly called a ground aria or aria on a ground.
p. 12. The recording of the Vivaldi concerto is indeed presented by a recorder flute and a transverse flute as soloists. However there is little opportunity to really hear the transverse flute separately because it is a secondary duet part and never gets any solo passages in this movement. Do not expect to be able to differentiate between the timbre of the two instruments. Therefore the commentary on page 12 concerning the two different types of flute used during the Baroque Era is still relevant, but the example is not helpful here. Some recordings of this work employ a violin as the secondary part, and the performance on the Naxos playlist is by two transverse flutes.
p. 21- Shaffe should be Schaffe (add a c) both title and testable title (it is listed correctly on p. viii)
p. 26 - Nimrod is movement #10 of the Enigma Variations, but it is Variation #9. Movement #1 is the theme for the set of variations, although this section consists of two
contrasting melodic fragments to be used for the rest of the piece. Thus the “enigma” of his complete theme is maintained.
p. 39 - testable name should be J.S. Bach (not Bach)
p. 44 - The Bach Mass in b minor was finally completed and assembled in 1749, although the excerpt heard in the Study Guide was written in 1733. Other segments were
written at different times throughout J. S. Bach's career.
p. 45. The aria of the Goldberg Variations is played first by a harpsichord, then repeated by a piano, after which Variation 28 is presented by the piano. Thus Variation 12, with its inverted melodic formulation is unfortunately not present at all.
p. 49 - Brett should be Rhett (last paragraph)
p. 61 - Death date for Villa-Lobos should be 1959 (not 1559)
p. iv (Table of Contents) Mozart's piece is Sinfonia Concertante for Violin, Viola, and Orchestra in Eb Major (K364) - Mvt. III (not e flat major, Mvt. II). (The piece is listed correctly in the Study Guide pages.)
p. v (Table of Contents) Hindemith - Mathis der Maler is omitted. It should be listed for p.34, CD II:10; Schnittke - In Memoriam is p. 35, CD II:11, and Larsen - Collage: Boogie is p. 36, CD II:12 (These are listed correctly in the Study Guide pages.)
p. vii Orchestral Suite #2 (not Orchestra)
p. ix The Glossary is on pp. 69-71 (first paragraph)
p. 11 – A clarification regarding the explanation of the organizing principle for this Purcell hymn (paragraph 3): The attempt was to describe a constantly repeating bass melody forming a harmonic basis for the complete composition. A harpsichord quietly fills in chords (see p. 10) while the triple meter, 14-note bass line is presented in full at the outset. The singer’s melody unfolds above it as this bass line is repeated five times, At this point, the bass line is varied for some measures in related keys until it resumes, repeating 12 more times. This format is properly called a ground aria or aria on a ground.
p. 12. The recording of the Vivaldi concerto is indeed presented by a recorder flute and a transverse flute as soloists. However there is little opportunity to really hear the transverse flute separately because it is a secondary duet part and never gets any solo passages in this movement. Do not expect to be able to differentiate between the timbre of the two instruments. Therefore the commentary on page 12 concerning the two different types of flute used during the Baroque Era is still relevant, but the example is not helpful here. Some recordings of this work employ a violin as the secondary part, and the performance on the Naxos playlist is by two transverse flutes.
p. 21- Shaffe should be Schaffe (add a c) both title and testable title (it is listed correctly on p. viii)
p. 26 - Nimrod is movement #10 of the Enigma Variations, but it is Variation #9. Movement #1 is the theme for the set of variations, although this section consists of two
contrasting melodic fragments to be used for the rest of the piece. Thus the “enigma” of his complete theme is maintained.
p. 39 - testable name should be J.S. Bach (not Bach)
p. 44 - The Bach Mass in b minor was finally completed and assembled in 1749, although the excerpt heard in the Study Guide was written in 1733. Other segments were
written at different times throughout J. S. Bach's career.
p. 45. The aria of the Goldberg Variations is played first by a harpsichord, then repeated by a piano, after which Variation 28 is presented by the piano. Thus Variation 12, with its inverted melodic formulation is unfortunately not present at all.
p. 49 - Brett should be Rhett (last paragraph)
p. 61 - Death date for Villa-Lobos should be 1959 (not 1559)