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| 1 | |
How are cadenzas in Romantic concertos different from cadenzas in Classical concertos? |
| | A) | Romantic cadenzas are more technically difficult for the soloist, while Classical cadenzas are less technically difficult for the soloist. |
| | B) | Romantic cadenzas were usually written by the composer, while Classical cadenzas were usually improvised by the performer. |
| | C) | Romantic cadenzas occur early in concerto movements, while Classical cadenzas occur at the end of concerto movements. |
| | D) | Romantic cadenzas are less technically difficult for the soloist, while Classical cadenzas are more technically difficult for the soloist. |
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| 2 | |
Which soloist in 1820 arrived on the concert stage to astound audiences? |
| | A) | Fanny Mendelssohn Hensel, the pianist |
| | B) | Abraham Mendelssohn, the violinist |
| | C) | Niccolo Paganini, the violinist |
| | D) | Robert Schumann, the pianist |
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| 3 | |
What musical instruments did Felix Mendelssohn master? |
| | A) | piano, violin, and cello |
| | B) | piano, viola, and cello |
| | C) | piano, violin, and viola |
| | D) | piano and viola |
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| 4 | |
Which statement is accurate about Mendelssohn's Violin Concerto in E Minor? |
| | A) | It was not well received during its first performance, but over the years it has become an audience favorite. |
| | B) | It was well received during its first performance, but it received few performances during Mendelssohn's lifetime. It was rediscovered and is now an audience favorite. |
| | C) | Mendelssohn revised the Violin Concerto in E Minor several times because audiences did not initially respond to the piece. |
| | D) | It was well received during its first performance, it was played often during Mendelssohn lifetime, and it remains popular today. |
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| 5 | |
What was the name of the brilliant overture that Felix Mendelssohn wrote when he was seventeen years old? |
| | A) | Fingal's Cave |
| | B) | A Midsummer Night's Dream |
| | C) | 1812 Overture |
| | D) | Gewandhaus |
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| 6 | |
Which of the following composers is NOT known for writing Romantic concertos? |
| | A) | Johann Christian Bach |
| | B) | Robert Schumann |
| | C) | Felix Mendelssohn |
| | D) | Peter Ilyich Tchaikovsky |
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| 7 | |
Which of the following aspects of the concerto did not occur before the Romantic period? |
| | A) | fast-slow-fast three-movement form |
| | B) | the soloist introduces the first theme before the orchestra plays the theme |
| | C) | first movement double exposition sonata form |
| | D) | the soloist plays virtuosic cadenzas |
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| 8 | |
What is unusual about the first and second movements of Mendelssohn's Violin Concerto in E minor? |
| | A) | The two movements are connected by a sustained solo bassoon note. |
| | B) | Both the first and second movements are fast. |
| | C) | The first movement is slow and the second movement is fast. |
| | D) | The cadenzas of movements one and two are improvised by the soloist. |
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| 9 | |
On which instruments in the Romantic era did the highest level of virtuosity develop? |
| | A) | piano and horn |
| | B) | violin and horn |
| | C) | piano and flute |
| | D) | violin and piano |
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| 10 | |
Which statement is accurate about Mendelssohn's Violin Concerto in E Minor? |
| | A) | This concerto is scored for four of each wind instrument. |
| | B) | This concerto uses a single exposition sonata form in the first movement. |
| | C) | This concerto is program music. |
| | D) | This concerto is scored for a fairly small orchestra. |
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| 11 | |
What are quadruple stops? |
| | A) | The four times within a concerto when the orchestra stops to let the soloist play a cadenza. |
| | B) | When four stops on the pipe organ are selected. |
| | C) | When all four strings of an orchestral string instrument are played together. |
| | D) | A device that is fitted on the bridge of a string instrument to muffle the sound. |
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| 12 | |
What do the many tempo fluctuations in Mendelssohn's Violin Concerto in E Minor accomplish? |
| | A) | They accommodate the soloist so that a technically accurate performance can be given. |
| | B) | They give the soloist an opportunity to rest. |
| | C) | They create a sense of drama and passion. |
| | D) | They keep the orchestral musicians alert. |
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