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A) Allegro, Adagio, Scherzo B) Minuet, Trio, Finale C) Presto, Largo, Rondo D) Introduction, Intermezzo, Coda
A) Sonata form - exposition, development, and recapitulation B) Rondo form C) Theme and variations D) Binary form
A) Four B) Two C) Five D) Three
A) Joyful and light-hearted B) Mournful and somber C) Full of ominous undertow D) Playful and whimsical
A) From 4/4 to alla breve B) From 3/4 to 6/8 C) From 6/8 to 3/4 D) From 2/4 to 4/4
A) Andante sostenuto, featuring lyrical phrases B) Presto, with rapid arpeggios C) Lento assai, with a smooth melodic line D) Allegro energico, consisting of a jagged, forceful motif in octaves
A) Klangschale ('sound bowl') B) Trommelwirbel ('drum roll') C) Hammerschlag ('hammer-blow') D) Flügelzug ('wing-draw')
A) C sharp minor B) F♯ major C) D major D) B minor
A) Rondo form B) Sonata-allegro form C) Compound ternary form D) Binary form
A) A rondo in G major B) An adagio in A major C) A fugue in B♭ minor that can also function as a scherzo D) A minuet and trio in C minor
A) Double-function form B) Polyphonic form C) Single-function form D) Triple-function form
A) Années de pèlerinage B) Liebesträume C) Grosses Concert-Solo D) Hungarian Rhapsody No. 2
A) A quiet, reflective passage B) An abrupt silence C) A loud flourish D) A gradual diminuendo
A) 1872 B) 1851 C) 1848 D) 1865
A) Hungarian Rhapsody No. 2 B) Liebesträume C) Grosses Concert-Solo (Concerto pathétique) D) Années de pèlerinage
A) 1854 B) 1849 C) 1857 D) 1853
A) Weimar, Germany B) Paris, France C) Budapest, Hungary D) Vienna, Austria
A) Carolyne zu Sayn-Wittgenstein B) Clara Schumann C) Johannes Brahms D) Robert Schumann
A) About 20 minutes B) Approximately 45 minutes C) Nearly an hour D) Around 30 minutes
A) She considered it her favorite piece by Liszt B) She performed it frequently C) She dedicated one of her own compositions to Liszt D) She found it 'merely a blind noise'
A) Carolyne zu Sayn-Wittgenstein B) Robert Schumann C) Richard Wagner D) Johann Strauss II
A) The Odyssey by Homer B) Paradise Lost by John Milton C) War and Peace by Leo Tolstoy D) Don Quixote by Miguel de Cervantes
A) No, he did not assign any programmatic meaning B) Yes, it depicted historical events C) Yes, it was inspired by nature D) Yes, it was based on his personal life
A) Limited to performances in Italy B) More successful than ever C) Almost entirely subsided D) Focused solely on teaching
A) 1860 B) 1853 C) 1875 D) 1848
A) 1854 B) 1875 C) 1857 D) 1863
A) Otto Gumprecht B) Camille Saint-Saëns C) Eduard Hanslick D) Heinz Roemheld
A) Hans von Bülow B) Richard Wagner C) Anton Rubinstein D) Johannes Brahms
A) Frankfurter Allgemeine Zeitung B) Le Figaro C) National-Zeitung D) The Times
A) Leó Weiner B) Frederick Ashton C) Camille Saint-Saëns D) Heinz Roemheld
A) 1955 B) 2004 C) 1984 D) 1914
A) Heinz Roemheld B) Humphrey Searle C) Camille Saint-Saëns D) Leó Weiner
A) Citizen Kane (1941) B) Casablanca (1942) C) The Black Cat (1934) D) Gone with the Wind (1939)
A) Singin' in the Rain B) The Sound of Music C) Casablanca D) Hans Christian Andersen
A) Bernhard Haas B) Gordon Jacob C) Humphrey Searle D) Nathan Laube
A) Johann Sebastian Paetsch B) Heinz Roemheld C) Camille Saint-Saëns D) Leó Weiner
A) Hungaroton B) Sony Classical C) EMI Classics D) Decca |