MuL 15

Worksheet 2

Name: ______________________________
SARRONDO, Lorenz Edward S.

Encircle the correct answer.

1. One of the greatest patrons of the arts in the eighteenth century Germany-speaking lands
was
a. George Frideric Handel c. Johann Wolfgang von Goethe
b. George I d. Frederick the Great

2. Which of the following describes the eighteenth-century German composers’ musical style?
a. German composers were careful to carve a niche that was uniquely German, denying
the influence of other countries
b. German composers synthesised stylistic traits of several countries
c. German composers imitated Italian composers
d. German composers modelled their system on the French

3. Telemann’s first set of Paris Quartets shows Italian influence through

a. Suite form
b. Da capo form
c. Concerto form
d. Sonata form

4. In Cöthen, Bach was employed as a

a. Organist
b. Concertmaster
c. Court Kapellmeister
d. Church cantor

5. Bach’s final position was as

a. Court Kapellmeister in Vienna
b. Music director at St. Mark’s in Venice
c. Cantor at St. Thomas in Leipzig
d. Court composer in Weimar

6. Which of the following best describes the way Bach composed?

a. Bach composed music that he was employed to write
b. Bach made most of his money from large-scale. Works written for public concerts
c. Bach was able to write at will, composing works as inspiration hit
d. Bach was a freelance composer
7. Many of Bach’s fugues reveal the influence of
a. Antonio Vivaldi
b. Arcangelo Corelli
c. Jean-Baptiste Lully
d. Francois Couperin

8. The Orgelbüchlein contains

a. Toccatas and fugues c. Suites
b. Masses d. Chorale preludes

9. The Well-Tempered Clavier

a. Contains fugues with one or two subjects
b. Was written as a gift for Frederick the Great
c. Contains only toccatas and fugues
d. Contains examples in all 12 keys

10. What is one way in which The Well-Tempered Clavier reflects Bach’s tendency to write
systematic, comprehensive collections?
a. It systematically demonstrates all types of fugal writing, arranged in increasing
complexity
b. It contains many ricercars and canons, all based on the same theme by Frederick the
Great, that run the gamut of contrapuntal practices at the time
c. It is designed to demonstrate the possibilities for playing in all major and minor keys
in near-equal temperament
d. It combines all extant methods of sacred composition, including new and old styles

11. In Bach’s lifetime, the principal composition of the Lutheran church was the
a. Chorale prelude
b. Fugue
c. Cantata
d. Mass

12. Which of the following describes the general style of Bach’s cantatas?
a. Bach combined the genres and standard ensembles of many places in his cantatas
b. Bach’s cantatas adopted the structure of the mass
c. Bach resisted the influence of other countries in writing his cantatas
d. All movements adopt uniform structure and performing forces

13. In Bach’s Mass in B Minor, the Credo is in

a. Monody c. Stile entico
b. Imitative counterpoint d. Modern style
14. Handel was born in
a. England c. Italy
b. Germany d. France

15. Handel’s most important patrons were

a. British royalty c. popes
b. Austrian monarchs d. French nobility

16. Handel is credited with inventing which genre?

a. The English oratorio c. The English aria
b. The Italian oratorio d. The German orchestral suite

17. How was Handel exposed to Italian music?

a. He absorbed Italian styles through the music of Johann Sebastian Bach
b. He saw an Italian opera company on tour in Germany
c. He lived in Italy for a time, even composing operas for Florence and Venice
d. He attended the Italian operas of Nicola Porpora in London

18. The most famous singer Handel recruited from Germany to sing in London was
a. Francesca Cuzzoni
b. Faustina Bordoni
c. Senesino
d. Farinelli

19. Handel’s opera’s written for London audiences were mostly in the style of
a. French opera c. English masques
b. German opera d. Italian opera

20. In Handel’s operas, recitative that is accompanied only by basso continuo is

a. Simple recitative c. Toccata
b. Prima donna d. Accompanied recitative

21. What was Handel’s contribution to the development of operatic scene structure?
a. He blended recitative, aria, and orchestral ritornellos
b. He made ensembles as formulaic as only arias had been
c. He made further distinctions between aria and recitative
d. He did away with recitative in favour of increasing the number of arias

22. In Handel’s operas, recitative that is accompanied by the orchestra, rather than just basso
continuo, is
a. Accompanied recitative c. Toccata
b. Simple recitative d. Prima donna
23. How did Handel move plots forward more quickly in his operas, in comparison to earlier
Italian-style operas?
a. He did not write da capo arias
b. He increased the role of the chorus
c. He blended together recitative, aria, and instrumental parts
d. He dropped orchestral parts

24. How did Handel’s oratorios differ from Italian oratorios?

a. They did not contain da capo arias
b. Spoken word replaced recitative
c. The use of chorus increased
d. The emphasis was on the orchestra, and voices played secondary roles

25. Which composer most heavily influenced Handel’s Twelve Grand Concertos?
a. Antonio Vivaldi c. Archangelo Corelli
b. François Couperin d. Johann Sebastian Bach