1. In order to create an atmosphere of shimmering intensity "behind" Isolde, Wagner uses which of these devices in his orchestra?

a. splashy percussion
b. tremolo in the strings
c. a solo for flute
d. 12 harps

2. Is there an easily perceptible duple or triple meter in the "Liebestod"?

a. Yes, triple        b. Yes, duple         c. No, no strong sense of meter

3. When the soprano sings the "ecstasy" letimotif (2:35-2:57), she does so to fairly "square" poetry--lines of 4 + 4 syllables with internal rhyme. (Try reciting the German to yourself.)

Wonne klagend, alles sagend                     Moaning bliss, expressing all
Mild versohnend aus ihm tonend               Gently forgiving, sounding from within

What is the course of the soprano's melody during this couplet?

a. falls     b. falls in sequence        c. rises         d. rises in sequence

4. Immediately after (2:58-3:17), the music rises toward a climax to reflect the sentiment of the next couplet:

In mich dringet, auf sich schwinget,           Pierces me, rises upwards,
Hold erhallend, um mich klinget?               Blessedly echoing all around me?

How is this rising tension brought about in the music?
    a. Tremolos played by the upper strings
    b. The voice rises up chromatically.
    c. There is a crescendo.
    d. All of the above

5. (3:39-4:25) Wagner now builds to the main, final climax with the "desire" leitmotif churning in the orchestra. But along the way, on the word "Lauschen" ("Listen"), he suddenly changes dynamics in the orchestra. To which does he change?
    a. pianissimo        b. fortissimo

6. (4:45-5:18) After the great climax at (4:25), how does Wagner now musically depict Isolde's words: "to drown, to sink down, unconscious..."?

a. The vocal line soars up, then falls.
b. The voice and orchestra continually fall (parallel motion)
c. The voice gradually falls, but the orchestra then rises over it (contrary motion)
d. Both voice and orchestra rise

7. Not all nineteenth-century opera-goers were happy with Wagner's innovations. Listen again to a bit from Verdi's La traviata. If you were living in 1870 and were an intelligent advocate of Italian opera (and against Wagner), which of the following criticisms might you successfully bring against Wagner's style?

a. The music does not seem to reflect the meaning of the words.
b. The orchestration is flimsy.
c. Wagner should drop his fascination with "sick" characters like Isolde and focus on a healthy romantic relationship, like that between Violetta and Alfredo.
d. The singer has to struggle hard to be heard over the loud, rich orchestration.

8.   Who was the author of Wagner's libretto (the text of the opera)?

a.  Alexandre Dumas
b.  Ludwig of Bavaria
c.   Richard Wagner
d.   Hans von Wolzogen

9. Wagner has the singer reach one final peak for her last word, "Lust" ("bliss"). How does this moment differ from the huge climax at (4:25) on "Welt-Atems" ("World-Spirit")?

a. It is softer.
b. It is louder, but the orchestra is silent.
c. It is a climax on a low note.
d. It is softer and also approached by a sudden leap upwards.

10. Is the "Liebestod" through-composed (without repetition of large sections), or a da capo aria?