1. Which of the following must be true about Scherzo?
   
   I.    Under Beethoven's pen, scherzo is generally synonymous with a divertimento intended to separate the allegro from the adagio, or one of these parts from the finale.
   
   II.   Chopin was interested in the classical scherzos and applied the same form and sense of 'humor' in his four scherzos.
   
   III.  Humor in Chopin's scherzos can include landler-like capers or occasionally it can be purposely amusing.
   
   IV.  Chopin's scherzos were developed to the highest achievement from those of Beethoven and Brahms.
   
   I only
   II and IV only
   I and IV only
   I, II and III only
   II, III and IV only
    
2. Which of the following must be true about the characteristics that Beethoven and Chopin shared in their scherzos?
   
   I.    Key signature
   
   II.   Time signature
   
   III.  Tempo
   
   IV.  The sense of humor 
   
   I and II only
   II and III only
   I, II and III only
   II, III and IV only
   I, II, III and IV
    
3. Which of the following must be true about scherzo No.1 Op.20?
   
   I.   It was begun in Vienna in 1830-1831, during a rather unhappy period of his life.
   
   II.  It was finished in Paris in 1835 and first performed by Liszt in 1839.
   
   III. It was published in England later in 1848 under the name "Infernal Banquet" by Fontana.
   
   I only
   II only
   III only
   I and II only
   I, II and III
    
4. Which of the following must be true about scherzo No.1 Op.20?
   
   I.   It was inspired by a night of anguish spent in the cathedral of Vienna, with no candles lit.
   
   II.  Schumann was baffled when reviewing it. He asked: "How are seriousness and gravity to be clothed if jest is to go about in such dark-colored garments?"
   
   I only
   I and II
   Neither I nor II.
    
5. Which of the following must be true about the analysis of scherzo No.1 Op.20?
   
   I.    There is really a connection, rather than dissonance, between the two bass notes (G and A#) of the two beginning massive chords and the diminished seventh which plays so prominent in the first section.
   
   II.   After the agitation has exhausted itself, there comes a trio, in F# major, for which Chopin adapts the Christmas folksong "Jesus, little Jesus, my little pearl,..."
   
   III.  The work ends with a coda wherein the dramatic tension reaches breaking point, which is never used again in other three scherzos.
   
   I only
   II only
   I and II only
   II and III only
   I, II and III
    
6. Which of the following must be true about scherzo No.2 Op.31?
   
   I.   It was composed in the key B flat minor, published and probably written in 1840.
   
   II.  Schumann compared it to a Byronic poem, "so overflowing with tenderness, boldness, love and contempt".
   
   III. It was dedicated to la Comtesse Adele de Furstenstein.
   
   I only
   III only
   I and II only
   II and III only
   I, II and III
    
7. Which of the following must be true about the first section of scherzo No.2 Op.31?
   
   I.   It begins with a questioning motive uttered several times in the bass.
   
   II.  The first Bb note is never repeated during the many reprises of the mysterious and ghostly triplets (A Bb Db F).
   
   III. After several modulations, the broad, lyrical and eminently enthusiastic cantilena marked "con anima" was changed from Db to C, and then to B, finally to the dominant Bb minor.
   
   I only
   II only
   I and II only
   I and III only
   II and III only
    
8. Which of the following must be true about the trio and coda of scherzo No.2 Op.31?
   
   I.   The trio is regarded as the kernel of the whole piece with the unsurpassed passage of waltz-like arabesque with the little triplets, which is indescribable like Leonardo da Vinci's "Mona Lisa".
   
   II.  The trio section changes key several times through expressive modulations.
   
   III. The coda finishes unusually but very convincingly in the relative major key of D flat.
   
   I only
   II only
   III only
   I, II and III
   None of the four choices above are correct.
    
9. Which of the following must be true about scherzo No.3 Op.39?
   
   I.   It was started during the time spent with George Sand in Majorca.
   
   II.  It was dedicated to Adolph Gutman, who was a pupil of Chopin at the age of 15 and strong enough to punch a hole through a table to play its octaves.
   
   III. It was composed in 1839, roughly the same period as the first movement of sonata No.2 Op.35, which suggested Chopin's first intention to use this scherzo as a movement of the sonata. 
    
   I and II only
   I and III only
   II and III only
   I, II and III
   None of the four choices above are correct.
    
10. Which of the following must be true about the structure of scherzo No.3 Op.39?
    
    I.   It is more in the nature of a sonata movement than the ones Chopin wrote for his own sonata No.2 Op.35 in Bb minor.
    
    II.  It is the most terse, ironic, and tightly constructed of the four scherzos, with an almost Beethovenian grandeur.
    
    III. It is the longest of the four scherzos.
    
    I and II only
    I and III only
    II and III only
    I, II and III
    None of the four choices above are correct.
     
11. Which of the following must be true about the analysis of scherzo No.3 Op.39?
    
    I.    It begins in a stormy atmosphere punctuated with lightning flashes.
    
    II.   The "meno mosso" section in D flat major brings a unique piece of piano writing: upon the deep last chord of each phrase there descends from the heights a delicately spun veil of sound.
    
    III.  When the chorale goes into the E minor key from the E major key, these arabesques impart a strange poignancy to the solemn theme.
    
    I and II only
    I and III only
    II and III only
    I, II and III
    None of the four choices above are correct.
     
12. Which of the following must be true about scherzo No.4 Op.54?
    
    I.   It was composed in 1842 and published in 1843.
    
    II.  The key signature never changes throughout the piece.
    
    III. It was dedicated to Mademoiselle de Caraman. 
     
    I only
    I and II only
    I and III only
    II and III only
    I, II and III
     
13. Which of the following must be true about the analysis of scherzo No.4 Op.54?
    
    I.   The first section evokes the serene and joyous atmosphere of a 'forest murmurs' scene.
    
    II.  The trio section starts off in a darker tonality of C# minor with a melancholic melody.
    
    III. The coda ends in a silent ornamentation, unlike his three previous scherzos.
    
    II only
    I and II only
    I and III only
    II and III only
    I, II and III
     
14. Which of the following must be true about the scherzo No.4 Op.54?
    
    I.   Its pattern of 'forest murmurs' was taken from Liszt's Concert Etude S.145 No.1 'Waldesrauschen'.
    
    II.  Affected by Debussy, Chopin composed this last scherzo which is somewhat considered to be of impressionism.
    
    III. It is a longish work, more remarkable for subtle touches, both in harmony and construction, than for those broad effects which make an instantaneous appeal in the other scherzos. 
    
    I only
    II only
    III only
    I and II only
    I, II and III
     
15. This is the manuscript of
    
    Scherzo No.1
    Scherzo No.2
    Scherzo No.3
    Scherzo No.4
    None of the above choices are correct.
     
16. Approximately how many of music bars/measures are there in a Chopin's scherzo?
    Less than 50
    From 50 to 100
    From 101 to 250
    From 251 to 500
    Over 500

     

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