chapter 13: other classical genres the classical concerto
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Chapter 13:Other Classical Genres
The Classical Concerto
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Key Terms
Classical concerto
Classical concerto movement plan
Double-exposition form
Orchestra exposition
Solo exposition
Cadenza
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The Classical Concerto
Not identical to the Baroque concerto, but some features were retained
• 3 movements – fast, slow, fast• Solo virtuosity• Contest between soloist & orchestra
Contest heightened in Classical concerto• Soloist’s agility, brilliance, & expressiveness• Large orchestra’s power & variety of color• Soloist & orchestra held in perfect balance
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Symphony Movement Plan
I – Moderate to fast tempo; Sonata form• Sometimes with slow Introduction
II – Slow tempo; Various forms used• Sonata form, variations, rondo, or other
III – Moderate tempo; Minuet form• A triple meter dance
IV – Fast tempo; Sonata or rondo form
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Concerto Movement Plan
Similar to symphony movement plan• Minuet movement omitted
I – Moderate to fast tempo• Double-exposition sonata form• Long movement with cadenza near the end
II – Slow tempo; Various forms used• Sonata form, variations, rondo, or other
III –Fast tempo; Rondo form favored• At times variation form, but never sonata form
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Double-Exposition Form (1)
Extended variant of sonata form• Capitalizes on solo vs. orchestra contest
Two expositions are used in place of the usual repeat of the expositionOrchestra exposition
• Announces the main themes in the tonic key
Solo exposition• Presents the same themes & some new ones• Adds a real bridge, modulates to second key• Often longer than orchestra exposition
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Double-Exposition Form (2)
Development serves same dramatic function here as in sonata form
• Orchestra vs. soloist contest heightened
Recapitulation a composite of orchestra & solo expositions
• Orchestra’s cadence theme given greater prominence
• Pause for a solo cadenza just before final statement of cadence theme
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Double-Exposition Form (3)
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Mozart, Piano Concerto in A
Written during his Vienna years in 1786
Typical Classical concerto
Three nicely contrasted movements• I – One of his most gentle & songful 1st
movements• II – Almost tragic in mood• III – An exuberant & sunny finale
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Mozart, Piano Concerto in A, I (1)
No fewer than 4 gentle, songful themes
• Theme 1, Theme 2, Cadence theme, & new theme
Small orchestra enhances effect
• Keeps clarinets, but no trumpets or timpani
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Mozart, Piano Concerto in A, I (2)
Orchestra exposition sets the mood• Presents themes 1 & 2 and cadence theme
• Frequent contrasts between gentle theme and agitated answer – e.g., f response
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Mozart, Piano Concerto in A, I (3)
Solo exposition features solo piano• Expands on orchestra exposition• Adds modulating bridge & a new theme
Development emphasizes contest• Rapid-fire dialogue• Theme fragments & frequent modulations
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Mozart, Piano Concerto in A, I (4)
Recapitulation blends the two expositions• Piano & orchestra share theme 1• Bridge now returns to tonic key• Beautiful extension of new theme• Varied solo cadenza written out by Mozart• Orchestra answers with f response• Ends with cadence theme from 1st exposition
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Conclusions
Derives from symphony movement plan• Double-exposition sonata form; no minuet
Some features of Baroque concerto• Solo vs. orchestra dialogue• Ritornello-like f response
Many unique features• Profusion of themes – “pleasing variety”• Dramatic contest between piano & orchestra• Virtuoso, “operatic” writing for solo piano• Improvisatory nature of cadenza