t he v iennese c lassical s tyle - scott...
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![Page 1: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/1.jpg)
The Viennese Classical StyleMusic for an Enlightened Age
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Five Symphonies
1: Antonio CaldaraAn opening ‘Sinfonia’ to a cantata, from the 1720s
Essentially Baroque
Contrapuntal texture
Use of harpsichord continuo
Static rhythmic style of the Baroque
![Page 3: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/3.jpg)
Five Symphonies
1: Antonio CaldaraAn opening ‘Sinfonia’ to a cantata, from the 1720s
Essentially Baroque
Contrapuntal texture
Use of harpsichord continuo
Static rhythmic style of the Baroque
![Page 4: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/4.jpg)
Five Symphonies
2: Giovanni Battista Pergolesi (1710–1732)Overture, or ‘Sinfonia’, to the opera Lo frate ‘nnamurato, written in 1732
Baroque-style rhythm
Harpsichord continuo
Lack of counterpoint
Clear-cut phrases
Immediate surface appeal
![Page 5: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/5.jpg)
Five Symphonies
2: Giovanni Battista Pergolesi (1710–1732)Overture, or ‘Sinfonia’, to the opera Lo frate ‘nnamurato, written in 1732
Baroque-style rhythm
Harpsichord continuo
Lack of counterpoint
Clear-cut phrases
Immediate surface appeal
![Page 6: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/6.jpg)
Five Symphonies
3: Giovanni Battista Sammartini (1700–1775)A ‘Sinfonia’ (concert work) from the 1740s
More noticeably homophonic
Rhythmic variety, although still more like Baroque
Clear-cut phrases
Tune-like melodies
Contrast between sections
![Page 7: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/7.jpg)
Five Symphonies
3: Giovanni Battista Sammartini (1700–1775)A ‘Sinfonia’ (concert work) from the 1740s
More noticeably homophonic
Rhythmic variety, although still more like Baroque
Clear-cut phrases
Tune-like melodies
Contrast between sections
![Page 8: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/8.jpg)
Five Symphonies
4: Johann Stamitz (1717–1757)A Symphony written for the famed Mannheim orchestra, from the 1750s
Sharp dynamic contrasts
Long crescendo
Orchestral effects
Thicker, more modern orchestra
More Classical Style than not
![Page 9: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/9.jpg)
Five Symphonies
4: Johann Stamitz (1717–1757)A Symphony written for the famed Mannheim orchestra, from the 1750s
Sharp dynamic contrasts
Long crescendo
Orchestral effects
Thicker, more modern orchestra
More Classical Style than not
![Page 10: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/10.jpg)
Five Symphonies
5: Franz Joseph Haydn (1732–1809)Symphony No. 41 in C Major
Exemplifies the ideals of the Viennese Classical Style in its early maturity as of the 1770s.
Balance
Variety
Structural integrity
Imagination and wit
Brilliant sonority
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Five Symphonies
5: Franz Joseph Haydn (1732–1809)Symphony No. 41 in C Major
Exemplifies the ideals of the Viennese Classical Style in its early maturity as of the 1770s.
Balance
Variety
Structural integrity
Imagination and wit
Brilliant sonority
![Page 12: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/12.jpg)
The Enlightenment and Music
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The Enlightenment and Music
Humanism
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The Enlightenment and Music
HumanismThe Pursuit of Happiness
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The Enlightenment and Music
HumanismThe Pursuit of HappinessCosmopolitanism
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The Enlightenment and Music
HumanismThe Pursuit of HappinessCosmopolitanismMusical Consumerism
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The Enlightenment and Music
HumanismThe Pursuit of HappinessCosmopolitanismMusical ConsumerismMusic as Entertainment
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The Rise of the Concert Hall
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The Rise of the Concert Hall
First ever concert hall: Oxford, England, opened 1748.
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The Rise of the Concert Hall
First ever concert hall: Oxford, England, opened 1748.Composers were supported by the general public instead of by patrons.
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The Rise of the Concert Hall
First ever concert hall: Oxford, England, opened 1748.Composers were supported by the general public instead of by patrons.Instrumental music became the staple, instead of vocal and/or sacred music.
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The Rise of the Concert Hall
First ever concert hall: Oxford, England, opened 1748.Composers were supported by the general public instead of by patrons.Instrumental music became the staple, instead of vocal and/or sacred music.The concert hall tended to replace the church (and to a lesser extent) the opera house as the center of musical life.
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Rhythm
Remember that Baroque rhythm tends to be static, somewhat mechanistic.
![Page 24: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/24.jpg)
Rhythm
Remember that Baroque rhythm tends to be static, somewhat mechanistic.
![Page 25: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/25.jpg)
Rhythm
Haydn: Symphony No. 97, 2nd MovementNote the two-part nature of the themeNothing ever stays the same for very long
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Rhythm
Haydn: Symphony No. 97, 2nd MovementNote the two-part nature of the themeNothing ever stays the same for very long
![Page 27: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/27.jpg)
Rhythm
Haydn: Symphony No. 97, 4th MovementThe theme is also in two clear parts.
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Rhythm
Haydn: Symphony No. 97, 4th MovementThe theme is also in two clear parts.
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Rhythm
Haydn: Symphony No. 98, 1st movementEspecially note the contrast between the first two measures (slow) and the rest of the theme.
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Rhythm
Haydn: Symphony No. 98, 1st movementEspecially note the contrast between the first two measures (slow) and the rest of the theme.
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Rhythm
Haydn: Symphony No. 98, 1st MovementAnother theme from later in the first movementNote the contrast between the rhythm of this theme and that of the previous one
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Rhythm
Haydn: Symphony No. 98, 1st MovementAnother theme from later in the first movementNote the contrast between the rhythm of this theme and that of the previous one
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Dynamics
Classical dynamics are highly changeableChanges can be terraced as in the Baroque, but with much greater contrastChanges may also be gradual, making use of crescendo and decrescendo
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Dynamics
Mozart: Overture to Don Giovanni, openingExtreme terraced dynamics
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Dynamics
Mozart: Overture to Don Giovanni, openingExtreme terraced dynamics
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Dynamics
Mozart: Overture to Don Giovanni, later in the movement
Spectacular crescendo passage
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Dynamics
Mozart: Overture to Don Giovanni, later in the movement
Spectacular crescendo passage
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Tone Color
The orchestra underwent a dramatic expansionInstruments were increasingly given ‘character’ roles, treated almost like actors in a drama
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Tone Color
Haydn: Symphony No. 88, 4th MovementOpens with a prominent bassoon melody
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Tone Color
Haydn: Symphony No. 88, 4th MovementOpens with a prominent bassoon melody
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Tone Color
Haydn: Symphony No. 88, 4th MovementAnother statement of the same melody, but this time adding a flute
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Tone Color
Haydn: Symphony No. 88, 4th MovementAnother statement of the same melody, but this time adding a flute
![Page 43: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/43.jpg)
Tone Color
The number and type of brass instruments in the orchestra were increased
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Tone Color
Mozart: Mass in C Minor, K. 427: Gloria, Cum sancto spiritu
Use of trumpets and trombones together
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Tone Color
Mozart: Mass in C Minor, K. 427: Gloria, Cum sancto spiritu
Use of trumpets and trombones together
![Page 46: T he V iennese C lassical S tyle - Scott Foglesongscottfoglesong.com/.../classical/classical_style/classical_style.pdf · T he V iennese C lassical S tyle M usic for an E nlightened](https://reader035.vdocument.in/reader035/viewer/2022070612/5b8264227f8b9aad638e66b2/html5/thumbnails/46.jpg)
Tone Color
Percussion remains the same as in the BaroqueTimpani onlyOccasional use of other instruments
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Tone Color
The harpsichord died out and was replaced by the fortepiano
Precursor of the modern pianoforteLighter construction, with a bright, penetrating sound
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Tone Color
Mozart: Piano Sonata in B-flat Major, 3rd Movement
Viennese-style 18th century fortepiano
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Tone Color
Mozart: Piano Sonata in B-flat Major, 3rd Movement
Viennese-style 18th century fortepiano
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Tone Color
The continuo began to die out in orchestral musicHowever, it was still used in some places until the end of the century
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Tone Color
The continuo did not disappear in the opera house, but was still employed for recitativesThis usage continued until the 1820s
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Tone Color
Mozart: Così fan tutteFortepiano is used for the continuo
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Tone Color
Mozart: Così fan tutteFortepiano is used for the continuo
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Melody
The serpentine melodies of the Baroque are far less commonMore and more ‘tunes’ appear, which are easily remembered
Not simplisticIt’s difficult to write simply and well
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Melody
Haydn: Symphony No. 88, 1st Movement
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Melody
Haydn: Symphony No. 88, 1st Movement
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Melody
Haydn: Symphony No. 53 “L’Imperiale”, 2nd Movement
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Melody
Haydn: Symphony No. 53 “L’Imperiale”, 2nd Movement
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Melody
It is an oversimplification to think of all Classical melodies as little tunes.The Viennese Classical style is radiant, not superficial—and waxes abundant in melodic opulence.
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Melody
Mozart: Così fan tutte, “Soave all’ vento”
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Melody
Mozart: Così fan tutte, “Soave all’ vento”
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Form
The Viennese Classical is an era in which form and structure were critically important elements in music.A ‘stream-of-consciousness’ approach to composition was extremely unusual.
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Form
Repetition and CadenceThemes tend to be repeated immediately upon being stated
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Form
Haydn: Symphony No. 97, 2nd Movement
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Form
Haydn: Symphony No. 97, 2nd Movement
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Form
Transitional PassagesThese tend to be obviously non-melodic, and serve as connectors from one thematic block to another
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Form
Haydn: Symphony No. 98, 1st Movement
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Form
Haydn: Symphony No. 98, 1st Movement
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Form
CadencesThese have a tendency to repeat—usually twice—making three statements of the cadence in all
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Form
Haydn: Symphony No. 97, 2nd Movement
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Form
Haydn: Symphony No. 97, 2nd Movement