the classical era

01/08/13 1

The Classical EraThe Classical Era

Listen to This By Mark Evan Bonds

4-2Listen to This By Mark Evan Bonds PRENTICE HALL

©2009 Pearson Education, Inc.Upper Saddle River, NJ 07458

The Classical Period

Vienna-hub of the music world

Former seat of Holy Roman Empire

Bustling cultural & commercial center

4th largest city in Europe Many aristocrats are

musicians/performers Class barriers broken

down by musical tastes




The Classical Era: OverviewTime Period: (1750 - 1800)

Two leading composers: Haydn & Mozart Others include CPE Bach, JC Bach “classical”--refers to

Greek and Roman antiquity Balance, clarity, naturalness (vs.

ornamentation, virtuosity, expressive extremes of Baroque Era)

1720-1790--Age of Enlightenment--critical thinking and reasoned discussion important Gallant style, rococo




Cultural/Historical Context of Classical Era

1759--Voltaire’s Candide 1762--Rousseau’s Social Contract 1775-1776--American

Revolution/Declaration of Independence 1789--French Revolution 1789--U.S. Constitution 1793-1794--Reign of Terror in France




Difference between Baroque & Classical Styles

More middle class Greater need for public entertainment Greater need for amateurs to play

instruments Musicians hired & paid for informal

gatherings other than church, etc. Beginning of profits from concert

attendance




“Classical” Music: Ideal Music Language should be universal Not limited by natural boundaries Noble & entertaining Expressive & natural Free of needless technical complications Please any normal sensitive listener

Classical thought focuses on the objective vs. the subjective

Term borrowed from Art History-stress on balance and clarity of structure




Composers worked during a period of violent political & social upheaval

Strongly affected by changes in society Economical improvements

Middle class prospered & sought aristocratic luxuries Had great influence on music

• Townspeople organized concerts, flourished in 2nd half of 18th century

• Children deserved music lessons• Demand for printed music, instruments, etc. increased

The Patronage System: From Aristocracy to Public




The Patronage System: From Aristocracy to Public

More pieces written for amateurs Serious to comic operas-ridiculing

aristocracy Serious compositions flavored by folk &

popular music Music written for private parties &

events




Public Concerts in Classical Period

For first time subscription concerts (like season tickets) were offered to public, outside of the courts and homes of aristocracy.

Composers had guaranteed audiences, and they composed for their tastes.

Composers were usually present when their music was played. They were celebrities.

Their orchestras rarely played music by other composers because music printing wasn’t well developed so the music wasn’t available.




The Classical Era: Changes from Baroque Era

General --restrained, balanced, and stable; clear musical ideas; predictable

Performance Media--symphony orchestra, chamber orchestra and ensembles, soloists opera companies

Rhythm-- simple, regular rhythms with steady beat; steady tempos

Dynamic Expression--extremes of dynamics not used




The Classical Era: Changes from Baroque Era

Melodies--less complex, more tuneful, more balanced

Phrasing--more symmetrical; based on dance rhythms

Texture--more often homophonic; occasional polyphony

Themes--multiple themes vs. single theme Instruments--equal importance with voice




The Classical Era: Changes from the Baroque Era

Contrast of mood: Wider emotional range, not limited to one “mood” per piece

The End of the Basso Continuo Abandoned, no need for improvised

accompaniment, More music written for amateurs, Composers had more control, could specify correct accompaniment




The Classical Era: Changes from the Baroque Era

Forms Detailed forms of single movements

binary & ternary forms, sonata-allegro, rondo, minuet & trio, theme & variations

Large forms in several movements Symphony, concerto, sonata, string

trio/quartet, opera, oratorios, Masses




Joseph Haydn (1732 - 1809) Music Director for Prince Nicholas Esterhazy for almost 3

decades Composing--whatever Prince wanted Conducting--in charge of one of the best orchestras in Europe Keeping order among musicians

Established the symphony and the string quartet as major instrumental forms.

After death of Prince, Haydn made 2 long trips to England (1790). Composed symphonies, songs, and piano works

Returned to Vienna in 1795--produced oratorios, Masses, and more string quartets.

Taught Beethoven




Joseph Haydn(1732 - 1809)

Born in Rohrau, Austria, and studied in Vienna.

Background consisted of folk music

Went to Vienna at age 8, served as choirboy in Cathedral of St. Stephen

Turned out when voice changed Gave music lessons Played violin in street bands Died 1809, while Napoleon’s

army was occupying Vienna




Haydn’s Music

Wrote every kind of music Optimistic, sense of humor “Papa Haydn”-very influential to other

musicians Master at developing themes




Other Important Symphonies Composed by Haydn

Symphony #8--G Major (“Evening”) One of a series (“Morning,” “Noon,” and

“Evening”) Symphony #45--F Minor (“Farewell”)

Musicians left the stage one-by-one in protest for having to be away from their families too long

Symphony #94--G Major (“Surprise”) Loud chord near beginning of slow movement

Symphony #101--D major (“Clock”) Tick-tock rhythm of slow movement




Chapter 19--Joseph Haydn: The String Quartet

Common Movements Sonata form--fast Sonata, theme and variations, or ABA--

slow (contrasting key) Minuet and Trio--ABA--triple meter Finale-sonata or rondo--very fast




The String Quartet

Musical Instruments 1st violin 2nd violin viola cello




Joseph Haydn: String Quartet in C Major--2nd Movement

Theme: hymn-like, resembling 4-part harmony (homophonic)

Variation 1: violin 2 has melody with violin 1 accompaniment (2-part homophony)

Variation 2: cello has theme with other 3 voices accompanying

Variation 3: viola has melody; only 3 voices play most of variation

Variation 4: 4-part polyphony throughout




Concerto for Trumpet in E-flatThird Movement-Rondo(1796)

Composed in 1796 for keyed trumpet Virtuoso-Anton Weidinger Contains difficult passages Exciting to listen to

Brilliant trumpet sound Happy quality Rondo form Rondo contains both old and new

ideas




The Classical Orchestra Also called “chamber orchestra” Strings--8-10 first violins, 6-8 second violins,

4-6 violas, 3-4 cellos, 2 double basses Winds--2 flutes, 2 oboes, 2 bassoons, 2

trumpets, 2 French horns Trombones used-only in church music &

opera(Haydn, Mozart) Percussion--timpani (kettle drums) Each section played a more special role-

orchestra worked more as a whole




The Classical Symphony Symphony-extended composition typically

lasting between 20 & 40 minutes, exploiting range of tone color and dynamics of orchestra

4 movements. Mozart and Haydn used minuet and trio form

for the 3rd movement. Beethoven introduced the faster scherzo and

trio as the dance movement.




The Classical Symphony

Great contribution to orchestral music Haydn-104, mostly composed for employers Mozart over 40, may not have heard them

performed Beethoven-9, wrote only when inspired, longer

than previous composers, conceived for performance in large concert halls




Movements I. Fast, vigorous movement, always in

sonata-form II. Lyrical slow movement-songlike melodies,

can be in sonata-form, ABA form, theme & variations, NOT in tonic key

III. Dancelike movement-minuet & trio, moderate or quick tempo(Haydn, Mozart)

IV. Heroic fast movement-lively, brilliant, lighter in mood than opening movement, in rondo, sonata-form, sonata-rondo




The Classical Symphony Key-important, provided with title of work,

may be only reference to piece, not necessarily important to listener

Each movement self-contained composition with own set of themes, theme in one movement rarely appears in another

Unified by use of same key in 3 movements, movements balance & complement each other

Importance of symphony lasted through 20 th century




Detailed Forms of the Classical Period

Sonata allegro Theme and Variations Minuet and Trio (song form and trio) Rondo




The Sonata-Allegro Form

Sonata-Allegro Form Became expected form for first

movements of symphonies, concertos, chamber works

Still used today Also found in other movements of

multimovement works Sonata form different from sonata




The Sonata-Allegro Form More than just plan

or scheme Features

development of themes

Zucchini analogy(old text)




The Zucchini AnalogySeveral years ago people in small town in Ohio realized that

zucchini grew abundantly in their gardens and farms. In fact, conditions one summer were so good that they could never use all of it, and a lot of zucchini would rot unused on the vine. What to do? They decided to hold a “Zucchini Festival,” complete with crafts, dancing, music, and, of course, zucchini. Sure enough, it was chopped, sliced, and ground up and incorporated in all sorts of vegetable dishes, made into preserves and pickles, and blended in bread and muffins. Even the arts were included as many fine pieces of zucchini sculpture were carved

It’s a bit like that with the development of themes in sonata-form. Composers take a theme and work it in all sorts of ways. The themes, or at least parts of them, are still there, but they have been given a variety of treatments.




Sonata Form, Continued

Exposition lays out at least 2 main themes in contrasting, but related keys; the themes are usually dissimilar in character (e.g., one fast, one slower).




Sonata Form, Continued

Development--moves through various keys (modulates), rarely staying in one key for long.

Recapitulation--returns to tonic key and stays in that key throughout; themes of the exposition are heard again, but ALL are in the tonic key.

Coda or Codetta--an ending section in the tonic key; not part of the actual sonata form




Sonata Form Diagram




Symphony No. 40 in G Minor, K.555 (1788)

Unlikely heard them performed

Score calls for typical orchestra: violins, violas, cellos, flute, 2 each oboe, bassoon, Fr. Horn; revised to include clarinets




Difference between developing a theme vs. varying a theme

Development Involves fragmenting and remolding a theme

Variation Places the entire theme in new settings or gives it

a new harmonic, rhythmic, or melodic costume




Theme and Variations Form

Very popular in Classical Era Theme presented and then altered in several

ways Examples of variation techniques:

Change of key Change of mode (major to minor/minor to major) Change of tempo or meter Change of timbre (i.e., instrumentation) Change in texture (homophony/polyphony)




Theme & Variations

Can be independent piece or movement of symphony, sonata, or string quartet

Outline of form: A A΄(A prime, variation 1), A΄΄(variation 2), etc.; each prime mark indicates variation of basic theme

Connected or separated by pauses Composer may borrow melody or invent own Usually no more than 4 variations of a tune




Minuet and Trio: A Three-Part Large Form

Often used as third movement of symphony, quartets, etc.

Originated as dance-stately, dignified Triple meter(3/4), moderate tempo Each part also divided into 3 parts

Minuet Section = A (a b a) repeated Trio Section = B (c d c) repeated Minuet Section = A (a b a) not repeated

Trio section is often in another key and is more lively in tempo.




Rondo

Main theme lively, easy to remember, stated in tonic key

Used either as independent piece or movement of larger piece, usually last (happy ending syndrome)

Combined with elements of sonata form-sonata-rondo-with development section like sonata form




Wolfgang Amadeus Mozart(1756 - 1791)

Born in Salzburg, Austria, child prodigy on piano Composed 1st symphony by age 8, 1st opera at 12. Father was a composer--Leopold Mozart; recognized his

son’s musical genius early. Toured Europe to meet composers, perform, and learn about

styles of composition and performance. Went to Vienna in 1781 without steady employment, hoping to

support himself by performing on the piano, selling his compositions, and giving piano lessons.

Died at age 35.




Wolfgang Amadeus Mozart(1756-1791)

Wrote every genre, mostly opera In London-performed concerti of J.C. Bach Archbishop Hieronymus Colloredo-refused

him a more suitable position in court orchestra

Had no success acquiring decent job Reputation as brat All works catalogued by Ludwig von Kochel




Mozart at the Keyboard with Sister, Nannerl, as Father, Leopold, Looks On




Mozart--Other Famous Compositions

Mass in C Minor Requiem--a Mass for the Dead--his last,

unfinished work Eine kleine Nachtmusik Symphonies—no. 25 (“Little”), no. 38 (“Prague”),

no. 41 (“Jupiter”) Operas--Don Giovanni, The Magic Flute, The

Marriage of Figaro, Cosi fan Tutte Piano Concertos Piano Sonatas




Important Composers of the Classical Concerto

C.P.E. Bach--50 keyboard concertos

Johann Christian Bach--dozens of keyboard concertos

Haydn Cello Concerto in D

Major Trumpet Concerto in

E-flat Major

Mozart 27 piano concertos 5 violin concertos 4 horn concertos 1 bassoon concerto 1 concerto for flute

and harp Concerto for 2

Pianos in E-flat Major

Clarinet Concerto in A Major




The Solo Concerto Soloist (typically piano or violin) and

orchestra 3 movement format: fast, slow, fast 1st and last movements usually had cadenza:

an improvisatory passage in which soloist could show off virtuosity on instrument, fermata Often this passage was not written by composer. Much of the musical improvisation was based on

themes of the movement.




Concerto--Movements

Typically a 3-movement genre First movement--sonata form Second movement--sonata, theme and

variations, or ABA form Third movement--Finale--sonata or rondo

form Omits the dance movement (minuet and

trio)




Chapter 23: Mozart’s Piano Concerto in A Major

1781--Mozart left his native Salzburg and moved to Vienna at age 25, hoping to get a position in a royal court. There he composed 17 piano concertos in the 10 years before he died (age 35).

Concerto = soloist plus orchestra in various configurations Orchestra alone Soloist alone Orchestra supports

soloist Soloist supports

orchestra Soloist and orchestra

of equal importance




Double-Exposition Concerto Form

First movement--sonata form 2 expositions

1st--orchestra alone; all in tonic 2nd--soloist and orchestra together; 2nd theme

modulates to related key (as in other sonata form movements)

Development--avoids tonic, like sonata form Recapitulation--all themes in tonic

Contains cadenza--virtuostic, improvisatory section based on themes and other material

Coda--follows cadenza--orchestra plays alone; tonic key




Wolfgang Amadeus Mozart

Master of Opera-wrote in both German & Italian

Opera buffa-Italian, all composed to librettos by Lorenzo da Ponte

The Marriage of Figaro-extremely successful

Cosi fan tutte(They’re All Like That)




Opera of the Classical Period

Enjoyed by middle class and aristocracy. Public opera houses were very popular. Both Haydn and Mozart composed many

operas, thought most of Haydn’s are lost. Although Haydn’s operas were in traditional

Italian, Mozart wrote some in German. Mozart produced some in folk theaters, called

singspiel, rather than in opera houses. Plots often attacked aristocracy or made fun of

current figures of the day.




Don Giovanni Commissioned by

Prague opera company Not popular with

Viennese Blend of serious & comic

opera, violence & the supernatural

Based on tale of Don Juan




Requiem Mass in D Minor(1791) Commissioned by anonymous nobleman

through letter brought by a stranger Intended to pass off work as his own Composed 9 movements, part of 10th

Tried to finish on deathbed Baroque touches(double fugue in Kyrie) Completed by student-Franz Suessmeyer, who

filled out orchestration, completed fragment, added four movements

Dies irae-Day of Wrath-based on 13th century text, describing judgment day




Music- “must never offend the ear, but must please the hearer, or in other words, must never cease to be music.”

the classical era

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