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The Classical Era
- 2. 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
Listen to This 4-2
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 3. The Classical Era: Overview
Time 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
Listen to This 4-3
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 4. 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
Listen to This 4-4
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 5. 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
Listen to This 4-5
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 6. “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
Listen to This 4-6
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 7. The Patronage System: From
Aristocracy to Public
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
Listen to This 4-7
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 8. 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
Listen to This 4-8
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 9. 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.
Listen to This 4-9
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 10. 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
Listen to This 4-10
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 11. 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
Listen to This 4-11
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 12. 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
Listen to This 4-12
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 13. 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
Listen to This 4-13
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 14. 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
Listen to This 4-14
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 15. 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
Listen to This 4-15
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 16. Haydn’s Music
Wrote every kind of music
Optimistic, sense of humor
“Papa Haydn”-very influential to other
musicians
Master at developing themes
Listen to This 4-16
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 17. 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
Listen to This 4-17
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 18. 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
Listen to This 4-18
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 19. The String Quartet
Musical Instruments
1st violin
2nd violin
viola
cello
Listen to This 4-19
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 20. 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
Listen to This 4-20
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 21. Concerto for Trumpet in E-flat
Third 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
Listen to This 4-21
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 22. 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
Listen to This 4-22
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 23. 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.
Listen to This 4-23
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 24. 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
Listen to This 4-24
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 25. 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
Listen to This 4-25
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 26. 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 20th
century
Listen to This 4-26
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 27. Detailed Forms of the
Classical Period
Sonata allegro
Theme and Variations
Minuet and Trio (song form and trio)
Rondo
Listen to This 4-27
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 28. 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
Listen to This 4-28
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 29. The Sonata-Allegro Form
More than just plan
or scheme
Features
development of
themes
Zucchini analogy(old
text)
Listen to This 4-29
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 30. The Zucchini Analogy
Several 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.
Listen to This 4-30
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 31. 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).
Listen to This 4-31
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 32. 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
Listen to This 4-32
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 33. Sonata Form Diagram
Listen to This 4-33
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 34. 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
Listen to This 4-34
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 35. 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
Listen to This 4-35
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 36. 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)
Listen to This 4-36
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 37. 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
Listen to This 4-37
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 38. 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.
Listen to This 4-38
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 39. 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
Listen to This 4-39
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 40. 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.
Listen to This 4-40
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 41. 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
Listen to This 4-41
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 42. Mozart at the Keyboard with Sister,
Nannerl, as Father, Leopold, Looks On
Listen to This 4-42
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 43. 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
Listen to This 4-43
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 44. Important Composers of
the Classical Concerto
C.P.E. Bach--50 Mozart
keyboard concertos 27 piano concertos
Johann Christian
5 violin concertos
Bach--dozens of 4 horn concertos
keyboard concertos 1 bassoon concerto
1 concerto for flute
Haydn and harp
Cello Concerto in D Concerto for 2
Major Pianos in E-flat
Trumpet Concerto in Major
E-flat Major Clarinet Concerto in
A Major
Listen to This 4-44
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 45. 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.
Listen to This 4-45
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 46. 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)
Listen to This 4-46
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 47. Chapter 23: Mozart’s
Piano Concerto in A Major
1781--Mozart left his Concerto = soloist plus
native Salzburg and orchestra in various
moved to Vienna at configurations
age 25, hoping to get Orchestra alone
a position in a royal Soloist alone
court. There he Orchestra supports
composed 17 piano soloist
concertos in the 10 Soloist supports
years before he died orchestra
(age 35). Soloist and orchestra
of equal importance
Listen to This 4-47
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 48. 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
Listen to This 4-48
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 49. 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)
Listen to This 4-49
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 50. 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.
Listen to This 4-50
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 51. 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
Listen to This 4-51
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 52. 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
Listen to This 4-52
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 53. Music- “must never offend the ear, but must
please the hearer, or in other words, must never
cease to be music.”
Listen to This 4-53
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458