Chapter 25 Musical Conversations: Haydn and Classical Chamber Music
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Enjoyment of Music Haydn and Classical Chamber Music, the String quartet
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Chapter 25 Musical Conversations: Haydn and Classical Chamber Music
- 1. THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis THIRD EDITION Lecture Slides
- 2. Chapter 25 Musical Conversations: Haydn and Classical Chamber Music
- 3. Musical Conversations: Haydn and Classical Chamber Music You listen to four sensible persons conversing, you profit from their discourse, and you get to know their several instruments. —Johann Wolfgang von Goethe, writing about quartets
- 4. Expanding Musical Ideas • Theme: musical idea, building block • Thematic development – melodic outline, rhythm, or harmony varied – extension, contraction, repetition – larger forms: provides clarity, coherence, and logic – motive: melodic or rhythmic fragment of a theme – sequence: repeated at higher or lower level
- 5. 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 Successful trips to England Died 1809, while Napoleon’s army was occupying Vienna
- 6. 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
- 7. Haydn’s Music • Wrote every kind of music • Optimistic, sense of humor • “Papa Haydn”-very influential to other musicians • Master at developing themes
- 8. The String Quartet • Musical Instruments – 1st violin – 2nd violin – viola – cello
- 9. 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
- 10. Haydn: String Quartet, Op. 76, No. 3 (Emperor) (Listening Guide ) • Op. 76 string quartets • Second movement: theme and variations
- 11. The second movement • Form options – three-part form (A-B-A) – theme and variations – modified sonata-allegro • Tempo – largo – adagio – andante • In contrasting key • Lyrical mood The Movements of the Symphony
- 12. 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)
- 13. 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
- 14. 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
- 15. String Quartet in C Major 2nd Movement • https://www.youtube.com/watch?v=4t3Vmo_EM8
- 17. by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides THIRD EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2
Editor's Notes
- ■ Form is the most important organizing element in absolute music, which has no specific pictorial or literary program. ■ Melodic ideas, or themes, are used as building blocks in a composition; these themes are made up of short melodic or rhythmic fragments known as motives. ■ Themes can be expanded by varying the melody, rhythm, or harmony through thematic development; this usually happens in large-scale works. ■ The Classical era is the golden age of chamber music (ensemble music for two to about ten performers, with one player per part). The string quartet (two violins, viola, and cello) was the most important chamber music genre of the era. ■ Joseph Haydn’s Emperor Quartet features a famous set of variations
- You listen to four sensible persons conversing, you profit from their discourse, and you get to know their several instruments. – Johann Wolfgang von Goethe, writing about quartets Chamber music is music for a small ensemble of about two to ten players, usually with one on a part, with each player functioning as a member of a team rather than as a soloist. The Classical era was considered to be the golden age of chamber music. The true chamber music style could be compared to a friendly conversation among equals.
- Classical composers often explored themes, as building blocks, in order to expand musical ideas. This treatment is known as “thematic development.” Applying thematic development, composers may focus on a melodic outline, a rhythm or a distinct harmony. Development techniques include extension, contraction, or repetition. A melodic motive or fragment of a theme may be sequenced, that is, repeated at higher or lower level. Thematic development supports the creation of larger forms, while providing clarity, coherence, and logic.
- The Op. 76 string quartets are a set of six string quartets written by Haydn. We will listen to the second movement of the third string quartet in the set, known as the Emperor. It is known as the Emperor because this second movement is based on a hymn that Haydn wrote for Austrian emperor Franz Joseph. The second movement is in theme and variations form. Haydn is able to produce a full, almost orchestral sound with only the four instruments of the string quartet. Things to listen for: A lyrical melody of five phrases in the form of A-A-B-C-C; The movement is in quadruple meter with some syncopation in later variations. It is in the key of G major with some chromaticism in the third variation. The texture is homophonic, and the structure is that of a theme followed by four variations with a 4-measure coda. The tempo is slow in a singing style (poco adagio, cantabile) with contrasting dynamics.
- The slow movement of a symphony, the second movement, is often in a three-part form (A-B-A); other common forms include theme and variations and modified sonata-allegro form. Generally the tempo is largo, adagio, or andante in a contrasting key rather than the tonic, with an orchestration that favors the woodwinds. The mood is more lyrical than that of the first movement, and there is less thematic development than in the first movement.
- Listening 13—Haydn: String Quartet, Op. 76, No. 3