The Classical period saw the emergence of new musical genres like the symphony and string quartet between 1750-1820. Key composers during this period were Haydn, Mozart, and early Beethoven. The Classical style was characterized by clarity, regular phrasing, contrast that became structural or narrative, and motivic rather than melodic material that was "worked out". Examples provided include Haydn's String Quartet No. 3 and Mozart's Symphony No. 40 which demonstrate these Classical features through their use of sonata form, short motivic ideas, and modulation between themes.

1. Classical Music
1770-1820

2. 1750-1770 = ???
Active but often “nameless” period – sometimes
known as “Pre-Classical” or GALLANT STYLE or
Rococo
C.P.E. Bach – more famous than his dad (J.S.)

3. Overview
The SYMPHONY emerges
CHAMBER MUSIC emerges
OPERA continues & evolves
Three major composers:
HAYDN
MOZART
BEETHOVEN

4. LIFE-TIME-LINES
BEETHOVEN 1770-1827
MOZART 1756-1791
HAYDN 1732-1809
1770 1820

5. The Classical Style
• CLARITY
• REGULAR PHRASES
• CONTRAST BECOMES STRUCTURAL,
EVEN NARRATIVE
• MOTIFIC RATHER THAN MELODIC
• MOTIFIC MATERIAL IS “WORKED OUT”

6. Haydn

7. Listening example
Haydn -- first movement from Sonata in C
Major, No. 50
-- clarity of texture
-- contrast of mood within one movement
-- piano sonata (3-movement work for solo
piano)
-- short motific ideas rather than long melodies
-- sonata form

8. The string quartet – a
chamber music ensemble
-- The string quartet as an ensemble is made
up of 2 violins, viola and cello.
-- The string quartet as a musical genre is a
multi-movement work similar to the symphony
in that it usually has 4 movements, usually
I. sonata form – fast
II. slow – lyrical, often variation form
III. medium tempo dance movement
IV. fast – rondo (ABACA) form

9. Listening example
Haydn -- first movement from String Quartet
in C Major, Opus 76 No. 3, "Emperor"
-- clarity of texture
-- four-part texture with different roles or
personalities for each part, as if the music was
a conversation among four people
-- short motific ideas rather than long melodies
-- sonata form, single theme

10. Haydn
Don’t write this down:
104 symphonies
60 Piano sonatas
68 String quartets
25 Operas (10 lost)
Masses & oratorios
THE POINT: plenty of chances to
experiment with form

11. Esterháza
A private laboratory for Haydn and his
development of classical forms
- 30 years of support, isolated but not cut-off from the
world . . . 2 operas & 2 concerts every week, almost
daily chamber music, his own 25-member orchestra

12. A digression: the social status of
the artist
Velasquez proudly wearing a mark
of distinction
Haydn a (very
glorified) servant
Beethoven fancied
himself to be
independent – an
entrepreneur

13. Sonata Form
tonic theme
1
theme
2
usually repeated
theme
2
transition
2
theme
1
recapitulation
development
exposition

14. The Classical Style
• CLARITY
• REGULAR PHRASES
• CONTRAST BECOMES STRUCTURAL,
EVEN NARRATIVE
• MOTIFIC RATHER THAN MELODIC
• MOTIFIC MATERIAL IS “WORKED OUT”

15. Mozart listening example
1st movement from
Symphony No. 40 in G minor
Minor key
Sonata form – very clear
motific
p. 314-16 in text

16. Sonata Form
tonic theme
1
theme
2
usually repeated
theme
2
transition
2
theme
1
recapitulation
development
exposition

17. Mozart
Only 35 years
on the planet

18. Mozart
40+ symphonies
string quartets
piano sonatas
27 piano concertos
masses
20 operas

19. Mozart listening example
first movement from Symphony No. 35 in D Major, K. 385, "Haffner"
-- begins with a huge leap; there is a variety of articulations and
textures
-- clarity of texture and clarity of musical ideas
-- sonata form: the modulation to the second theme/key is complete at
about 1:30; the development section starts at about 2:34; the
recapitulation begins at about 3:29.
-- major key
-- the development section plays with the contrast of minor keys to the
home key of the piece, which is major

20. Mozart listening example
-- finale from Act II of The
Marriage of Figaro
-- an ensemble scene (six
voices)
-- contrasting emotions
presented simultaneously
(compare that to the
Baroque ideal aesthetic of
Affect, one mood or
emotion per piece)
1786

21. Mozart and
opera
Da Ponte – librettist
-- all voice ranges used (instead of the
Baroque’s treble + bass preference)
-- ensembles (groups of solo voices)
now contrasted with arias and recitative
-- several operas about contemporary
characters, not mythological figures or
ancient history from Rome or Greece
(although he did a few of those, too)
-- biting social commentary: the
decadent aristocracy is compared to the
normal, happy, healthy lust and love of
the common folk
-- recitative still used
-- some in German with spoken dialogue

22. The Classical Style
• CLARITY
• REGULAR PHRASES
• CONTRAST BECOMES STRUCTURAL,
EVEN NARRATIVE
• MOTIFIC RATHER THAN MELODIC
• MOTIFIC MATERIAL IS “WORKED OUT”

23. SUMMARY – 18TH CENTURY
• IDEAS – Enlightenment & rationalist Criticism
• ART – 3 genres: Rococo, Neo-Classical, Bourgeois
(Genre)
• MUSIC – Genres such as the SYMPHONY and the
STRING QUARTET emerge, all emphasizing CLARITY
of musical ideas and the organization of CONTRAST,
as exemplified by SONATA FORM
• key composers: HAYDN, MOZART & early
Beethoven

24. NOT
VS.
HEART vs. HEAD
EMOTION vs. INTELLECT

25. IT’S ALL EMOTIONS –
IT IS A QUESTION OF WHAT
KINDS OF EMOTIONS

26. Turkish rondo
MOZART
3RD movement of a PIANO SONATA
EXOTICISM – a romantic trait to come
BALANCED, CLEAR PHRASES  CLASSICAL