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Characteristics of The Classical Style
Contrast of MoodContrast of Mood
– Contrast both between and within movements
Flexibility of rhythm
– Multiple rhythmic patterns in a piece
Texture
– Mostly homophonic, but with frequent shifts
Chapter 1
Melody
Dynamics
– Tuneful, easy to sing, folk/popular-based
– Emotions expressed in shades of dynamics
End of the Basso Continuo
- Use of gradual dynamic changes
- Related to development of the piano
Chapter 1
The Classical Orchestra
Standardization of instrumentationStandardization of instrumentation
Increase in size of orchestra
– Still smaller than that of today
Composers made use of various timbres available
– Instruments not treated as all equal, as in the Baroque
– Melodies move around between instruments
Chapter 1
Classical Forms
Instrumental works usually in multi-movement formInstrumental works usually in multi-movement form
Frequently four movements
– First—Fast
– Second—Slow
Multi-movement works for instrumental groups: – Symphony—for orchestra
– String quartet—two violins, viola, and cello
– Sonata—usually for one or two instruments
– Third—Dance-related
– Fourth—Fast
Chapter 1
Chapter 2: Composer, Patron, Chapter 2: Composer, Patron, and Public in the Classical Periodand Public in the Classical Period
Changing society affected musiciansChanging society affected musicians
– Breakdown of the patronage system
- Haydn: worked 30 years for aristocratic family
- Mozart: began at court, broke away, died broke
- Beethoven: successful as independent musician
– Rise of the public (consumer-driven) system
- Related to decline of aristocracy and rise of democracy
Chapter 2
Prospering middle class wanted aristocratic pleasures (theatre, literature, music)
– Public, ticketed concerts became common
Middle-class children received music lessons
Serious compositions flavored by folk and popular music
– Rise of instrument manufacture industry
– Composers wrote playable music that would sell
Chapter 2
Vienna
Became the musical capitol of EuropeBecame the musical capitol of Europe
Musicians came to study and seek recognition
Aristocrats wintering there would bring their orchestras
Musicians, including Mozart and Beethoven, who frequently played in wealthy homes
Many musicians also worked in serenading street bands
Chapter 2
Chapter 3: Sonata Form
Opening movements frequently use sonata formOpening movements frequently use sonata form
Also called sonata-allegro form– Sonata form refers to a single movement
– A sonata is an entire multi-movement work
One of, if not the, most common classical forms– Form continues up to, and including, the 20th century
– Common in symphony, sonata, and string quartet
This form also common in second and fourth movements
Chapter 3
– Exposition (A)
Sonata form is ternary (A B A)—3 main sections
– Development (B)
– Recapitulation (A)
– Often concludes with a “tag” or tail—coda
- Initial statement of first and second themes
- Entire section usually repeated
- Tension-building section
- Themes broken into fragments—motives
- Resolution of tension
- Re-statement of first and second themes
Chapter 3
Chapter 7: The Classical Symphony
Extended, ambitious work lasting for 20-45 minutesExtended, ambitious work lasting for 20-45 minutes
Multi-movement instrumental work– First movement: Fast, frequently sonata form
Themes in one movement rarely appear in another movement
– Second movement: Slow, often sonata form, sometimes theme and variations
– Third movement: Dance, usually minuet and trio or scherzo (a fast dance-like) form
– Fourth movement: Fast, frequently sonata or rondo form
Chapter 7
Chapter 12: Ludwig van Beethoven
1770-1827—late classical, German1770-1827—late classical, German
Son of a professional musician
Financially successful as freelance musician
Believed in period’s societal changes
– Father, Johann, was a singer and abusive alcoholic– Forced the boy to study music (wanted $)
Wrote final pieces while totally deaf
Died in Vienna– 20,000 people attended funeral
Wrote in all classical genres– 9 symphonies, 16 string quartets, 5 concertos, 1 opera– Many sonatas and other works
Chapter 12
Beethoven’s Music
Worked, sometimes for years, on a single pieceWorked, sometimes for years, on a single piece
Wrote in the classical forms
– Carried musical sketchbooks with him jotting down ideas
Bridged gap between classical and Romantic
– Gave them new power and intensity
– Also increased range of pitch
Used dramatic dynamic contrasts
Expanded development and coda sections of sonata form
Chapter 12
Listening
Symphony No. 5 in C MinorSymphony No. 5 in C Minor, Op. 67 (1808), Op. 67 (1808)Ludwig van BeethovenLudwig van Beethoven
Mvt. 1—Allegro con brioMvt. 1—Allegro con brioListening Outline: p. 199Listening Outline: p. 199 Brief Set, CD 2:45 Brief Set, CD 2:45
Mvt. 2—Andante con motoMvt. 2—Andante con motoListening Outline: p. 202Listening Outline: p. 202 Brief Set, CD 2:53 Brief Set, CD 2:53
Mvt. 3—Allegro (scherzo)Mvt. 3—Allegro (scherzo)Listening Guide: p. 203Listening Guide: p. 203 Brief Set, CD 2:59 Brief Set, CD 2:59
Mvt. 4—AllegroMvt. 4—AllegroListening Guide: p. 204Listening Guide: p. 204 Brief Set, CD 2:63 Brief Set, CD 2:63
Chapter 12
Chapter 8: The Classical Concerto
Work for instrumental soloist and orchestra lasting 20-45 minutesWork for instrumental soloist and orchestra lasting 20-45 minutes
Usually three movements:
– Fast—Slow—Fast (no minuet movement)
Contrasts soloist’s abilities with power and timbres
of orchestra
Chapter 8
Opens in sonata form with a double exposition
Break near end of first and sometimes last movement called cadenza
– Solo break where orchestra stops and waits
– Originally improvised, classical composers seldom
notated cadenzas
– Orchestra plays first exposition, soloist the second
Chapter 8
Chapter 11: Wolfgang Amadeus Mozart
1756-1791 (mid-classical composer)1756-1791 (mid-classical composer)– Austrian
– Child prodigy
– Son of a professional musician- Leopold Mozart, violin, worked for Archbishop of Salzburg
Final piece was a requiem that was finished by one of his students
Very prolific; note short life span—35 years
Wrote in all classical genres
At 25—freelance musician in Vienna– Partly due to winning the Emperor’s favor– Initially successful, then novelty wore off
Chapter 11
Mozart’s Music
Masterpieces in all musical forms of his timeMasterpieces in all musical forms of his time
Compositions sound effortless
– Symphonies, concertos, chamber music, and operas
Avoided stereotype characters in his operas
– Composed with extreme rapidity
- Almost like taking dictation
– Created opera figures who think and feel
Chapter 11
Listening
Piano Concerto No. 23 in A Major, Piano Concerto No. 23 in A Major, K. 488 K. 488 (1786)(1786)
Wolfgang Amadeus MozartWolfgang Amadeus MozartFirst movementFirst movement
Listening Outline: p. 189Listening Outline: p. 189
Brief Set, CD 3:5Brief Set, CD 3:5
Listen for:Listen for: Sonata formSonata form
Cadenza near end of movement (one ofCadenza near end of movement (one offew notated by Mozart)few notated by Mozart)
Performance Profile: Murray Perahia, Performance Profile: Murray Perahia,
pianist/conductorpianist/conductor
Listen for performer’s Listen for performer’s interpretation interpretation that that
attempts to make the piece “…sound attempts to make the piece “…sound
spontaneous, so that it never sounds spontaneous, so that it never sounds
mechanical.”mechanical.”
Chapter 11
ListeningListening
Don Giovanni Don Giovanni (1787)(1787)Wolfgang Amadeus MozartWolfgang Amadeus Mozart
Act I: Introduction
Vocal Music Guide: p. 181Brief Set, CD 3:1
Don Giovanni has slipped into the room of Donna Anna. Leporello worriedly waits outside.
Donna Anna is not happy to see Don Giovanni.
Her father, the Commandant, catches him. They fight a duel and the Commandant is killed.
Chapter 11
Listening
Don Giovanni Don Giovanni (1787)(1787)Wolfgang Amadeus MozartWolfgang Amadeus Mozart
Leporello’s catalog aria (Madamina)
Vocal Music Guide: p. 184
Basic Set, CD 3:55
Donna Elvira, an earlier conquest of Don Giovanni’s, tries to see him again.
Leporello intercepts her and attempts to discourage her by reading a list, or catalog, of the women Don Giovanni has been with.
Chapter 11
Chapter 17: Giacomo Puccini
Italian (1858-1924)Italian (1858-1924)
– Known primarily for operas
Late-romantic composer
Became wealthy and world-famous due to the popularity of his music
– Opera La Boheme his first major
success
Chapter 17
Made use of exoticism, setting his operas in foreign places
His operas make use of short melodies, simple phrases, and realistic dialogue
– Artistic style verismo (reality): “true to life”
Puccini’s Music
Chapter 17
Listening
La Boheme La Boheme (1896)(1896)Giocomo PucciniGiocomo PucciniAct I: Scene between Rodolfo and Mimi through Rodolfo’s Act I: Scene between Rodolfo and Mimi through Rodolfo’s aria aria Che gelida manina (How cold your little hand is!)Che gelida manina (How cold your little hand is!)
Storyline of meeting of Rodolfo and Mimi (p. 269)Storyline of meeting of Rodolfo and Mimi (p. 269)
Vocal Music Guide: p. 272Vocal Music Guide: p. 272Brief Set, CD 3:51Brief Set, CD 3:51
Listen for:Listen for:Dialog is more realisticDialog is more realisticTempo shifts to Tempo shifts to
accentuate music and textaccentuate music and text
Performance Perspective: Performance Perspective: Luciano Pavarotti, tenorLuciano Pavarotti, tenor
Listen for performer’s Listen for performer’s interpretation interpretation that that
attempts to make the low notes on words attempts to make the low notes on words
““Che gelida maninaChe gelida manina” full, while sung softly.” full, while sung softly.
Chapter 17