Part IV Eighteenth-Century Classicism

“Music [is] the favorite passion of my soul.” Thomas Jefferson

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Prelude 4: Classicism in the Arts • 

Order, objectivity, and proportion

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Greece and Rome

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European aristocratic sovereigns

• 

American Revolution (1775–83)

• 

French Revolution (1789– 99)

• 

Advances in science and ideas

• 

Industrial Revolution

• 

Age of Reason

The Parthenon, Athens (447–438 B.C.E.)

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Prelude 4: Classicism in the Arts Viennese School •  Haydn •  Mozart •  Beethoven •  Schubert

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Prelude 4: Classicism in the Arts Elements of Classical Style • 

Singable, lyrical melody

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Diatonic harmony

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Regular rhythms and meters

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Homophonic texture (melody with accompanying harmony)

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Frequent use of folk elements

Mozart: Piano Concerto No. 21, II

The Rotunda of the University of Virginia

Haydn: Trumpet Concerto in E flat, III Haydn: Symphony No. 94, III (folk elements) Music 013-L Music Appreciation

Prelude 4: Classicism in the Arts The Patronage System • 

Music was considered to be an adornment of life

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Social events

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Musicians little better than servants

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Women under the system of patronage

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Public concert venue (site) inspires productivity in composers

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21. The Development of Classical Forms “I alter some things, eliminate and try again until I am satisfied. Then begins the mental working out of this material in its breadth, its narrowness, its height and depth.” —Ludwig van Beethoven Evoë 3 (2003), Bridget Riley

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21. The Development of Classical Forms Expanding Musical Ideas Themes Mozart, Eine kleine Nachtmusic, K. 525, I

Mozart: Symphony No. 40, I

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21. The Development of Classical Forms Expanding Musical Ideas Thematic development Purcell: Rondeau from Abdelazar Berlioz: Symphonie fantastique, I (idée fixe) Berlioz: Symphonie fantastique, II (idée fixe) Berlioz: Symphonie fantastique, III (idée fixe) Berlioz: Symphonie fantastique, IV (idée fixe) Berlioz: Symphonie fantastique, V (idée fixe)

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21. The Development of Classical Forms Motives

Expanding Musical Ideas Beethoven: Symphony No. 5

Mendelssohn: Italian Symphony, I

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21. The Development of Classical Forms Expanding Musical Ideas Ostinato o

o

s t

s t

o i n a

t o o

i n a

t o

s t

o n

t

i a

s t

o n

t

i a

•  An Italian word that means “obstinate” or “stubborn” •  A figure that repeats over and over, usually in the bass Music 013-L Music Appreciation

21. The Development of Classical Forms Classical Forms Absolute music

Mozart: Sinfonia Concertante

•  Multimovement cycles

Symphony & String Quartet

Sonata & Concerto

•  I – Fast •  II – Slow •  III – Triple-meter dance •  IV – Fast

•  I – Fast •  II – Slow •  III – Fast Beethoven: Piano Sonata No. 8

Mozart: Symphony No. 40, I Beethoven: String Quartet in C Op. 59, IV Music 013-L Music Appreciation

Mozart: Piano Concerto No. 21

21. The Development of Classical Forms The First Movement (I) Sonata-allegro form /sonata form A Exposition (repeated)

Theme II Bridge Theme I

B

A’

Development

Recapitulation

Closing Theme Theme I

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Bridge

Theme II

Closing Theme

Coda

Exposition (First Movement) A

B

A’

Exposition (repeated)

Development

Recapitulation

Theme II Bridge

Closing Theme Theme I

Theme I

Tonic Key

Transitional Passage

Contrasting Key

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Bridge

Theme II

Closing Theme

Coda

Development (First Movement) A Exposition (repeated)

Theme II Bridge

B

A’

Development

Recapitulation

Closing Theme Theme I

Theme I

Bridge

• 

Musical conflict and action

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Frequent modulations

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Tension

• 

Thematic development, motives Music 013-L Music Appreciation

Theme II

Closing Theme

Coda

Recapitulation (First Movement) A Exposition (repeated)

Theme II Bridge

B

A’

Development

Recapitulation

Closing Theme Theme I

Theme I

Tonic Key

Bridge

Theme II

Closing Theme

Coda

Tonic Key! Closes the entire movement

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21. The Development of Classical Forms The Second Movement (II) Typically an Andante or Adagio tempo • 

Ternary (A-B-A) form

• 

Shortened sonata form

• 

Theme and variations (next slide)

• 

Slow rondo Mozart: Piano Concerto No. 21, II Beethoven: Symphony No. 7, II Music 013-L Music Appreciation

Theme and Variations Theme

Variation I

Variation II

Variation III

||: a :||: b :||: a' :||: b' :||: a'' :||: b'' :||: a''' :||: b''' :||: etc. •  •  •  •  • 

Change of key Melodic variation Harmonic variation Rhythmic variation Meter, texture, dynamics, and timbre “Greensleeves” Music 013-L Music Appreciation

21. The Development of Classical Forms The Third Movement (III) Minuet/Trio

A

Minuet

B

Trio

A

Minuet

||: a :||: b :||: c :||: d :|| a | b | Dance I

Dance II (3 instruments)

Dance I (no repeats)

or

(Rounded Binary)

||: a :||: b -a :|| Music 013-L Music Appreciation

Scherzo •  Scherzo-trio-scherzo •  Faster pace and rhythmic drive

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21. The Development of Classical Forms The Fourth Movement (IV) Rondo Form: A-B-A-B-A, or A-B-A-C-A, or A-B-A-C-A-B-A, etc.

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21. The Development of Classical Forms The Multimovement Cycle as a Whole

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22. 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

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22. Classical Chamber Music The String Quartet “Can you see the notes behave like waves? Up and down they go! Look, you can also see the mountains. You have to amuse yourself sometimes after being serious so long.” —Joseph Haydn iMusic Example: Haydn’s Symphony No. 100 II

Joseph Haydn 1732–1809 Classical Era 1725–1825 1720

1730

1740

1750

1760

1770

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1780

1790

1800

1810

22. Classical Chamber Music The String Quartet Joseph Haydn (1732–1809) • 

Austrian composer

• 

Folk song and dance

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St. Stephen’s Cathedral in Vienna

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Esterházy patronage • 

Eszterháza

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Two successful trips to England

• 

Died in 1809 Music 013-L Music Appreciation

22. Classical Chamber Music The String Quartet Beethoven: String Quartet in C Beethoven: Serenade in D Dvořák: Piano Quintet in A Chamber music • 

String quartets

• 

Trios

• 

Quintets

• 

Serenades

• 

Divertimentos

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22. Classical Chamber Music The String Quartet The String Quartet •  Most important chamber music genre of era •  Instrumentation: two violins, viola, cello Beethoven: String Quartet in F

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Common String Quartet Structure Tempo

1st movement

Fast

Form

Sonata-allegro

2nd movement Slow

A-B-A or Theme & variations

Moderate 3rd movement Minuet & trio dance 4th movement Fast

Sonata-allegro or rondo Music 013-L Music Appreciation

22. Classical Chamber Music Mozart and Chamber Music “People make a mistake who think that my art has come easily to me. Nobody has devoted so much time and thought to composition as I. There is not a famous master whose music I have not studied over and over.” - W. A. Mozart

Wolfgang Amadeus Mozart 1756–1791 Classical Era 1725–1825 1720

1730

1740

1750

1760

1770

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1780

1790

1800

1810

22. Classical Chamber Music Mozart and Chamber Music Wolfgang Amadeus Mozart (1756–1791) • 

Austrian composer, pianist, violinist

• 

Father was a musician

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Child prodigy

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Patronage system

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Archbishop of Salzburg

• 

Freelance musician at age 25 Music 013-L Music Appreciation

22. Classical Chamber Music Mozart and Chamber Music Salzburg, Austria

Wolfgang Amadeus Mozart 1756–1791 Classical Era 1725–1825 1720

1730

1740

1750

1760

1770

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1780

1790

1800

1810

22. Classical Chamber Music Mozart and Chamber Music Leopold Mozart •  Composer-violinist to the archbishop of Salzburg •  Organized concert tours for children Wolfgang and sister, Nannerl

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22. Classical Chamber Music Mozart and Chamber Music •  •  •  •  •  •  •  •  • 

Moves to Vienna at age 25 Establishes freelance career Struggles financially Marries Constanza Weber Contributes to all genres Librettist Lorenzo da Ponte Requiem Mass, left unfinished Died at 35 Rheumatic fever, heart disease, trichinosis Music 013-L Music Appreciation

Wolfgang Amadeus Mozart Opera •  Opera buffa •  The Marriage of Figaro •  Don Giovanni •  Opera seria •  Idomeneo

Don Giovanni, K. 527, Act I, “Ah! del padre in periglio”

•  Singspiel •  The Magic Flute

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22. Classical Chamber Music Mozart and Chamber Music Ludwig Köchel’s Catalog Catalog Title Number Eine kleine Nachtmusik, K. 525, I

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Movement

22. Classical Chamber Music Mozart and Chamber Music

•  Social Music: Divertimentos and serenades •  Chamber music •  Piano works •  Symphonies

Piano Concerto No. 21 in C, K. 467, II

Symphony No. 40 in G, K. 550, I

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Mozart: Eine kleine Nachtmusik, K. 525 “A Little Night Music” •  One of the most famous chamber music works of the era •  Title literally means “A Little Night Music” •  Serenade for strings (written for a string quartet with an added double bass) •  Written for outdoor public performance •  Four movements (originally five)

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Mozart: Eine kleine Nachtmusik, K. 525 (Theme I) Key Tempo Signature

Meter

Rocket Theme

Symmetrical Phrases

Dynamic marking Music 013-L Music Appreciation

Mozart: Eine kleine Nachtmusik, K. 525 (Listening Guide) II: Romanza, Andante (walking pace), in C major Rondo-like structure III: Allegretto, in G major Minuet and trio form IV: Allegro in G major Sonata-rondo form (hybrid form)

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23. The Classical Symphony “I frequently compare a symphony with a novel in which the themes are characters. After we have made their acquaintance, we follow their evolution, the unfolding of their psychology.” — Arthur Honegger

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23. The Classical Symphony Historical Background Historical background • 

Origins in Italian opera overture • 

• 

Three-part form

Standard ideas, including “Mannheim” traits •  • 

Rocket themes Steamroller effects

Mozart: Symphony No. 40, IV Beethoven: Wellington’s Victory

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23. The Classical Symphony The Classical Orchestra •  30–40 players •  Centered around

string section Mozart: . 40, I

•  Interchange

Eszterháza Palace in Fertöd, Hungary

Mozart: Symphony No. 40, I Music 013-L Music Appreciation

among instrument groups like lively conversation

23. The Classical Symphony The Movements of the Symphony

I:

fast

Mozart: Symphony No. 40, I

II: slow

Beethoven: Symphony No. 7, II

III: moderate

Haydn: Symphony No. 94 (Surprise), III

IV: fast

Mozart: Symphony No. 40, IV

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23. The Classical Symphony The Movements of the Symphony The First Movement Sonata-allegro form / sonata form A

B

Exposition (repeated)

Development

Theme II Bridge Theme I

A’ Recapitulation

Closing Theme Unstable, building tension

Theme I

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Bridge

Theme II

Closing Theme

Coda

23. The Classical Symphony The Movements of the Symphony 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 Music 013-L Music Appreciation

23. The Classical Symphony The Movements of the Symphony The Third Movement •  Form • 

Minuet and trio

•  Tempo •  Moderate •  Triple meter •  Later scherzo Music 013-L Music Appreciation

23. The Classical Symphony The Movements of the Symphony The Fourth Movement •  Form options •  Sonata-allegro •  Rondo •  Tempo •  Allegro molto •  Presto finale •  Fast and light Music 013-L Music Appreciation

23. The Classical Symphony Haydn and the Symphony • 

String quartet

• 

100-plus symphonies • 

• 

London symphonies

Masses, oratorios

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23. The Classical Symphony Haydn and the Symphony Haydn Symphony No. 100 in G major (Military) • 

Large orchestra

• 

London symphonies

III: Allegro molto, minuet form G major

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23. The Classical Symphony Haydn and the Symphony Haydn: Symphony No. 100 (Military), Second Movement (Listening Guide) • 

Second movement

• 

Graceful theme

• 

Large orchestra • 

French horns, percussion

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23. The Classical Symphony Beethoven and the Symphony in Transition

•  Nos. 1 and 2, Classical in style •  No. 3, Eroica symphony, mature style •  No. 9, Choral symphony •  Schiller’s Ode to Joy

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Symphony No. 7, II

23. The Classical Symphony Beethoven and the Symphony in Transition • 

Ludwig van Beethoven (1770–1827)

• 

German composer and pianist

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Musical family

• 

Unhappy childhood

• 

Played piano for Mozart in Vienna

• 

Welcomed to Vienna

• 

Treated as equal, not as a servant Ludwig van Beethoven 1770–1827 Classical Era 1725–1825 1730

1740

1750

1760

1770

1780

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1790

1800

1810

1820

23. The Classical Symphony Beethoven and the Symphony in Transition •  Modified patronage •  Concert life and music publishing •  Hearing loss •  Eccentric genius •  Died at age 57, famous and revered

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23. The Classical Symphony Beethoven and the Symphony in Transition Three compositional periods •  First: Early career •  Second: Middle career, more

“Romantic” •  Third: Late career, introspective,

chromatic harmonies

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23. The Classical Symphony Beethoven and the Symphony in Transition Beethoven contributed to many genres. Here are some examples: Beethoven: Piano Sonata No. 8 in C, (Pathétique), I Beethoven: Serenade in D, Op. 8, I Beethoven: String Quartet in F, Op. 59, No. 1, I Beethoven: King Stephan, Op. 117, final chorus, “Heil unsern Enkeln!”

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23. The Classical Symphony The Fifth Symphony • 

Rhythmic idea “three shorts and a long” dominates entire work

•  Cyclical form, SSSL recurs in all movements

•  Tonality shifts from C minor to C major Music 013-L Music Appreciation

Beethoven: Symphony No. 5 in C minor (Listening Guide) I: Allegro con brio, sonata-allegro form • 

“Three shorts and a long” dominates the texture

II: Serene double theme and variations • 

Recurrence of same rhythmic idea

III: Scherzo and trio •  •  • 

Rocket theme Third and fourth movements linked Recurrence of same rhythmic idea

IV: Sonata-allegro form •  • 

Recurrence of same rhythmic idea Extended coda

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24. The Classical Concerto

“Give me the best instrument in Europe, but listeners who understand nothing or do not wish to understand and who do not feel with me in what I am playing, and all my pleasure is spoilt.” —W. A. Mozart

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24. The Classical Concerto The Movements of the Concerto •  The Movements of the Concerto •  I: fast •  II: slow Mozart: Piano Concerto No. 21, II (piano entrance) •  III: fast Mozart: Clarinet Concerto, III •  Cadenza

Mozart: Piano Concerto No. 21, I (cadenza)

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24. The Classical Concerto The Movements of the Concerto First Movement (I) •  First-movement concerto form: •  Sonata-allegro with a double exposition A

A’

Orchestral Exposition

Theme I Transition

Theme II

Closing

Solo Exposition

B

A

Development

Recapitulation

Modulation to new key area Various themes

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Theme I

Theme II Coda Trans. Cadenza & piano theme

24. The Classical Concerto The Movements of the Concerto The Second Movement (II) •  Slow and lyrical •  Andante, Adagio, or Largo

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24. The Classical Concerto The Movements of the Concerto The Third Movement •  Allegro molto or Presto •  Sonata-allegro or Rondo form

Rondo A-B-A-B-A, or A-B-A-C-A, or A-B-A-C-A-B-A, etc.

Sonata-allegro

A

B

A

Exposition

Development

Recapitulation

Theme II

Closing

Trans. Theme I

Theme I Music 013-L Music Appreciation

Trans.

Theme II

Closing

Coda

24. The Classical Concerto A Piano Concerto by Mozart Concerto in G major, K. 453.

• 

Written for Barbara von Ployer— one of Mozart’s students

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24. The Classical Concerto Famous Women Virtuosos • 

Noble and upper-middle-class women

• 

Music teachers and professional performers: – Maria Anna Mozart “Nannerl” – Maria Theresia von Paradis – Barbara von Ployer

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Mozart: Piano Concerto in G major, K. 453 (Listening Guide) I: Allegro, concerto form • 

Exposition – Orchestral exposition – Piano soloist exposition, with new theme – Orchestral tutti

• 

Development

• 

Recapitulation with cadenza

• 

Coda Music 013-L Music Appreciation

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25. The Sonata in the Classical Era The Movements of the Sonata •  Three or four contrasting movements – Fast-slow-fast – Fast-slow-moderate-fast Beethoven: Sonata No. 8

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Beethoven: Piano Sonata in C-sharp minor, Op. 27, No. 2 (Moonlight) (Listening Guide) •  Title given after

Beethoven's death

•  Dedicated to

Countess Giuletta Guicciardi • 

Once thought to be Beethoven's "Immortal Beloved”

Countess Giuletta Guicciardi Music 013-L Music Appreciation

Beethoven: Piano Sonata in C-sharp minor, Op. 27, No. 2 (Moonlight) First Movement (Listening Guide) • 

Breaks with conventional formal molds

• 

Retains the three-movement format

• 

I: Adagio sostenuto

• 

II: Allegretto

•  • 

III: Presto agitato Remains one of the most beloved works of the Classical repertory

• 

LISTENING GUIDE PDF Music 013-L Music Appreciation

Beethoven: Piano Sonata in C-sharp minor, Op. 27, No. 2 (Moonlight) First Movement (Listening Guide) •  Elements of a development section •  Delicate singing melody •  Continuous triplet patter •  Modified song form

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26. Classical Choral Music and Opera

“I like an aria to fit a singer as perfectly as a well-tailored suit of clothes.” - W. A. Mozart

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26. Classical Choral Music and Opera Mass, Requiem, and Oratorio •  The Classical era choral music was an offshoot

of the Baroque tradition. •  Principle genres were the Mass, the Requiem

Mass and the oratorio. •  All of these genres were intended to be

performed in church but were eventually moved to the concert hall.

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26. Classical Choral Music and Opera Classical Opera • 

Opera types – Opera buffa and opera seria – Opéra comique, Singspiel, ballad opera – Castrato vs. buffo

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26. Classical Choral Music and Opera Mozart’s Opera Don Giovanni

The final scene of Don Giovanni

• 

Combines elements of opera buffa with opera seria.

• 

Set to libretto by Lorenzo da Ponte

• 

Based on the tale of Don Juan

• 

Begins with overture in sonata-allegro form, employing themes easily associated with the characters in the opera

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26. Classical Choral Music and Opera Mozart’s Opera Don Giovanni

•  Donna Elvira’s Aria, “A chi me dice mai” •  Short orchestral introduction •  Alternates between soprano and orchestra

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26. Classical Choral Music and Opera Mozart’s Opera Don Giovanni •  Lengthy recitative •  Speech-like pattern •  Continuo instruments

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26. Classical Choral Music and Opera Mozart’s Opera Don Giovanni •  Aria •  Fast patter quality •  Syllabic text setting •  Simple two-part form

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26. Classical Choral Music and Opera From Classicism to Romanticism “I am in the world for the purpose of composing. What I feel in my heart, I give to the world.” —Franz Schubert

Schubert: “Gretchen am Spinnrade” Schubert: String Quintet

Outlet of Wyburn Lake (1796) by Joseph Wright

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