dates of Classical Era
ca 1750 - ca 1825
characteristics of Classical Era
“Age of Enlightenment”
pursuit of knowledge, rational thinking, growing desire for equality among all people
ideals of promotion, symmetry, balance
- emergence of sonata form, with its focus on structural balance, stands out as the defining achievement of the Classical era.
sonata form
most important musical structure to evolve in the Classical era
AKA first-movement form or sonata-allegro form
developed from rounded binary principal
(Introduction)
Exposition
sonata form - Introduction
not standard component
usually slow; not always related to what comes later
establishes tonic key, sometimes in parallel
creates musical tension and suspense to capture the listener’s interest
usually not included in repeat of Exposition
sonata form - Exposition
First Theme
- establishes the tonic key
- presents a distinctive melodic and rhythmic character
- often sets mood for entire movement
Bridge
- initiates the move to a new key center
- often consists of scale figurations or chordal passages
Second Theme
- establishes the new key (usually in dominant or relative major)
- often creates contrast of melodic and rhythmic character
- sometimes consists of several themes (theme group)
Codetta
- affirms the new key by extending the final cadence
- generally concludes with a repeat sign
- also referred to as the closing theme or closing section
Exposition usually repeated once
sonata form - Development
- harmonic tension intensifies through modulation and increased dissonance
- manipulation of thematic material presented earlier
- techniques includes sequential treatment, fragmentation, inversion, changes to orchestration
- may present new material
- generally ends with dominant preparation (emphasis of dominant harmony in anticipation of the return to the tonic key)
sonata form - Recapitulation
- first theme: reruns in the tonic
- bridge: remains in the tonic because there is no need to modulate for the restatement of the second theme
- second theme: usually restated in the tonic
codetta: usually restated in the tonic
sonata form - coda
- not a standard component of the form
- concluding section reaffirming the tonic key
- may consist of repeated cadences
- sometimes presents new material
Franz Joseph Haydn
1732-1809
born in *Rohrau, Austria
choirboy at *St. Stephen’s Cathedral, Vienna
considered *Nicolo Porpora (Italian singer/composer) his only teacher
1st f/t position as Kapellmeister to *Count Ferdinand von Morzin 1759
1761 Ass’t KM, then 1766 KM to *Esterhazy family
dev friendship with Mozart
moved to Vienna under *Prince Anton (after *Prince Nikolai)
*Johann Peter Salomon arr. 1st trip to London
honorary doctorate from *Oxford
“String Quartet in C Major”, op. 76, no. 3”
“Symphony No. 94 in G major” (“Surprise”)
“Trumpet Concerto in E flat major”, Hob. VIIe:I
Haydn’s Musical Style and Contributions
- traditionalist, and open to experimentation
embraced the grace and elegance of the style galant, dramatic contrasts of Sturm und Drang, heightened emotionalism of Empfindsamer Still
regarded as “father” of symphony, string quartet
contributed to dev of sonata form: formal elements, melody, harmony; often included slow intros w/ambiguous tonality, suspenseful atmosphere, chromatic harmony
expositions often monothematic - 1st, 2nd themes identical or similar, but in different keys
infl by folk songs, dances; used simple diatonic melodies w/narrow range
incl interesting sound effects: pedal points to suggest bagpipes, pizz. strings to suggest guitar
musical playfulness demonstrated by sudden dynamic changes or abrupt silences
dramatic elements incl sudden accents, bold changes of chord or keys
Wolfgang Amadeus Mozart
1756-1791
born in Salzburg, Austria
employed by *Hieronymus von Colloredo (contentious)
good friends w/Haydn
Imperial Court Chamber Music Composer to *Emperor Joseph II
*Count Franz von Walsegg commissioned Requiem
“The Abduction from the Seraglio” (Singspiel - German comic opera)
“Marriage of Figaro” - w/librettist *Lorenzo da Ponte
“Don Giovanni”
“The Magic Flute” - w/librettist, director, impresario Emanuel Schikaneder
“Piano Sonata in A Major”, K 331
“Exsultate, jubilate”, K 165
Mozart’s Musical Style and Contributions
exemplified Viennese Classical ideals: elegance, balance, poise, refinement, sophistication
used mainly symmetrical phrase structures (4-meas phrases)
contributed to development of sonata form
infl by J.C. Bach in development of piano concerto
crystallized 18th-c piano style in solo works & concertos
contributed to establishment of concerto structure w/double exposition in 1st mvmt
orch writing expanded use of wind instruments
opera was central to his career
absorbed vocal qualities and melodic lyricism into his instrumental writing, esp in slow mvmts
Ludwig van Beethoven
1770-1827
born in Bonn, Germany to musical family
organist and violist in Bonn court orchestras
moved to Vienna, briefly studied w/Haydn
many romantic infatuations, but remained single
Heiligenstadt Testament - 1802
believed in motto of French Revolution: “Liberte, egalite, fraternite”; admired Napoleon
"Symphony No. 5" "Egmont" and "Leonora" overtures 32 piano sonatas "Fidelio" (opera) "Mount of Olives" (oratorio) "Missa solemn is (mass) "An die ferne Geliebte" (song cycle)
Beethoven’s Musical Style and Contributions
bold innovator
superb musical architect
thematic material often grows out of short, incisive motives
developed and expanded Classical genres: sonata, concerto, symphony, string quartet
innovations include:
- replacing graceful M&T w/more dramatic scherzo
- cyclical structure [Symp #5]
- programmatic elements (Symp #6)
- inclusion of chorus & soloists in symphony (#9)
explosive accents, extreme dynamic contrasts
incorporated new orch instruments: piccolo, trombone, contrabassoon
exploited new features and improvements in the pianos of his day, e.g. expanded range
Beethoven’s Early Period
1782-1802
absorbed the Classical style traits inherited from Haydn & Mozart; ex: sonata form
Sturm und Drang influence evident in his preference for minor keys (esp. Cm) and use of tremolo & abrupt contrasts
6 string quartets, op. 18
Symphonies 1 & 2
10 piano sonatas
Beethoven’s Middle Period
1803-1815
more Romantic elements: increased chromaticism, abrupt & unusual modulations
epic, heroic character
“Fidelio” (opera)
Violin Concerto
Symphonies 3-8
Piano Concerto No. 5 (“Emperor”)
Beethoven’s Late Period
1815-1827
style became more abstract, meditative
employed counterpoint more frequently, including fugal writing
experimented further w/form, content; ex: adding SATB soloists & chorus to Symphony 9
piano sonata, opp. 109-111
“Missa Solemnis”
Symphony 9 (“Choral”)
