Test 4 Review-The Classical Period |
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rondo requiem
theme and variations motive
fermata scherzo
symphony development
concerto minuet and trio
exposition transition
coda recapitulation
string quartet fortepiano
cadenza serenade
style galant countermelody
vocal ensemble
Haydn Symphony No. 94 in G-Major, Mvt. II (CD 2/32)
Haydn Concerto for Trumpet in Eb, Mvt. III (Kamien CD available in LRC, CD 3/44)
Mozart Symphony No.40 in G-Minor, Mvt. I (CD 2/23)
Mozart Eine Kleine Nachtmusik, Mvt. III, “Minuet and Trio” (CD 2/38)
Mozart Piano Concerto No. 23, K. 488, Mvt. I (CD 3/5)
Beethoven String Quartet, Op. 18, No. 4, Mvt. IV (CD 2/341)
Beethoven Symphony No. 5, Mvt. I (CD 2/45)
Musical Characteristics of the Classical Style:
Melodies are “tuneful” and usually made of symmetrical phrases
Texture is mostly homophonic
Rhythm and mood are flexible
Basso continuo is no longer used, accompaniments are “written out”
Orchestra becomes more standardized, including pairs of winds
Piano replaces the harpsichord as the main keyboard instrument
Vienna, Austria becomes an important musical center
Important composers: Haydn, Mozart, Beethoven
Forms of the “Classical Style”
Sonata Form (Sonata-Allegro)
Single-movement form, in three sections, usually the 1st mvt. of a symphony or string quartet.
• Exposition-establishes themes, sets up conflict of first key (tonic) and second key.
Theme I-tonic key
Transition (bridge)-modulates to new key
Theme II-new key
Closing-new key
• Development-reworks themes by breaking them into fragments, avoids the tonic, frequent modulations. Sometimes ends with a dominant preparation that sets up a return of the tonic key by emphasizing the dominant chord (V).
• Recapitulation-restates material of the exposition, but all in the tonic key.
Transition (bridge)-does not modulate
Theme II- tonic key
Closing- tonic key
Coda (tail)-rounds out the form
Example: Mozart Symphony No. 40 In G-Minor, Mvt. I
Example: Haydn Symphony No. 94, Mvt. II
Dance-like form, usually the 3rd mvt. of a symphony or string quartet, in triple meter. The
trio was originally accompanied by just three instruments, hence the name.
Ternary form:
A B A
ll: a :ll: ba´ :ll ll: c :ll: dc´ :ll a ba´
Example: *Mozart Eine Kleine Nachtmusik, Mvt. III
“Minuet and Trio”
*Also a serenade-a lyrical work intended for evening performance
Sometimes the Minuet is replaced by a scherzo (Italian for “joke”) which is similar, but faster
in tempo. Beethoven preferred to use scherzos in his works.
Multi-section movement that features a recurring, “tuneful” main theme (A) that is similar to the Baroque “ritornello”. The contrasting sections may be new themes (B, C, D). The main theme is usually easy to remember and is usually in tonic key so the listener will recognize its return. The most common patterns are:
A B A B A A B A C A A B A C A B A
Example: Beethoven String Quartet In C-Minor, Opus 18, No. 4, Mvt. IV
The rondo can be a movement of a symphony, string quartet or sonata. A hybrid of sonata form and rondo is the sonata-rondo. It is basically a rondo with a development section in the middle:
A B A C (Development) A B A
The sonata-rondo often appears as the final movement of a concerto or symphony.
The Classical symphony is an extended work for orchestra usually lasting 20-45 minutes. The piece is typically in four movements. Each movement is a self-contained piece with its own themes, character and mood. Occasionally, one theme will appear in more than one movement. The movements are intended to compliment each other and to create balance and symmetry.
I. Fast-often dramatic, in sonata form, tonic key
II. Slow-lyrical, ternary, theme and variations or sonata form, key other than tonic
III. Minuet or scherzo, tonic key
IV. Fast-brilliant, sonata or sonata-rondo, in tonic
Examples: Beethoven Symphony No. 5 in C-Minor, Mvt. I
Mozart Symphony No. 40 in G Minor, Mvt. I
Music designed to be played in a “room or chamber” of a home or palace. These pieces are written for 2-8 performers, one player to a part. Chamber music is more subtle and intimate than music for full orchestra. It is pleasing for the player as well as the listener. During the Classical era, nobles and aristocrats would perform with professional musicians to entertain their guests.
In chamber music, every part has an equal role. Thematic material is passed through the entire ensemble and the musicians have to be very sensitive to each other. These pieces are usually performed without a conductor, so it is important for the players to collaborate on style, dynamics and phrasing.
During the classical period the most important type of chamber music was the string quartet, written for 2 violins, 1 viola and 1 cello. String quartets, like symphonies, are usually in four movements:
I. Fast II. Slow III. Minuet or Scherzo IV. Fast.
Example: Beethoven String Quartet In C-Minor, Opus 18, No. 4, Mvt. IV
In The Classical period the sonata remained an important genre of instrumental music. It evolved from the Baroque version featuring dance type movements to a 3-movement piece of contrasting tempos, fast-slow-fast. Each movement would often feature one of the forms common to the period, such as: sonata-allegro, rondo, theme and variations or ternary. Most often the sonata would begin with a sonata-allegro. Because so many of these pieces were composed for piano, the term sonata usually refers to a work for solo piano. Sonatas written for other instruments would be designated as such: violin sonata, flute sonata, etc. In this case the solo instrument is usually accompanied by piano.
Another important genre of the Classical period is the concerto. While the Baroque period favored the concerto grosso, the Classical period favored the solo concerto. The concerto became a large scale work for instrumental soloist and orchestra in three movements, fast-slow-fast. The favored instrument of the period was piano, but many concertos were written for strings and winds as well.
Usually concertos begin with a sonata-allegro in the first movement, but the material is presented in a double exposition. The orchestra plays all of the themes and transitions, but in the tonic key. When the soloist enters the themes are presented as expected with a modulation to a new key for the second theme or themes. Toward the end of the first movement, and sometimes the last, there is a section where the soloist plays without accompaniment. It is called the cadenza from the Italian word for cadence. This part is setup by a sustained chord played by the orchestra. In the music this is indicated by a fermata, a symbol that means “to sustain the note.” Originally, the cadenza was often improvised and gave the soloist a chance to “show off.” During the cadenza, the soloist plays main themes in fragments much like the development section of sonata form. The end of the cadenza is signaled by the soloist playing a long trill that leads back to the orchestra.
Mozart would have performed his concertos on a fortepiano (literally-“loud-soft”), an early version
of a piano that was smaller (only five octaves) and had a lighter sound. See pictures.
Example: Mozart Piano Concerto No. 23 in A-Major, Mvt. I
Example: Haydn Trumpet Concerto In Eb Major-Mvt. III
Written for Haydn’s friend, court trumpeter Anton Weidinger, who helped develop the
"organized trumpet" or keyed bugle (See photo).
Keyed Bugle-similar to the instrument developed by Fortepiano-Mozart’s piano concertos were
Viennese court trumpeter, Anton Weidinger. written for this smaller, lighter sounding
Haydn wrote his Trumpet Concerto in Eb Major predecessor of the modern piano.
for this instrument.
As many of the other musical genre evolved during the 18th century, so did opera. Many of the features established in Baroque opera remained such as: the overture, recitative and aria, choral pieces. The subject matter of opera changed however. In contrast to the opera seria (serious opera) of the Baroque, 18th-century opera, especially in Italy, became a voice for social change. Opera buffa (comic opera) features more real life characters. These new operas featured more range of emotion and less distinction between recitative and aria. Though a chorus was still
occasionally used to comment on the action, the concept of vocal ensemble was introduced. A group of two, three, four or even more soloists was used to express a variety of emotions, often simultaneously.
Clearly the master of 18th-century opera was Mozart who composed both
opera seria in Italian and Singspiel a German style of
opera buffa featuring dialogue and songs (arias). Some of his operas were
in the Italian comic opera style and included his masterpiece Don Giovanni.
Mozart collaborated with librettist Lorenzo da Ponte in creating this story
about the famed Spanish lover, Don Juan.
Da Ponte also wrote the libretti for Mozart’s operas Cosi Fan Tutti and
The Marriage of Figaro.
Example: Mozart Don Giovanni, Act I
Terms|Musical Examples|Musical Characteristics|Forms|Genre|Opera|Greg McLean Home