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