Part IV Eighteenth-Century Classicism

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Part IV
Eighteenth-Century Classicism
“Music [is] the favorite passion of my
soul.”
Thomas Jefferson
Music 013-L Music Appreciation
—
Prelude 4: Classicism in the Arts
• 
Order, objectivity, and
proportion
• 
Greece and Rome
• 
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.)
Viennese School
•  Haydn
•  Mozart
•  Beethoven
•  Schubert
Elements of Classical Style
• 
Singable, lyrical melody
• 
Diatonic harmony
• 
Regular rhythms and meters
• 
Homophonic texture
(melody with accompanying
harmony)
• 
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)
The Patronage System
• 
Music was considered to be
an adornment of life
• 
Social events
• 
Musicians little better than
servants
• 
Women under the system of
patronage
• 
Public concert venue (site)
inspires productivity in
composers
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
Expanding Musical Ideas
Themes
Mozart, Eine kleine Nachtmusic, K. 525, I
Mozart: Symphony No. 40, I
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)
Motives
Beethoven: Symphony No. 5
Mendelssohn: Italian Symphony, I
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
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
Beethoven: String Quartet in C Op. 59, IV
Mozart: Piano Concerto No. 21
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
Bridge
Theme II
Closing
Theme
Coda
Exposition (First Movement)
A
B
A’
Development
Recapitulation
Theme II
Bridge
Closing
Theme
Theme I
Theme I
Tonic
Key
Transitional
Passage
Contrasting
Key
Bridge
Theme II
Closing
Theme
Coda
Development (First Movement)
A
Theme II
Bridge
B
A’
Development
Recapitulation
Closing
Theme
Theme I
Theme I
Bridge
• 
Musical conflict and action
• 
Frequent modulations
• 
Tension
• 
Thematic development, motives
Theme II
Closing
Theme
Coda
Recapitulation (First Movement)
A
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
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
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”
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 :||
Scherzo
•  Scherzo-trio-scherzo
•  Faster pace and rhythmic drive
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.
The Multimovement Cycle as a Whole
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
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
1780
1790
1800
1810
The String Quartet
Joseph Haydn (1732–1809)
• 
Austrian composer
• 
Folk song and dance
• 
St. Stephen’s Cathedral in
Vienna
• 
Esterházy patronage
• 
Eszterháza
• 
Two successful trips to
England
• 
Died in 1809
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
The String Quartet
The String Quartet
•  Most important chamber music genre of era
•  Instrumentation: two violins, viola, cello
Beethoven: String Quartet in F
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
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
1720
1730
1740
1750
1760
1770
1780
1790
1800
1810
Wolfgang Amadeus Mozart
(1756–1791)
• 
Austrian composer, pianist,
violinist
• 
Father was a musician
• 
Child prodigy
• 
Patronage system
• 
Archbishop of Salzburg
• 
Freelance musician at age 25
Salzburg, Austria
Wolfgang Amadeus Mozart 1756–1791
1720
1730
1740
1750
1760
1770
1780
1790
1800
1810
Leopold Mozart
•  Composer-violinist to the
archbishop of Salzburg
•  Organized concert tours
for children Wolfgang and
sister, Nannerl
• 
• 
• 
• 
• 
• 
• 
• 
• 
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
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
Ludwig Köchel’s Catalog
Catalog
Title
Number
Eine kleine Nachtmusik, K. 525, I
Movement
•  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
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)
(Theme I)
Key
Tempo
Signature
Meter
Rocket Theme
Symmetrical Phrases
Dynamic marking
(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)
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
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
The Classical Orchestra
•  30–40 players
•  Centered around
string section
Mozart:
. 40, I
•  Interchange
Eszterháza Palace in Fertöd, Hungary
among
instrument
groups like lively
conversation
The Movements of the Symphony
I:
fast
II: slow
Beethoven: Symphony No. 7, II
III: moderate
Haydn: Symphony No. 94 (Surprise), III
IV: fast
Mozart: Symphony No. 40, IV
The First Movement
Sonata-allegro form / sonata form
A
B
Development
Theme II
Bridge
Theme I
A’
Recapitulation
Closing
Theme
Unstable,
building tension
Theme I
Bridge
Theme II
Closing
Theme
Coda
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
The Third Movement
•  Form
• 
Minuet and trio
•  Tempo
•  Moderate
•  Triple meter
•  Later scherzo
The Fourth Movement
•  Form options
•  Sonata-allegro
•  Rondo
•  Tempo
•  Allegro molto
•  Presto finale
•  Fast and light
Haydn and the Symphony
• 
String quartet
• 
100-plus symphonies
• 
• 
London symphonies
Masses, oratorios
Haydn Symphony No. 100 in G
major (Military)
• 
Large orchestra
• 
London symphonies
III: Allegro molto, minuet form G major
Haydn: Symphony No. 100 (Military), Second
Movement (Listening Guide)
• 
Second movement
• 
Graceful theme
• 
Large orchestra
• 
French horns, percussion
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
Symphony No. 7, II
• 
Ludwig van Beethoven (1770–1827)
• 
German composer and pianist
• 
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
1730
1740
1750
1760
1770
1780
1790
1800
1810
1820
•  Modified patronage
•  Concert life and music publishing
•  Hearing loss
•  Eccentric genius
•  Died at age 57, famous and revered
Three compositional periods
•  First: Early career
•  Second: Middle career, more
“Romantic”
•  Third: Late career, introspective,
chromatic harmonies
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!”
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
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
IV: Sonata-allegro form
• 
• 
Extended coda
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
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)
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
Theme I
Theme II
Coda
Trans.
Cadenza
& piano theme
The Second Movement (II)
•  Slow and lyrical
•  Andante, Adagio, or Largo
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
Trans.
Theme II
Closing
Coda
A Piano Concerto by Mozart
Concerto in G major, K. 453.
• 
Written for Barbara von Ployer—
one of Mozart’s students
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
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
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
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
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
First Movement (Listening Guide)
•  Elements of a development section
•  Delicate singing melody
•  Continuous triplet patter
•  Modified song form
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
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.
Classical Opera
• 
Opera types
– Opera buffa and
opera seria
– Opéra comique,
Singspiel, ballad
opera
– Castrato vs. buffo
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
•  Donna Elvira’s Aria, “A chi me dice mai”
•  Short orchestral introduction
•  Alternates between soprano and orchestra
•  Lengthy recitative
•  Speech-like pattern
•  Continuo instruments
•  Aria
•  Fast patter quality
•  Syllabic text setting
•  Simple two-part form
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

Part IV Eighteenth-Century Classicism

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