Unit XIII The EighteenthCentury Concerto and Sonata

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Unit XIIIThe Eighteenth-Century Concerto and
Sonata

• Chapter 37 - The Classical Concerto

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Overview

• As in the Baroque era, the term concerto implies
  the opposition of the large sound of the full
  orchestra (tutti) versus the smaller sound mass
  of the soloist.
• Unlike the Baroque concerto grosso, which
  employed a group of soloists ( the concertino),
  the classical concerto is most typically a solo
  concerto.

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Overview

• Piano and violin concertos are most prominent.
• Follows the 3-movement sonata cycle
  (fast-slow-fast).

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Cadenza

• Characteristic feature - the orchestra falls
  silent and the soloist launches into a free play
  of fantasy on one or more themes of the movement.
  During this time the cadenza was usually
  composed on the spot during performance.
  Remember, the composer was usually the soloist at
  the premier during this time.

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The Movements of the Concerto
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First movement

• Double exposition sonata-allegro form
• Usually themes are presented first by the
  orchestra in full or partial completeness before
  being played by the soloist in complete form.

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Second movement

• Largo, adagio, or andante.
• Features the soloist in poetic, songlike melody.
• Contrasting key to first and last movement.

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Third movement (Finale)

• Generally an allegro molto or a presto.
• Usually shorter than the first movement.
• Rondo or sonata-rondo form.

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Mozart Piano Concerto in G Major, K. 453 (1784)

• Note Köchel number.
• Wrote six piano concertos in 1784

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First movement Allegro in double-exposition
sonata allegro form.

• Opens with an orchestral ritornello
• Followed by piano with its own exposition and a
  new theme
• Orchestral ritornello also heard in
  recapitulation
• This concerto is usually heard with Mozarts
  cadenza
• See Listening Guide 22, pp. 208 -209 (CD
  2/29-39), for themes and analysis.

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Second movement Andante in C major

• Also double exposition form
• Supremely lyric
• Notable for variety of woodwind colors

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Third movement Presto in G major

• Theme and Variations
• Graceful, dance-like theme and five variations

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Famous Women Virtuosos of the Eighteenth Century

• It was deemed proper in the 18th century for
  noblewomen and upper-class women to study music
• Many became highly skilled amateurs
• Composers - Elisabeth-Claude Jacquet de la Guerre

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Famous Women Virtuosos of the Eighteenth Century

• Violinists
• Anna Maria della Pieta
• Maddelena Lombardini (student of Tartini)

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Famous Women Virtuosos of the Eighteenth Century

• Keyboardists
• Maria Anna Mozart (Nannerl)(1751-1829) - sister
  of Wolfgang

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Famous Women Virtuosos

• Maria Theresa von Paradis (1759-1808)
• Accomplished pianist and organist
• Remarkable musical memory - over 60 concertos
  memorized for her tour (1783-86)
• Mozart wrote his Piano Concerto in B flat K. 456
  for her in 1784
• Her teacher, Antonio Salieri wrote his only organ
  concerto in her honor
• Her works include 2 concertos, a piano trio and a
  number of sonatas have been lost

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Famous Women Virtuosos of the Eighteenth Century

• Barbara von Ployer - Student of Mozart for whom
  he wrote 2 concertos