Title: Music: An Appreciation 8th Edition by Roger Kamien
1Music An Appreciation8th Editionby Roger
Kamien
- Unit V
- The Classical Period
- 1750-1820
Presentation Development Robert
Elliott University of Arkansas at Pine Bluff
2The Classical Period
- Time-line
- Seven Years War-1756-1763
- Louis XVI in France-1774-1792
- Am. Declaration of Independence-1776
- French Revolution-1789
- Napoleon first French consul-1799
- Napoleonic Wars-1803-1815
- Goethe Faust-1808
- Austin Pride and Prejudice-1813
3The Classical Era
- Scientific advances changed world view
- Faith in the power of reason
- Undermining of traditional authority
- Social organization
- Religious establishment
- Rise of the middle class worker
- Moved away from ornate Baroque style
4Chpt. 1 The Classical Style
- Transition to Period 1730-1770
- C.P.E. and J.C. Bachearly pioneers
- Music and visual arts stress balance and structure
- Joseph Haydn
- Wolfgang Amadeus Mozart
- Ludwig van Beethoven
5Chpt. 1-The Classical Style
Characteristics of the Classical Style
- Contrast both between within movements
- Multiple rhythmic patterns in a piece
- Mostly homophonic, but with frequent shifts
- Tuneful, easy to sing, folk/popular-based
- Emotions expressed in shades of dynamics
- Use of gradual dynamic changes
- Related to development of the piano
- End of the Basso Continuo
6Chpt. 1- The Classical Style
The Classical Orchestra
- Standardization of instrumentation
- Increase in size of orchestra
- Still smaller than that of today
- Composers made use of the various timbres
available
- Instruments not treated as all equal, as in the
Baroque - Melodies move around between instruments
7Chpt. 1- The Classical Style
Classical Forms
- Instrumental works usually in multi-movement form
- Frequently four movements
- Multi-movement works for instrumental groups
- Symphonyfor orchestra
- String quartet2 violins, viola, cello
- Sonatausually for one or two instruments
8Chpt. 2 Composer, Patron, and Public in the
Classical Period
- Changing society affected musicians
- Haydn worked 30 years for aristocratic family
- Mozart began at court, broke away, died broke
- Beethoven successful as independent musician
- Prospering middle class wanted aristocratic
pleasures (theatre, literature, music)
- Public, ticket buying concerts became common
- Middle class children received music lessons
- Rise of instrument manufacture industry
- Composers wrote playable music that would sell
- Serious compositions flavored by folk and popular
music
9Vienna
Chpt. 2- Composer, Patron, and Public
- Became the musical capitol of Europe
- Musicians came to study and seek recognition
- Aristocrats wintering there would bring their
orchestras
- Musicians, including Mozart and Beethoven,
frequently played gigs in wealthy homes
- Many musicians also worked in serenading street
bands
10Chpt. 3 Sonata Form
- Also called sonata-allegro form
- Refers to form of a single movement
- Ternary form (A B A)3 main sections
- Initial statement of 1st and 2nd themes
- Entire section usually repeated
- Tension building section
- Themes broken into fragmentsmotives
- Resolution of tension
- Re-statement of 1st and 2nd themes
- Often concludes with a tag or tailCoda
11Listening
Chpt. 3-Sonata Form
- Symphony No. 40 in G Minor, K. 550
- by Wolfgang Amadeus Mozart
- First movement
- Listening Guide p. 207 Brief Set, CD 217
- Note Sonata Form
- Exposition
- Development
- Recapitulation
- Coda
12Chpt. 4 Theme and Variations
- Single part formno large contrasting B section
- (A A A A)
- Basic idea presented and then repeated over and
over
- Each repeat alters (varies) the musical idea
- Each variation is about the same length as the
original idea - Variations may alter melody, harmony, rhythm,
dynamics, timbre, or all of these
13Listening
Chpt. 4-Theme and Variations
- Symphony No. 94 in G Major
- (Surprise Symphony 1791)
- by Franz Joseph Haydn
- Second Movement
- Listening Guide p. 210
- Brief Set, CD 210
- Note Theme and Variations form
14Chpt. 5 Minuet and Trio
- Ternary form based upon stately court dance of
the Baroque
- Each ternary part is itself ternary
Minuet Trio Minuet
A B A
a b a
c d c
a b a
- Return of the Minuet is usually marked on the
music as da capo
15Listening
Chpt. 5-Minuet and Trio
- Eine Kleine Nachtmusik (A Little Night Music
1787), K. 525 - by Wolfgang Amadeus Mozart
- Third Movement
- Listening Guide p. 212 Brief Set, CD 232
- Note Minuet and Trio form
- Minuet Trio Minuet
- A B A
- a b a c d c a b a
16Chpt. 6 Rondo
- Features a main theme that keeps coming back
- Main theme section alternates with other
contrasting sections
- A B A C A (small rondo)
- A B A C A B A (large rondo)
- Note the similarity to modern pop-music form
17Listening
Chpt. 6-Rondo
- String Quartet in C Minor, Op. 18, No. 4
(1798-1800) - by Ludwig van Beethoven
- Fourth movement
- Listening Guide p. 214
- Brief Set, CD 235
- Note Rondo form
- A B A C A B A
18Chpt. 7 The Classical Symphony
- Extended, ambitious composition lasting for 20-45
minutes
- Multi-movement instrumental work
- 1st Fastfrequently Sonata form
- 2nd Slowoften Sonata form, sometimes Theme and
Variations - 3rd Danceusually Minuet and Trio or scherzo (a
fast dance-like) form - 4th Fastfrequently Sonata or Rondo form
- Themes in one movement rarely appear in another
movement
19Chpt. 8 The Classical Concerto
- Work for instrumental soloist and orchestra
lasting 20-45 minutes
- FastSlowFast (no Minuet movement)
- Contrasts soloists abilities with power and
timbres of orchestra
- Break near end of 1st and sometimes last movement
called cadenza
- Solo break where orchestra stops waits
- Originally improvised, Classical composers seldom
notated cadenzas
20Chpt. 9 Classical Chamber Music
- Intended for performance in a room, not a concert
hall
- Small group of 4-9 instrumentalists
- One player to a part
- Often intended for amateur performers
- Most important setting is string quartet
- 2 violins, viola, cello
- Four movements
- Usually FastSlowDanceFast
- Sonata for violin and piano
- Piano trio (violin, cello, and piano)
- String quintet (2 violins, 2 violas, cello)
21Chpt. 10 Joseph Haydn
- 1732-1809early and mid-Classical Period Austrian
composer (long life)
- Age 8sent to Vienna to be a choir boy
- Dismissed from schoolvoice changed
- Worked in Vienna and continued studies
- Esterhazys composer for 30 years
- Employment status as skilled servant
- Became famous in Europe at this time
- Moved to Vienna at Princes death
- Made concert trip to London
22Listening
Chpt. 10-Joseph Haydn
- Trumpet Concerto in E Flat Major (1796) by
Haydn - Third movement
- Listening Guide p. 226
- Basic Set, CD 344
- Note Virtuoso trumpet part for soloist
- Combination of sonata-allegro and
- rondo forms called sonata-rondo
23Chpt. 11 Wolfgang Amadeus Mozart
- 1756-1791 (mid-Classical composer)
- Son of a professional musician
- Leopold Mozart, violin, worked for Archbishop of
Salzburg
- At 25freelance musician in Vienna
- Partly due to winning the Emperors favor
- Initially successful, then novelty wore off
- Final piece was a Requiem that was finished by
one of his students
- Very prolific, note short life span
- Wrote in all Classical genres
24Listening
Chpt. 11-Wolfgang Amadeus Mozart
- Don Giovanni (1787) by Mozart
- Act I Introduction
- Listening Guide p. 231
- Brief Set, CD 31
- 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.
25Listening
Chpt. 11-Wolfgang Amadeus Mozart
- Don Giovanni (1787) by Mozart
- Leporellos catalog aria (Madamina)
- Listening Guide p. 236
- Basic Set, CD 355
- Donna Elvira, an earlier conquest of Don
Giovannis, 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.
26Listening
Chpt. 11-Wolfgang Amadeus Mozart
- Symphony No. 40 in G Minor (1788)
- by Mozart (K. 550)
- Mvt. 1Molto allegro
- Listening Guide p. 240 Brief Set, CD 217
- Mvt. 2Andante
- Listening Guide p. 242 Basic Set, CD 31
- Mvt. 3Menuetto (Allegretto)
- Listening Guide p. 243 Basic Set, CD 313
- Mvt. 4Allegro assai (very fast)
- Listening Guide p. 244 Basic Set, CD 316
27Listening
Chpt. 11-Wolfgang Amadeus Mozart
- Piano Concerto No. 23 in A Major (1786)
- by Mozart (K. 488)
- First movement
- Listening Guide p. 244
- Brief Set, CD 35
- Note Sonata form
- Cadenza near end of movement (one of
- few notated by Mozart)
28Chpt. 12 Ludwig van Beethoven
- 1770-1827late Classical, German
- Son of a professional musician
- Father, Johann, was a singer abusive alcoholic
- Forced the boy to study music (wanted )
- Financially successful as freelance musician
- Believed in periods societal changes
- Wrote final pieces while totally deaf
- 20,000 people attended funeral
- Wrote in all Classical genres
- 9 symphonies
- 16 string quartets
- Many other sonatas and other works
29Listening
Chpt. 12-Ludwig van Beethoven
- Piano Sonata in C Minor, Op. 13
- (Pathetique, 1798)
- by Beethoven
- First movement (Grave-solemn, slow intro.)
- Listening Guide p. 261
- Basic Set, CD 48
- Note Extreme dynamic contrasts accents
- Unexpected pauses
- More use of dissonance than previous
- composers
30Listening
Chpt. 12-Ludwig van Beethoven
- Symphony No. 5 in C Minor, Op. 67
- by Beethoven (1808)
- Mvt. 1Allegro con brio
- Listening Guide p. 261 Brief Set, CD 239
- Mvt. 2Andante con moto
- Listening Guide p. 263 Brief Set, CD 247
- Mvt. 3Allegro (scherzo)
- Listening Guide p. 265 Brief Set, CD 253
- Mvt. 4Allegro
- Listening Guide p. 266 Brief Set, CD 257