Chapter 14 : HAYDN AND MOZART

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Chapter 14??????HAYDN AND MOZART
2
??

• Musicians in the late eighteenth century worked
  mainly for courts, cities, and churches, but they
  also made money by teaching, performing, and
  composing on commission or for publication. As
  popularity with the public became more important,
  the most successful composers wrote music that
  pleased everyone from connoisseurs to those with
  little learning.

3
??

• The leading composers of the late 18th century
  were Franz Joseph Haydn (1732-1809) and Wolfgang
  Amadeus Mozart (1756-1791). No one was better at
  reaching a diverse audience than Haydn and
  Mozart, whose music has come to exemplify the
  Classic period.

4
Joseph Haydn ??(1732-1809)
5
Haydn ? ??

• Haydn was born near Vienna.
• He was a choirboy at St. Stephen's Cathedral in
  Vienna, where he studied singing, harpsichord,
  and violin.
• Dismissed when his voice changed, he worked
  freelance in Vienna and studied music.
• Around 1757, he became music director for Count
  Morzin and composed his first symphonies for him.

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The Esterházy years

• Haydn spent most of his career working for the
  Esterházys, a wealthy Hungarian noble family.
• Prince Paul Anton Esterházy hired Haydn in 1761.
• Nikolaus Esterházy succeeded his brother Paul in
  1762 and became Haydn's principal patron for
  nearly thirty years (see HWM Source Reading, page
  528).

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The Esterházy years

• Haydn's duties for the Esterházy family
• Compose music
• Conduct performances
• Train and supervise musical personnel
• Keep the musical instruments in good condition

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Esterhaza

• Paul Anton
• Nicolas

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Esterháza

• In 1766, the Esterházy family moved from
  Eisenstadt in Austria to Esterháza, a remote
  country estate in Hungary
• The estate, which rivaled the splendor of
  Versailles, had two theaters and two music rooms.
  
• Haydn built an orchestra of about twenty-five
  performers and gave weekly concerts, occasional
  opera performances, and daily chamber music
  sessions.

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The Esterházy Years

• Although Haydn kept abreast of current musical
  developments, his isolation at Esterháza and the
  encouragement of his patron helped him to become
  original.
• A new contract in 1779 allowed Haydn to publish
  his music in major European centers, which
  further enhanced his reputation.
• Prince Nikolaus died in 1790, and Haydn was given
  permission to live in Vienna.

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The London years

• Johann Peter Salomon, a violinist and impresario,
  persuaded Haydn to come to London for concert
  tours between 1791 and 1795.
• For the London concerts. Haydn composed numerous
  new works, including his last twelve symphonies.
• Haydn and his music were received with great
  acclaim in London.

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Haydn ???

• ????????????, Haydn ?????????????.
• Haydn ?????
• The galant style ????
• The expressiveness of the empfindsam style ????
• Baroque ???
• Generic clichés ?????

13
Haydn ????

• Haydn ???106 ????.
• ??104???????.
• ?????????, ?????????.
• ????? ?????? four movements.
• A fast sonata-form movement, often with a slow
  introduction

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Haydn ????

• b. A slow movement
• c. A minuet and trio
• d. A fast finale, usually in sonata or rondo form
  
• 5. ???????????, ??????????.
• 6. Haydn ???????????.

15
??

• ??106???????????????, ????????????????, ??1770??,
  ?????????????, ??????????, ????????????,
  ???????????,????????????

16
??

• ??????,???????????????,???????????
  ??????????,???????,??????????,????????????????????
  ?

17
??

• ?????????????????,?????????????,??????????????????
  ????

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?????

• Haydn's earliest symphonies were composed for
  Count Morzin (1757-61).
• Typically, they were scored for two oboes, two
  horns, and strings.
• Most of these are in three movements.
• The sonata-form movements tend to use themes that
  could be broken up and recombined.

19
?????

• Haydn composed about thirty symphonies in his
  early years with the Esterházy family (1761-67).
• The ensemble was often augmented with flute,
  bassoon, and other instruments.
• These diverse works are characterized by novelty
  and variety. Symphony No. 6, Le Matin (Morning)
• Symphony No. 7, Le Midi (Noon)
• Symphony No. 8, Le Soir (Evening)

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1768-74 ???

• The symphonies of 1768-74 are longer and more
  serious works than earlier symphonies and require
  the listeners close attention. The emotional,
  agitated, minor-key character of some has been
  linked to the slightly later literary movement
  Sturm und Drang ????, from the title of a 1776
  play). Haydn introduces more startling dramatic
  contrasts, richer harmonies, more distant
  modulations, and more counterpoint. Increasingly,
  each symphony has unique features that mark it as
  an individual.

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1774-88 ???

• The symphonies after 1774 are less experimental,
  more cheerful, and infused with the appealing
  style of comic opera. The six Paris Symphonies
  (Nos. 82-87) were commissioned for a concert
  series in Paris. In Symphonies Nos. 88-92, Haydn
  often begins with a slow introduction uses
  contrasting second themes less often features
  the winds more and infuses the finale with
  counterpoint, increasing its weight without
  sacrificing popular appeal. Music NAWM 94-95

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Symphony, No. 56 in C Major

• The symphonies after 1774 are less experimental,
  more cheerful, and infused with the appealing
  style of comic opera.
• ????

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Symphony, No. 92 in G Major

• The slow movement is in ABA form.
• Haydn's slow movements tend to provide a calm and
  gentle melody in contrast to the dramatic first
  movements.
• Other common slow-movement forms are the sonata
  form without repeats and the theme and
  variations.
• The Oxford has a songlike theme, a dramatic
  middle section in the tonic minor, and an
  abbreviated reprise.
• The coda features woodwind instruments and uses
  chromatic harmonies

24
London ???

• Haydn wrote music to suit particular occasions,
  performers, and halls and to please both the
  expert and the untutored music lover. His London
  Symphonies were aimed at the London audience,
  with greater tunefulness (including Slovenian and
  Croatian peasant tunes), more varied
  orchestration, and striking changes of key.

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London ???

• First movements tend to focus on the first theme
  rather than introducing a contrasting second
  theme, the slow movements use theme and
  variations or a variant of sonata form and the
  minuet-and-trio movements are faster and often
  humorous. The finales use sonata form, rondo form
  (ABACA or ABACABA), or a blend of the two. Music
  NAWM 96

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London ???

• ????? 104, IV
• ?? ?? ?? ??
• ??? A A B C ? A A B C ?
  ?
• ?? ?? ?????? ????e ??

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????? 1781

• Haydn wrote 36 string quartets between 1757 and
  1781 and published them in sets of six. His Opp.
  17 (1771) and 20 (1772) collections established
  his reputation as the first great master of the
  string quartet. The same movement types are used
  as in the symphony, although the minuet-and-trio
  sometimes precedes the slow movement.

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????? 1781

• The Op. 33 quartets (1781) are lighter, with the
  minuet transformed into a scherzo (joke) through
  a faster tempo and witty hemiolas, syncopations,
  and rhythmic surprises. Quartets were intended
  primarily for amateurs to play for their own
  amusement, and Haydn's witty touches must have
  added to their pleasure.

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???, Op. 3, No. 2 (The Joke), ??

• String Quartet in The rondo form is ABACA.
• ?????binary form, ????????????.
• BC??????(episodes)????????.
• ????????????????, ????, ????Haydn?????????????'s
  sense of economy and novelty.

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???, Op. 3, No. 2 (The Joke), ??

• Haydn heightens drama with extensions and delay.
• ????????????, ?????????.
• The quartet derives its name from Haydn's playful
  final cadence of the movement (see HWM Example
  22.2).
• Haydn's wit is especially endearing to players
  and connoisseurs, but also appeals to
  inexperienced listeners.

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????? 1785-90

• The 19 quartets of 1785-90 show a trend toward
  monothematic first movements and slow movements
  in theme-and-variation form.

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???????

• Haydn wrote 15 more string quartets between 1793
  and 1803. These are marked by widely ranging
  harmonies, stark juxtapositions of contrasting
  styles, and many witty touches. Music NAWM 98

33
?????

• Haydn ???????????
• Haydn?Esterhaza??????????????
• Armida (1784), a serious opera, is remarkable for
  its dramatic accompanied recitatives and grand
  arias.
• Haydn's operas are rarely performed today.

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?????

• ??6????????????, ??
• Missa in tempore belli (???? 1796)
• Lord Nelson Mass (1798)
• Theresienmesse (1799).
• Harmoniemesse (?? Mass, 1802)
• They are set for four vocal soloists, chorus, and
  orchestra with trumpets and timpani.
• Haydn retains traditional elements, such as fugal
  writing.
• Haydn also incorporates symphonic elements.

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?????

• Haydn ????? Handel???????.
• Major works.
• ???The Creation (1798), ???? Genesis ? Milton
  ????
• ??The Seasons (1801)
• published in German and English.
• Baron Gottfried van Swieten wrote the German
  texts.
• Haydn???????????, ???????, ??????

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Joannes Chrisostomos Wolfgang Gottlieb Mozart
???(1756-1791)
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Mozart ? Haydn

• ?????????
• Mozart ? Haydn ???????, ???????????.
• ?????????
• Mozart achieved international recognition
  earlier, despite being twenty-four years younger.
  
• Mozart never found a permanent position and
  worked as a free agent in Vienna

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??

• ?????.
• ?? Leopold Mozart (1719-1787) ??
• Leopold ?Salzburg ????????.
• ???????????? in 1756.
• Leopold ???????, ???????Mozart ??? Nannerl
  (1751-1829).
• Mozart ???????? (1762-1773).
• ?????????????.
• ?????. ????, ??????, 11????, 12????
• During these travels, Mozart ????????????,????????
  ??

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??
40
????

• Johann Schobert (ca. 1735-1767) was a prominent
  keyboard composer in Paris.
• Johann Christian Bach, whom Mozart met in London,
  used songful themes, tasteful appoggiaturas and
  triplets, harmonic ambiguities, and contrasting
  themes in sonata forms, qualities that appealed
  to Mozart.

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1769-73, ?????

• In Italy, Mozart studied counterpoint with Padre
  Martini and composed operas and string quartets.
• The influence of Sammartini is evident in the
  symphonies written between 1770 and 1773.
• Mozart's visit to Vienna in 1773 introduced him
  to current trends, and his six quartets, K.
  168-173, reflect Viennese traditions.

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Salzburg ?? (1774-81)

• In Mozart's time, musicians earned money either
  with steady employment with a patron or with
  freelancing.
• Mozart held a position with the archbishop of
  Salzburg for eight years.
• Unhappy with the archbishop, Mozart looked for
  other employment.
• He received a commission to compose the opera
  seria Idomeneo (1781).
• He soon decided to leave the archbishop's service
  and go to Vienna.

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Vienna??(1781-91)

• ????? Mozart ???????.
• Singspiel ???? (The Abduction from the Harem,
  1782) ????.
• ?????????.
• ???????Vienna???????????.
• ???????,????????.
• 1787?, ??emperor??????
• 2. 1788??, ?????????, ???????

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Later influences

• Haydn spent winters in Vienna, and they became
  friends.
• The music of J. S. Bach was brought to Mozart's
  attention through Baron van Swieten, and Mozart
  responded with increased contrapuntal textures.
• Swieten also introduced Mozart to Handel.

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???-??

• Mozart ?? sonatas, fantasias, variations, rondos,
  and piano duets.
• ??????????, ????, ???.
• ??19 ?piano sonatas ?????????.
• A set of six sonatas (K. 279-284) was composed in
  Munich in 1775.
• Three sonatas were written in Mannheim and Paris
  in 1777-78 (K. 309-311).
• Three sonatas were published in 1784 (K. 330-332)
  and reflect his mature Viennese style.

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???-??Sonata in F, K. 332

• The movement, in sonata form, has repeats for
  both halves of the structure.
• Mozart's themes tend to be songlike, as seen in
  the opening theme.
• Typically, a contrasting idea is introduced
  gracefully within the first theme.
• Mozart effortlessly employs galant, learned,
  hunting, and Sturm und Drang styles within the
  first thirty measures.
• The development begins with a new melody
• Viennese style.

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???-???

• Mozart 1770 ????16 ??????.
• ? Vienna (1782-85) ?????.
• ??? Haydn, ??? the Haydn Quartets.
• ??????????????.
• Some of Mozart's finest chamber works are the
  quintets for two violins, two violas, and cello.
• Mozart felt that the Quintet for Piano and Winds,
  K. 452 was his best work.
• Mozart composed a number of other works for winds
  and strings.

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????? ???

• Mozart composed these works for garden parties
  and outdoor performances.
• Although background music, Mozart gave them
  serious treatment.
• These works appear in a variety of settings,
  ranging from duets to six or eight wind
  instruments.
• Eine kleine Nachtmusik (A Little Night Music, K.
  525, 1787) is Mozart's best-known serenade and
  can be played by a string quintet or a string
  orchestra.

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???-?????

• Mozart composed piano concertos in Salzburg in
  the 1770s, most notably the Piano Concerto in
  E-flat Major, K. 271 (1777).
• The seventeen piano concertos composed in Vienna
  are major works in Mozart's compositional output
  each is a masterpiece.
• Similar to the works of J. C. Bach, Mozart's
  concertos are in three movements, and the first
  movements combine elements of ritornello and
  sonata forms.

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???-????? K. 488

• The three solo sections resemble the exposition,
  development, and recapitulation of a sonata form.
  
• The opening orchestral ritornello presents the
  first theme, transition, second theme, and
  closing themes in the tonic key.
• Ritornellos return to mark the end of the first
  and third solo section.

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???-?????

• d. The orchestra also punctuates the long solo
  sections.
• e. The cadenza appears in the final ritornello
  section.
• f. The orchestral transition material serves as a
  strong contrast to the lyric themes.
• g. A significant new idea is introduced at the
  beginning of the development.

52
?????

• The second movement of a Mozart concerto
  resembles a lyrical aria.
• The key is often in the subdominant and sometimes
  in the dominant or relative minor.
• Typical forms are sonata without development,
  variations, and rondo.
• The final movement is usually a rondo or
  sonata-rondo based on themes of a popular
  character.
• Mozart balanced virtuosic display with colorful
  orchestral material, as evident in the numerous
  wind solos.

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???

• ??????, Mozart???50????, ??????.
• ?????Mozart ???6? ?????.
• Haffner Symphony, K. 385 (1782)
• Linz Symphony, K. 425 (1783)
• Prague Symphony in D Major, K. 504 (1786)
• Symphony in E-flat Major, K. 543 (1788)
• Symphony in G Minor, K. 550 (17880)
• Jupiter Symphony in C Major, K. 551 (1788)

54
???

• ??????, Mozart???50????, ??????.
• ?????Mozart ???6? ?????.
• Haffner Symphony, K. 385 (1782)
• Linz Symphony, K. 425 (1783)
• Prague Symphony in D Major, K. 504 (1786)
• Symphony in E-flat Major, K. 543 (1788)
• Symphony in G Minor, K. 550 (17880)
• Jupiter Symphony in C Major, K. 551 (1788)

55
???

• The G-Minor Symphony ???????????????.
• Jupiter Symphony ?????????, ?coda ???5?????, ars
  combinatoria (the art of musical combination and
  permutation

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??-??

• In 1768, Mozart composed his first operas.
• La finta semplice (?????), ???
• Bastien und Bastienne, a Singspiel ???
• He composed two opere serie in the early 1770s
  for Milan.
• Two operas were composed for Munich.
• La finta giardiniera (1775), an opera buffa
• Idomeneo (1781), an opera seria that reflects the
  reformist trends of Gluck.

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??-Vienna

• Die Enführung aus dem Serail (1782) established
  his operatic reputation.
• Mozart raised the Singspiel to the level of an
  artwork.
• The "oriental" setting was popular at this time,
  and Mozart uses Turkish-style music (see HWM
  Source Reading, page 560). .

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Da Ponte ??

• All three were Italian comic operas.
• The Marriage of Figaro (1786)
• Don Giovanni (Don Juan, 1787)
• c. Così fan tutte (??????, 1790)
• 2. Da Ponte and Mozart gave greater depth to the
  characters.
• 3. Mozart's ensembles allowed characters to
  express contrasting emotions at the same time.
• 4. Mozart's orchestration, particularly his use
  of winds, helped define the characters and
  situations.

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?? Don Giovanni

• The opera premiered in Prague.
• Da Ponte and Mozart took the legendary character
  of Don Juan seriously as a rebel against
  authority.
• The opera mixes opera seria characters and opera
  buffa characters.
• All character types are combined in the brilliant
  dance music in the finale of Act I.

60
?? Don Giovanni

• Leporello complains in an opera-buffa style with
  an ABCBB' form.
• Donna Anna and Don Giovanni sing in a dramatic
  opera seria style, while Leporello frets in a
  buffa style the form is ABB.
• The ensuing duel ends in a death, a shocking
  scene in a comic opera.
• A powerful trio in F minor laments the turn of
  events.
• At the end, Don Giovanni and Leporello revert to
  comic banter.

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?? Don Giovanni

• ???????????????????(100a)????????????,??????????,?
  ?????????????,????????????????????????????????????
  ,?????????????????????

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?? Don Giovanni

• ???????????????????(100b),?????????????????????,?
  ??Mozart??????????seriousness????????????????????
  ?????????????,????????????????????????????????,4/4
  ???????????????andante con moto?

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?? Don Giovanni

• ???????????????,??????,?????????????????????????
  ?????????????????????????,???????????????????????
  ???,???????,?????????????,???????????????????????
  ?????????????????????????????????????????????????
  ??????????????

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?? Don Giovanni

• ???????????????????????????,?????????????,???????
  ???????????
• ?????????????,????????????????????????????????????
  ?????????????

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?? Magic Flute

• ??Singspiel????????, ?????opera seria La clemenza
  di Tito (Titus???).
• ??????????????????.
• Mozart?????????????.

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????

• His early sacred music is not considered to be
  among his major works.
• The masses reflect the current symphonic-operatic
  idiom with standard fugal sections.
• ???The Requiem, K. 626
• The work was commissioned by Count Walsegg in
  1791.
• Unfinished at Mozart's death, it was completed by
  his pupil, Franz Xaver Süssmayr (1766-1803).