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Rococo
Galant
Empfindsamkeit |
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Emphasis on embellishment and not substance
Couperin
Jean-PHilipee Rameau |
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| Stressed the pleasing, entertaining and unproblematic. Opera Buffa. Pergolesi. |
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CPE Bach
Sensitivity, sentimentality.
subtle nuances and shadings in rapid succession. Rapid changes in dynamics and rhythmic patterns |
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Storm and Stress. CPE Bach
Final phase of Empfindsamer Stil
Literary: Goethe and Schiller |
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| CPE Bach Keyboard Treatise |
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| “Versuch ueber die wahre art das clavier zu spielen” keyboard method book with much information on musician and musical practices of the time period. |
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CPE Bach
Graun
Marpurg
Strophic syllabic, simple accomp, light mood songs, printed on 2 staves. |
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| French vs. Italian Comic Operas started by Pergolisi’s La Serva Padrona |
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| La Serva Padrona. Little stir in Paris, travelled and performed along side Italian operas which caused War of Buffoons |
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1st Mvmt. Sonata form (Sonata Allegro)
Grew out of Italian Opera. 3 mvmt’s; fast-slow-fast. |
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| Sonata Form (Sonata Allegro)Diagram |
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(Intro) A B A
(Grave) Expo. Develop Recap
Themes I&II I&II I&II Close
Key Area I-V allover I I I |
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“Sinfonia” led to 3 mvm’t symphony
Fast Slow Fast (single movement) Melodic material had nothing to do with the opera. |
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| Size of Classical Orchestra |
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| Use of many instruments that are now obsolete. Violino Piccolo, viola d’amore, and cornetto or zink, viola da gamba, lute, recorder. |
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Composers in courts of Elector Palatine in Mannheim Germany – Johann Stamitz; Anton Filtz, Richter
Revolutionized Symphony
added 4th Mvm’t to symphony (3rd mvm’t Minuette (Scherzo) and Trio) |
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| Gradual increase in volume over long passage to prep for change in key, Involves string tremelo. |
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| Mvm’t opening gesture of ascending triadic figures |
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| Mannheim Walze (Steamroller) |
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| Ostinato repetition of a phrase with gradual addition of instruments |
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| Voiced by philosopher Rousseau (Social Contract 1762) |
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Value of human life and its outcomes on this world as opposed to to banking good behavior to get into heaven
pervasive sentiment of the time was “Liberty, justice, and brotherhood” (class change was unthinkable)
Manifests in Freemasons society |
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Haydn Mozart Beethoven
Old style Some patronage No Patrons
Church Teaching Teacher
Esterhazy Performing Composer
patronage not succesful Publishing
-would sell to multiple publishers at same time
Annuities
Commissions |
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w/ increasing leisure time and growing middle class, music was available to population.
Amateur-does not play for a living but does play (often times quite well)
Connoisseur – enjoys music |
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| parlor music, music consumed within house, lighter, not concert hall music |
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| Classical Music Publishing |
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| no “Copyright.” composers sold music to publisher and would not receive income from additional sales |
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1732-1809
1759 took job under Esterhazy
1762-1790 Nicholas I; played Baryton
Kapellmeister in 1766
1790 Nicholas dies, Anton suceeds. little interest in music. Haydn travels to England
1795. Nicholas dies, Nicholas II asks Haydn to return to Esterhaza
Cataloged his own works in 1808 |
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Early Period (1759-1768) symphonies in 3 mvm’ts; use harpsichord; light “prelude”; easily developed themes
Mid Period (1768-74) Deeply emotional; Sturm und Drang, minor keys
Late Period (1774-1809) Interest in Color, smooth unfolding of thematic material, ambitious, stirring, yet intelligible
include London Symphonies 92-104
I.S/A II.T/V III.M/T IV. SA (S-Rondo) |
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| Father, wrote Violin Treatise |
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| friend of Mozart via Freemasons, helped to support him financially |
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early to 1782, not forward looking majority of symphony output.
1782-1791 mature: only 6 symphonies, all masterpieces |
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| treats instruments equally, even gives melodic material to cello |
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| DaPonte – Librettist for Don Giovanni and others |
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| catalogued Mozart’s music |
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| Sinfonia Concertante (Mozart) |
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| Important following disappearance of Baroque sonata. 1750 Published w/ option violin parts, leads to classic violin sonata and piano trio |
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| lyrical piano style, respected by Haydn and Beethoven (not by Mozart) |
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Written for public performance, virtuosity not yet praised like it would be with Paganini and Liszt
Fast-Slow-Fast
1st- sonata form – Cadenzas
2nd – 2 or 3 part song forms; T/V
3rd – Rondo |
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A B A
Expo Devel Recap
I~~~V~~~ I~~~V~~~~~ I~~~~~I
T1, T2 T1 & T2
Also A section: T1& T2(Orch) T1& T2 (Solo) |
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| Instrumenal Music compositions |
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| Strophic, Modified Strophic, Through composed. Considered parlor music, not taken seriously by the composers |
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| Zelter, Reichardts, Zumstag |
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| DaCapo Aria (ABA1) A-prime is indicated due to ornamentation added the 2nd time |
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| Recitative: Secco, Accompagnato, obbligato |
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| Orchestral accompaniment during recit, more than secco, less than obligato |
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| much fuller use of orchestra during recit |
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| Reform Opera, german seriousness, Italian Melodies |
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| overshadowed by Mozart, composed similar style opera and music |
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Oratorio only sacred, use of narrator
Canata may be sacred or secular, NO narrator |
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| Beethoven Dates and Periods |
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1770-1827
1st (1770-1802)Assimilation Symphony 1&2
Heligenstadt testament
2nd (1802-1815) Independence from Haydn and Mozart Symphony 3-8
3rd (1815-1827) Reflection Symphony 9 |
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| letter to brother saying he was going to kill himself due to hearing loss then changes mind and realizes he’s on earth for a greater purpose of composition. |
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