| Enlightenment (1730-1770) |
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| A philosophical, scientific, and political movement that dominates eighteenth century thought. |
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| 28 vol. Encyclopedia of Music |
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| Music that is graceful, light in texture, and symmetrical in melodic structure. |
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| “Leading lady” of the age. |
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| Florid and ornamented style of writing for the soprano voice. |
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| Unpretentious musical theater style using comical characters, poking fun at everyday social issues, usually middle-class. |
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| A comic opera using re-texted ballads and spoken dialogue rather than recitative. |
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| “Buffoonish” music, comic opera usually between acts of an Opera Seria. |
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| Musical diversion between the acts of an opera or play. |
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| “The War of the Buffoons,” coming from “clownish” in Opera Buffa. |
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| Similar to Opera Buffa, has characters from everyday; sing in a natural style. |
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| Combines French and Italian traditions; the French utilizing intense dramatic expression. |
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| Accompanied Recitative; obligatory |
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| A public concert series to give public hearing to religious music. |
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| 3 or 4-movement instrumental piece of an orchestra. |
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| “Playing the Flute” (1752) |
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| A 300-page “treasure trove” of info about 18th-Century Performance Practices on flute. |
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| Johann Quantz (1697-1773) |
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| Great flautist; associated with ensembles in Dresden and Berlin |
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| Phrase ending on the dominant. |
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| Gradual increase from pp to ff with a repeating figure over pedal bass. |
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| Triadic theme in rising arpeggios. |
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| Pitches in a chord that alternate low-high-mid-high, low-high-mid-high, etc. |
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| Instrument that is able to play soft and loud. |
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| A smattering with a heavy downbeat with dissonant chords on Spanish Guitar |
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| LH over RH to make 3-level texture. |
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| “Quaking”; Perfect for expressing throbbing heart, panting breast, or quivering hand. (Ex: four staccato 8th notes with a slur above them) |
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| Public Concert series in London |
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| Similar shape to the virginal, strings ran perpendicular to the keys. |
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| Large piano, sturdy legs, strings at same angle as the keys. |
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| Intro, Expos, Recap.; Transitions in between the (usually 2) themes. |
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| Passage of modulation between tonic and the new key in a sonata. |
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| The “tail” of a piece of music. |
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| Lighter style of music; implied 5-movement format: fast minuet, trio/slow/minuet, and trio/fast. |
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| Independent wind ensemble. Got its name from woodwinds in the late 18th-Century; they played only harmonies (“Harmoniemusik”) |
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* Wife of Johann Hasse (1699-1783)
* Soprano Singer (Ital)
* Was often hired together, hus and wife
* Debut in Dresden, 1731, “Cleofide”, “Opera Seria”. |
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| Pietro Metastio (1698-1782) |
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*Principal librettist for 18th-Century Opera Seria.
* Worked as a team
* Fashioned clearly-shaped drama and poetry. |
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| Instrumental chamber music in 2, 3 or 4 movements for soloist or small ensemble. |
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| “Little sonata”; easiest and shortest sonatas, big sale for middle-class ppl. |
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| Term used interchangeably with “Divertimento” .. only Serenade implied music was appropriate for serenading a lady on her birthday or name day. |
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| The richest and most influential aristocrats of Hungary; Haydn’s employer |
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| a viola da gamba-like instrument with six strings that the Esterhazy princes played, and Haydn wrote for them. |
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| A triple-meter dance added at the end of a dance suite, in rounded-binary form |
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| Evolved from the minuet; more lightly scored than the minuet; also rounded-binary. |
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| a concerto-like approach to writing a symphony where individual instruments emerge from the texture to function as soloists. |
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| Anthony Hoboken, the man who cataloged Haydn’s music. |
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| Programmatic work; Prince Nokolaus stayed at Esterhaza longer than expected, so the musicians wanted to leave and see their families. |
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| “Storm and Stress” Small body of works written around 1770 marked by agitated, impassioned writing. Minor keys, angular themes, string tremolos, dyn shifts. |
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| Composed by Haydn. Mimics the sound of birds chirping and pecking. |
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| A piece Haydn was commissioned to compose; Austrian’s |
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| Written in honor of the reigning Austrian Emperor for his birthday. |
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| The six symphonies Haydn created, requested by Freemasons from Loge Olympique (a club) |
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| Set of 12 symphonies Haydn wrote for Saloman of London who offered Haydn a new contract after Esterhazy died. |
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| Haydn’s No. 94 in which a thunderous, hammered fortissimo chord explodes from the orchestra in a soft section to wake sleepers. |
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| A sacred oratorio composed as a impression of Handel’s oratorios in Westminster.; built in a similar fashion to Handel’s “Messiah” |
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