Transcript Unit 3 - Powerpoint

UNIT 3
THE CLASSICAL ERA
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PRELUDE 4:
CLASSICISM IN THE ARTS
THE CULTURE OF THE CLASSICAL ERA
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PRELUDE 4: CLASSIC ERA (1750-1825)
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Order, balance, objectivity, reason
Enlightenment – (Age of Reason) freedom, liberty, equality, natural
rights – Locke (English), Voltaire& Rousseau (French) Kant
(German), Jefferson (American)
American Revolution & French Revolution - “liberty, equality,
fraternity”
European royal courts & church – diminishing power, improved
status for the middle class.
Industrial Revolution (steam engine)
Advances in science (vaccines)
French Enclyclopedia & Encyclopedia
Brittanica; Webster’s Dictionary
Art/Architecture inspired ancient
Greece and Rome
The Rotunda of the University of Virginia
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PRELUDE 4: CLASSICISM IN THE ARTS
MUSIC IN THE CLASSICAL ERA
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Vienna – “artistic capital of Europe” – Viennese School careers
of Haydn, Mozart, Beethoven, and Schubert
Music was considered a part of daily life
Patronage by aristocratic class or the church continued, (late)
beginnings of free-lance careers
Women – more opportunities as ‘professional’ performers or
teachers, some ‘stars’ of the stage (opera, oratorio)
Music performance begins to shift from the palace to the
public concert hall
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PRELUDE 4: ELEMENTS OF MUSICAL STYLE
PAGE 146
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CLASSICAL FORMS
• Oratorios – continuation from the Baroque period
• Opera – continuation from the Baroque period; stories
are about regular people
• Concerto and sonata – continuation from the Baroque
period
• Symphony – develops from the overtures for opera
• Chamber Music/String Quartet – develops as people
have access to instruments in their home
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PRELUDE 4: ELEMENTS OF CLASSICAL STYLE
THE BAROQUE ORCHESTRA
STRINGS
WOODWINDS
BRASS
PERCUSSION
Violin 1
2 Flutes
2 Trumpets
Timpani
Violin 2
2 Oboes
2 French Horns
Viola
2 Clarinets
Cello
2 Bassoons
Double Bass
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Beethoven added other instruments - piccolo, contrabassoon, and
trombones
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Piano invented – became the favored keyboard instrument of Classical
composers.
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THE DEVELOPMENT OF
CLASSICAL FORMS
CHAPTER 21
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21. THE DEVELOPMENT OF CLASSICAL FORMS
EXPANDING MUSICAL IDEAS
Absolute music – music without a story, text, literary or dramatic
reference (as opposed to Program music)
Contrast – melodies and harmony, dynamics, tempo
style – ‘staccato’, ‘legato’, ‘marcato’ (heavily accented)
Themes – a melody used as a building block for a composition
Thematic Development – repeating the melody, imitation,
breaking melody into fragments,
using it in different sections or movements
Motives, Sequence, and “Ostinato” – repeating a musical idea at
same pitch
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21. THE MULTI-MOVEMENT CYCLE
THE FIRST MOVEMENT (I)
Sonata-allegro form /sonata form
Exposition (repeated)
A
Theme II
Theme I
Tonic Key
Bridge or
Transition
Modulation
Development
Recapitulation
B
A’
Closing
Theme I
Contrasting Key
Bridge
Changing harmonies
or modulations
Tonic Key
Theme II
Closing
Tonic Key
Coda
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Themes/sections often end with a crescendo, climax and repeated cadences.
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Theme II – the contrasting theme – style (staccato to legato), new harmony, instruments
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Modulation – a gradual change (constant shifting) of harmonies moving to a new key
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Development – may use sequence, imitation, or fragments of themes
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Recapitulation – same as the beginning EXCEPT the Themes are in the Tonic Key.
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21. The Development of Classical Forms
The Second Movement (II)
Theme and Variations
A
Theme
A1
Variation I
A2
Variation II
A3
Variation III
||: a :||: b :||: a' :||: b' :||: a'' :||: b'' :||: a''' :||: b''' :|| Coda
• Melodic, Harmonic (key), or Rhythmic variation
• Meter, texture, dynamics, and timbre changes also possible
• The Theme and Final variation are in Tonic Key,
others sections in Tonic or Contrasting/Related Keys
• May end with a Coda
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21. THE DEVELOPMENT OF CLASSICAL FORMS
THE THIRD MOVEMENT (III)
Minuet & Trio
A
B
A
Minuet
Trio
Minuet
||: a :||: b :||: c :||: d :|| a | b |
Dance I
Dance II
(3 instruments)
Dance I
(no repeats)
Sections in Binary ||: a :||: b :|| or Rounded Binary ||: a :||: b -a :||
Minuet sections in Tonic Key, Trio in contrasting or related harmony
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21. THE DEVELOPMENT OF CLASSICAL FORMS
THE FOURTH MOVEMENT (IV)
RONDO
Form: A-B-A-B-A, or A-B-A-C-A, or A-B-A-C-A-B-A
• A sections are in Tonic Key
• Other sections have contrasting melodies, in a contrasting or
related key, different instruments, and performance styles
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21. THE MULTI-MOVEMENT CYCLE
SYMPHONY & STRING QUARTET
Tempo
Key
Form
I
Fast allegro
Tonic
Sonata-allegro
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Slow andante, adagio
Contrast
or Related
Theme & Variations
or: ternary, sonata
III
Moderate (dance)
allegretto
(19th cent – Fast)
(allegro)
IV
Fast - allegro
Minuet & Trio
Tonic
Tonic
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(19th century)
(Scherzo & Trio)
Rondo
or: sonata-allegro
COMPOSERS OF THE
CLASSICAL ERA
HAYDN – MOZART - BEETHOVEN
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COMPOSERS OF THE CLASSICAL ERA
Introduction to Classical Composers
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COMPOSERS OF THE CLASSICAL ERA
FRANZ JOSEPH HAYDN
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1732 – 1809, Austrian
Kappellmeister to the Esterhazy family of Austria
“Papa Haydn”
One of the most prolific composers in music history
17 operas
3 oratorios
15 masses
50 keyboard sonatas
77 string quartets
108 symphonies
Large amounts of chamber music
Composed in every major form of the classical period
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COMPOSERS OF THE CLASSICAL ERA
WOLFGANG AMADEUS MOZART
• 1756 – 1791, Austrian
• Musical family, child prodigy (violin & piano)
concert tours at age 6
composed symphony & opera at age 12
knighted by the Pope
• First free-lance musician in music history
• Compositions include more than 800 works in his 35 years of life 16 operas
41 symphonies
6 masses
3 oratorios
sonatas, concertos
string quartets
Composed in every major form of the classical era
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COMPOSERS OF THE CLASSICAL ERA
LUDWIG VAN BEETHOVEN
• 1770 – 1827, German
• Three distinct phases in compositions
• Eccentric personality and dysfunctional family throughout
lifetime
• Complete works include 9 symphonies
1 opera
2 masses
piano concertos 1 violin concerto 16 string quartets
Various chamber pieces including piano sonatas
• Composed in every major form of the Classical era
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5
CLASSICAL CHAMBER MUSIC
CHAPTER 22
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22. CLASSICAL CHAMBER MUSIC
CHAMBER MUSIC
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Golden Age of Chamber Music (‘social music’)
Music for a few performers or small group
Suitable for performance in a home’s parlor, salon, living room
String quartets – the most important genre of chamber music
(instruments – two violins, one viola, and one cello
Uses the four-movement cycle
Other chamber music trios, quartets,
serenades, divertimentos
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22. CLASSICAL CHAMBER MUSIC
HAYDN’S EMPEROR’S QUARTET
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Based on a hymn written for the Austrian emperor, known as the
Emporer’s Hymn.
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Written as a patriotic response to the invasion of Austria by Napoleon's
armies.
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Became their National Anthem until the 2nd World War, when Germany
began using the melody as their anthem. Austria promptly chose a new
national anthem.
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Haydn - Emperor Quartet, movement 2
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MOZART: EINE KLEINE NACHTMUSIK
“A LITTLE NIGHT MUSIC”
• “Serenade” – music for an evening or social function
• Written for strings (string quartet with an added double bass – no
brass, woodwind, percussion)
• Written for outdoor performance
• Four movements (the multi-movement cycle)
• Movement I – begins with a “Rocket Theme – (a quick
ascending melody - device created by the Mannheim
School)
• Movement 1
• Movement 3
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THE CLASSICAL SYMPHONY
CHAPTER 23
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23. THE CLASSICAL SYMPHONY
HAYDN AND THE SYMPHONY
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Haydn Symphony No. 100 in G major (Military) one of the
‘London’ symphonies
Large orchestra including added percussion for ‘military’
effect (triangle, cymbals, drums) influence - Turkish Janissary
Bands
Second movement - (not the typical slow movement)
marked “Allegretto” (moderately fast); ternary form (ABA)
with a coda
Haydn Symphony
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23. THE CLASSICAL SYMPHONY
BEETHOVEN MUSIC
“Transitional composer” – from Classic to Romantic.
• First period: classical style
• Second period: called “Heroic” period
Powerful dynamic contrasts, rhythmic energy,
Larger orchestras with triumphant brass parts.
Extended dramatic developments & codas
• Third period : (following the custody battle for nephew)
Personal, continued innovation & romantic elements
“Beethoven wrote music to express personal emotions,
and noble ideals, not simply as entertainment”
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23. THE CLASSICAL SYMPHONY
BEETHOVEN’S MUSIC
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Chamber music – especially “String quartets”
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32 “Piano Sonatas” – the pianist’s New Testament
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9 Symphonies 3rd – Eroica (originally Bonaparte)
5th – written shortly after Heilgenstadt
9th – First to use a chorus, Schiller’s Ode to Joy
“all men will be brothers”
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Fidelio (opera) – a political prisoner’s struggle for
freedom, performed at “Congress of Vienna”
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Missa Solemnis – sacred Mass
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BEETHOVEN: SYMPHONY NO. 5 IN C MINOR
(LISTENING GUIDE)
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Based on rhythmic motive – 3 short, and 1 long
varied and used in all 4 movements
• Beethoven called this motive “Fate knocking at the door”
• Beethoven Symphony No. 5
I: Allegro con brio (fast, with fire)
• sonata-allegro form
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“Three shorts and a long” motive begins the movement
Theme I based on the Motive
Motive expanded to 6 notes (adds 2 long notes)
Theme II (related harmony) (lyrical, legato) (more woodwinds)
Development uses repetition, sequence, fragmentation
Recapitulation – a short Oboe solo inserted after Theme I
Extended Coda
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BEETHOVEN: SYMPHONY NO. 5 IN C MINOR
(LISTENING GUIDE)
II: Andante con moto (a walking pace, with motion)
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Written in E-flat major (a related key)
Theme and Variations with 2 themes
1st theme is a legato melody (strings & woodwinds)
2nd theme is a majestic theme based the 4-note motive (brass)
Variations change the melodic rhythm, style, and harmonies
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BEETHOVEN: SYMPHONY NO. 5 IN C MINOR
(LISTENING GUIDE)
III: Scherzo, Allegro (fast)
• Scherzo and trio form
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The first theme is a “rocket theme” - legato
The 4-note motive - “marcato” in French Horn
Contrasting Trio uses imitation (“fugato” – short fugue)
Third and fourth movements linked
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BEETHOVEN: SYMPHONY NO. 5 IN C MINOR
(LISTENING GUIDE)
IV: Allegro, Sonata-allegro form
• It is in C Major (not in the Tonic Key)
• Transition from III leads into IV without break
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Triumphant Theme I (opening in Brass)
Theme 2 – uses the 4-note motive
Development section very powerful
Development ends with a soft section from III
Extended Coda
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THE CLASSICAL CONCERTO
CHAPTER 24
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24. THE CLASSICAL CONCERTO
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Classical concertos are Solo Concertos
Movements are typical 3 movement structure - uses
characteristics of the I, II, and IV movements from the
multi-movement cycle
‘Concerto Form’ is a type of ‘Sonata-Allegro” form with a
‘double exposition’: orchestra plays the first exposition,
second exposition by the soloist. Includes new third
theme for the soloist.
Recapitulation includes a “cadenza” for the soloist
without accompaniment.
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24. THE MULTI-MOVEMENT CYCLE
CONCERTO, SONATA
I
II
III
Tempo
Fast allegro
Slow andante, adagio
Fast – allegro
Key
Form
Tonic
Sonata-allegro
Contrast
or Related
Theme & Variations
or: ternary, sonata
Tonic
Rondo
or: sonata-allegro
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Bernstein plays Mozart
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THE SONATA IN THE
CLASSICAL ERA
CHAPTER 25
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25. The Sonata in the Classical Era
• Sonata – work for solo instrument or solo instrument with keyboard
accompaniment
• May be in 3 or 4 movement structure
• Beethoven’s Piano Sonata in C-Sharp minor, I
1st movement
Adagio (quite slow)
Modified song form with development section
•Called “Moonlight Sonata”
delicate, singing melody
•Written for Countess Guicciardi
(one of his lovers)
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Moonlight Sonata
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CLASSICAL CHORAL MUSIC
AND OPERA
CHAPTER 26
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26. CLASSICAL CHORAL MUSIC AND OPERA
• Classical era choral music – Mass, Requiem Mass, and
Oratorio
• New opera style – “Opera buffa” (comic opera)
Emphasis on drama
Vocal ensembles (duos, trios, quartets, choruses)
Orchestra - expanded role
Story lines – common characters, plots, humor, satire
(especially of the aristocratic class)
Native language
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26. CLASSICAL CHORAL MUSIC AND OPERA
MOZART’S OPERA DON GIOVANNI
• Opera Buffa with elements of opera seria.
• Based on the tale of Don Juan - legendary lover (disguised) kills
Commendatore, father of Donna Anna (a lover)
• Characters in your excerpt – Giovanni, Leporello (Giovanni’s
servant), Donna Elvira (woman abandoned by Giovanni)
• Excerpt contains aria,
recitative, catalog aria
• End - Giovanni condemned to
hell and killed by the
ghost of Commendatore
• Refer – pg. 191-197
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Don Giovanni Scene
Queen of the Night
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