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Classical Period (1750 – 1820) The classical period is one of the high points of music history. Its music gives the impression of clarity, repose, balance, lyricism, and restraint of emotional expression. During this period, concert hall and opera house became established institutions, making it possible for all classes to enjoy the fruits of creative activity. Publishing houses became well established, helping performances of musical works more widespread. There was also a general decline in the patronage of the Church toward serious music. This had to do with the shift from traditional Christian theology to a morality based on social equality, and a shift from absolutes in governmental authority to greater independence and freedom of thought and behavior. Music in the Classic era served a highly sophisticated and aristocratic society. Its function was to provide delightful entertainment. In turn, it was often more abstract and tended to avoid representation. This was also an era of amateur performances. Naturally, music for dancing was very popular. Music became simplistic, easy for the average listener to comprehend. Music of the Baroque period had one emotion, but Classical music fluctuated in mood. Dramatic, turbulent music might lead into a carefree dance tune. Music may change gradually or suddenly. This music also had a wealth of rhythmic patterns, whereas a Baroque piece contains a few patterns that are used throughout. This new music used unexpected pauses, syncopations, and frequent changes. The melodies created by the composers of this time period are among the most tuneful and easy to remember. They wrote original tunes with a popular character. During this time, composers became interested in gradual changes in dynamics, crescendo and decrescendo. They did not limit themselves to terraced dynamics. It was such an electrifying novelty that audiences sometimes rose excitedly from their seats. This use of dynamics eventually replaced the harpsichord with the piano. The piano could be played at a variety of volumes, making it more enjoyable to the listener and giving the composer endless possibilities. Classical Orchestra: The Baroque orchestra was different from piece to piece, but by the late works of Mozart and Haydn, the orchestra was standardized. Strings were the most important section; brass were used for only loud passages; Strings: Woodwinds: Brass: Percussion: 2 violin parts, violas, cellos, double bass 2 flutes, 2 oboes, 2 clarinets, 2 bassoons 2 french horns, 2 trumpets 2 timpani Musical Forms Symphony: Made up of four complete movements: fast, slow, dance-like, fast. 1st Movement: Sonata form (includes three main sections) Exposition: this introduces the main theme (melody) Development: where the themes presented in the exposition are treated in a new way; the melody or melodies are developed Recapitulation: the beginning theme(s) return *Coda: rounds off a movement by repeating themes 2nd Movement:Theme and Variations The theme is stated, then repeated over and over and is changed each time. Changes may include rhythm, harmony, accompaniment, dynamics, style, or tempo. 3rd Movement: Minuet (ABA form) A dance-like piece that begins with a minuet (A), trio (B), then finally repeating back to the minuet (A). 4th Movement: Rondo (ABACA or ABACABA) Tuneful main theme that returns several times in alternation with other themes; the main theme is usually lively, pleasing, and easy to remember Chamber Music: Music designed for the setting of a room in a home or palace, rather than for a public concert hall. It is performed by a small group of musicians (2-9) with one player to a part. It is a lighter sound than classical orchestra music. It is intended to please the performer as much as the listener. It does not need a conductor. An example of this form is the String Quartet, made up of two violins, viola, and cello. Concerto: This form is designed for professional solo musicians to show off their ability on their particular instrument. It is made up of three movements: fast, slow, fast. Mozart and Beethoven often wrote concertos for themselves to play as piano soloists. The piano, violin, cello, horn, trumpet, clarinet, and bassoon were favorites during the classical period. This form can last from 20 – 45 minutes. In the first or last movement, there is a special unaccompanied showpiece for the soloist called the Cadenza. It is announced by the orchestra sustaining a dissonant chord. At the end of the cadenza, the soloist plays a long trill followed by a chord that meshes with the entrance of the orchestra. Definitions 1. Dynamics: degrees of loudness and softness in music. 2. Crescendo: gradually increasing of volume; to become louder. 3. Decrescendo: gradually decreasing of volume; to become quieter. 4. Symphony: a work for orchestra in multiple movements. Its structure consists of a moderate tempo (1st), slow (2nd), dance-like (3rd), and fast (4th). 5. Movement: piece that sounds complete but is part of a larger work. 6. Piano: a large stringed keyboard instrument that has a set of keys that operate a system of hammers. 7. Cadenza: a special unaccompanied showpiece for the soloist in a concerto. 8. Concerto: a showpiece for soloist and orchestra usually in three movements. Composers Joseph Haydn (1732 – 1809): Haydn was a leading developer of the symphony and string quartet. Some say that he was the inventor of the string quartet, but this form actual came about because of necessity. He was invited to a summer music festival in 1757 as a violinist and soon realized that he was one of only three other string players. So Haydn wrote for a quartet and this form became popular and has been ever since. His creative writing also influenced both Mozart and Beethoven. This is partly because his music fits his personality, bright and happy and sometimes comical. Many composers only wrote that which was required, but Haydn used his flamboyant personality in his music. His music is made up of simple, easy to remember themes which he developed throughout each movement so well that he could build a whole movement out of a single main theme and keep the listener’s attention from beginning to end. His output includes 104 symphonies and 68 string quartets during a span of 45 years, which many are nicknamed: Surprise, Military, Clock, and Drum Roll. Wolfgang Amadeus Mozart: (1756 – 1791) Mozart was one of the most amazing child prodigies in history. By the time he was six, he could play the harpsichord, violin, improvise, write minuets, and read music perfectly at first sight. At age eight, he had already written a symphony; eleven an oratorio, twelve an opera. By his early teens, he had behind him many works that could have brought credit to a composer three times his age. However, the tragic irony of Mozart’s life was that he won more acclaim as a boy wonder than as an adult musician. His upbringing and personality were partly to blame. In his childhood, his complete dependence on his father gave him little opportunity to develop initiative. Unlike Haydn, he began his professional life as an international celebrity and later as an adult, he could not tolerate being treated like a servant. Mozart did branch out on his own in Vienna and became very popular. He wrote his most famous operas here including The Marriage of Figaro and Don Giovanni and but his popularity decline when his music became complicated and “hard to follow.” People warned him to write in a more popular style, but he would not listen. During his last year however, Mozart was happier and more successful. He wrote The Magic Flute, his last three symphonies, No. 39 – 41 (all composed in just six short weeks), and his great Requiem Mass. Mozart died of rheumatic fever on December 5, 1791, shortly before his thirty-sixth birthday, leaving the Requiem unfinished. He died in debt and was buried in a pauper’s grave. Ludwig von Beethoven: (1770 – 1827) Beethoven for many represents the highest level of musical genius. He opened new realms of musical expression and profoundly influenced composers throughout the nineteenth century. Like Bach and Mozart before him, he came from a family of musicians. At the age of eleven, Beethoven served as assistant to the court organist, and at twelve he had several piano compositions published. Beethoven went to Vienna when he was sixteen to improvise for Mozart, which Mozart stated: “Keep your eyes on him; some day he will give the world something to talk about.” At the age of 22, Beethoven went to Vienna to study with Haydn, where he spent the rest of his life. Beethoven, even after composing many fine works, had a willingness to subject himself to study of counterpoint and fugue. This drive for mastery is evident throughout his life. His first seven years in Vienna brought hard work, growing confidence, a strong sense of identity, and public praise. Aristocrats showered him with gifts and he was paid well for lessons and concerts. At 29, Beethoven noticed the first signs of deafness. After this, he spoke to only a few people because he was embarrassed to have this handicap, fearing that all would reject him. At 44, he could no longer play piano well or conduct, only compose. During his last eight years, friends had to communicate through writing only. Beethoven’s life can be divided into three periods. 1st (1770 – 1800): His music was influenced strongly by Mozart and Haydn; hearing was normal 2nd (1800 – 1812): Loss of hearing; began expressing himself more emotionally through his music. 3rd (1812 – 1827): Completely deaf; departed from the established style of writing to embark on a Romantic Period style. Beethoven introduced these instruments to the orchestra: Piccolo, Bass Clarinet, Contrabassoon, and Trombone