Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION by

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION by
Prelude 4: Music as Order and Logic 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Music as Order and Logic
Prelude 4 Music as Order and Logic

Music as Order and Logic
Late 1700s classical ideals strong in Europe Combined with Enlightenment ideals Stressed centrality of human reason Art and music reflect order and reason Clarity & regularity of structure “Natural simplicity” Musical style international and timeless Classicism is a constant concern in Western culture, its foundations based in ancient Greek and Roman ideas about order and reason. In the late 1700s, classical ideals merged with the Enlightenment, a movement that also stressed the power of reason. This manifested itself through art and music through works characterized by clarity and regularity of structure; a sort of "natural simplicity". This style became international, and held up for generations as timeless and perfect.

Classicism and Enlightenment Culture
Classical era in music ca. 1750–1825 Aristocratic sovereigns strong Louis XV (France), Frederick the Great (Prussia), Maria Theresa (Austria), Catherine the Great (Russia) But new economic power growing via Industrial revolution (inventions) Scientific advances Intellectual life New social structure with rise of middle class The Classical era in music was ca. 1750–1825. The rule of strong aristocratic leaders continued, and the ruling class claimed hereditary rights. However, the Industrial revolution helped spawn a new economic power, thanks to several important inventions (improved steam engine, cotton gin, etc.), advances in science (electricity, oxygen, vaccinations), and an increasingly active intellectual community. The rising middle class found advocacy from Enlightenment philosophers, eventually resulting in a new social structure.

Classicism and Enlightenment Culture
Architecture Greco-Roman unity & proportions Thomas Jefferson U.S. Capitol, UVA, Monticello Literature Rousseau: “Man is born free, and everywhere he is in chains.” Sturm und Drang Goethe, Schiller The idealization of ancient Greek and Roman culture was expressed architecturally, especially in the United States thanks to Thomas Jefferson. He modeled the U.S. Capitol, the University of Virginia, and his home at Monticello after Greek and Roman temples. In literature, a temperamental, Romantic point of view was emerging in the works of Rousseau, Goethe, and Schiller.

Prelude 4: Classicism and Enlightenment Culture

Classicism in Music Classicism in Music “Viennese” School Sonata form
Haydn, Mozart, Beethoven Sonata form Applied to almost all instrumental genres Bold and ceaseless experimentation Haydn, Mozart, and Beethoven created works that are most characteristic of the Classical period. They explored the possibilities of and experimented with the major/minor system and sonata form.

Prelude 4: Classicism in Music

Classicism in Music Elements of Classical Style Melody Harmony
“Singin,” symmetrical phrases; clear cadences; narrow range Repetition and sequence Harmony Clear, diatonic harmonies Reinforce melodic symmetry Homophonic texture Rhythm and Meter Basic meters, steady tempo Form Well-defined sections Movement from home key to contrasting key, then back home Folk and Popular elements The elements of Classical style reflect the Enlightenment ideas of order and clarity. Melodies are "singing," phrases are symmetrical, and cadences are clear. Classical melodies tend to have a narrow range and make much use of repetition and sequence. Harmonies are clear, diatonic, and reinforce the melodic symmetry. Generally harmonies stay out of the way of the melody in a homophonic texture. Rhythm also helps reinforce symmetry and balance, and typically meters are basic and steady. All of these elements are employed to create a form with well-defined sections. Overall, works tend to move from a home key to a contrasting key, then back. Aspects of popular and folk music are also incorporated.

Prelude 4: Classicism in Music

The Patronage System The Patronage System
Aristocracy supports the arts financially Center of musical life the palace Steady demand for new works Economic security, functional social framework Eighteenth-century culture was supported by the aristocracy, who saw the arts as a necessary part of their elaborate lifestyles. This is called the patronage system. Social events at court provided a steady demand for new works, typically in whatever style the patron wanted. Musicians were provided economic security and a social framework, which was often to their benefit.

Prelude 4: The Patronage System

Opportunities for Women
Aristocratic women continued to study music Women finding new openings in music Professional opera singers Court instrumentalists Music teachers Maria Anna “Nannerl” Mozart Maria Theresia von Paradis Women performed frequently at home, at court, and in salons. Aristocratic women regularly studied music, and middle-class women found a place under musical patronage. Women were professional opera singers, court instrumentalists, and music teachers serving these nobles. Mozart's sister, "Nannerl," toured internationally with her brother and was a accomplished pianist. Mozart's friend Maria Theresia von Paradis was a blind composer, pianist, and organist who concertized throughout Europe. Paintings and engravings of the period attest that women participated in music-making at home, at court, and in salons.

Prelude 4: Opportunities for Women

From Palace to Concert Hall
Rise of the public concert Eagerness to hear the latest works Music as communication Between performers From composer to listener The Classical era saw the beginning of public concerts, providing a new outlet alongside court performances. The public was eager to hear the latest works by Haydn, Mozart, and Beethoven. Instrumental music was increasingly viewed as a type of communication, between performers and from composer to listener.

From Palace to Concert Hall
Interface: Science, Philosophy, and Music in the Age of Enlightenment Voltaire & Newton : understanding through nature and mathematics Amassment of all then-current knowledge Encyclopedias, dictionaries, histories Musical machines (music boxes & automata) Benjamin Franklin Glass armonica In all things: clarity, logic, balance, universality The eighteenth century looked toward the advancement of knowledge through reason and science. The philosopher Voltaire and the scientist Newton both sought understanding through nature and mathematics, not religion. The drive to collect information resulted in a great focus on learning, aided by encyclopedias, dictionaries, and histories. Inventors even got involved in creating new musical instruments and elaborate musical machines. In all things, Enlightenment culture sought clarity, logic, balance, and universality.

Prelude 4: From Palace to Concert Hall

Kristine Forney Andrew Dell’Antonio Joseph Machlis
Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 28: Musical Conversations: Haydn and Classical Chamber Music 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 28: Musical Conversations: Haydn and Classical Chamber Music
■ Form is the most important organizing element in absolute music, which has no specific pictorial or literary program. ■ Melodic ideas, or themes, are used as building blocks in a composition; these themes are made up of short melodic or rhythmic fragments known as motives. ■ Themes can be expanded by varying the melody, rhythm, or harmony through thematic development; this usually happens in large-scale works. ■ The Classical era is the golden age of chamber music (ensemble music for two to about ten performers, with one player per part). The string quartet (two violins, viola, and cello) was the most important chamber-music genre of the era. ■ Joseph Haydn’s Emperor Quartet features a famous set of variations on a hymn he wrote for the Austrian emperor.

“Conversations without words” Yet structured, purposeful Predictability allows comprehensibility Expanding Musical Ideas Themes Thematic development Motives Improvisation vs. Fixed forms Eighteenth-century Europeans understood chamber music – especially the string quartet – as a sort of conversation without words. A predictable structure for these musical conversations allowed better comprehensibility.

Classical Forms Absolute Music No prescribed story or text Multimovement cycle A sequence of movements, each with certain characteristics For absolute music – music with no prescribed story or text – form is important for holding the composition together. Most instrumental works of the Classical era follow a sequence of movements, called a multimovement cycle, and each movement within that cycle has its own formal conventions.

The Second Movement: Theme and Variations Slow movement ABA or Theme and Variations Theme and Variations Theme clearly stated at beginning, point of departure Followed by same idea in new disguise Always glimpse of original theme Any musical element may be varied The second movement of a multimovement cycle is usually slow, contrasting with the spirited first movement. It typically features lyrical, songlike melodies. Theme and Variations is a common form for second movements. In it, a two- or three-part theme is presented, followed by a series of elaborations or variations on one or more musical elements of that theme.

String Quartet 2 violins, viola, cello Duo sonata Violin (or cello) and piano Piano trio Violin, cello, piano Chamber music is for a small ensemble with one player to a part. Each instrument asserts itself but is also part of a team. The central Classical chamber music genre was the string quartet, made up of 2 violins, a viola, and a cello. Other favorites were the duo sonata for violin (or cello) and piano and the piano trio, made up of violin, cello, and piano. Classical chamber music is intimate and often profound.

Haydn’s Emperor Quartet Op. 76, number 3 (of six) Mvt ii based on hymn for Austrian emperor Franz II Hymn became Austria’s national anthem Each player takes a turn with the theme Conversation among equals Conversation between Haydn and you Haydn wrote most of his string quartets in sets of six. The third quartet in his op. 76 is nicknamed the Emperor because the second movement is based on a hymn Haydn wrote for the Austrian emperor Franz II during a time of increased Austrian patriotism. This hymn went on to become the Austrian national anthem. In the quartet (which came a few months later), every player gets a chance to play the theme in different guises. The result is a sense of conversation among the players, and also interaction between Haydn and the listener.

Haydn inset Joseph Haydn (1732–1809) Born in a small Austrian village Choirboy at St. Stephen’s in Vienna Esterházy’s patronage began 1761 Lasted nearly 30 years England after prince’s death Style embodies mature Classical style Haydn was an extremely prolific composer. He was born in a small Austrian village, where he got to know folk music well. He became a choirboy at St. Stephen's Cathedral in Vienna. At age 29 he started working for the Esterázy family of Hungarian princes, who were great patrons of the arts. He worked for the family for nearly 30 years, providing music for a variety of activities. After his prince's death, he journeyed to England twice to conduct concerts and was an enormous success. His music embodies the mature Classical style.

Chapter 29: The Ultimate Instrument: Haydn and the Symphony 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 29: The Ultimate Instrument: Haydn and the Symphony
■ The symphony, a genre designed to demonstrate the expressive capabilities of a full orchestra, arose as one of the principal instrumental traditions during the Classical era. ■ The heart of the Classical orchestra (about thirty to forty players) was the strings, assisted by woodwinds, brass, and percussion. ■ Joseph Haydn wrote over 100 symphonies; among these, his last 12—the so-called London Symphones—are his masterpieces in the genre.

Early History of the Symphony Symphonies began as Italian opera overtures Three sections: Fast – Slow – Fast Eventually separate movements Dance movement (minuet) added The Classical Orchestra Four instrumental families Strings, woodwinds, brass, percussion 30–40 players Symphonies began as Italian opera overtures, in a fast-slow-fast format. Eventually these became separate movements, and the symphony became a stand-alone instrumental genre. The classical orchestra contains four instrumental families: strings, woodwinds, brass, and percussion, and were made up of 30–40 players (small by today's standards). Classical composers write in such a way that the timbre of individual instruments can be heard; the effect is conversational.

Haydn Symphony no. 100, “Military” One of the twelve “London” symphonies Highly imaginative, innovative “Military” nickname from use of Turkish percussion & trumpet fanfare Haydn wrote over 100 symphonies and established the four-movement structure. His last set of 12 are called the "London" symphonies, since they were commissioned for a concert series in that city. Haydn writes imaginatively for the orchestra in these works, with expressive effects, dramatic contrasts, and daring modulations. Number 100 was presented in 1794 during his second London visit and gains its nickname from Haydn's use of a trumpet fanfare and instruments associated with Turkish military music: triangle, cymbals, bass drum, and bell tree.

“Military” Symphony, movement ii Variation form, combined with ternary (A-B-A´) structure Sudden change to the minor in middle section, military introduction to closing coda Still conversational, just more sonic resources The second movement combines the variation concept with a ternary structure (A-B-A´). Throughout the variations, Haydn shifts the music into minor for the middle section, and he deploys a trumpet fanfare and drumroll as an introduction to the coda. The movement ends victoriously and fortissimo.

Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms
■ The first movement of the Classical multimovement cycle is usually in a fast tempo and in sonata-allegro form, with three main sections: exposition, development, and recapitulation. ■ The third movement is a triple-meter pair of dances, usually a minuet and trio. ■ W. A. Mozart was a prodigy and wrote in all the major genres of his time. ■ One of his best-known chamber works is the serenade Eine kleine Nachtmusik (A Little Night Music), a serenade for strings.

Narrative genres rely on structural framework
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Narrative genres rely on structural framework Audience understands conventions, creator fulfills & challenges their expectations Narrative and interactive genres rely on a structural framework, and it is from this framework that creators build their works. Audiences come to a work with an understanding of its generic conventions; then the creator goes on to fulfill and/or challenge those conventional expectations Sonata-allegro is a very dynamic form, but hearing this depends on familiarity with its framework.

Mozart’s divertimentos and serenades Eine kleine Nachtmusik (1787)
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Mozart’s divertimentos and serenades Social music, often outdoors Eine kleine Nachtmusik (1787) Serenade for evening (“A little night music”) Probably for string quartet plus bass 4 movements (originally 5) Two of the expanded chamber music genres of Mozart's day were the divertimento and the serenade, and they were often played outdoors. These were social music, of which Mozart wrote a vast amount. One of Mozart's best-known serenades is his Eine kleine Nachtmusik ("A little night music," 1787). As the title suggests, this is an evening serenade, and it was probably written for string quartet with an added bass. The version we know has four movements, but it originally had five.

Characteristics of Classical Era First Movements
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Characteristics of Classical Era First Movements Often longest & highly organized Usually fast (Allegro) In sonata-allegro form Drama between two key areas, each associated with a theme Exposition, Development, Recapitulation Classical era first movements are typically the longest and most highly organized of the multimovement cycle. They are usually at a fast tempo (Allegro). These first movements are cast in sonata-allegro form, which plays out an abstract dramatic narrative of conflict between two key areas. Each of these areas is also associated with a theme or theme group. Sonata-allegro form can be divided into three parts: exposition, development, and recapitulation. These will be discussed in turn over the next three slides.

Exposition Theme 1 Bridge Theme 2 Closing section
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Exposition Theme 1 establishes home key (tonic) Bridge modulates away Theme 2 establishes contrasting key Closing section Confirms contrasting key In the exposition, the main themes are presented, as well as the key conflict. It proceeds as follows: The first theme establishes the home (tonic key). This is followed by a bridge, which modulates and leads to the presentation of the second theme. The second theme is in a contrasting key. This is followed by a concluding section that confirms the contrasting key and rounds off the exposition. The entire exposition is then usually repeated before proceeding to the development.

Development Conflict and action
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Development Conflict and action Wanders through other keys, building tension Themes varied, expanded, contracted, broken apart Concludes with a transition to next section The second section in sonata-allegro form is the development, which is filled with conflict and action. The development wanders through many foreign keys, which builds tension, and the main themes are varied, expanded, contracted, broken apart, and recombined in new ways. Toward the end of the development, there is a retransition that leads into the next section, the recapitulation.

Recapitulation Theme 1 returns Bridge returns, altered
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Recapitulation Theme 1 returns In home key, sense of unity Bridge returns, altered Usually does not modulate this time Theme 2 returns, altered Now in home key Coda Concludes piece, cadence in home key The recapitulation is the psychological climax of the sonata-allegro scheme. It begins with a "double return" of the home key and the first theme. This provides a sense of unity and relief after the events of the development. The bridge also returns, this time without modulating, and leads to the second theme, which is now presented in the tonic key. This is followed by a closing section, concluding the piece with a cadence in the home key.

[sonata-allegro form overview chart]

Minuet & Trio Usually third movement
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Minuet & Trio Usually third movement Minuet originally a Baroque court dance Triple meter Aristocratic associations Clear, balanced structure Tempos range from stately to lively The third movement in the Classical multimovement cycle is usually a minuet and trio. The minuet was originally a triple-meter Baroque court dance, steeped in associations with the aristocratic class. Like most dance music, minuets proceed with a clear, balanced phrase structure. They can range in tempo from stately to lively.

Minuet & Trio Customary to present two different dances as a group
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Minuet & Trio Customary to present two different dances as a group First dance is repeated after the second Dance 1 (A) — Dance 2 (B) — Dance 1 again (A) Trio section originally for only three players Name stuck after convention abandoned It was customary for two different dances to be presented as a group, with the first dance repeated after the second. This yields an overall A-B-A form: Dance 1, followed by Dance 2, and concluding with a reprise of Dance 1. The middle section, the trio, got its name from the practice of scoring it for only three players. Even after that convention had been abandoned, the middle section continued to be referred to as the "trio."

[insert Minuet & trio overview chart]

Eine kleine Nachtmusik, third movement
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Eine kleine Nachtmusik, third movement Minuet and trio Regular 4-bar phrases, rounded binary Minuet decisive, trio lyrical Both sonata-allegro form and minuet and trio rely on the same things: Statement — contrast — restatement This is the core of the Classical style The third movement of Eine kleine Nachtmusik is a minuet and trio. The binary form is rounded by the return of the A section, and the phrases are consistently four bars in length. The character of the sections contrast with each other – the minuet is decisive, while the trio is much more lyrical. Both sonata-allegro form and minuet and trio rely on the same thing: the statement – contrast – restatement pattern. This pattern is at the core of the Classical style.

Wolfgang Amadeus Mozart (1756–1791)
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Wolfgang Amadeus Mozart (1756–1791) Born in Salzburg, son of violin pedagogue Leopold Mozart Began composing at age 5; by 13 had written sonatas, concertos, symphonies, and operas Age 25 moved to Vienna to freelance Instrumental music full of drama and contrasting moods Wolfgang Amadeus Mozart (1756–1791) was born in Salzburg, the son of a renowned violin pedagogue named Leopold Mozart. Leopold also played violin in the court orchestra. The young Mozart began composing at 5 years old, and by 13 had written sonatas, concertos, symphonies, and operas. Frustrated by the dominant patronage system, Mozart rebelled and at age 25 moved to Vienna to set himself up as a freelance musician. Mozart's instrumental music in particular is full of drama and contrasting moods.

Wolfgang Amadeus Mozart (1756–1791)
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Wolfgang Amadeus Mozart (1756–1791) Late 1780s three “da Ponte” operas Marriage of Figaro, Don Giovanni, & Così fan tutte Among his last works are his clarinet concerto, the opera The Magic Flute, and a Requiem Mass. Last six symphonies & last ten quartets remarkable Was an outstanding pianist; wrote many works for piano While in Vienna, in the late 1780s, Mozart wrote three of his best-loved operas, all on librettos by Lorenzo da Ponte: Marriage of Figaro, Don Giovanni, and Così fan tutte. Among the works he composed in his last year of life were his clarinet concerto (of which there were very few at the time), the opera The Magic Flute, and a Requiem Mass. His last six symphonies and last ten quartets are among the finest in the literature. Mozart was also an outstanding pianist, and he wrote a great number of works for that instrument. [insert teen Mozart pic]

Encounter: North Indian Classical Music
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Encounter: North Indian Classical Music Raga: series of pitches, projects mood, time of day Tala: complex rhythmic cycle Played on hand drums called tabla Ravi Shankar (1920–2012) Plays sitar, a long-necked plucked string instrument Apprenticeship system Taught his daughter Anoushka and the Beatle George Harrison Performed at Woodstock in 1969 The idea of building music out of a framework is found in many other cultures, including the North Indian Classical tradition. Unlike the Western tradition, however, North Indian classical music is based not on fixed works but on traditional motives and themes. At the heart of North Indian classical music are the concepts of raga and tala. A raga is a series of pitches that projects a certain mood, and only certain ragas are appropriate at certain times of day. The tala is a rhythmic cycle, often complex, and is played by the tabla (hand drums). One of the major figures in North Indian classical music was Ravi Shankar ( ), a virtuoso on the sitar , a long-necked plucked string instrument with gourd resonators. North Indians learn music via an apprenticeship system, and Shankar taught both his daughter Anouska and Beatle George Harrison this way. Shankar was instrumental in spreading awareness of North Indian classical music in the US, and even performed at Woodstock in 1969.

Encounter: North Indian Classical Music
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms Encounter: North Indian Classical Music Raga Bhimpalasi Feeling of tenderness and longing, played in afternoon Three sections Alap: slow, unmetered, establishes raga Gat: tabla enters, sets up rhythm cycle ( ) Jhala: tempo speeds up, complex interplay Since they are largely improvisations built on a conventional framework, performances of a North Indian raga can be very long, sometimes over an hour. (The one provided here a brief excerpt of the complete raga found in the recordings set.) Keep in mind that the complete Raga Bhimpalasi is to be performed in the afternoon – where in India it gets very hot – and is associated with feelings of tenderness and longing. It proceeds in three sections: The alap is a slow, unmetered establishment of the raga. This is followed by the more rhythmic gat, signaled by the tabla. The tala for this example is Near the end of the performance there is a jhala section, during which the tempo speeds up and the interplay between instruments becomes more complex.

Chapter 31: Conversation with a Leader: The Classical Concerto 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 31: Conversation with a Leader: The Classical Concerto
■ The Classical concerto form has three movements, alternating fast-slow-fast. ■ The first movement, the longest and most complex, is called firstmovement concerto form. ■ Mozart’s Piano Concerto in G Major, K. 453—with its graceful melodies, brilliant piano passagework, and virtuosic cadenzas (improvised solo passages)—is a notable example of the genre.

If Classical chamber music is conversational, then concertos are a rally with a charismatic leader. Retains traits of Baroque concerto but influenced by the multimovement principle Balance of soloist’s energy with complex collaboration of unified orchestra If Classical chamber music is conversational, then concertos are a rally with a charismatic leader. The genre retains traits from the Baroque concerto but is influenced by the logic of the multimovement principle. Composers balanced the energy and vitality of the soloist with the complex collaboration of a unified orchestra.

Movements of the Classical Concerto Fast - Slow - Fast First movement concerto form = sonata-allegro with “double exposition” Solo cadenza near the end The first movement adapts the Baroque ritornello procedure to sonata form. The result can be described as a sonata-allegro with two expositions: one for the orchestra, presenting the themes, and another for the soloist, who elaborates the themes and accomplishes the modulation. In addition, the Classical concerto adds a virtuosic, often improvised and unaccompanied, solo passage toward the end of the first movement. This is called a cadenza.

Mozart and the Piano Concerto 27 piano concertos, most for himself to play Five of most impressive in one year, 1784 Of these, G-major concerto K453 for his student Barbara von Ployer G-major Concerto K453 Orchestral exposition sets up themes Solo exposition elaborates and adds a new one Virtuosic demands, graceful woodwind writing, written-out cadenza Mozart made important contributions to the Classical concerto. He write 27 of them, mostly for himself or his students to play in public performances. Five of his most impressive piano concertos were written in the year 1784, including the G-major concerto for his student Barbara von Ployer. In the first movement the orchestral exposition presents the main themes, which the soloist elaborates, but then a new one is introduced. This concerto is very virtuosic and includes graceful woodwind writing and a written-out cadenza.

Classical concertos expand the ideal of musical conversation to include a charismatic leader (the soloist). Soloist a “heroic” figure Classical concertos expanded the ideal of musical conversation to include a charismatic leader (the soloist). That leader was increasingly interpreted as a "heroic" figure.

Chapter 32: Personalizing the Conversation: Beethoven and the Classical Sonata 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 32: Personalizing the Conversation: Beethoven and the Classical Sonata
■ Classical sonatas were set either for one solo instrument (usually the piano) or for duos (violin and piano, for example). ■ Sonatas were sometimes designed for amateur performance in the home, but were also used by composer-performers as show pieces. ■ The solo sonatas of Mozart and especially Ludwig van Beethoven are among the most significant in the keyboard literature. ■ The Moonlight Sonata, perhaps Beethoven’s best-known piano work, evokes the new Romantic style in its expressive manipulation of Classical conventions.

The Sonata in the Classical Era
Chapter 32: Personalizing the Conversation: Beethoven and the Classical Sonata The Sonata in the Classical Era Instrumental work for one or two instruments Three or four movements Domestic and concert performance Beethoven wrote 32 piano sonatas. Sonatas were designed for intimate, personal expression, and as such are instrumental works for one or two instruments. They followed the basic multimovement cycle. Sonatas were an important genre for music making at home, and Mozart and Beethoven performed their sonatas in concerts. Beethoven's 32 piano sonatas span his entire career.

Beethoven’s Moonlight Sonata in C-sharp minor
Chapter 32: Personalizing the Conversation: Beethoven and the Classical Sonata Beethoven’s Moonlight Sonata in C-sharp minor 1801 (early career) “Moonlight” title not from Beethoven Dedicated to a pupil Breaks formal molds of sonatas, but 3-mvt format “Fantasy sonata” First movement a “song without words”; no opposition of keys or themes Second movement a major-key scherzo Third movement dramatic and stormy Beethoven's Moonlight sonata was an early-career work that looks forward to the emotional expressiveness of the Romantic era. The Moonlight nickname was given by a German poet Ludwig Rellstab, who compared the music to moonlit scenery. Beethoven dedicated the work to one of his pupils. The work breaks the formal molds of the sonata (he calls it a fantasy sonata), but Beethoven does retain the three-movement format. The first movement is a "song without words," with no opposition of keys or themes. The second movement is a major-key scherzo, and the third is dramatic and stormy.

Moonlight sonata an immediate success
Chapter 32: Personalizing the Conversation: Beethoven and the Classical Sonata Moonlight sonata an immediate success “Breaking out” of conventions of genre Requires audience expectations of particular structural milestones in order to understand his rejections of them

Beethoven inset Born in Bonn 1770
Chapter 32: Personalizing the Conversation: Beethoven and the Classical Sonata Beethoven inset Born in Bonn 1770 Age 22 moved to Vienna, supported by aristocrats Began losing hearing in his twenties; sense of isolation Died 1827, famous and revered Early, Middle, Late periods Beethoven was born in Bonn in At the age of 22 he moved to Vienna, where he was supported by a group of wealthy aristocrats. He began to lose his hearing while still in his twenties and suffered increasing isolation as a result. When he died in 1827, he was famous and revered. His compositional output can be divided into three periods: the Early Period reflects the inherited tradition of Haydn and Mozart; the Middle Period featured strong dynamic contrasts, explosive accents, and longer movements; the Late Period was marked by chromatic harmonies and experimentation.

Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition
■ Beethoven’s music is grounded in the Classical tradition but pushes its limits in a way that helped define the emerging Romantic sensibility. ■ Beethoven’s nine symphonies exemplify his experiments with Classical conventions. Best known is his Fifth, built on a famous four-note motive that permeates all four movements.

Beethoven’s Symphonies
Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition Beethoven’s Symphonies First two in Classical style Third Symphony, Eroica, expands possibilities of genre Originally dedicated to Napoleon Bonaparte; personal narrative of individual heroism Fifth Symphony a model of the symphonic genre Ninth Symphony choral finale “Ode to Joy” Beethoven's first two symphonies were close in style to Haydn and Mozart. His Third Symphony – Eroica – expands the possibilities of the genre, and his Fifth Symphony is often viewed as a model. In his ninth symphony, Beethoven calls for a chorus to join the orchestra for the final movement, a rousing rendition of Schiller's "Ode to Joy."

The Fifth Symphony Four movements, unified whole
Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition The Fifth Symphony Four movements, unified whole Progression from conflict and struggle to victorious ending First movement, short-short-short-long idea Dominates entire symphony “Fate knocking at the door” The Fifth Symphony is cast in the standard four-movement cycle but simultaneously presents itself as a unified whole that progresses from conflict and struggle to victorious ending. The first movement begins with the short-short-short-long idea that permeates the entire symphony, a motive that Beethoven described as "Fate knocking at the door."

Beethoven bridged the transition from the old society to the new.
Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition The Fifth Symphony Second movement a serene theme and variations But includes short-short-short-long rhythm Third-movement scherzo transitions directly to next movement Fourth movement brings back rhythmic motive Cyclical form New energy and passion Beethoven bridged the transition from the old society to the new. The second-movement theme and variations provides a respite from the struggle of the first movement but is haunted by the short-short-short-long motive. The third-movement scherzo transitions directly into the fourth movement without pause. The fourth movement brings back the unifying rhythmic motive. This recollection of motives heard in earlier movements is called cyclical form. Beethoven adds instruments to the standard orchestra to create new energy and passion. Beethoven's career bridged the transition between the old society and the new, and forged a link with the Romantic age to follow.

Interface: Beethoven and the Politics of Music
Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition Interface: Beethoven and the Politics of Music Composers often respond to political climate Beethoven a supporter of democracy Napoleon (at first) Great Britain (Wellington’s Victory) “Ode to Joy” finale widely used for political aims Intense, collective endeavor toward a common purpose Composers often respond to their political climates. Beethoven was a supporter of the democracy bubbling up around Europe, and was a supporter of Napoleon at the beginning of the French Revolution. Beethoven also claimed kinship with the British democratic parliamentary system, and wrote Wellington's Victory to celebrate a recent British victory. The last movement of his Ninth Symphony, with its choral exclamation of Schiller's "Ode to Joy," has become widely used for disparate political aims. Beethoven and his music have acquired an association with intense, collective endeavors toward a common purpose.

Chapter 34: Making It Real: Mozart and Classical Opera 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 34: Making It Real: Mozart and Classical Opera
■ In the Classical era, two types of Italian opera prevailed: opera seria (serious opera) and opera buffa (comic opera). ■ While serious opera continued a tradition of idealized characters and plots, comic opera aimed at a more realistic depiction of human concerns and emotions. ■ Mozart’s Don Giovanni combines elements of serious and comic opera in a powerful dramatic work that is performed all over the world.

Early 18th-century opera reflected society Opera seria the norm Highly formalized and virtuosic Librettos about kings and heroes Later 18th-century opera moved to a simpler style Reflects human emotion more realistically Comic opera Early eighteenth-century opera reflected the hierarchies of its society. Opera seria was the norm, which was highly formalized and virtuosic, with librettos about kings and heroes. Later eighteenth-century opera, however, moved to a simpler, more accessible style that reflected human emotion more realistically. The primary vehicle for this was comic opera.

Comic opera Ballad opera, Singspiel, opéra comique, opera buffa Supported by rising merchant class Often in the vernacular, though opera buffa popular throughout Europe Lively down-to-earth plots, ensemble numbers, farce, humor, and popular tunes Comic opera could be found across Europe: ballad opera in England, Singspiel in Germany, opéra comique in France, and opera buffa in Italy. This new type of opera was supported by the rising merchant class. Comic opera was often in the vernacular, but Italian opera buffa was popular throughout Europe. This type of opera featured lively down-to-earth plots, ensemble numbers, farce, humor, and popular tunes.

Mozart’s Don Giovanni Combines elements of opera buffa and opera seria Libretto by Lorenzo da Ponte Story of aristocratic womanizer who gets what he deserves 1787 premiere in Prague Mozart's Don Giovanni is a retelling of the aristocratic womanizer Don Juan, and combines elements of opera buffa and opera seria. The libretto is by Lorenzo da Ponte, with whom Mozart collaborated on Le nozze di Figaro and Così fan tutte. It received its 1787 premiere in Prague.

Act 1, Scene 1 Don Giovanni’s servant Leporello keeping watch Don Giovanni in disguise, seducing Donna Anna Giovanni runs away, Anna gives chase, wakes up her father (Commendatore) Commendatore killed in duel with masked Giovanni Anna and fiancé swear revenge In Act 1, Scene 1, Don Giovanni's servant Leporello is keeping watch as Giovanni seduces Donna Anna. Something goes wrong, and the disguised Giovanni runs away, only to be chased by Donna Anna. This wakes her father (the Commendatore), who then is killed in a duel with the masked Giovanni. Donna Anna and her fiancé swear revenge.

Act 1, Scene 2 Donna Elvira enraged over being abandoned by a lover (LG24) Don Giovanni appears to comfort her; she recognizes him as he who abandoned her Leporello sings to her the “catalog aria,” listing all of the other women Giovanni has seduced. Comedic style but serious subject In Act 1, Scene 2, we meet Donna Elvira, who is angry over being abandoned by a lover. Giovanni appears to comfort her, but she recognizes him as the man who wronged her. Giovanni leaves Leporello to sing Elvira the "catalog aria," which lists all the other women Giovanni has seduced. This rather serious subject is presented in comic style and offers commentary on gender inequality.

Act 1, scene 3 Giovanni interrupts a peasant wedding between Zerlina and Masetto. He latters Zerlina and offers his own proposal. In Act 1, Scene 3, Giovanni interrupts a peasant wedding between Zerlina and Masetto. Giovanni sends Masetto away, seduces Zerlina, and offers his own marriage proposal (which itself gets interrupted).

Act 2 Giovanni continues to seduce women. While in a graveyard, he sees the statue of the murdered Commendatore and invites the statue to dinner. The statue actually shows up for dinner, and drags Giovanni down to Hell. In Act 2, Giovanni continues his womanizing and, while trying to escape a tricky situation, he jumps a wall into a graveyard. In the graveyard he comes upon a statue of the murdered Commendatore. Overconfident, Giovanni invites the statue to dinner. The statue actually does show up for dinner, and drags Giovanni down to Hell for his actions.

Mozart’s comic operas underscored class and gender inequality in his own time. These operas still resonate with audiences today. Mozart's operas still resonate with audiences today, for they invite reflection on inequalities based on class and gender.

Chapter 35: Mourning a Hero: Mozart and the Requiem 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 35: Mourning a Hero: Mozart and the Requiem
■ Classical composers continued the tradition of writing worship music for their communities. ■ Sacred music genres of the later 1700s included the oratorio and the Mass. ■ Mozart’s Requiem Mass, left unfinished at the composer’s death, exemplifies the grand style of Catholic music in Vienna.

Mozart died young, only 35 On deathbed was working on a Requiem (funeral) Mass Myths abound about this coincidence Mozart died young, only 35 years old, in While on his deathbed he continued to work on a commission he had received for a Requiem (funeral) mass. Myths abound regarding this coincidence, the most common based on Mozart's feverish remarks about writing it for himself and suspecting he had been poisoned. Neither was the case.

Sacred Music in the Classical Era Mass, Requiem Mass, Oratorio Originally for church, but found larger audience in concert hall The main sacred genres during the Classical era were the Mass, the Requiem Mass, and the Oratorio. All three call for combinations of voices and instruments, and tended to be expansive works. While these genres were originally developed for church use, they found a large and eager audience in the concert hall.

Mozart’s Requiem His last large-scale composition; he died before finishing it Completed by a student, Süssmayr Dies irae movement was completed by Mozart The text (“Day of wrath”) emphasizes the power of divine intervention Scored for SATB soloists plus chorus and orchestra Voices and instruments deployed for dramatic effect Mozart died before completing his Requiem commission, and it was completed by a student, Franz Süssmayr. Mozart did complete the Dies irae movement, however, the text of which emphasizes the power of divine intervention. The movement is scored for SATB soloists plus chorus and orchestra, and the voices and instruments are deployed in various combinations for maximum dramatic effect.

The expressive power of Mozart’s Requiem is recognized cross-culturally even today JFK’s funeral Worldwide performances commemorating 9/11 The expressive power of Mozart's Requiem is recognized cross-culturally even today; it was heard at JFK's funeral and was performed in a worldwide rolling performance commemorating the one-year anniversary of the 9/11 attacks on the World Trade Center.

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