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Chapter 13: Other Classical Genres

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1 Chapter 13: Other Classical Genres
The Classical Concerto

2 Key Terms Classical concerto Classical concerto movement plan
Double-exposition form Orchestra exposition Solo exposition Cadenza

3 The Classical Concerto
Not identical to the Baroque concerto, but some features were retained 3 movements – fast, slow, fast Solo virtuosity Contest between soloist & orchestra Contest heightened in Classical concerto Soloist’s agility, brilliance, & expressiveness Large orchestra’s power & variety of color Soloist & orchestra held in perfect balance

4 Symphony Movement Plan
I – Moderate to fast tempo; Sonata form Sometimes with slow Introduction II – Slow tempo; Various forms used Sonata form, variations, rondo, or other III – Moderate tempo; Minuet form A triple meter dance IV – Fast tempo; Sonata or rondo form

5 Concerto Movement Plan
Similar to symphony movement plan Minuet movement omitted I – Moderate to fast tempo Double-exposition sonata form Long movement with cadenza near the end II – Slow tempo; Various forms used Sonata form, variations, rondo, or other III –Fast tempo; Rondo form favored At times variation form, but never sonata form

6 Double-Exposition Form (1)
Extended variant of sonata form Capitalizes on solo vs. orchestra contest Two expositions are used in place of the usual repeat of the exposition Orchestra exposition Announces the main themes in the tonic key Solo exposition Presents the same themes & some new ones Adds a real bridge, modulates to second key Often longer than orchestra exposition

7 Double-Exposition Form (2)
Development serves same dramatic function here as in sonata form Orchestra vs. soloist contest heightened Recapitulation a composite of orchestra & solo expositions Orchestra’s cadence theme given greater prominence Pause for a solo cadenza just before final statement of cadence theme

8 Double-Exposition Form (3)

9 Mozart, Piano Concerto in A
Written during his Vienna years in 1786 Typical Classical concerto Three nicely contrasted movements I – One of his most gentle & songful 1st movements II – Almost tragic in mood III – An exuberant & sunny finale

10 Mozart, Piano Concerto in A, I (1)
No fewer than 4 gentle, songful themes Theme 1, Theme 2, Cadence theme, & new theme Small orchestra enhances effect Keeps clarinets, but no trumpets or timpani

11 Mozart, Piano Concerto in A, I (2)
Orchestra exposition sets the mood Presents themes 1 & 2 and cadence theme Frequent contrasts between gentle theme and agitated answer – e.g., f response

12 Mozart, Piano Concerto in A, I (3)
Solo exposition features solo piano Expands on orchestra exposition Adds modulating bridge & a new theme Development emphasizes contest Rapid-fire dialogue Theme fragments & frequent modulations

13 Mozart, Piano Concerto in A, I (4)
Recapitulation blends the two expositions Piano & orchestra share theme 1 Bridge now returns to tonic key Beautiful extension of new theme Varied solo cadenza written out by Mozart Orchestra answers with f response Ends with cadence theme from 1st exposition

14 Conclusions Derives from symphony movement plan
Double-exposition sonata form; no minuet Some features of Baroque concerto Solo vs. orchestra dialogue Ritornello-like f response Many unique features Profusion of themes – “pleasing variety” Dramatic contest between piano & orchestra Virtuoso, “operatic” writing for solo piano Improvisatory nature of cadenza

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