ENLIGHTENMENT AND THE ART OF TAXONOMY

The OrchestraAn ensemble that comprises a core group of string

instruments, which are doubled (i.e., more than one to a part) along with pairs of wind (woodwind and brass) instruments,

and, often timpani and percussion.

The Orchestra

An ensemble that comprises a core group of string instruments, which are doubled (i.e., more than one to a part) along with pairs of wind (woodwind and brass) instruments, and, often timpani and percussion.

The Philadelphia OrchestraThe Philadelphia Orchestra

Development of the Orchestra

Strings, occasional winds, sometimes

doubling, sometimes with separate lines

Winds increasingly become regular members, with

increasingly specific parts

Continued expansion and enlargement, especially of brass

instruments. Continuo abandoned.

Increase in percussion

instruments.

17th. C 18th. C 19th. C 20th. C

Continuo group Harpsichord Theorbo (bass lute) Basoon Bass viol (double bass)

Woodwinds Flutes Oboes

Strings Violins Violas Cellos

The baroque orchestra

Carl Linnaeus (1707-1778)Carl Linnaeus (1707-1778)

Carl Linnaeus (1707-1778)

Diderot, D’Alembert, Encyclopédie (1751-1772)Diderot, D’Alembert, Encyclopédie (1751-1772)

Taxonomy of Human Knowledge:

!

Memory (History) Reason (Philosophy) Imagination (Poetry)

Taxonomy of Human Knowledge:

Memory (History)Reason (Philosophy)Imagination (Poetry)

Jean-Jacques Rousseau 1712 - 1778

The first “alienated” intellectual Emphasized nature and the individual Blasted social institutions Wrote articles on politics and music Attacked Baroque opera Advocated simpler, more natural music that focused on real life Encouraged development of comic opera

Article “Sonata” from Rousseau’s Dictionary of Music (English translation, 1779)

What does it mean for music to be enlightened?

What does it mean for music NOT to be enlightened?

Johann Adolf Scheibe, on Bach (1737) !!

This great man would be the admiration of whole nations if he had more amenity, if he did not take away

the natural element in his pieces by giving them a turgid and confused style, and if he did not darken their beauty by an excess of art. Since he judges according to his own fingers, his pieces are extremely difficult to play; for he demands that singers and instrumentalists should be

able to do with their throats and instruments whatever he can play on the clavier. But this is impossible.

Turgidity has led [Bach] from the natural to the artificial, and from the lofty to the somber; and one admires the onerous labor and uncommon effort-- which however are vainly employed, since they conflict with Nature.

The Galant Style

Johann Christian Bach, Piano concerto No. 1 in C major, Allegreto

Functional harmony and tonality

Different harmonic areas have different functions

This includes a strong sense of direction—the home key functions as the center of gravity for a piece

TONIC

(home)

Subdominant

(link from Tonic to Dominant)

DOMINANT (farthest point away from tonic, leads back home: there-and-back)

The SymphonyOriginated in Classical period

Outgrowth of public concerts

Large multimovement work for orchestra

Each movement a distinct musical work

“Pleasing variety”

Contrasting tempi, forms, themes, moods

The Symphony

I Opening movement

II Slow movement

III Minuet (with trio)

IV Closing movement

First movement

Moderate to fast tempo

Sonata form

Optional slow introduction

Many moods possible

Emphasizes contrast and development

Second movement

Slow tempo

No standard form

Often lyrical and songlike

Third movement

Moderate tempo, triple meter

Minuet form (ternary)

Stylized dance

Usually aristocratic in mood

Fourth movement

Fast to very fast

Usually sonata or rondo form

Light, tuneful, brilliant

SONATA FORMNOT the form of a sonata

A sonata is a multi-movement composition for a solo instrument or small ensemble (i.e. a Piano Sonata, or a Sonata for Cello and Piano). The form of a sonata varies, but is often a three or four movement work. A sonata is a GENRE.

Sonata form is the FORM of a single movement, and is found in many genres: symphonies, sonatas, string quartets, etc. etc.

SONATA FORM SEEN FROM A DISTANCE

A B A’

Rounded binary form, (like the Da Capo aria and other baroque forms)

AExposition

B A’Development Recapitulation

Presents thematic material

Brings thematic material back to the tonic

Takes thematic material and breaks it down,

reworks it, wanders to other keys

Sonata form

|:A:|Exposition

B A’Development Recapitulation

Presents thematic material

Brings thematic material back to the tonic

Takes thematic material and breaks it down,

reworks it, wanders to other keys

Coda

Sonata form

|:A:| B A’ Coda

Sonata form

Exposition Development Recapitulation

|:Primary Theme:| Bridge ’ Secondary

Theme

Tonic DominantModulation

Exposition

Cadence theme

Closing

Exposition: Mozart Symphony No. 40, I (1788)

Bridge: modulates to new key

First theme: stable theme in tonic key

(Medial caesura [pause] leads to second group]

(Theme repeats with instruments added)

Exposition: Mozart Symphony No. 40, I

Cadence theme

Second theme: stable, in new key

(Second theme repeats, expands)

Exposition: Mozart Symphony No. 40, I

Bridge: modulates to new key

First theme: stable theme in tonic key

(Medial caesura [pause] leads to second group)

(Theme repeats with instruments added and varied ending)

Exposition: Mozart Symphony No. 40, I

Cadence theme

Second theme: stable, in new key

(Second theme repeats, expands)

Development: Mozart Symphony No. 40, I

Develops themes from exposition (First theme with nuances and shades)

!Heightens tension

!Contrast and motivic variation

!Modulates frequently

!Retransition returns to first key

Recapitulation: Mozart Symphony No. 40, I

The bridge is longer and more varied

First theme—Sounds familiar, we’re back to where we started (Theme repeats with instruments added and varied ending)

Second theme in the first key

Coda (all the themes return for last appearance)

Closing theme . . . leads to . . .

Wolfgang Amadeus Mozart 1756–1791

Born in Salzburg to musical family

Child prodigy

After court position, moved to Vienna

Made living from teaching and concerts

Died with Requiem Mass unfinished

Franz Joseph Hadyn

1732–1809

30-year career with Esterhazys

Kapellmeister—wrote for court, church, and opera

Gained international fame with public concerts

Turned to choral music late in life

104 symphonies, 83 string quartets, numerous divertimentos, trios, and sonatas, and over 20 operas.

String quartet

Like the Symphony, the String Quartet emerged in the enlightenment. Also like the symphony, the string quartet

was often a four-movement work, the form of each movement echoes the forms of symphonic works.

String Quartet Op. 33 No. 2, IV Finale: Presto(1781)

Rondo form

A B Transition A Transition ? ???AB’