1750-1825

CLASSICAL

1. HISTORICAL AND CULTURAL

A. Social and political upheaval

i. Seven years war, American and French Revolutions, Napoleonic Wars

ii. Political and economic power shifted from the aristocracy/church/religious institutions to the middle class (mentality of liberty, equality and fraternity)

iii. As the 18th century advanced, more people made more money. The middle class wanted aristocratic luxuries like music and literature. Thus the composer took middle class tastes into account.

B. Age of enlightenment

i. Belief in progress, reason was the best guide for human conduct not custom or tradition

C. Visual arts

i. In the early 18th century, “heavy” baroque styles gave way to the rococo style which was lighter, this change to lightness was also paralleled by the music scene

D. Patronage

i. Musicians were seeking new audiences and patrons for their income, money was still difficult to come by

ii. Beginning of the public concert: first era in which public concerts became important

iii. Music still composed for church/court but the public concerts reflected the view that music should be written for enjoyment/entertainment

E. Viennese Classical period

i. Centered in Vienna

ii. Beethoven, Haydn and Mozart

1. Focal point for musical activity

2. FEATURES

i. Baroque music was too complex; classical music tried to appeal to a broader, “middle class” audience

B. Melody

i. Less ornate, phrases were regular

ii. Composers borrowed tunes from popular and folk songs

C. Contrasting moods

i. Contrasting themes within a movement, contrasts within single themes

ii. Gradual or sudden changes

iii. The goal for music was to be more expressive and “natural”

D. Flexibility of rhythm

i. Includes unexpected pauses, syncopations, frequent changes in note values (i.e. long notes to shorter notes)

E. Largely homophonic

F. Less ornamentation

G. Clear cadences and simple diatonic harmony with abundant use of tonic-dominant chords

H. Use of the piano

i. Desire for gradual dynamic change led to replacement of harpsichord by the piano (around 1775)

I. Basso continuo discontinued

i. No need for improvisation for the accompaniment

ii. More music was written for amateurs who could not improvise over a figured bass

3. COMPOSERS + SIGNIFICANT WORKS

A. Haydn (1732-1809)

i. “father of the symphony” and “father of the string quartet”

ii. spent most of his career as a court musician

Haydn Symphony no 6.

Mozart Quartet in G major, attempt to emulate the form of Haydn’s string quartets

4. ENSEMBLE SIZE + INSTRUMENTS

A. The classical orchestra

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i. Standard group of four sections: strings, woodwinds, brass and percussion

1. 1st violins, 2nd violins, violas, cellos, double basses

a. strings had the most melodic importance, with lower strings providing accompaniment

2. 2 flutes, 2 oboes, 2 clarinets, 2 bassoons

a. woodwinds provided a contrasting tone colour and given melodic solos

3. 2 French horns, 2 trumpets (trombones were only used by Haydn and Mozart in opera and church music)

a. brought power to loud passages ad filled out the harmony usually do not play main melody

4. 2 timpanis

ANALYSIS

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