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“Understanding Baroque to Classical” Scott Warfield Associate Professor of Music History

“Understanding Baroque to Classical” Scott Warfield Associate Professor of Music History. LIFE @UCF 22 February 2011 Cape Florida Room, 9-10 am. What are “Baroque” & “Classical”?. Baroque (c. 1600-1750) Arcangelo Corelli Antonio Vivaldi Johann Sebastian Bach George Frideric Handel

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“Understanding Baroque to Classical” Scott Warfield Associate Professor of Music History

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  1. “UnderstandingBaroque to Classical”Scott WarfieldAssociate Professor of Music History LIFE @UCF22 February 2011Cape Florida Room, 9-10 am

  2. What are “Baroque” & “Classical”? • Baroque (c. 1600-1750) • Arcangelo CorelliAntonio VivaldiJohann Sebastian BachGeorge Frideric Handel • OperaOratorioCantataFugueTrio SonataConcerto Grosso • Classical (c. 1750-1825) • Joseph HaydnWolfgang Amadeus MozartLudwig van Beethoven • SymphonyConcerto (solo)String QuartetSonataOpera buffo & seria

  3. Sounding Traits? • Baroque • Basso continuo • Motoric rhythms and longer, unpredictable phrases (elided) • Complex harmonic language (frequent changes) • Counterpoint (multiple melodies) and fugue • Examples:Frescobaldi, Ricercar (1635)Corelli, Trio Sonata (1680)JS Bach, Cantata (1724) • Classical • Melody over simple accompaniments • Short, predictable phrases (often paired in antecedent/consequent) • Simplified harmonic language (slower changes) • Little or no counterpoint • Examples:Haydn, Quartet (1781)WA Mozart, Sonata (1781)

  4. So how do we get from Baroque to Classical? (It starts with the general philosophical issues of the day.)

  5. “Age of Enlightenment” • John Locke (1632-1704) – emphasis on the autonomous individual • Voltaire (1694-1778) – individual rights • Jean-Jacques Rousseau (1712-1778) – “Noble Savage” (man in his “natural” state) • Immanuel Kant (1724-1804)- “sapere aude!” [“Dare to know”] • All emphasize that “truth” comes from the study of the “natural” world

  6. Art and Nature • Preference for the “natural” (c. 1730 and later) • J.-B. Dubos (1670-1742) – “Music has but a single goal: to present to the mind the truth of nature.” (1719?) • “Art” (learned technique) is unnatural (but….) • Music requires technique & craft that seem natural and effortless • “Excess of art darkens beauty”- J.A. Schiebe (1708-1776), critiquing JS Bach

  7. 18th Century Aesthetics • NATURE • Genius • Inspiration • Unconscious Action • Effortless • Divine • Not Teachable • ART • Technique • Craft • Conscious Effort • Hard Work • Human • Teachable/Learned

  8. Musical Styles in 18th Century Plurality of styles Era of overlap Function of geography 1700 1800 “Classical” “Baroque”

  9. Europe (c. 1800)

  10. Emergence of Classical Style • First seen/heard in Italy (c. 1720s-30s) • More “natural” musical language • Naples – Comic Opera • Milan – Overtures (orchestral works) • Spain – Keyboard Music (for new pianoforte) • “Galant” (= modern, chic, sophisticated, etc.)

  11. La serva padrona 1733 - “The Maid as Mistress” Realistic Plot (you know these people) Only 3 Characters- Serpina (soprano) - maid- Uberto (bass) - master- Vespone (mute!) - manservant Giovanni Battista Pergolesi(1710-1736)

  12. Symphony in F major, no. 32 c. 1740, Milan Originates in opera overtures played as independent works Later emulated as independently composed works (no operas) 1st movement plan described by H.C. Koch (1793) ||: A :||: B A’ :|| Giovanni BattistaSammartini (c. 1700-1775)

  13. 18th C Keyboards

  14. Sonata in D major, K. 119 Neapolitan active in Spain & Portugal Teacher of the infanta (king’s daughter) “Essercizi” = “study” / “etude”(c. 1740s) Short, repeated phrases (galant) Instrument? (“keyboard” = ??) Form uses same general plan :||: A :||: B A’ :|| Domenico Scarlatti (1685-1757)

  15. Concerto in Eb major,Op. 7, nr. 5, 1st movement • Youngest son of JS Bach • Knew Italian opera style (study in Naples & Milan) • In London from 1762 • Among 1st Public concerts • Mozart on his lap (1764-5) • “keyboard” concertos(this one: c. 1770) • Master of the galant style Johann Christian Bach (1735-1782), the “London Bach”painting by Thomas Gainsborough

  16. The Next Generation(s) Ludwig van Beethoven (1770-1827) Franz Schubert (1797-1828) W.A. Mozart (1756-1791) Joseph Haydn (1732-1809)

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