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Classical Era

Classical Era. Midcentury Instrumental Music. STYLISTIC TRANSFORMATIONS. Introduction of a new instrument, the fortepiano Contrasted with strings and winds Favored by amateurs and rising middle class Development of the “Accompanied Sonata”. Sonata in D Major (1749) NAWM pp. 59.

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Classical Era

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  1. Classical Era Midcentury Instrumental Music

  2. STYLISTIC TRANSFORMATIONS Introduction of a new instrument, the fortepiano • Contrasted with strings and winds • Favored by amateurs and rising middle class • Development of the “Accompanied Sonata”

  3. Sonata in D Major (1749) NAWM pp. 59 Domenico Scarlatti 1685-1757

  4. Sonata in A Major, H. 186 (1779) NAWM pp. 64-67 Created the new performance idiom for the piano (fortepiano) Influenced the great Viennese composers of the Classical period with regards to form, style and compositional devices. Essay on the true art of playing the keyboard is still used as a primer for learning Classical Style. C.P.E. Bach (1714-1788)

  5. “There can be no art without form.” • Igor Stravinsky

  6. The Classical Sonata • Form: Three or Four Movements • Following Sonata Allegro Form • Important genre for amateurs

  7. The Sonata Cycle • Movement I: Long Dramatic, Sonata Form: Allegro fast • Movement II: Slow and lyrical, Theme and Variations or ABA. Andante, Adagio, or Largo • Movement III: Minuet and Trio (18thC.) Minuet and Scherzo (19thC.), Allegretto or Allegro • Movement IV: 18th C = lively and happy ending, Sonata Allegro, Sonata Rondo, Theme and Variations. Very Fast. Allegro, Vivace, Presto. Grand Finale 19th C. Triumph

  8. Forms of Movements • Theme and Variation • Rondo • Minuet and Trio • Sonata-allegro form

  9. New Style From 1770’s – 80’s • Composite bass line changed to more independent parts for the bass viol, bassoon, cello. • Change from the “overture sinfonia” to the “concert sinfonia”. • Both in function and label. Sinfonia is a stand alone piece by this time.

  10. New Style From 1770’s – 80’s • New style of orchestration. • In baroque the winds doubled the strings. • Now winds become independent in the partiture. • Given priority with the main themes. • Not simply a garnish to the string section.

  11. Changes in the Classical Symphony • Shift in the function and valuation of the symphony. • Move from introductions to theatre, plays, operas, civic events. • Move to a piece intrinsic in itself. Symphony for Symphony’s sake.

  12. Sinfonia a 8 in E-flat Major ( 1755 ) NAWM pp. 73 Founder of the Mannheim School Johann Stamitz(1717-1757)

  13. Symphony in F Major (1730?) NAWM pp. 68 Giovanni Battista Sammartini (1701-1775)

  14. Symphony Format MOOD TEMPO FORM KEY Mvt 1 serious fast sonata tonic Mvt 2 calm slow sonata, NOT tonic th & var, ABA Mvt 3 dancelike moderate minuet & tonic or scherzo or fast trio Mvt 4 lighter fast sonata or tonic sonata-rondo

  15. Sonata-Allegro Form

  16. recapitulation usually repeated development transition 1 transition2 theme 1 Sonata Form exposition theme 2 tonic theme 1 theme 2

  17. Sonata Form (First Movement) Exposition (A) Development (B)____ Recapitulation (A) First theme in Develops material from First theme restated home key the exposition in home key Bridge modulates Modulation to foreign Bridge to to keys Second theme in Fragmentation or Second theme contrasting key manipulation of transposed to thematic ideas home key

  18. Mozart: Piano Sonata in A maj. K. 331, III • Rondo form • Janissary influence • Use of Czech folk song • Last movement “alla turka” • Swirling movement, leaping melodies, drones • Images of bells, triangles of a Janissary band.

  19. Beethoven Piano Sonata in C minor. Pathetique • Beethovenian Pathos in each movement • Dramatic quality, sudden dynamic changes • Adagio section that is hymn-like • 2nd and 3rd movements are in Rondo form

  20. Sonata-Allegro Form Mozart: 40th Symphony, 4th Movement 1st Theme 2nd Theme Development Recap Modulating Bridge

  21. Sonata-Allegro Form

  22. Symphony No. 5, Mvt. 1Kamien, p. 193, CD #2 Sonata form Exposition Development Recapitulation Coda T1 B T2 CT T1 B T2 Ct What? How? 4. 1. 3. 2. LONG!•••—New ideas •••—motive What change from Expos? What instruments? What instruments?

  23. Symphony No. 5, Mvt. 1Kamien, Sonata form Exposition Development Recapitulation T1 B T2 CT T1 B T2 Ct What? How? LONG!•••—New ideas •••—motive What change from Expos? What instruments? What instruments?

  24. Symphony No. 5, Mvt. 1 D e v e l o p m e n t 1.a. 1.b. 2.b.c.d. 2.e. 2.a. Based on Th 2 •••— motive Reminder of Th 1 Horn call w/ new answer 2 notes of horn call! 1 note of horn call!! Theme 2 reminder

  25. Symphony No. 5, Mvt. 1 Click for guided listening to the entire development.

  26. Symphony No. 5, Mvt. 1 D e v e l o p m e n t Based on Th 2 Based on Th 1 Reminder of Th 1 Th 1melody& R New melody,motive R Horn callw/ new answer 2 notes of horn call! 1 noteof horn call!! •••— motive is ubiquitous! Reminder of Th 2 Back to1 note

  27. Symphony No. 5, Mvt. 1 Click for guided listening to the recapitulation and coda.

  28. Symphony No. 5, Mvt. 1 R e c a p i t u l a t i o n 4.a.b. Theme 2 Theme 1 Bridge Closing Th Important addition Subdued horns + Bassoons! •••— in accompa-niment Yes! It was an oboe. Now it continues w/ a short cadenza. •••— motive is ubiquitous!

  29. Symphony No. 5, Mvt. 1 C o d a Long! based mostly on •••— motive some new ideas introduced

  30. Symphony No. 5, Mvt. 1 This movement is UNIFIED like no earlier piece had ever been! Exposition Development Recapitulation Coda T1 B T2 CT T1 B T2 Ct What? •••—motive •••—motive •••—motive •••—motive Listen to entire piece

  31. Symphony No. 5, Mvt. 2 I = contrasting key “time out,” lyrical double theme & variations (Why not a rondo?) A B A’ B’ A” (?) A’’’ Coda Ths A & B Mood? Instruments?

  32. Symphony No. 5, Mvt. 3 I = scherzo (“joke”) minuet & trio form & triple meter BUT character is rough and rollicking, not genteel A B A’ energy level? Perceived tempo? Texture? Dynamic? Virtuoso double bass •••—motive R

  33. Symphony No. 5Bridge between mvts. 3 & 4 Listen for: timpani: •••— motive R repeated patterns--high strings ambiguous mode (How will this symphony end?) C minor? (turmoil, struggle, failure) C major? (victory, triumph, overcoming) Crescendo at end leads to Mvt 4

  34. Symphony No. 5, Mvt. 4 Exposition Development Recapitulation Coda T1 B T2 CT T1 B T2 Ct What? How? VERY LONG!Earlier themes reviewed including •••— •••—motive R! •••—motive Ra la mvt 3 C Major! Triumphant mood

  35. Symphony No. 5 Mvt 1: •••— motive used in every part of sonata form Cyclicism: •••— motive used in Mvts 1, 3, 3-4 bridge, 4. (It is even obscurely used in mvt 2!!!) Mvts 3 & 4 tied together by ambiguous bridge Unified

  36. Sonata form Structure (organization) of a single movement (Introduction) Exposition Development Recapitulation (Coda)

  37. Sonata form Structure (organization) of a single movement (Introdu Exposition Development Recapitulation

  38. Mozart--Symphony No. 40 in G Minor, Mvt. 1 Sonata form Expositionpresents musicalmaterial Bridge ClosingSection Th 1 More energy faster louder Tonic key Mood? Instrumentation? Accompaniment? Th 2 Less energy slower R softer Away key Mood? Instrumentation? Accompaniment? Transitions &modulates

  39. Sonata form Expositionpresents musicalmaterial Click to hear and track the Exposition.

  40. Sonata form Expositionpresents musicalmaterial Th 1 Bridge Th 2 ClosingSection transitions &modulates

  41. Sonata form Expositionpresents musicalmaterial Developmentexpands on, workswith musical material Th 1 Bridge Th 2 ClosingSection theme(s) from expos reworking of themes sense of conflict modulations What? How? transitions &modulates

  42. HOW might a composer work with the exposition’s raw material? Development checklist: • Repeat theme • Fragment theme (and use part of it) • Use imitation • Add counter melody • Change tone color (instruments) • Change dynamics • Change theme’s rhythm • Change theme’s character • Change accompaniment • Modulate (change key)

  43. Sonata form Development Th 1 Bridge Th 2 ClosingSection theme(s) from expos reworking of themes sense of conflict modulations What? How? transitions &modulates

  44. Sonata form DevelopmentEntirely based on Theme 1 Dynamic? Who plays theme? Dynamic? Entire theme or part of it? What instruments? Composition device Dynamic? Entire theme or part? What instruments? Composition device Dynamic? Motive imitations. Tone color changes. Provides transition to Recapitulation. Theme repeated in different keys. Bassoon counter-melody

  45. Sonata form DevelopmentEntirely based on Theme 1 Louder Theme in bass w/ violin counter-melody. Exchange! Repeated in several keys. Softer Theme fragmented. (MOTIVE) Tone color changes. Imitation. Louder Motive inverted. Tone color changes. Imitation. Softer Motive imitations. Tone color changes. Provides transition to Recapitulation. Theme repeated in different keys. Bassoon counter-melody

  46. Sonata form Expositionpresents musicalmaterial Developmentexpands on, workswith musical material Recapitulationreviews musicalmaterial Th 1 Bridge Th 2 ClosingSection Th 1 Bridge Th 2 ClosingSection theme(s) from expos reworking of themes sense of conflict modulations What? How? transitions &modulates transitions

  47. Sonata form Codaclosesmvt Expositionpresents musicalmaterial Developmentexpands on, workswith musical material Recapitulationreviews musicalmaterial Th 1 Bridge Th 2 ClosingSection Th 1 Bridge Th 2 ClosingSection How?Whatdoyouhear? theme(s) from expos reworking of themes sense of conflict modulations What? How? transitions &modulates transitions

  48. Sonata form Unity & Contrast are balanced U (Introduction) Exposition Development Recapitulation (Coda) Th 1 B Th 2 Th 1 B Th 2 C & U C & U C C

  49. LOG Mozart Symphony No. 40 in G Minor, K. 550, Mvt. 1 Symphony movement I = Sonata form What does “K. 550” mean?

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