1 / 73

C.P.E. Bach and the Court of Frederick the Great: Musical Masterpieces of the Prussian Enlightenment

Explore the vibrant musical scene at the Prussian court of Frederick the Great through the sonatas of Domenico Scarlatti and Carl Philipp Emanuel Bach. Discover the various formats and techniques used, from the simplest to the most expansive, and how they shaped the development of sonata form. Immerse yourself in the rich cultural and intellectual atmosphere of Berlin in the 1740s and 1750s.

jbrubaker
Download Presentation

C.P.E. Bach and the Court of Frederick the Great: Musical Masterpieces of the Prussian Enlightenment

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. C. P. E. Bach and the Court of Frederick the Great (Prussia/Berlin, 1740s, 1750s

  2. Domenico Scarlatti Sonatas: Simplest Format (Rare) 1 Sonata in G, K. 2 (from Essercizi, 1720s, publ. 1738) Essential Closure of Part 1 “ESC” I: PAC V: PAC HM C “Crux” . . . . . . . . Fortspinnung Fortspinnung alterations HM C C C “Crux” Correspondence Measures I V V I “TONAL RESOLUTION” Rotation 1 Rotation 2

  3. Domenico Scarlatti Sonatas: Most Common Format 2 “Italianate Binary” Format or “Scarlatti Binary” Format Sonata in D, K. 21 (from Essercizi, 1720s, publ. 1738) Essential Closure of Part 1 “ESC” I: PAC V: PAC “New” C “Crux” . . . . . . . . Fortspinnung Fortspinnung alterations HM C C C C “Crux” Correspondence Measures I V V I “TONAL RESOLUTION” Rotation 1 Rotation 2

  4. Domenico Scarlatti Sonatas: Most Expansive Format (Infrequent) Full-Reprise Format (Head Motive Restarts in the Tonic Midway through Part 2) 3 Essential Closure of Part 1 “ESC” I: PAC V: PAC ’ “Free” C “Crux” . . . . . . . . Fortspinnung Return of both HM and tonic! (“Double return”) HM C HM alterations “Crux” Restart! Correspondence Measures “TONAL RESOLUTION” I V “V” I (or modulatory) Rotation 1 Rotation 2

  5. Domenico Scarlatti Sonatas: Most Expansive Format (Infrequent) Full-Reprise Format (Head Motive Restarts in the Tonic Midway through Part 2) 3 Domenico Scarlatti, Sonata in C, K. 159 Essential Closure of Part 1 “ESC” I: PAC V: PAC ’ “Free” C “Crux” . . . . . . . . Fortspinnung Return of both HM and tonic! (“Double return”) HM C HM alterations “Crux” Restart! Correspondence Measures “TONAL RESOLUTION” I V “V” I (or modulatory) Rotation 1 Rotation 2

  6. Domenico Scarlatti Sonatas: Most Expansive Format (Infrequent) Full-Reprise Format (Head Motive Restarts in the Tonic Midway through Part 2) 3 Essential Closure of Part 1 “ESC” Foreshadows textbook” or “Type 3” sonata form I: PAC V: PAC ’ “Free” C “Crux” . . . . . . . . Fortspinnung Return of both HM and tonic! (“Double return”) HM C HM alterations “Crux” Restart! Correspondence Measures “TONAL RESOLUTION” I V “V” I (or modulatory) Rotation 1 Rotation 2

  7. Domenico Scarlatti Sonatas: Simplest Format (Rare) 1 Sonata in G, K. 2 (from Essercizi, 1720s, publ. 1738) Foreshadows “Type 2” sonata form Essential Closure of Part 1 “ESC” I: PAC V: PAC HM C “Crux” . . . . . . . . Fortspinnung Fortspinnung alterations HM C C C “Crux” Correspondence Measures I V V I “TONAL RESOLUTION” Rotation 1 Rotation 2

  8. Domenico Scarlatti Sonatas: Most Common Format “Italianate Binary” Format or “Scarlatti Binary” Format 2 Sonata in D, K. 21 (from Essercizi, 1720s, publ. 1738) Foreshadows “Type 2” sonata form Essential Closure of Part 1 “ESC” I: PAC V: PAC “New” C “Crux” . . . . . . . . Fortspinnung Fortspinnung alterations HM C C C C “Crux” Correspondence Measures I V V I “TONAL RESOLUTION” Rotation 1 Rotation 2

  9. Ongoing Expansion and Diversification of Interior Contents “Sonata Form” (by 1750s, 1760s) (= expanded binary form, particularly apt for rapid, Allegro movements) Small-Scale Binary Formats (esp. c. 1710s-1740s) . . . . . . . .

  10. Carl Philipp Emanuel Bach (1714-1788)

  11. The two oldest sons of J. S. and Maria Barbara Bach Wilhelm Friedemann Bach (1710-1784) Carl Philipp Emanuel Bach (1714-1788)

  12. “The Great Bach” C. P. E. Bach (1714-1788)

  13. Berlin, Mid-18th Century (Prussian) King Friedrich Wilhelm II (“Frederick the Great,” reigned 1740-86) Carl Philipp Emanuel Bach (1714-88)

  14. (Prussian) King Friedrich Wilhelm II (“Frederick the Great,” reigned 1740-86)

  15. Rival Monarchs at Midcentury (Prussian) King Friedrich Wilhelm II (“Frederick the Great,” reigned 1740-86) (Austrian) Empress Maria Theresa (reigned 1740-80)

  16. Rival Monarchs at Midcentury (Prussian) King Friedrich Wilhelm II (“Frederick the Great,” reigned 1740-86) (Austrian) Empress Maria Theresa (reigned 1740-80)

  17. Rival Monarchs at Midcentury (Prussian) King Friedrich Wilhelm II (“Frederick the Great,” reigned 1740-86) (Austrian) Empress Maria Theresa (reigned 1740-80)

  18. The Prussian Court of “Frederick the Great” (reigned 1740-86) Berlin: Charlottenburg Palace

  19. The Prussian Court of “Frederick the Great” (reigned 1740-86) Potsdam (Berlin): Sans Souci Palace (1740s)

  20. The Prussian Court of “Frederick the Great” (reigned 1740-86) Potsdam (Berlin): Sans Souci Palace (1740s)

  21. (Prussian) Frederick the Great’s visitors included French Enlightenment figures: Voltaire Denis Diderot Jean d’Alembert

  22. (Prussian) Frederick the Great’s visitors included French Enlightenment figures: Denis Diderot Voltaire Jean d’Alembert Encyclopédie (1751-72)

  23. (Prussian) King Friedrich Wilhelm II (“Frederick the Great,” reigned 1740-86) Voltaire

  24. Frederick the Great Playing the Flute at Sans Souci (Nineteenth-Century Interpretation: Adolph von Menzel, 1852)

  25. Berlin Court Musicians: the Graun Brothers Johann Gottlieb Graun (1702-71) Carl Heinrich Graun (1703-59)

  26. Berlin Court Musicians: Quantz Johann Joachim Quantz (1697-1773)

  27. Berlin Court Musicians: Marpurg Friedrich Wilhelm Marpurg (1718-95) (1765 ed.; orig. 1750)

  28. Berlin Court Musicians: Marpurg Friedrich Wilhelm Marpurg (1718-95)

  29. Berlin Court Musicians: C. P. E. Bach Carl Philipp Emanuel Bach (1714-88) Court Harpsichordist, 1740-68

  30. Berlin Court Musicians: C. P. E. Bach Many three-movement keyboard sonatas:, e.g.: • 6 “Prussian” Sonatas (1742) Carl Philipp Emanuel Bach (1714-88) Court Harpsichordist, 1740-68

  31. Berlin Court Musicians: C. P. E. Bach Many three-movement keyboard sonatas:, e.g.: • 6 “Prussian” Sonatas (1742) • 6 “Württemberg” Sonatas (1744) Carl Philipp Emanuel Bach (1714-88) Court Harpsichordist, 1740-68

  32. Berlin Court Musicians: C. P. E. Bach Many three-movement keyboard sonatas:, e.g.: • 6 “Prussian” Sonatas (1742) • 6 “Württemberg” Sonatas (1744) • and: • Treatise: Essay on the True Art • of Clavier Playing (Pt. 1, 1753; • Pt. 2, 1762) Carl Philipp Emanuel Bach (1714-88) Court Harpsichordist, 1740-68

  33. Treatise: Essay on the True Art of Clavier Playing (Pt. 1, 1753; Pt. 2, 1762) Carl Philipp Emanuel Bach (1714-88) Court Harpsichordist, 1740-68

  34. Berlin Court Musicians: C. P. E. Bach Empfindsamkeit; empfindsamerStil (“sensitive” or “expressive” style) Carl Philipp Emanuel Bach (1714-88) Court Harpsichordist, 1740-68

  35. Berlin Court Musicians: C. P. E. Bach • Empfindsamkeit; empfindsamerStil • (“sensitive” or “expressive” style) • E.g., “Prussian” Sonata No. 6 in C • nervous, volatile changes of mood and tone • compositional surprises or non sequiturs • capricious unpredictability, restlessness, suggesting a fluid instability of musical thought Carl Philipp Emanuel Bach (1714-88) Court Harpsichordist, 1740-68

  36. Berlin Court Musicians: C. P. E. Bach • Empfindsamkeit; empfindsamerStil • (“sensitive” or “expressive” style) • E.g., 6 “Württemberg” Sonatas (1744) • effect of instantaneousness • purposeful instability, restlessness • volatility; sudden changes of affect, mood, topic • unpredictability, caprice • evanescence • fragmentation Carl Philipp Emanuel Bach (1714-88) Court Harpsichordist, 1740-68

  37. C. P. E. Bach, Sonata in B Minor, “Württemberg 6,” binary first movement (1744) Essential Closure of Part 1 Part 1: Referential Layout of Materials III:PAC . . . . i:HC m. 8: “new idea”? Fortspinnung? HM B Minor D major (III)

  38. C. P. E. Bach, Sonata in B Minor, “Württemberg 6,” binary first movement (1744) Essential Closure of Part 1 Part 1: Referential Layout of Materials III:PAC . . . . i:HC m. 8: “new idea”? Fortspinnung? HM Second Section of Part 2: Reprise and Resolution of Part 1: “Recapitulatory Rotation” (Here very freely reconceived) B Minor D major (III) First Section of Part 2: Non-Tonic, Freer ESC i:PAC Gravitating back toward the tonic key’s dominant Moving further away from the tonic VI:PAC III:HC VI:HC . . . . i:HC (V of i) NB: No head-motive of “new idea”! “new idea” “new idea” HM Fortspinnungmaterials from part 1 HM G major VI D major G major III VI B Minor B Minor (i) Another fantasy-reconceiving of Part 1, starting at its m. 8 (rotation of second ½ of part 1) Effect: tonic-key relaunch A fantasy-reconceiving of Part 1 (Another, freer “rotation” of its content) Tonal Resolution

  39. C. P. E. Bach, Sonata in B Minor, “Württemberg 6,” binary first movement (1744) Essential Closure of Part 1 Part 1: Referential Layout of Materials III:PAC . . . . i:HC m. 8: “new idea”? Fortspinnung? HM B Minor D major (III) First Section of Part 2: Non-Tonic, Freer Moving further away from the tonic VI:PAC III:HC VI:HC . . “new idea” HM Fortspinnungmaterials from part 1 G major VI D major G major III VI A fantasy-reconceiving of Part 1 (Another, freer “rotation” of its content)

  40. C. P. E. Bach, Sonata in B Minor, “Württemberg 6,” binary first movement (1744) Essential Closure of Part 1 Part 1: Referential Layout of Materials III:PAC . . . . i:HC m. 8: “new idea”? Fortspinnung? HM B Minor D major (III) First Section of Part 2: Non-Tonic, Freer Gravitating back toward the tonic key’s dominant Moving further away from the tonic VI:PAC III:HC VI:HC . . i:HC (V of i) “new idea” “new idea” HM Fortspinnungmaterials from part 1 G major VI D major G major III VI Another fantasy-reconceiving of Part 1, starting at its m. 8 (rotation of second ½ of part 1) A fantasy-reconceiving of Part 1 (Another, freer “rotation” of its content)

  41. C. P. E. Bach, Sonata in B Minor, “Württemberg 6,” binary first movement (1744) Essential Closure of Part 1 Part 1: Referential Layout of Materials III:PAC . . . . i:HC m. 8: “new idea”? Fortspinnung? HM Second Section of Part 2: Reprise and Resolution of Part 1: “Recapitulatory Rotation” (Here very freely reconceived) B Minor D major (III) First Section of Part 2: Non-Tonic, Freer ESC i:PAC Gravitating back toward the tonic key’s dominant Moving further away from the tonic VI:PAC III:HC VI:HC . . . . i:HC (V of i) NB: No head-motive of “new idea”! “Proto-S” “new idea” HM Fortspinnungmaterials from part 1 HM G major VI D major G major III VI B Minor B Minor (i) Another fantasy-reconceiving of Part 1, starting at its m. 8 (rotation of second ½ of part 1) Effect: tonic-key relaunch A fantasy-reconceiving of Part 1 (Another, freer “rotation” of its content) Tonal Resolution

  42. C. P. E. Bach, Sonata in B Minor, “Württemberg 6,” binary first movement (1744) Essential Expositional Closure EEC Part 1: Referential Layout of Materials “Exposition” Binary-form prototype of what, in slightly expanded versions, we will come to call “sonata form” III:PAC . . . . i:HC m. 8: “new idea”? Fortspinnung? HM Second Section of Part 2: Reprise and Resolution of Part 1: “Recapitulatory Rotation” (Here very freely reconceived) B Minor D major (III) “Development” First Section of Part 2: Non-Tonic, Freer “Recapitulation” ESC i:PAC Gravitating back toward the tonic key’s dominant Moving further away from the tonic VI:PAC III:HC VI:HC . . . . i:HC (V of i) NB: No head-motive of “new idea”! “new idea” “new idea” HM Fortspinnungmaterials from part 1 HM G major VI D major G major III VI B Minor B Minor (i) Another fantasy-reconceiving of Part 1, starting at its m. 8 (Rotation of second ½ of part 1) Effect: tonic-key relaunch A fantasy-reconceiving of Part 1 (Another, freer “rotation” of its content) Tonal Resolution

  43. C. P. E. Bach, Sonata in B Minor, “Württemberg 6,” binary first movement (1744) Essential Expositional Closure EEC Part 1: Referential Layout of Materials “Exposition” Binary-form prototype of what, in slightly expanded versions, we will come to call “sonata form” III:PAC . . . . i:HC This model will develop into “Type 3” or “textbook” sonata form, that format with a “development-section” and a full recapitulation starting with HM (=P) m. 8: “new idea”? Fortspinnung? HM Second Section of Part 2: Reprise and Resolution of Part 1: “Recapitulatory Rotation” (Here very freely reconceived) B Minor D major (III) “Development” First Section of Part 2: Non-Tonic, Freer “Recapitulation” ESC i:PAC Gravitating back toward the tonic key’s dominant Moving further away from the tonic VI:PAC III:HC VI:HC . . . . i:HC (V of i) NB: No head-motive of “new idea”! “new idea” “new idea” HM Fortspinnungmaterials from part 1 HM G major VI D major G major III VI B Minor B Minor (i) Another fantasy-reconceiving of Part 1, starting at its m. 8 (Rotation of second ½ of part 1) Effect: tonic-key relaunch A fantasy-reconceiving of Part 1 (Another, freer “rotation” of its content) Tonal Resolution

  44. 1740s, 1750s: The Symphony Spreads Northward

  45. 1740s, 1750s: The Symphony Spreads Northward

  46. Vienna, c. 1750

  47. Vienna: Hofburg Palace

  48. Vienna: Belvedere Palace

  49. Vienna: Hofburg Palace

More Related