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http://ibscrewed4music.blogspot.com/ Classical Declarative Knowledge Chamber Music Played in chambers Church driven Normally in small groups - string quartet, piano quartet, woodwind quartet/quintet Can be performed with 2-10 instruments Homophonic unless in the development where it is contrapuntal texture Al-berti bass line 18th Century Hyden, Mozart, Beethoven, Brahms, Shubert Sonata form - fast, slow, fast Minuet Introduction of the pianoforte Modulation with relative keys, pivot notes Divertimento Serenades Hyden emperor quartet Mozart clarinet quintet Comparison Between Baroque and Classical Baroque Classical Melody Ornate, often asymmetrical melodies Dramatic leaps common Use of chromaticism for expressive purposes Simple melodies, often in four and eight-measure phrases Primarily stepwise motion Melodies more diatonic Rhythm Varied rhythms Strong underlying pulse Varied tempos More consistent rhythms Less insistent pulse More regular tempos Harmony Triadic, major/minor tonality Triadic, based on major/minor tonality Sound Basso continuo Wide variety of instrumental colors Terraced dynamics No basso continuo More homogenous orchestral color, winds play supporting role Use of gradual crescendos and

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Classical Declarative Knowledge

Chamber Music

Played in chambers

Church driven

Normally in small groups - string quartet, piano quartet, woodwind quartet/quintet

Can be performed with 2-10 instruments

Homophonic unless in the development where it is contrapuntal texture

Al-berti bass line

18th Century

Hyden, Mozart, Beethoven, Brahms, Shubert

Sonata form - fast, slow, fast

Minuet

Introduction of the pianoforte

Modulation with relative keys, pivot notes

Divertimento

Serenades

Hyden emperor quartet

Mozart clarinet quintet

Comparison Between Baroque and Classical

Baroque Classical

Melody

Ornate, often asymmetrical

melodies

Dramatic leaps common

Use of chromaticism for

expressive purposes

Simple melodies, often in four and

eight-measure phrases

Primarily stepwise motion

Melodies more diatonic

Rhythm

Varied rhythms

Strong underlying pulse

Varied tempos

More consistent rhythms

Less insistent pulse

More regular tempos

Harmony Triadic, major/minor tonality Triadic, based on major/minor

tonality

Sound

Basso continuo

Wide variety of instrumental

colors

Terraced dynamics

No basso continuo

More homogenous orchestral color,

winds play supporting role

Use of gradual crescendos and

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Harpsichord diminuendos

Piano

Texture Imitative or homophonic More homophonic

Form

Binary and ternary forms

Forms based on repetition

(ritornello)

Binary and ternary forms

Based on return (sonata allegro)

Classicism in the Arts

The Classical era (1750–1825) is characterized by order, objectivity, and harmonious

proportion. This is reflected in the art and architecture of the time, modeled on ancient

Greek and Roman styles.

The American Revolution (1775–83) and the French Revolution (1789–99) profoundly

changed political systems and social order.

The era saw significant advances in science and ideas, and the Industrial Revolution

made mass production possible.

German writers like Goethe and Schiller expressed the emerging romantic view of the

world.

Haydn, Mozart, Beethoven, Schubert—all members of the Viennese school—composed

in large-scale forms (symphony, concerto, sonata).

Classical music is characterized by a singable, lyrical melody; diatonic harmony; regular

rhythms and meters; homophonic texture; and frequent use of folk elements.

Music-making revolved around the court, with composers (especially Haydn) employed

under the patronage system. Women also held court positions as musicians and

teachers.

The Development of Classical Forms

I. Expanding Musical Ideas 1. Theme: musical idea, building block 2. Thematic development: expansion of a theme

1. motive: melodic fragment derived from themes 2. sequence: repetition at a higher or lower pitch level 3. ostinato: short repeated pattern

II. Classical Forms 1. Absolute music: no text or story 2. Multimovement cycle

1. 1750 through Romantic era 2. three or four separate movements in one piece 3. prescribed forms and tempos

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III. The First Movement 1. Allegro (fast tempo) 2. Long, dramatic, tonic key 3. Sonata-allegro (sonata) form

1. drama between two contrasting key areas 2. each key associated with a theme 3. exposition: presents two opposing keys and themes

1. theme 1: establishes home key, tonic 2. bridge: transitional passage 3. theme 2: contrasting key 4. closing section, often a closing theme 5. exposition repeats: establishes themes

4. development: conflict and action 1. foreign keys, frequent modulations 2. activity and restlessness 3. building of tension 4. themes varied, expanded, contracted

5. recapitulation: restatement of themes 1. theme 1: return, provides unity 2. theme 2: returns in tonic key

6. coda: final cadence in home key IV. The Second Movement

1. Andante or adagio (slow tempo) 2. Lyrical, songful melodies, related key 3. Form: A-B-A, sonata-allegro, or theme and variations

1. theme and variations: theme clearly stated; structured variations 1. melodic variation: decorative flourishes to melody 2. harmonic variation: chords replaced; shift from major to minor 3. rhythmic variation: note lengths, meter, or tempo varied

V. The Third Movement 1. Stately triple meter, tonic key 2. Minuet and trio form

1. Baroque era origins: court dance 2. two dances presented as a group, (A-B-A)

1. B section: originally three instruments—trio 2. Da capo, “from the beginning” first dance repeated 3. internal structure: binary (a-a-b-b), or rounded binary (a-a-ba-ba)

3. Scherzo and trio form 1. early 19th century 2. scherzo, Italian “jest” 3. quick-paced triple meter 4. (A-B-A) structure

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VI. The Fourth Movement 1. Allegro, vivace (fast tempo) 2. Lively, spirited, tonic key 3. Rondo, or sonata-allegro form 4. Rondo form: recurrence of musical idea (A)

1. A-B-A-C-A; extension of three-part form 2. longer arched form, A-B-A-C-A-B-A

VII. The Multimovement Cycle as a Whole 1. Extended instrumental works, abstract nature 2. Symphonies, sonatas, string quartets, concertos

Classical Chamber Music

I. Chamber Music 1. Music for a small ensemble 2. Two to twelve players: one per part 3. Players function as a team 4. Haydn, Mozart, Beethoven, and Schubert

1. established chamber music style 5. Favored instrument combinations:

1. string quartet: first and second violins, viola, and cello 2. duo sonata: violin and piano, or cello and piano 3. piano trio: violin, cello, and piano 4. quintet: combination of string or wind instruments 5. string quartet with solo piano or clarinet

II. The String Quartet 1. Multimovement cyle; four movements 2. Salon music; private, profound expressions 3. Joseph Haydn (1732–1809)

1. prolific Austrian composer 2. choirboy at St. Stephen’s Cathedral in Vienna 3. Esterházys: patron for nearly thirty years

1. directed orchestra, opera company, marionette theater 4. two visits to England (1791–92, 1794–95)

1. London symphonies, Nos. 93–104 5. expanded size of orchestra

1. emphasis on brass, clarinets, and percussion 6. composed over 100 symphonies, 68 string quartets, concertos, 14 operas,

keyboard music 4. Haydn’s Emperor Quartet

1. based on his own hymn tune 1. Gott erhalte Franz den Kaiser (God Keep Franz the Emperor) 2. became Austrian national anthem 3. today, same melody is Germany’s national song

2. lyrical tune, favorite of Hadyn’s 3. Op. 76, set of six quartets

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5. Listening Guide 28: Haydn, String Quartet, Op.76, No. 3, (Emperor), II (1797) 1. poco adagio 2. theme and variations 3. theme: first violin, homophonic texture 4. variation 3: some chromaticism 5. variation 4: polyphonic 6. coda: ends softly

III. Mozart and Chamber Music 1. Wolfgang Amadeus Mozart (1756–1791)

1. Austrian composer, pianist 2. son of Leopold Mozart, court composer-violinst 3. child prodigy: toured Europe with sister, Nannerl 4. worked briefly in patronage system 5. age twenty-five, struggled as freelance musician in Vienna 6. prolific composer of all genres: chamber music, keyboard works,

symphony, concertos, opera 7. music: elegant, songful, contrasts of mood, colorful orchestration 8. Ludwig Köchel: catalogued Mozart’s music chronologically

2. Eiene kleine Nachtmusik (A Little Night Music) 1. serenade for strings: string quartet and double bass, or string orchestra 2. outdoor performance, public entertainment 3. four movements: follows multimovement cycle 4. beautifully proportioned, elegant

3. Listening Guide 29: Mozart, Eine kleine Nachtmusik (A Little Night Music), K. 525 (1787)

1. mvt. 1: allegro; sonata-allegro form 1. theme 1: disjunct, ascending “rocket” theme 2. theme 2: elegant, descending contour 3. short development 4. vigorous coda

2. mvt. 2: romanza, andante; sectional rondo form (A-B-A-C-A) 1. contrasting key area 2. serene lyricism 3. short coda

3. mvt. 3: allegretto; minuet and trio form 1. strong, triple meter 2. regular four-bar phrases, rounded binary 3. minuet: bright, decisive 4. trio: lyrical contrast

4. mvt. 4: allegro; sonata-rondo form 1. bright, jovial, refined 2. combines rondo and sonata-allegro forms 3. theme 1: graceful rocket theme 4. theme 2: descending, new character

PIECES: Haydn, String Quartet, Op.76 No.3 Mozart Eine kleine Nachtmusik K525

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The Classical Symphony

I. Historical Background 1. Outgrowth of Italian opera overture

1. fast-slow-fast sections became separate movements 2. German symphonists: added effects, expanded genre

1. rocket theme 1. quick, aggressive, rhythmic 2. rises from low to high register

2. steam-roller effect: drawn-out crescendos 3. addition of the minuet and trio

II. The Classical Orchestra 1. Four instrument families

1. strings: heart of the orchestra 2. woodwinds: often double the strings 3. brass: sustained harmonies 4. percussion: timpani, rhythmic life and vitality

2. 18th-century orchestra: 30 to 40 players 3. Musical effects borrowed from opera

1. abrupt alternation of p and f 2. sudden accents 3. dramatic pauses 4. use of tremolo and pizzicato

III. The Movements of the Symphony 1. First movement: allegro; sonata-allegro form

1. sometimes slow introduction (Haydn) 2. two contrasting themes 3. monothematic: second theme is theme 1 in contrasting key

2. Second movement: largo, adagio, or andante 1. contrasting key area 2. lyrical; less development of themes 3. forms:

1. ternary (A-B-A) 2. theme and variations 3. modified sonata-allegro: no development section

3. Third movement: moderate tempo; minuet and trio form 1. gentler mood 2. Beethoven replaced minuet and trio with scherzo and trio

1. fast-paced triple meter 4. Fourth movement (finale): allegro molto, presto

1. rondo or sonata-allegro form 2. lighter, spirited

IV. Mozart’s Symphony No. 40 1. Known in Vienna as the Romantic symphony 2. Listening Guide 30: Mozart, Symphony No. 40 in G minor, First Movement

(1788) 1. sonata-allegro form

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2. minor key: dramatic and dark 3. pervading rhythmic motive (short-short-long) 4. theme 1: three-note motive with upward leap 5. theme 2: lyrical, descending 6. short development

1. focus on three-note motive 2. polyphonic texture

V. Haydn and the Symphony 1. Composed over 100 symphonies

1. “Father of the Symphony” 2. London symphonies: Nos. 93–104

1. syncopation, sudden crescendos and accents, dramatic contrasts, daring modulations

2. Haydn Symphony No. 100 1. Military symphony

1. use of percussion instruments 2. trumpet fanfare 3. Turkish Janissary bands performed in Vienna

2. multimovement cycle 1. second movement combines variations with ternary form

3. Listening Guide 31: Haydn, Symphony No. 100 in G major (Military), Second Movement (1794)

1. allegretto, marchlike duple meter, C major 2. three-part form (A-B-A') 3. A section: elegant arched theme 4. B section: shift to minor mode, “military” sound

1. added percussion 2. sudden dynamic contrasts

5. coda: solo trumpet fanfare 1. drum roll leads to ff chord 2. full orchestra closing

VI. Beethoven and the Symphony in Transition 1. Ludwig van Beethoven (1770–1827)

1. German composer 2. father and grandfather: court musicians 3. unhappy home life, supported family at age eleven 4. age twenty-two, moved to Vienna 5. worked under modified patronage system

1. taught aristocrats, worked for commissions, concertized, published works

6. hearing loss, 1802–14; Heiligenstadt Testament, 1802 7. middle period of composition: more Romantic

1. strong dynamic contrasts, explosive accents 2. longer movements, structural large-scale forms

8. final years: more chromatic harmonies, link to the Romantic era 9. nine symphonies: large-scale; demanded concert hall

1. Third Symphony: Eroica (Heroic), originally dedicated to Napoleon

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2. Ninth Symphony: the choral symphony; vocal soloists and chorus 1. text: Schiller’s Ode to Joy, expression of universal brotherhood

2. The Fifth Symphony 1. cyclical form: musical ideas recur in later movements 2. opening four notes: fate motive

3. Listening Guide 32: Beethoven, Symphony No. 5 in C minor, Op. 67, (1807–8) 1. mvt. 1: allegro con brio; sonata-allegro form, C minor

1. theme 1: based on rhythmic motive (short-short-short-long) 2. horn call introduces theme 2 3. theme 2 heard against four-note motive 4. development: begins with horn call 5. recapitulation: oboe cadenza introduces theme 2

1. theme 2 in C major 6. extended coda; movement ends in C minor

2. mvt. 2: Andante con moto; theme and variations, A-flat major 1. two contrasting themes 2. flowing triple meter 3. theme 1: heard first in low strings 4. theme 2: built on four-note motive

3. mvt. 3: Allegro; scherzo and trio form, C minor 1. scherzo: rocket theme in low strings 2. four-note rhythmic motive in horns 3. trio theme: C major 4. fugal passage in double basses 5. return of scherzo: varied orchestration 6. transition to fourth movement: timpani rhythm, four-note motive

IV. mvt. 4: allegro; sonata-allegro form, C major

1. added instruments; piccolo, contrabassoon, trombones 2. forceful dynamics: fp effects 3. theme 1: triumphant, C-major triad 4. theme 2: energetic, G major 5. development: brief recurrence of scherzo 6. extended coda; long final cadence

PIECES: Haydn, Symphony No.100 in G major Beethoven, Symphony No.5 in C Minor Op.67

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The Classical Concerto

I. The Movements of the Concerto 1. Solo concerto: three movements, fast-slow-fast

1. piano: favored solo instrument 2. cadenza: improvisatory solo passage, virtuosic

2. First movement: allegro; first-movement concerto form 1. sonata-allegro form with double exposition 2. orchestral exposition, tonic key 3. second exposition, key change

1. solo instrument and orchestra 2. elaborated versions of themes

4. development: solo virtuosic display 5. cadenza: near end of the movement 6. coda: affirmation of home key

3. Second movement: andante, adagio, or largo 1. slow and lyrical 2. closely related key

4. Third movement: allegro molto or presto 1. rondo or sonata-allegro form 2. shorter than first movement 3. may have cadenza

5. A piano concerto by Mozart 1. twenty-seven piano concertos by Mozart 2. public performances: Mozart at the piano 3. 1784, wrote five piano concertos 4. K. 453 composed for student, Barbara von Ployer

6. Listening Guide 33: Mozart, Piano Concerto in G major, K. 453 (1784) 1. mvt. 1: Allegro; first-movement concerto form

1. theme 1 in violins: lilting, quiet 2. theme 2: quiet and lyrical, violins answered by woodwinds 3. solo exposition: new “piano theme” between themes 1 and 2 4. development: virtuosic piano part, various modulations 5. cadenza by Mozart: after theme 2 in recapitulation

2. mvt. 2: Andante; first-movement concerto form 1. contrasting key, C major 2. highly expressive, variety of woodwind color 3. theme 1: lyrical dialogue between strings and woodwinds 4. theme 2: alternates forte (strings) and piano (woodwinds) 5. cadenza in recapitulation, before coda 6. coda: begins with theme 1, ends softly

3. mvt. 3: Allegretto, Presto; theme and five variations 1. theme: clear-cut binary form 2. theme played by orchestra 3. variation 1: solo piano with melodic ornamentation 4. other variations: dialogue of piano and woodwinds with full orchestra 5. no cadenza

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6. coda: Presto, new theme, highly virtuosic 7. Haydn’s Trumpet Concerto

1. thirty-five concertos by Haydn 2. trumpet concerto: composed for experimental instrument, keyed trumpet

1. highly lyrical melodies and virtuosic passages 2. 1800 first performance; manuscript lost until 1929 3. Haydn’s last orchestral work

VIII. Listening Guide 34: Haydn, Trumpet Concerto in E-flat major, Third Movement (1796)

1. sonata-rondo form, A-B-A-B-A-C-A-B-A-Coda 2. unexpected harmonies, sudden dynamic contrasts 3. A section: energetic, opens with rising 4th 4. B section: light-hearted theme turns downward 5. C section: developmental, short motivic calls in trumpet 6. contrapuntal coda; ends ff

II. Famous Women Virtuosos of the Eighteenth Century 1. Proper 18th-century women studied music

1. highly skilled amateurs 2. music teachers 3. professional performers: fame atypical

2. Students at Venice’s Ospedale della Pietà 1. Anna Maria della Pietà 2. Maddalena Lombardini

3. Keyboard players associated with Mozart 1. Maria Anna Mozart (Nannerl) (1751–1829)

1. Mozart’s sister 2. toured extensively with Mozart

2. Maria Theresia von Paradis (1759–1824) 1. friend of Mozart 2. blind pianist and organist 3. toured Europe 4. composer, works have been lost

3. Barbara von Ployer (1765–1811) 1. student of Mozart 2. two Mozart concertos composed for her

PIECES: Mozart, Piano Concerto in G major K453

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The Sonata in the Classical Era

The Movements of the Sonata 1. Sonata: instrumental work for one or two instruments

1. three or four contrasting movements 1. follows multimovement cycle

2. duo sonatas: piano leading role, string instrument acts as accompaniment 3. Mozart and Beethoven piano sonatas, most significant

2. Classical era sonata 1. important genre for amateurs 2. concert works for composers

3. A Mozart piano sonata: Sonata in A major, K. 331 1. three movements; seems to lack first movement 2. mvt. 1: theme and variations form

1. theme: Czech folk song 3. mvt. 2: minuet and trio

1. highly lyrical, broken chord accompaniment 2. chromatic harmonies: looks forward to Romantic era

4. mvt. 3: rondo “alla turca” (in the Turkish style) 1. percussive sound of Turkish military band 2. full range of dynamics 3. exaggerated beats and dynamics: suggest jangling of bell trees, cymbals,

triangles 4. Listening Guide 35: Mozart, Piano Sonata in A major, K. 331, Third Movement (1783)

1. Allegretto, Alla turca; rondo form (A-B-C-B-A-B), A minor 2. forte/piano dynamic contrasts 3. A section: swirling figuration in A minor 4. B section: marchlike theme, A major

1. arpeggiated (rolled) chords 5. C section: F-sharp minor, variation of A theme 6. Coda: long extension of A major

1. arpeggiated chords: jingling quality 5. Beethoven’s Moonlight Sonata

1. thirty-two piano sonatas by Beethoven 2. Moonlight composed in 1801, first style period 3. title by poet, Ludwig Rellstab, 1832 4. sonata quasi una fantasia, fantasy sonata 5. three movements

1. mvt. 1: modified strophic form, looks ahead to Romantic era 2. mvt. 2: scherzo and trio, frequent syncopations 3. mvt. 3: sonata-allegro form, Presto agitato, restless motion

6. Listening Guide 36: Beethoven, Piano Sonata in C-sharp minor, Op. 27, No. 2 (Moonlight) (1801)

1. mvt. 1: Adagio sostenuto; modified song form 1. delicate theme, expressive minor key 2. continuous triplet pattern in accompaniment 3. ethereal mood

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4. two strophes separated by development section 2. mvt. 2: Allegretto; scherzo and trio form

1. lilting triple meter, major key 2. scherzo theme in short phrases 3. trio: emphasis on third beat, accented downbeat bass chord

1. asymmetrical feel 2. gentle and dancelike

3. mvt. 3: Presto agitato; sonata-allegro form 1. fast duple meter, unrelenting motion 2. dramatic dynamics, sudden accents 3. theme 1: rocket theme, active accompaniment 4. theme 2: more lyrical 5. coda: free cadenza-like passagework

Classical Choral Music and Opera

I. Sacred Vocal Genres of the Classical Era 1. Mass, Requiem, oratorio

1. Catholic and Protestant churches: patrons of choral music 2. 19th century, performed in concert setting

2. Mozart’s Requiem: Mass for the Dead 1. Mozart’s last composition, left incomplete 2. four soloists, four-part chorus, and orchestra 3. Dies irae (Day of Wrath):

1. 13th-century Latin text by Thomas of Celano 2. last portion completed by Mozart

3. Listening Guide 37: Mozart, Dies irae, from Requiem, K. 626 (1791) 1. dramatic opening: full chorus and orchestra

1. homophonic setting 2. “Tuba mirum” (wondrous sound): trombone solo and bass singer 3. other soloists enter one by one 4. solo quartet follows 5. dramatic full chorus ending: dotted rhythms, syncopated chords 6. last line: sung softly

4. Haydn’s oratorio The Creation 1. composed in London 2. Haydn: inspired by Handel’s Messiah 3. libretto: Genesis, and Milton’s Paradise Lost 4. scored for chorus, orchestra, and soloists

1. soloists: Adam, Eve, and three archangels: Raphael, Uriel, Gabriel 5. Overture: “Representation of Chaos”

1. ambiguous tonality, dissonance, chromatic harmonies 6. Part I: first four days of Creation

1. begins in C minor, “Let there be light” shift to C major 5. Listening Guide 38: Haydn, The Creation (Die Schöpfung), Part I, closing (1798)

1. creation of the sun, moon, and stars

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1. free rhythmic style 2. No. 12: recitative secco, Uriel 3. No. 13: recitative accompagnato, Uriel

1. dramatic changes of dynamics, tempo 4. No. 14: “The Heavens Are Telling”

1. choral passages and solo trio of angels 2. triumphant mood, forte dynamics 3. C major; reference to “night” in C minor

5. crescendo and accelerando to end 1. final phrase: massive chords, majestic cadence

II. Classical Opera 1. Opera reached the widest public 2. Opera seria: serious Italian opera

1. recitatives and arias: display virtuosity 2. librettos by Pietro Metastasio (1698–1782)

1. stories from classical antiquity 3. Christoph Gluck (1714–1787), opera reform

1. simplicity, naturalness 2. highly expressive music drama

4. Comic opera: lighter genre, popular 1. ballad or dialogues (England), Singspiel (Germany), opèra comique (France

), opera buffa (Italy) 2. sung in the vernacular 3. satirized aristocracy 4. farcical situations, humorous dialogue, popular tunes 5. ensemble singing 6. buffo: comic character, bass voice, asides to the audience 7. opera buffa: culminated in works of Mozart

5. Mozart’s Opera Don Giovanni (Don Juan) 1. combines style of opera buffa and opera seria 2. libretto by Lorenzo da Ponte 3. main characters:

1. Don Giovanni: aristocrat, amoral womanizer 2. Leporello: the buffo, Giovanni’s servant 3. Donna Anna: noblewoman 4. Commendatore: Donna Anna’s father

4. plot summary: 1. Don Giovanni tries to seduce Donna Anna 2. Don Giovanni kills the Commendatore in a duel 3. famous love duet “Là ci darem la mano” between Zerlina, a bride,

and Don Giovanni 4. graveyard statue of Commendatore kills Don Giovanni

6. Listening Guide 39: Mozart, Don Giovanni, Act I, Scene 2 (1787) 1. Aria: Donna Elvira with Don Giovanni and Leporello

1. Donna Elvira: spurned by Giovanni 2. sings of revenge: disjunct melody, sudden dynamic changes, quick

tempo

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2. Recitative: Donna Elvira, Don Giovanni, Leporello 1. accompanied by continuo instrument only

3. Catalog Aria: Leporello 1. opening: Allegro, patter (syllabic text setting), duple meter 2. second section: triple-meter Andante, more lyrical 3. sings of Giovanni’s conquests

III. From Classicism to Romanticism 1. Classical era: culminated in Vienna, Viennese School

1. Haydn, Mozart, Beethoven 2. 19th-century Vienna

1. Franz Schubert, Johannes Brahms, Gustav Mahler PIECES: Mozart, Don Goivanni