Classical Era Midcentury Instrumental Music. STYLISTIC TRANSFORMATIONS Introduction of a new instrument, the fortepiano Contrasted with strings and winds

Classical EraClassical Era

Midcentury Instrumental MusicMidcentury Instrumental Music

STYLISTIC TRANSFORMATIONS

Introduction of a new instrument, the fortepianoContrasted with strings and windsFavored by amateurs and rising middle classDevelopment of the “Accompanied Sonata”

Domenico Scarlatti 1685-1757

Domenico Scarlatti 1685-1757

Sonata in D Major(1749)

NAWM pp. 59

C.P.E. Bach (1714-1788)C.P.E. Bach

(1714-1788)

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.

“There can be no art without form.”

Igor Stravinsky

“There can be no art without form.”

Igor Stravinsky

The Classical SonataThe Classical Sonata

Form: Three or Four MovementsFollowing Sonata Allegro FormImportant genre for amateurs

The Sonata CycleThe Sonata Cycle

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

Forms of MovementsForms of Movements

Theme and VariationRondoMinuet and TrioSonata-allegro form

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.



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.

Changes in the Classical Symphony

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.

Johann Stamitz(1717-1757)

Johann Stamitz(1717-1757)

Sinfonia a 8 in E-flat Major ( 1755 )

NAWM pp. 73

Founder of the Mannheim School

Giovanni Battista Sammartini (1701-1775)

Giovanni Battista Sammartini (1701-1775)

Symphony in F Major (1730?)

NAWM pp. 68

Symphony FormatSymphony FormatMOOD TEMPO FORM KEY

Mvt 1 serious fast sonata tonic

Mvt 2 calm slow sonata, NOT tonic

th & var, ABA

Mvt 3 dancelike moderate minuet & tonicor scherzo or fast trio

Mvt 4 lighter fast sonata or tonicsonata-rondo

Sonata-Allegro FormSonata-Allegro Form

Sonata FormSonata Form

tonic theme 1

theme 2

transition 1

usually repeated

theme 2

transition2

theme 1

recapitulation

development

exposition

(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

Sonata FormSonata Form

Mozart: Piano Sonata in A maj. K. 331, III

Rondo formJanissary influenceUse of Czech folk songLast movement “alla turka”

Swirling movement, leaping melodies, dronesImages of bells, triangles of a Janissary band.

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

Sonata-Allegro FormMozart: 40th Symphony, 4th Movement1st

Theme2nd

Theme

Modulating Bridge

Development Recap

Sonata-Allegro FormSonata-Allegro Form

Symphony No. 5, Mvt. 1Kamien, p. 193, CD #2

Exposition Development RecapitulationCoda

T1 B T2 CT T1 B T2 CtWhat?How?

•••—motive

What change from Expos?

What instruments?What

instruments?

LONG!•••—New

ideas

Sonata form

4.1. 2. 3.

Symphony No. 5, Mvt. 1Kamien,

Exposition DevelopmentRecapitulation


•••—motive

What change from Expos?

What instruments?What

instruments?

Sonata form

LONG!•••—New

ideas

Symphony No. 5, Mvt. 1

DD ee vv ee ll oo pp mm ee nn tt

Theme 2 reminder

•••— motive Based on Th

2Reminder of Th 1Horn

call w/ new answer

2 notes of horn call!1 note of horn call!!

1.a. 1.b. 2.a. 2.b.c.d. 2.e.

Clickfor guided listeningto the entire development.



DD ee vv ee ll oo pp mm ee nn tt

•••—motive isubiquitous!

Horn callw/ new answer

2 notes of horn call!1 noteof horn call!!Reminder of Th 2Back to1 note

Based on Th 2

Reminder of Th 1New

melody,motive R

Th 1melody& R

Based on Th 1

Clickfor guided listeningto the recapitulationand coda.



R e c a p i t u l a t i o R e c a p i t u l a t i o nn

•••— motive is ubiquitous!

Subdued horns +Bassoons!•••— in accompa-niment

Theme 2

Closing Th

Yes! It was an oboe. Now it continues w/ a short cadenza.

Important addition

Theme 1

Bridge4.a.b.


C o d aC o d a

Long!based mostly on •••— motivesome new ideas introduced



T1 B T2 CT T1 B T2 CtWhat?•••—

motive

This movement is UNIFIED like no earlier piece had ever been!

•••—motive

•••—motive

•••—motive

Listen to entire piece


I = contrasting key“time out,” lyricaldouble theme & variations (Why not a rondo?)

A B A’ B’ A” (?) A’’’ Coda Ths A & B Mood? Instruments?

Symphony No. 5, Mvt. 3I = scherzo (“joke”)

minuet & trio form & triple meter BUTcharacter is rough and rollicking, not genteel

•••—motive R

A B A’energy level?Perceived tempo?Texture?Dynamic?Virtuoso double bass

Symphony No. 5Bridge between mvts. 3 & 4

Listen for:timpani: •••— motive Rrepeated patterns--high stringsambiguous mode (How will this symphony end?)

C minor? (turmoil, struggle, failure)C major? (victory, triumph, overcoming)

Crescendo at end leads to Mvt 4




VERY LONG!Earlier themes reviewed including •••—

C Major!Triumphant mood

•••—motive R!

•••—motive Ra la mvt 3

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

Sonata form

(Introduction) Exposition Development Recapitulation (Coda)

Structure (organization) of a single movement

Sonata form

(Introdu Exposition Development Recapitulation

Structure (organization) of a single movement

Sonata formExpositionpresents musicalmaterial

Th 1More energy

fasterlouder

Tonic keyMood?Instrumentation?Accompaniment?

Bridge

ClosingSection

Transitions &modulates

Mozart--Symphony No. 40in G Minor, Mvt. 1

Th 2Less energy

slower Rsofter

Away keyMood?Instrumentation?Accompaniment?


Click to hear and track the Exposition.


Th 1

Bridge

Th 2

ClosingSection

transitions &modulates

Developmentexpands on, workswith musical material

theme(s) from exposreworking of themessense of conflictmodulations

What?

How?

Expositionpresents musicalmaterial

Th 1

Bridge

Th 2

ClosingSection


Sonata form

HOW might a composer work with the exposition’s

raw material?

Development checklist:Repeat themeFragment theme (and use part of it)Use imitationAdd counter melodyChange tone color (instruments)Change dynamicsChange theme’s rhythmChange theme’s characterChange accompanimentModulate (change key)

Development


What?

How?

Th 1

Bridge

Th 2

ClosingSection


Sonata form

Development Entirely based on Theme 1

Theme repeated in different keys.

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.

Sonata form

Bassoon counter-melody

Development Entirely based on Theme 1

Theme repeated in different keys.

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.

Sonata form

Bassoon counter-melody



What?

How?


Th 1

Bridge

Th 2

ClosingSection


Recapitulationreviews musicalmaterial

transitions

Th 1

Bridge

Th 2

ClosingSection

Sonata form



What?

How?


Th 1

Bridge

Th 2

ClosingSection


Recapitulationreviews musicalmaterial

transitions

Codaclosesmvt

Th 1

Bridge

Th 2

ClosingSection

How?Whatdoyouhear?

Sonata form

(Introduction) Exposition Development Recapitulation (Coda)

U

C & U C & UTh 1

Th 2

C

Th 1

Th 2

C

B B

Sonata formUnity & Contrast are balanced

LOG

Mozart

Symphony No. 40 in G Minor, K. 550, Mvt. 1

Symphony movement

I = Sonata form

What does “K. 550” mean?

Symphony

Origin: ca. 1700 OPERA 3-mvt. overtures (often called “sinfonias”)

Early 1700s--sinfonias performed without operas

1740s--sinfonias written as separate works & 4th mvt added

Symphony FormatMOOD TEMPO FORM KEY

Mvt 1 serious fast sonata tonic

Mvt 2 calm slow sonata, NOT tonic

th & var, ABA

Mvt 3 dancelike moderate minuet & tonicor scherzo or fast trio

Mvt 4 lighter fast sonata or tonicsonata-rondo

K. 550 Symphony in G minor, No. 40

July 25, 1788One of the last and most beautiful of the master.Labeled “Romantic” by the people of the time for

IntensityChromaticismUnconventionalityThematic developmentAbundance of IdeasAmbiguity.

A Roadmap for Form: The First Movement

Sonata allegro.

Exposition.Theme for violins in Gminor.

Three note motive that is prime for development, sequence.

Transition coupled with crescendo to go into the second theme in Bflat major.

Build up of tension.

Codetta keeps the listener in the contrasting key.

Development:

Develops the three note motive from the beginning.

Changes melody.

Combines motives.

Sequences downward.

Inversion of motives.

Build up of tension.

Recapitulation

Follows the exposition.G-minor remains the home key.

Tender… this is a change from convention. Most composers would go to G major just to end the work in a triumphant sound.

Structure of MusicStructure of Music

Melody carried the interestForm still needed to give meaning

Note power of the human voiceInstrumental music uses strong melody as power

Documents

Classical Era Midcentury Instrumental Music. STYLISTIC TRANSFORMATIONS Introduction of a new instrument, the fortepiano Contrasted with strings and winds