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DMA Comps > Classic 1750-1825 > Flashcards

Classic 1750-1825 Flashcards

1
Q

Albrechtsberger, Johann

A

1736-1809
Organist
Best known for theoretical writings - famous treatise on composition published in 1790
Taught Beethoven counterpoint for a year
Wrote sacred music: concerto, preludes and fugues for organ

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2
Q

Alla turca

A

A fad in 18th century Austria to write compositions in a stylized Turkish flavor
Turkish military bands advanced across Europe and laid siege to Vienna so thats where it stemmed from
Janissary bands consisted of: clarinets, trumpets, triangle, piccolo, large drum, two cymbals, oboes, horns, bassoons
Mozart uses this Turkish style in his A major Sonata K 331
Elements include, static harmony, alternation between major and minor and heavy jangling bass chords

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3
Q

Bach, Carl Philip Emanuel

A

1714-1788
Essay on the True Art of Playing Keyboard Instruments 1753
CPE Bach composed in the Empfindsamer Stil, a singing expressive style well suited to the clavichord
light gentle tone
Composed: keyboard sonatas, songs, concertos, chamber music, symphonies, and choral works
Succeeded Telemann in Hamburg

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4
Q

Bach, Johann Christian

A

1735-1782
“Milan Bach”
Spent several years training in Italy then went to England (also called “London Bach”)
Music master to the Queen
Early influence on Mozart who arranged some of his piano sonatas as concerti
His style is marked by small design, elegance and graceful melodies
His music had popular appeal especially to amateurs who found the sonatas easily playable

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5
Q

Bach, Wihelm Friedemann

A

1710-1784
Eldest son of JS Bach
Accomplished organist strong tradition of organ improvisation
Some of his compositions are conservative while others reflect Empfindsamer Stil and style galant
Style: freedom in details of harmony, melody and rhythm, contrasts of mood and an intensely personal, almost Romantic emotion which presages the 19th century

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6
Q

Ballad opera

A

Rose to prominence in England with the success of The Begger’s Opera in 1728
A reaction in England against foreign opera
Thomas Augustine Arne only other notable composer of opera in England in the 18th century

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7
Q

Baryton

A

Instrument like a large viola da gamba with an extra set of resonating metal strings
Haydn wrote 200 baryton pieces for his employer Prince Eszterhazy
Most of these pieces were in a trio combination with viola and cello

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8
Q

Beethoven, Ludwig van

A

1770-1827
German composer and pianist
Spans the transition from the classical to the Romantic era
Early, middle and late periods

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9
Q

Benda, Georg

A

1722-1795
Bohemian composer
Wrote sacred music and then theater music including Sinspiels - Der Jahrmarkt 1775 and Romeo und Julie 1776
15 stage works, many sacred cantatas, and oratorios, songs, 30 symphonies, concertos and solo keyboard works

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10
Q

Boccherini, Luigi

A

1743-1805
Virtuoso cellist and composer of chamber music
Worked in Madrid
140 string quintets, 100 string quartets, 65 trios, 30 symphonies, sonatas
Style: graceful melodies, variety in the formal design
Cello parts are rhythmically complex and highly ornamented

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11
Q

Calzabigi, Raniero

A

1714-95
Italian poet collab with Gluck to produce Orfeo ed Euridice 1762 and Alceste 1767
Both composer and poet sought to reform opera by bringing out the essential dramatic qualities of the subject
avoiding complications and subplots common in opera seria
Calzabigi gave Orfeo a happy ending (lieto fine), with the introduction of Amor (dues ex machina) who brings Euridice to the living

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12
Q

Clementi, Music

A

1752-1832
Composer and virtuoso keyboardist
One of the classic era keyboard composers coming close to Haydn, Mozart and Beethoven in stature
During his lifetime extremely popular as performer, composer, conductor and publisher
Lived and worked in England
Style is mature classicism brilliant passagework, Alberti bass, left-hand octaves and strum und Drang styles

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13
Q

Commedia dell’arte

A

Improvised comic genre popular in Italy from 16th century onward
Stock characters such as the dottore, servants, physician, military commander etc
Characters and plots served as the basis for 18th century comic opera librettists

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14
Q

Concerts spirituels

A

A series of French concerts in Paris
Founded by A.D. Philidor in 1725
Designed to provide music of devotional nature during Lent when opera was prohibited
Variety of vocal and instrumental music both French and foreign

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15
Q

Deus ex machina

A

Theatric device used since antiquity in which the main character or the main plot was rescued by some sort of divine power or circumstance
Often used to wrap up 18th century operatic plots

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16
Q

Dittersdorf, Karl

A

1739-1799
Viennese violinist and composer
Singspiels and instrumental works
Friend of Haydn’s

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17
Q

Double variation

A

Special kind of variation form found in late Haydn

Two themes in different keys and their variations alternate (A,B,A1,B1,A2,B2 etc)

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18
Q

Dramma giocoso

A

Middle of the 17th century refinement in comic opera libretto due to the librettist Carlo Goldoni
Plots of serious, sentimental or pathetic character began to appear
Opera buffa was replaced by Dramma giocoso = pleasant cheerful, non-tragic drama

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19
Q

Empfindsamkeit

A

Mid 18th century style of “sentimentality” or “sensibility” a refined passionateness and melancholy that characterizes some slow movements and obbligato recitatives in particular
Expressed through turns of harmony, chromaticism, nervous rhythmic figures and speech-like melody
Found in late concertos of Vivaldi

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20
Q

Esterhaza

A

Castle ancestral home of the Esterhazy family
Today it is in Hungary, not far from the Austrian city of Eisenstadt
Built by Nicholas I who was a great patron of the arts, wanted to emulate court life in Vienna and Versailles at Esterhaza
Served as Haydn’s residence for many years (middle-period works)

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21
Q

False recapitulation

A

Moment in sonata form where the principal thematic material returns (too early, wrong key or both)
This “false” recapitulation is followed by the real one
Usually found in the development
Heard in Eroica symphony

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22
Q

Freemasons

A

A group that valued the virtues of brotherly love
Dignity of the individual regardless of birth
Fraternal order, secret society that attracted many leading figures in politics, philosophy and arts
Goethe, Haydn, Mozart
The magic flute

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23
Q

Galant style

A

Elegant courtly style associated with pre-Classic and Classic Era music
Characterized by an emphasis on melody made up of short-breathed often repeated motives organized in two, three and four measure phrases combining into larger periods, lightly accompanied with simple harmony that stops for frequent cadences but freely admits seventh and diminished seventh chords

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24
Q

Gluck, Christoph Willibald

A

1714-1787
Synthesized in his operas Italian melodic grace, German seriousness, and French magnificence
Collab with Raniero Calzabigi = Orfeo
Gluck attempted to remove the abuses of Italian opera of the time such as the conventions of the da capo aria, excessive ornamental variation
Gluck strove to make the music serve the poetry, overture an integral part of the opera, adapt orchestra to dramatic requirements and lessen contrast between aria and recit
Succeeded Lully and Rameau with French opera in France

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25
Q

Gossec, Francois-Joseph

A 
1734-1824
French composer studied under Stamitz 
Large wind sections 
Music is noisy and for the masses and not the elite 
Precursor to the Romantic style
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26
Q

Guerre des Bouffons

A

Bitter dispute via pamphlets over the “virtues” of Italian opera
Debate took place in Paris sparked by Pergolesi’s La serva padrona
Followers of Lully = detested foreign Italian style and Rameau/ Rousseau = supported the growth of Italian style in France

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27
Q

Harmonie

A

French word used to designate the wind band (an octet) which many 18th century monarchs kept at their disposal
Oboes, English horns, clarinets, bassoons, Horns, basset horns, flutes
Used for entertainment: played divertimenti, cassations, serenades, nocturnes… dinner socializing music
Mozart and Beethoven arranged some operas and symphonies for harmonie’s

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28
Q

Hassles, Johann Wilhelm

A

1747-1822
Prolific composer of sonata form in Classic period
Pieces in the galant style

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29
Q

Hausmusik

A

Music for leisure time at home
Became popular in the four-hand piano music “table-music” and songs for solo voice and piano which a number of classic-era composers produced for the enjoyment of their friends and family

30
Q

Haydn, Franz Joseph

A

1732-1809
Austrian composer
Major exponent of classical style
musical director to prince esterhazy 1761-90
Works include: 104 symphonies, chamber and keyboard music, and oratorios

31
Q

Hummel, Johann

A

1778-1737
A student of Mozart and Haydn’s successor at the palace of the Esterhazy family
Virtuoso pianist wrote piano sonatas and concertos

32
Q

Intermezzo

A

A comic work performed between the acts of a serious opera in the 18th century
Origins from the intermedio and comic scenes of the 17th century Italian opera
Reform of opera around 1700 separated these scenes into separate works
Example: La Serva Padrona

33
Q

Jannisary band

A

Turkish military band became in vogue in Europe in the last part of the 18th century

34
Q

Koch, Heinrich Christoph

A

1749-1816
Introductory Essay on Composition 1787
described the form of the first movement of a classical sonata now known as sonata form or sonata- allegro

35
Q

Mannheim orchestra

A

Finest orchestra in Europe during the 18th century
Contributions include: extended crescendo passage
“Mannheim sign” = melodic appogiatura
“Mannheim rocket” = arpeggio rising through several octaves
Adapting and extending Italian overture style to the concert symphony

36
Q

Metastasio, Pietro

A

Poet and librettist
Important in 18th century opera reform
Extracted the comic portions of opera and standardized the form that came to be known as “Metastasian”
Features: 3 acts, six characters, historical subject matter, exit da capo arias that end each scene
Predecessor was Apostolo Zeno
They were both disturbed by the corruption of the literary aspect of opera and wanted to purify it

37
Q

Missa longs/ solemnis vs brevis

A

Missa Solemnis = high mass in its full form with all items sung
Misssa Brevis = abbreviated musical setting (usually just Kyrie and Gloria)

38
Q

Mozart, Leopold

A

Father of WA Mozart
Composer, violinist, teacher
Trained his children and took them on long tours throughout Europe

39
Q

Mozart, Wolfgang Amadeus

A

1756-1791
More than 600 works virtually of every genre of his time
Prolific and influential composer of the classic era
Student of Haydn
Symphonies, concertante, chamber works, operas, choral rep

40
Q

Opera ballet

A

Musical dramatic form that flourished in France started in the late 17th century
Campra, Mouret, Monteclair
Genre mixes elements of ballet (instrumental pieces, dances) and opera (recit, arias, chorus)

41
Q

Opera buffa

A

Comic opera
Opera reforms of the 18th century removed the comic scenes from serious opera and made them independent works
Intermezzi became opera buffa
Basing a piece on short motives that could be easily repeated or interrupted
Used duets, trios, quartets, and larger ensembles
Italian opera buffa, French opera comique, German Singspiel

42
Q

Opera comique

A

French form of comic opera. Musical numbers separated by spoken dialogue

43
Q

Opera semi seria

A

Second half of the 18th century both comic and serious elements are present
Ornate arias as well as ensemble finales

44
Q

Opera seria

A

Product of early 18th century operatic reform
Main librettist are Zeno and Metastasio
Three acts, each act having many scenes
6 characters
Subject matter = classical history or legend
Da capo aria = virtuosic singer
Regular alternation between recit and aria
Instrumental role is accompanimental
Purify opera as a literary genre
Libretto music more important than the music
Scarlatti, Handel, Vivaldi

45
Q

Ordres

A

Series of harpsichord or instrumental ensemble pieces in the same key
Couperin coined the term in his four harpsichord books
Dance rhythms
Highly decorated, published between 1713-1730

46
Q

Pergolesi, Giovanni Battista

A

1710-1736
La serva padrona Which set off the guerre des bouffons
Represents comic opera and the new gallant style
Short regular phrases (antecedent/ consequent) simple melodies with a clear distinction from the accompaniment

47
Q

Pleyel, Ignaz

A

1757-1831

Austrian composer, music publisher and piano maker

48
Q

Da Ponte, Lorenzo

A 
1749-1838
Italian poet and librettist 
Nozze, Giovanni, Cosi 
Wrote about 50 libretti in all 
Taught and lived in New York and brought Don Giovanni to NY in 1825
49
Q

Reichart, Johann Friedrich

A

1752-1814
German composer and writer, close contact with Goethe resulted in many songs
Songs tend to be strictly strophic
Variety is attained through singer’s interpretation of the text
The simple strophic song style is typical of the “second Berlin school” of song-writing

50
Q

Richter, Franz Xavier

A

1709-1789
Composer and singer who composed symphonies in the Mannheim style
Three movements, occasionally with a minuet as a last movement and with cantabile themes and orchestral textures typical of the Mannheim style

51
Q

Rescue opera

A

‘Category of opera comique in which the hero or heroine threatened by natural catastrophe, outlaw or tyrant is rescued at the last minute by a person of great courage
First popular in France at the end of the 18th century and later taken up in Italy and Germany
Beethoven’s Fidelio

52
Q

Rococo

A

Term borrowed from the visual arts designating a style from France ca 1690-1760
Characterized by ornamental delicacy and graceful elegance
Music - best used in relation to French music, particularly small-scale lute and harpsichord works (descriptive pieces of Francois Couperin), opera-ballets and French-influenced composers such as Telemann
Rococo style represented a shift in aesthetic from the lofty , serious style of Lully’s tragedie lyrique to a lighter approach favoring entertainment and embellishment rather than strong emotions
Opera-ballets tend to lack a continuous plot, sacrificing drama from display
Rococo is often used to refer to the pre-classical period in general, with a lighter galant aesthetic

53
Q

Salomon

A

1749-1815
German violinist, impresario and composer
Secured Haydn’s trips to London in 1790-1791 and 1794-95 for which the London symphonies were written
Works include: operas, vocal music, several violin concertos and chamber music

54
Q

Scarlatti, Domenico

A

1685-1757
Italian pre-classic composer and song of Alessandro Scarlatti
Mostly remembered for his harpsichord sonatas totaling 550
Sonatas are short, one-movement works mostly in binary form with two repeated parts (I-V, V-I) similar to Baroque suite movement

55
Q

Scena

A

A setting of a portion of a libretto for concert performance by a solo singer plus orchestra
May be called scena ed aria

56
Q

Scherzo

A

Replacement for the minuet
Normally in rapid 3/4 time and rounded binary form
Contrasting trio with return to the scherzo
Haydn used the term scherzo for the dance movements of his op 33 quartets but these do not differ much from the minuet
Beethoven wrote true scherzo movements
7th symphony expands the form by adding an additional trio and scherzo statement S-T-S-T-S
Standard component of the romantic and post-romantic symphony

57
Q

Schickaneder

A

Librettist for Mozart’s the Magic Flute

58
Q

Schobert, Johann

A

Died 1767
German composer well established in Paris
Mozart influenced by his sonatas for violin and piano

59
Q

Serenade (divertimento, cassation, nocturno)

A

Originally interchangeable designations for chamber pieces
“Chamber music” here does not always mean one player per part
Gradually a distinction was made between light and purely entertainment music (with the above titles) and more “serious” works which were normally called trio, quartet, etc.
Serenade was based on the standard classical three-movement FSF instrumental piece added marches, minuets, and movement with featured soloists and commissioned for special occasions
Cassations are informal pieces usually intended for performance outdoors and most common in Austria

60
Q

Singspiel

A

Musico-dramatic work with a German text written in the 18th or 19th centuries
Spoken dialogue alternates with songs and sometimes with ensembles, choruses, or more extended musical pieces
Setting frequently rural, fantastic or exotic
Characters often artisans or from lower class exhibit simpler humbler virtues than characters from opera seria
Two schools: Viennese (Mozart) and North German influenced by English and French comic opera (Hiller, Benda)

61
Q

Solo song

A

18th century rise of middle class - increased demand for accessible music
Rise of the piano, new expressive possibilities made it favored accompaniment
“Second Berlin School” song composers favored simple, diatonic melodies, strophic form, light minimal accompaniment
Ideal favored by Goethe who didn’t want his music obscured by complex music

62
Q

Stamitz, Johann

A

1717-1757
First generation of Mannheim composers
Foremost early classical symphonists 60 are extant
Wrote concertos, mass, vocal music and chamber works
Established great discipline for the Mannheim orchestra
Established custom of leading the orchestra from the concert master’s chair instead of the harpsichord

63
Q

Strum und Drang

A

“Storm and stress”
Term from German literature which applied to music of the 1770s and 1780s
Sort of outgrowth or late phase of Empfindsamkeit
Literature in this style stresses great emotional intensity and passionate violent outbursts
Several of Haydn’s symphonies (and string quartets) represent the musical version of this style
Characteristic of this is: minor keys, stormy restless agitates moods, abrupt dynamic changes, use of canon and other contrapuntal devices, element of surprise, harmonic and other.
German opera and other stage music of the 1770s notably the melodrama were influenced by the Sturm und Drang trend

64
Q

Sussmayer

A

1766-1803

Pupil of Mozart who completed the Mozart Requiem Mass

65
Q

Symphonie Concertante

A

Type of concerto for two or more solo instruments (strings or winds) and orchestra
Though called “symphonies” they belong to the history of the concerto
Two or three movements, first in classical ritornello or ritornello-sonata form and the last typically in rondo form
Style tends to be light and popular rather than heroic or grand

66
Q

Vanhal, Johann

A

1739-1813
Prolific and successful composer in Vienna who was acquainted with both Mozart and Haydn
His symphonies were masterworks of their kind

67
Q

Vaudeville

A

Popular tunes which were the basis of the first French version of light opera, opera comique from around 1710 until the middle of the century When they were replaced by ariettes, or original airs in a mixed French-Italian style

68
Q

Versuch einer Grundlichen Violinschule

A

Leopold Mozart’s treatise on violin playing and technique of 1756, one of a number of such treatises published around this time

69
Q

Versuch uber die wahre Art das Clavier zu spielen

A

Essay on the true art of playing keyboard instruments, part 1 and 2 published in 1753 and 1762
CPE Bach’s treatise on keyboard technique and musicianship in general
Alongside Quantz’s treatise for the flute and Leopold Mozart’s treatise for the violin, it is among our best sources of information about musical practices of the mid-18th century

70
Q

Violin obbligato

A

Composers such as Schubert and Mozart wrote sonatas for piano with violin obbligato or an accompanimental violin part which tended to double the right hand of the piano, provide rhythmic accents or serve merely as accompaniment

71
Q

Vogler, Georg Joseph

A

1749-1814
Organ builder who designed and added new ranks of pipes that approximated various orchestral timbres
He called his organ an orchestrion
In general the development of the organ did not keep up with contemporary style changes, and most organ builders did not concern themselves with the new orchestral sounds until the 19th century

DMA Comps (7 decks)

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