Classical Era Flashcards
Who wrote “Essay on the True Art of Playing Keyboard Instruments” ?
C.P.E. Bach
Who is C.P.E. Bach?
Second son of J.S. Bach
Played role in creation of modern piano idiom
Dramatic sonata style powerful influence on Classical era
Wrote treatise, “Essay on the True Art of Playing Keyboard Instruments”
Who is Christoph Wllibald Gluck?
Liberated outmoded conventions of serious opera, brought it into harmony with thought and feeling of Classical era
Restored the chorus (part of dramatic action)
Minimized contrast between recitative and aria (composed in arioso style)
Made overture important part of score (used themes later heard in opera)
Aimed for “Beautiful simplicity”
What is Sonata-Allegro Form?
Used in first movement of Classical Sonata Cycle
3 sections:
Exposition, Development, Recapitulation
Describe the Exposition in Sonata Allegro Form
Theme 1 is fast and in the tonic key
Bridge leads to 2nd theme
Theme 2 is in a contrasting key (dominant/relative major)
Closing section (coda)
Describe the Development in Sonata Allegro Form
Themes are varied, expanded, contracted, and played in different keys
Sense of tension and restlessness
Dominant preparation leads back to tonic key
Describe the Recapitulation of Sonata Allegro Form
Theme 1 and 2 in tonic key
Opposing elements resolved, triumphant resolution
Coda leads to final cadence in tonic key
Describe the Classical symphony
4 instrumental families of orchestra (30-40 players): Strings (heart), woodwinds (accompany strings), brass (sustained harmonics), percussion (rhythm)
Haydn/Mozart created dynamic style of orchestral writing, all instruments participated actively, each timbre heard interchange/imitation of themes among group created excitement of “witty conversation”
Abrupt changes in dynamics, sudden accents, dramatic pauses, tremolo and pizzicato, all added drama/tension
Haydn wrote 100, Mozart 40, Beethoven 9
4 movements: Sonata-allegro, Adante/Adagio, Classical, Rondo
Describe the first movement of the Classical Symphony
Sonata-allegro form
Slow introduction
Describe the second movement of the Classical Symphony
Adante or Adagio
Slow movement in A-B-A form
Shortened sonata or theme & variations
Lyrical songful melody
Describe the third movement of the Classical Symphony
Minuet and trio (Beethoven used scherzo and trio)
A-B-A with symmetrical 4 and 8 bar phrases
Tempo stately, lively, whimsical
Scherzo A-B-A faster than minuet, vigorous rhythm
Describe the fourth movement of the Classical Symphony
Rondo form, A-B-A-C-A
Lively with spirit of dance
Catchy theme, lent itself to being heard over/over
Describe “Symphony No.104 (London)”
By Haydn Commissioned by impresario Saloman Four movements: 1st: Adagio D- 2nd: Adante, A-B-A G+ 3rd: Minuet and Trio, A-B-A D+ 4th: Sonata-allegro form, spiritoso, D+
Describe the first movement of “Symphony No. 104”
Solemn intro in D-
Adagio/Allegro
Fanfare-like motive announced in unison by orchestra
Sets up atmosphere of “strageness and wonder”
Theme I in D+, wonderfully energetic
Theme II same melody as Theme I in A+
- MONOTHEMATIC technique typical of Haydn, opposition between two keys
Slow intro in D-
Exposition - Allegro
Theme 1 in D+, violins lively, 2 motivic ideas
Transitional themes (1 energetic, 2nd descending, modulates to A+)
Theme 2 same melody as theme 1, dominant
Closing theme, two motives, lower light, staccato
Development manipulates motives, minor, expands second motive of theme 1
Recapitulation - Theme 1 returns in D+ in oboe, countermelody in flute
Theme 2 returns to tonic
Closing builds rhythmic activity until end
Describe “The Creation” by Haydn
Inspired by “Messiah” when heard at Westminster Abbey
Libretto from Genesis, Milton’s Paradise Lost”, Baron von Swieten translated English into German
Biblical basis The Creation of the world
2 years to write, 2-1.5 hours to perform
Premiered in Vienna 1779, successful
Recitatives, solos, ensemble numbers assigned to 3 archangels:
Gabriel (soprano), Uriel (tenor), Raphael (bass), and Adam (baritone), Eve (soprano)
Archangels’ voices contrast chorus, represent holy Host
Who wrote the Libretto of “The Creation”?
Genesis, Milton’s “Paradise Lost”
Baron von Swieten translated English into German
Describe Part I of “The Creation”
Uriel’s recitative both secco and acommpagnato
Describes 3 kinds of light - sun, moon, stars
Raphael’s recitatives in C-, chorus begins PP, image of before dawn then shifts to C+ at “Let there be light” (text painting)
Introduces 4th day of creation
Accompanied recitative; loud chords punctuate phrases of text, voice free rhythm
Adagio, with quiet, sustained low strings; voice soft/slow-moving with strings, suggestive of text
Allegro, marked forte, voice punctuated by dotted rhythm pattern, freer delivery
Describe the Chorus and Trio of “The Creation”
“The Heavens Are Telling”
Text came from Psalm 19
Polyphonic opening; tenors/basses begin, answered by sopranos and altos, loud/triumphant
Choral passages contrasted with interjections by trio of archangels
Symmetrical 4 bar phrases - 4 voices sing in unison, enter in imitation at times
Trio alternates with orchestra; shift to C- signals night
Climax builds through crescendo, accelerando to end
Final phrase - all voices together in massive chords, majestic cadence
What are Mozart’s 3 styles of opera?
Opera buffa - Italian comic
Opera Seria - Italian serious
Singspiel - Light form of German opera, spoken dialogue
Describe the importance of “The Marriage of Figaro”
Composed by Mozart
1786, peak of his career
Librettist: Lorenzo da Ponte - dramatic vitality matched Mozart’s
Da Ponte adapted libretto from play by Beaumarchais
- satirized upper classes, allowed servant, Figaro, to outwit master
King Louis XVI read script, proclaimed detestable
Queen Marie Antoinette persuaded him to allow play to be produced
Play forbidden in Vienna
Opera produced at Vienna’s Imperial Court Theatre in 1786
Genius took stereotyped characters of opera buffa, created real human beings who came alive through music
Who was the librettist of “The Marriage of Figaro”?
Lorenzo da Ponte
Who wrote Don Giovanni?
Mozart
