GLUCK AND OPERATIC REFORM
• German-born composer Christoph Willibald Gluck (1714-1787) occupies an important place in the history of opera b/c of the reforms he introduced.
• Primary goals were to restore dramatic integrity to opera. He believe that the music should serve the poetry.
• Restoration of the many chorus (long absent from Italian opera) by making it an integral part of the dramatic action
• Minimizing the contrast between recitative and aria by frequently composing in an arioso style.
• Making the overture an organic part of the score by using themes that would be heard later in the opera
• The rejection of empty displays of virtuosity in favour of as he put it “a beautiful simplicity”
• Operas Orfeo ed Euridice, Alceste, Iphigenie en Aulide, Iphigenie en Tauride.
WOLFGANG AMADEUS MOZART (1756-1791)
MUSICAL STYLE:
• Exemplified Viennes Classical idéals : élégance, balance, poise, refinement, and sophistication
• Virtually all classical genres were explored, advanced and developed
• Skilful use of counterpoint within homophonic texture
• Frequently utilized symmetrical phrase structures(4 measure phrases)
• Contributed to the development of sonata form
• Used double exposition sonata form in the 1st movement elements
• Influenced by the Mannheim orchestra, his orchestral writing expanded the use of wind instruments.
• Crystallized the 18th piano style both in his solo works and concertos
• Operas was central to his career; made important contributions to 3 types:
1. Opera seria ( serious Italian opera, sung throughout), Idomeneo
2. Opera buffa (Italian comic opera, sung throughout) The Marriage of Figaro
3. Singspiel (German comic opera with spoken dialogue)The magic Flute
• Created compelling, realistic character, dramatically and musically
• Used the conventional recitative secco to quickly advance the plot
• Used sectional forms in his arias to allow shifting moods and points of view in his characters
• Absorbed vocal qualities and melodic lyricism into his instrumental writing
• Works catalogued by Ludwig von Kochel in 1862 (“K” numbers in titles of works refer to this catalog)
GENRES AND TITLES:
• Symphonies: over 40, no 35 “Heffner”, no 36 “Linz”, no 38 “ Prague”, no 40 “Romantic”, no 41 “Jupiter”
• Concertos: piano 27, violin 5, flute and harp, oboe, clarinet, horn
• Chamber music: string quartets 23 “The Hunt”, and “Dissonance”, duo sonatas, trios, quintets, serenades, divertimenti
• Solo piano music: sonatas, fantasias, variations
• Operas:more 20, The Abduction from the Seraglio, Don Giovanni, Cosi fan tutte and other above
• Vocal works: Lieder, concert arias, motets, and masses Coronation Mass and Requiem Mass.
THE CLASSICAL PIANO CONCERTO
BACKGROUND
• The concerto developed in the Baroque period as 3 movement work for orchestra with soloist(s)
• The ritornello form typical of the baroque era was replaced in the Classical period with sonata form
• The sonata was adapted by Mozart into “double exposition” or “1st movement concerto” form
• The piano concerto emerged in the classical era eclipsing the violin concerto in popularity
CARACTERISTICS
• 3 movements (fast slow fast)
• 1st demonstrated sonata form with double exposition
• Cadenza launched form the cadential 6 chord usually prepared by soloist
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THE CLASSICAL PIANO SONATA
BACKGROUND:
• Term sonata comes from Italian sonare – “to sound”
• Originally the term designated instrumental works as opposed to vocal works
• In Baroque period the term sonata was used in reference to solo and chamber works
• The Baroque keyboard sonata was typically a single movement work in binary or rounded binary form
• In Classical the sonata cycle was applied to the solo sonata , the multi movement keyboard sonata emerged
CHARACTERISTICS:
• Usually in 3 or 4 movements
• 1st typically in sonata form
• 2nd slow, could draw on several different forms (sonata, rondo, theme, an variations)
• Final – in sonata, rondo, sonata- rondo form
• Outer movements usually emphasize technical brilliance while the slow movement demonstrates lyricism
LUDWIG VAN BEETHOVEN (1770-1827)
MUSICAL STYLE:
• Superb designer/architect: planned and meticulously revised his compositions in sketchbooks
• Employed explosive accents, extreme dynamics contrasts
• Bold innovator, a highly original and influential figure
• Incorporated new orchestral instruments: piccolo, trombone, contrabassoon
• Exploited technological improvements to piano
• Developed and expanded classical forms- sonata, concerto, sonata: transformed every genre that he touched
• Innovations:
1. Replacing minuet and trio with scherzo (symphony no 5)
2. Use of cyclical structure (symphony no 5)
3. Programmatic elements (symphony no 6)
4. Inclusion of a chorus in a symphony (symphony no 9)
EARLY PERIOD “IMITATION”(UP TO 1802)
• Absorbed the classical style traits exhibited by Haydn and Mozart (use of sonata form)
• Strum und Drang influence evident in his preference for minor keys, particularly C minor and use of tremolo and abrupt contrasts
• Representative works: 6 string quartets op. 18; symphony nos 1 and 2 ; 1st 10 piano sonatas up to op.14