classical period 1750-1820 order symmetry balance

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Classical Period 1750-1820 Order Symmetry Balance

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Page 1: Classical Period 1750-1820 Order Symmetry Balance

Classical Period1750-1820

Order SymmetryBalance

Page 2: Classical Period 1750-1820 Order Symmetry Balance

Abstract Music

Symphony Concerto Chamber Music (String Quartet) Sonata

Page 3: Classical Period 1750-1820 Order Symmetry Balance

Viennese School Composers

Mozart Haydn Beethoven Schubert

Page 4: Classical Period 1750-1820 Order Symmetry Balance

Patronage system

Composers were dependent on employers (kings, princes, queens)

Page 5: Classical Period 1750-1820 Order Symmetry Balance

Later . . . .

With the Revolutions . . . Social/Political changes began . . .

Page 6: Classical Period 1750-1820 Order Symmetry Balance

Review of Beethoven (1770-1827) Deaf Sketchbook Supreme architect Classical TRANSITIONAL to Romantic

Traits Strong dynamic contrasts Sudden accents Developments bigger Coda (tail) expanded SUBSTITUTED SCHERZO for MINUET Longer 4th movements

Page 7: Classical Period 1750-1820 Order Symmetry Balance

His Music

Symphonies (how many) Fifth symphony – most famous

First movement built on a ___-note motive

Form of first movement? Third movement was what?

Page 8: Classical Period 1750-1820 Order Symmetry Balance

The Eighteenth-Century Concerto

Comes from the word “consort” (partnership) Contains 3 movements

Fast Slow Fast

Classical concerto commonly featured solo instrument with orchestra

Most popular instruments Violin Piano

Page 9: Classical Period 1750-1820 Order Symmetry Balance

Concerto – Other Features

Cadenza Improvisatory “show-off” time for the soloist Comes near the end of the movement Orchestra falls silent

Double Exposition Orchestra – Introduces themes Soloist – Restates themes

Page 10: Classical Period 1750-1820 Order Symmetry Balance

Mozart and the Concerto Played a crucial role in the

development of the piano concerto

Written primarily for his own use

Piano Concerto in G Major, K. 453 1784 3 movements

I. Allegro II. Andante III. Allegretto: Theme and

variations

Page 11: Classical Period 1750-1820 Order Symmetry Balance

Beethoven and the Concerto

Wrote 5 piano concertos Violin Concerto in D Major (1806) (p. 288)

I. Allegro ma non troppo (Concerto form; 7-part Rondo Form ABACABA

II. Larghetto (Variation form) III. Allegro (Rondo form)

Page 12: Classical Period 1750-1820 Order Symmetry Balance

The Classical Sonata . . . An instrumental work written for one or two instruments, consisting of 3 or 4 contrasting movements. The movements followed the basic same multi-movement structure as the symphony, string quartet and concerto.

Written for either for a solo instrument (piano) or for a duo (violin and piano—equal partners with an equal say)

Haydn, Mozart and Beethoven wrote music influenced by the Turkish Janissary or military band. (Mozart’s Rondo alla Turca)

Beethoven’s Pathetique

Page 13: Classical Period 1750-1820 Order Symmetry Balance

Mozart’s Piano Sonata in A major, K. 331

1783 3 movements, but acts like a four-movement

work without the first movement Third Movement

Rondo form Influence of the Turkish Janissary band (p. 294)

Page 14: Classical Period 1750-1820 Order Symmetry Balance

Beethoven’s Pathetique, Op. 13

One of the most famous Pathos 1798 Three movements

I. Grave, Allegro di molto e con brio Sonata-allegro form

II. Adagio cantabile (ABACA) III. Rondo (ABACABA)

Page 15: Classical Period 1750-1820 Order Symmetry Balance

Sacred Choral Music

Mass (church music) Requiem Mass (church music) Oratorio – Large-scale dramatic work, of a

religious nature, performed by solo voices, chorus and orchestra; no costumes, acting or scenery

Page 16: Classical Period 1750-1820 Order Symmetry Balance

Haydn’s The Creation

From Genesis and Milton’s Paradise Lost Recitatives, solos and ensemble numbers are

assigned to three archangels – Gabriel, Uriel, and Raphael, and to Adam and Eve

(Description on p. 303)