The Classical Era: 1750-1800
Material chosen from the following:
Part 4 The Classical Era- p.166–169
Part 5 The Nineteenth Century- p. 233–237
Part 4 The Classical Era- p.166–169
- Chapter 20- Joseph Hayden, String Quartet in C Major, Mvt. II p.172-179
- Chapter 23- Wolfgang Amadeus Mozart, Symphony No. 40 in G Minor, K. 550 Mvt. 1 p.197-204
Part 5 The Nineteenth Century- p. 233–237
- Chapter 27- Ludwig van Beethoven, Symphony No. 5 in C Minor p. 240-246
- Chapter 30- Hector Berlioz, Symphonie Fantastique, Mvt IV (March to the Scaffold) p. 261-266
Elements of the Classical Era
- Theme & Variations
- Sonata Form
- The Symphony
Classical Terms/Elements
Musical Development/Historical Context-
String Quartet- A four piece chamber ensemble consisting of two violins, viola and cello (soprano, alto, tenor, bass)
Theme & Variations- The presentation of a central theme, followed by variations on that theme. Alterations of the melody can occur through harmony, melody, texture, dynamics or any combination.
- Age of Enlightenment- Thought that reason could bring humankind to a new age of splendor, freed from the dark superstitions of the past.
- Reflects principals of clarity, proportion and naturalness
- Melodies became more tuneful
- Symmetrical melodic phrases
- anticedent phrase- opening
- consequent phrase- closing
String Quartet- A four piece chamber ensemble consisting of two violins, viola and cello (soprano, alto, tenor, bass)
- First movement- Fast tempo in sonata form
- Second movement- Slow tempo in a contrasting key (subject to sonata form, theme & variations or ABA forms)
- Third movement- Usually a minuet, a lively stylized dance in triple meter.
- Fourth movement- Known as the finale, usually light and fast in rondo or sonata form
Theme & Variations- The presentation of a central theme, followed by variations on that theme. Alterations of the melody can occur through harmony, melody, texture, dynamics or any combination.
Joseph Haydn (1732-1809)- Quartet in C Major, op. 76 Mvt. II (1797)
When listening, consider the following components:
- Timbre- Listen to how the sounds all the instruments blend together while simultaneously standing on their own. Try and pick a voice (violin, viola, cello or bass) and follow it throughout the movement.
- Texture- Notice how the melody always appears in one of the instruments while the other three move around. Is the texture polyphonic or homophonic? Listen for passages in which not all of the instruments are playing.
- Melody- Listen for the pauses that break the melody into sections (phrases). Which phrases sound like endings? Which demand a continuation of the music? Which phrases are repeated?
- Form- Listen to the way the melody is first presented by one of the violins and then repeated with very little change by each of the other instruments across the course of the movement.
Jean Baptiste-Arban- Carnival of Venice
When listening, consider the following components:
Let's also consider the performance aspect of this piece.
- Timbre/Texture- Listen to the accompanying ensemble throughout the piece. How does the ensemble change when the soloist isn't playing. Listen for the accompanying material behind the soloist, as well as the interludes between variations.
- Melody- Listen for the introductory theme, after the opening cadenza. With each section that goes by, what does the composer variate? In what way is this type of variation different from the Haydn quartet?
- Form- Listen to the structure of the work as a whole. How many parts does this piece have (introductory material, variations, interludes, etc...)?
Let's also consider the performance aspect of this piece.
- What is most impressive about the work (consider the compositional construct AND the way in which is has been performed)
- How would this piece sound if it were arranged for piano? Would a performance with a pianist change the interpretation of the performer? What elements (if any) would he/she need to take into account?
Sonata Form- The most common form during the Classical Era. Allowed for the presentation, development and resolution of multiple themes within a single movement.
- Exposition- Introduces us to all the movement's thematic ideas. Theme 1 and Theme two are introduced. The exposition is repeated.
- Development- The middle part of the movement in which the thematic fragments from theme 1 and 2 are developed and modulate through a variety of key centers.
- Recapitulation- The last third of the movement. Themes we heard in the exposition are recapped–only this time in a different key (generally a 4th away from the exposition)
Mozart Sonata K545 (1st Movement) |
Uri Caine Ensemble K545 (1st Movement) |
The Orchestra-
- Strings- Instruments that produce sound by means of vibrating strings. Strings are usually played with a bow, although composers utilize plucking as a method for playing as well.
- Violin- The chief among string instruments. It's the smallest, has the shortest strings and is the highest pitched.
- Viola- About six inches longer than the violin. It produces a somewhat lower sound.
- Cello (violincello)- Played between the legs, it's the tenor equivalent of the string section. Lower range than the viola.
- Double Bass- Lowest string instrument. Played standing up.
- Harp- Originally a folk instrument, the harp is added to the orchestra for additional texture and color.
- Vibrato- By shaking the left hand as it stops the string, the performer can produce a controlled "wobble" in the pitch. This adds to the richness of the tone of the string.
- Pizzicato- Instead of bowing the strings, the performer plucks them. The resulting sound is a sharp attach, but it dies away quickly.
- Trill- A rapid alternation between two distinctly separate, but neighboring pitches.
- Glissando- A rapid run up or down the strings (most commonly utilized on the harp)
- Woodwinds- Originally, this was an instrument that emits sound when air is blown through a wooden tube or pipe. Modern woodwind instruments (flutes excluded) create sound when air is blown over a wooden reed attached to a mouthpiece.
- Flute- Metal instrument that emits sound when air is blown over an opening at the top of the instrument.
- Piccolo- Smaller cousin of the flute. Same principals for sound production except the piccolo is half the size of a regular flute.
- Clarinet- Wooden instrument that produces sound when air is blown against a single reed fitted to the mouthpiece.
- Oboe- A double reed instrument- two reeds tied together with an air space in between. When air flows through the reeds, vibrations create a nasal, slightly exotic sound.
- English Horn- Not English, nor is it a horn. A larger version of the oboe, also containing a double reed.
- Bassoon- A double reed instrument- functions as the cello of the woodwind section (tenor voice). Capable of melodic, lyrical lines as well as quirky, comical sounds.
- Contrabassoon- A double reed insteument. Larger version of the bassoon, capable of playing extremely low, sluggish notes.
- Saxophone- Not a member of the orchestra, although it's added from time to time. A single reed instrument (basic sound production similar to the clarinet). Made from metal.
- Brass- Instruments that produce sound by the use of a metal mouthpiece, combined with air and vibrations from the performers lips. By adjusting valves or slides, the performer lengthens or shortens the tubing of the instrument, changing the pitches (longer–lower: shorter–higher).
- Trumpet- The highest pitched among all brass instruments of the orchestra. This valved instrument can produce bright, piercing sounds as well as dark, mellow timbres.
- Trombone- Distantly related to the trumpet, except for the use of a slide instead of valves. The sound is large and full.
- French Horn- Similar in range to the trombone. Utilizes valves and has a curve shaped bell. Sound is more round and muffled than the trombone, but still possesses a majestic sound.
- Tuba- Lowest of all brass instruments. Produces full, rich tones that adds a different texture to the overall timbre of the brass section. Utilized mostly for foundation purposes.
- Percussion- Instruments that are struck in some way, either by hitting the head of a drum with a stick or banging pieces of metal together in one fashion or another.
- Timpani- Percussion instrument most often heard in classical music. Comprised of large drums that are struck with a mallet. Adds tension, depth and drama to the music.
- Bass Drum- A single large drum suspended from a metal frame. The low, dense sound is produced by striking the instrument on it's side with a mallet.
- Snare Drum- Highest drum, set on a stand. The sound produced is high pitched and tense.
- Crash Cymbals- Two pieces of metal, one in each hand. The sound is produced when a performer smashes each piece together. Other forms of cymbals exist, mainly in jazz.
Wolfgang Amadeus Mozart (1756-1791)- Symphony No. 40 in G Minor, K550 Mvt I (1788)
When listening, consider the following components:
Form- Listen for the repeated return of various themes over the course of this movement. Notice the contrast between the character of the themes.
Harmony- Listen for the contrast between key areas early in this movement. The change in keys coincides with a change in mood: the opening theme is in a minor key, the next main theme is in major. Which mode predominates in this movement?
Melody- How would you characterize the themes of this movement? What makes them different from each other?
Form- Listen for the repeated return of various themes over the course of this movement. Notice the contrast between the character of the themes.
Harmony- Listen for the contrast between key areas early in this movement. The change in keys coincides with a change in mood: the opening theme is in a minor key, the next main theme is in major. Which mode predominates in this movement?
Melody- How would you characterize the themes of this movement? What makes them different from each other?
The Nineteenth Century (Romantic): 1800-1900
Elements of the Nineteenth Century
- Freedom from convention–impulses of the individual and the freedom of the human spirit
- Influence of nature and natural surroundings
- Expansion of the orchestra
- Extreme textural contrasts
- Program music
Ludwig van Beethoven (1770-1827)- Symphony No. 5 in C Minor Mvt. I (1808)
When listening, consider the following components:
- Rhythm- Listen for the opening "short-short-short-long" motif and trace it's development. This rhythmic motif is carried throughout all four movements
- Dynamics- Notice the repeated and sudden contrasts between loud and soft
- Timbre- Listen to how Beethoven varies the sound of the orchestra, utilizing different sections at different times (combinations of strings or woodwinds, together and separately to aid the musical effect)
- Form- The first movement is in sonata form, can you trace the different themes and sections?
Hector Berlioz (1803-1869)- Symphonie fantastique Mvt IV "March to the Scaffold" (1830)
When listening, consider the following:
- Timbre- Listen for the massive sound of the orchestra, especially in the brass (trumpets, horns, trombones, and tubas) and percussion (timpany, snare drum, cymbals and bass drum)
- Word-Music Relationship- How does the music reflect the story associated with this movement?
- Form- Listen for the alternation between large sections of music in the minor mode and large sections in the major mode. What happens at the very end of the movement?
Program for March to the Scaffold
IV: March to the Scaffold. Convinced that his love has been ignored, the artist poisons himself with opium. The dose of the narcotic is too weak to kill him and plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed the woman he loved, that he is condemned, led to the scaffold, and is to witness his own execution. The procession moves to the sound of a march at times somber and fierce, at times brilliant and solemn, in which the muffled noise of the heavy footsteps is followed without any transition by the noisiest outbursts. At the end of the march, the first four measures of the idéee fixe reappear like a final thought of love interrupted by the fatal blow [of the guillotine].
The Rite of Spring
Stravinsky's ballet The Rite of Spring (Le Sacre du printemps) was so new and different that the audience at its premiere in Paris in 1913 rioted. Many found the harmonies, melodies, and rhythms to be beyond the limits of the acceptable, and they let their feelings be knowns. Yet within a few years it became an audience favorite around the world and remains so today.
In Ballet, music tells a story through movement. The idea of interpreting sound through gesture on stage has a long history, dating back to ancient times. Many operas, from the Baroque Era onward, have incorporated dance scenes. But the ballet as an independent genre–the focus of an evening's entertainment –did not come into its own until the nineteenth century. It has flourished since that time, however, thanks to the works like Stravinsky's The Rite of Spring.
Stravinsky's Rite was commissioned by Sergei Diaghilev for his Ballets Russes (The Russian Ballet), a company of largely Russian dancers who's home base was in Paris. The score follows the scenario of the ballot Stravinsky himself recalls as having first conceived in "a fleeting vision which came to me as a complete surprise...I saw in my imagination a solemn pagan rite. Sage elders, seated in a c rice, watched a young girl dance herself to death. They were sacrificing her to propitiate the God of Spring. I heard and I wrote what I heard. I am the belles through which Le Sacre passed." In the end, the scenario of the ballet was drawn up by Stravinsky and Nikolai Roerich, a leading expert in Russian folklore and ancient ritual. Originally called The Great Sacrifice, The ballet was eventually divided into two parts: (1) The Adoration of the Earth, and (2) The Sacrifice.
In Ballet, music tells a story through movement. The idea of interpreting sound through gesture on stage has a long history, dating back to ancient times. Many operas, from the Baroque Era onward, have incorporated dance scenes. But the ballet as an independent genre–the focus of an evening's entertainment –did not come into its own until the nineteenth century. It has flourished since that time, however, thanks to the works like Stravinsky's The Rite of Spring.
Stravinsky's Rite was commissioned by Sergei Diaghilev for his Ballets Russes (The Russian Ballet), a company of largely Russian dancers who's home base was in Paris. The score follows the scenario of the ballot Stravinsky himself recalls as having first conceived in "a fleeting vision which came to me as a complete surprise...I saw in my imagination a solemn pagan rite. Sage elders, seated in a c rice, watched a young girl dance herself to death. They were sacrificing her to propitiate the God of Spring. I heard and I wrote what I heard. I am the belles through which Le Sacre passed." In the end, the scenario of the ballet was drawn up by Stravinsky and Nikolai Roerich, a leading expert in Russian folklore and ancient ritual. Originally called The Great Sacrifice, The ballet was eventually divided into two parts: (1) The Adoration of the Earth, and (2) The Sacrifice.
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