IV. THE CLASSICAL PERIOD
Part Outline
Time-Line and Introduction
1. The Classical Style (1750-1820)
Characteristics of the Classical Style
Contrast of Mood
Rhythm
Texture
Melody
Dynamics and the Piano
The End of the Basso Continuo
The Classical Orchestra
Classical Forms
2. Composer, Patron, and Public in the Classical Period
Vienna
3. Sonata Form
Exposition
Development
Recapitulation
Coda
4. Theme and Variations
5. Minuet and Trio
6. Rondo
7. The Classical Symphony
8. The Classical Concerto
9. Classical Chamber Music
10. Joseph Hadyn
Haydn’s Music
11. Wolfgang Amadeus Mozart
Mozart’s Music
12. Ludwig Van Beethoven
Beethoven’s Music
Listening Guides in Part IV
- Symphony No.40 in G Minor, K.550, by Wolfgang Amadeus Mozart
- Symphony No.94 in G Major (Surprise): Second Movement, by Joseph Haydn
- Eine kleine Nachtmusik (A Little Night Music): Third Movement, by Wolfgang Amadeus Mozart
- String Quartet in C Minor, Op.18, No.4: Fourth Movement, by Ludwig van Beethoven
- Trumpet Concerto in E Flat Major: Third Movement, by Joseph Haydn
- Don Giovanni: Excerpt from Opening Scene; Madamina, by Wolfgang Amadeus Mozart
- Piano Concerto No.23 in A Major, K.488: First Movement, by Wolfgang Amadeus Mozart
- Piano Sonata in C Minor, Op.13 (Pathétique): First Movement, by Ludwig van Beethoven
- Symphony No.5 in C Minor, Op.67, by Ludwig van Beethoven
Terms in Part IV
sonata formexpositionbridge; transition
developmentmotiverecapitulation
codatheme and variationscountermelody
minuetminuet and trioda capo
serenaderondosonata-rondo
symphonyconcerto cadenza
chamber musicstring quartet
IV-1. THE CLASSICAL STYLE (1750-1820)
Objectives
This section opens with a general survey of some nonmusical aspects of the classical period. The work of some great figures of the “age of enlightenment” is discussed, and the effect of these men on this age of revolution. The contributions of such rococo artists as Watteau and Fragonard, the neoclassicist David, and such socially conscious artists as Hogarth and Goya are evaluated. Bach’s sons are mentioned as representatives of the style galant, and their work related to that of the rococo artists. The problematical term classical is defined, and the remainder of the section seeks to define (often in comparison with the baroque) the various elements of classical style: contrast of mood, flexible rhythm, homophonic texture, melody, dynamics and the piano, the end of the basso continuo, the classical orchestra, and a general statement on classical forms.
Discussion Topics
1. This section is designed as a general introduction to the classical period, and as such is quite self-sufficient. An exercise for comparing this period with the previous one may be found in the workbook, and it is suggested this be discussed either in class or as an assignment.
2. If you wish to discuss the style galant, you might compare one of the compositions of J. C. or K. P. E. Bach to Fragonard’s The Swing. The same pleasant salon style should be recognizable in both, and therein lay their charm. More importantly, in a course where nearly all works discussed are masterpieces, one needs the valleys to heighten the mountains. Listening to this light, unpretentious music, one develops a more genuine appreciation for Mozart. One could also mention that the style galant was the popular movement at the time of the founding of our nation.
3. In discussing the general characteristics of the classical period, consider Jacques-Louis David’s Death of Socrates. The subject is taken from classical antiquity, the forms are clearly and realistically drawn, and the treatments are clearly objective (for background on the subject matter, see The Oxford Companion to Classical Literature, p. 399).
4. For more detailed information about specific composers, visit their sites via the WWW Virtual Library, Classical Music, Composers page, < The Eighteenth-Century Resources site, mentioned in IV-1.3 above, also has a special music index.
5. The workbook has a listening exercise to aid in comparing late baroque with classical works stylistically. It is suggested you play portions of three works in class, allowing sufficient time for the students to fill in the blanks while listening. Space is available for them to write in their decision as to which period they feel it should be, and for them to write in the title and composer (once you’ve told them), should they wish to hear more on their own. If you wish to have a baroque, classical, and style galant work, modify the chart accordingly.
6. Later, in the unit on Romanticism, the workbook has a research project to illustrate the changes that have taken place in the symphony orchestra. The students are asked to compare, and place in a seating plan, the instrumentalists called for in Bach’s Brandenburg Concerto No. 5, Haydn’s Surprise Symphony and the Fantastic Symphony by Berlioz. The project can be introduced at this time with a comparison of baroque and classical ensembles.
Questions and Topics
1. Describe the intellectual climate of the “age of enlightenment.”
2. Discuss the diverse meanings attached to the term classical.
3. Discuss the principal movements in the visual arts that spanned the period between the baroque and classical periods in music.
4. Discuss the characteristics of the so-called style galant.
5. Discuss some respects in which classical music differed from that of the baroque.
6. Rococo in art, style galant in music: a study in parallels.
7. The development of the orchestra during the classical period.
IV-2. COMPOSER, PATRON, AND PUBLIC IN THE CLASSICAL PERIOD
Objectives
This section sketches the political and social climate of the classical period, an era that witnessed the French and American revolutions and the Napoleonic Wars. The musical taste and practices of the rising middle class are described, as is the influence of this middle class on the composers of the time. The section ends with a description of musical Vienna during the classical period.
Discussion Topics
1. In discussing some of the political events of the time, you may wish to refer to the illustration of Goya’s The Third of May, 1808. Though painted in the classical period, the work has all the characteristics of romanticism. The subjective treatment of the scene puts the viewer squarely on the side of the peasants, even though this was a revolt against established authority and order as understood by the aristocracy at the time. The use of the lantern as a spotlight dramatically highlights the central figures: a person in an obvious martyr pose and a simple cleric, clearly suggesting that the common levels of the church (as opposed to the aristocratic bishops and princes) are on the side of the rebellion, and these are martyrs for a cause. Comparing this work with the Death of Socrates by David will visually show the differences between the classic and romantic spirits.
2. The status of the musician as a skilled servant can be discussed, using the situations of Haydn, Mozart, and Beethoven as examples (see “Haydn’s Duties in the Service of Prince Esterházy,” MWW 81).
3. A discussion of the rise of the middle class in this period can concern the question of musical tastes and fashion. For example, the middle class consciously attended public concerts and operas, and provided their children with music lessons to fit them for society. Ask how many of the students have had music lessons (assuming most of them consider themselves as “middle-class”), and how many public concerts and/or operas they have attended in the past year. Further, you may wish to question if, because of this class, they intend to provide such lessons for themselves or their children in the future (a good time for another commercial, if you have classes available for them to take, and opportunities for instrumental and vocal music making through classes or in community choruses, bands, or orchestras).
4. Paul Rice (Memorial University of Newfoundland) recommends the video Music of an Empire which shows the historical circumstances that made Vienna the musical capital of Europe (Man & Music series, FfH&S, ANE1773, 53 minutes, color). Should you wish to quote some writings from the period, the two excerpts from J. F. Reichardt (SSR nos. 75, 77) give fascinating insights into the musical life of Vienna and the major figures on the scene. See also “Vienna, 1800,” MWW 90.
Questions and Topics
1. Discuss some political events and sociological factors that made the classical period such a time of violent upheaval.
2. Compare the means by which the three great classical composers supported themselves.
3. Discuss the role of the middle class in the musical life of the classical period.
4. If students consider themselves “middle class,” can they play a musical instrument, and will they provide music lessons for their children?
5. Describe the musical life of Vienna in the classical period.
6. Beethoven’s benefactors.
7. Haydn and the Esterházys.
8. Folk music in the classical period.
IV-3. SONATA FORM
Objectives
A clear distinction is made between the sonata and sonata form (or sonata-allegro form). Sonata form is then divided into its three main components, exposition, development, and recapitulation, and the characteristic properties of each section are analyzed. The optional slow introduction and coda are also discussed. The section ends with a discussion of the first movement of Mozart’s Symphony no. 40 in G Minor, for which a Listening Outline is provided.
Discussion Topics
1. It might be helpful to the students if you outlined sonata form on the board, showing the tonal plan as you do so (since the material is already in the text, this should be done quickly, as the students will not need to copy from the board). Later, while playing the Mozart movement, you can silently point to the various sections as they occur, without causing the mood to be broken.
2. As an illustration of sonata form, consider playing a short and relatively simple sonatina, such as the C major by Clementi.
3. Place the first movement of the G Minor Symphony in context, then play the movement once through for effect (8:12). It is recommended that multiple copies of the miniature score of the work be available, and after discussion using the text and chalkboard, students be encouraged to follow the score (with as much help as you feel the class needs, by circulating around the room helping students who might be lost, by calling out rehearsal numbers from time to time, or by pointing to the major sections outlined on the board). For home listening, draw attention to the Listening Outline in the text. In discussing the movement, you may wish to raise some of the following questions: can examples of sequence be detected in the bridge? What element of the first theme is present in the closing theme? How does insistent repetition contribute to the “closing” quality of this theme? How does the harmony contribute to the “closing” quality of this theme? Are there examples of sequence in the development? Where?
Questions and Topics
1. Identify those movements of a multimovement work that are likely to be in sonata form.
2. Compare and contrast the exposition and recapitulation of a movement in sonata form.
3. Describe the nature of the development section of a movement in sonata form, and discuss the musical techniques that are likely to be found therein.
4. Describe the role of the optional introduction and coda often found with sonata form.
5. Thematic development in sonata form.
IV-4. THEME AND VARIATIONS
Objectives
This section presents theme and variations form, and discusses some techniques by which a composer can vary musical ideas. The example given, complete with Listening Outline, is the second movement of Haydn’s Symphony no. 94 (Surprise).
Discussion Topics
1. You may wish to include Mozart’s variations on Ah, vous dirai-je, maman (probably better known to the students as Twinkle, Twinkle, Little Star), K. 265, mentioned in IV-I. Many CDs are listed in the latest Schwann Opus, and the music is easily available.
2. Another example, included in the set, is the theme and variations on “Simple Gifts” of Copland’s Appalachian Spring (see VI-15).
3. Depending on the sophistication of your class, you may or may not wish to tell the old legend about the reason for the “surprise” (Haydn supposedly said this would wake those who had fallen asleep during the performance). Do cover the Listening Outline, the basic techniques for providing variation, and the specific means by which Haydn provides variety yet maintains unity (6:14). The movement is included in the Videodisc Music Series edited by Fred Hofstetter and issued by the University of Delaware.
4. Another example, filled with humor but also illustrating various composer styles, is Edward Ballantine’s Variations for Piano on Mary Had A Little Lamb (2 vols., Boston: A. P. Schmidt, 1/1924, 2/1943). Vol. 1: Mozart (Agnelletto in C), Beethoven (Adagio), Schubert (Demi-moment Musical), Chopin (Nocturne (posthumous)), Wagner (Sacrificial Scene and Festmahl, from the tenth act of Lammfell), Tchaikowsky (Valse funèbre), Grieg (Mruks Klönh Lmbj), MacDowell (At a Lamb), Debussy (The Evening of a Lamb), Liszt (Grand Étude de Concert pour les deux mains, les bras, les épaules, le dos, et la chevelure). Vol. 2: Franck (Prélude Solennel), Schumann (Frühstück), J. S. Bach (Choralvorspiel Schneeweiss war sein Vliess), Brahms (Lambsody no. 1), R. Strauss (The Superlamb Tone Poem, freely after Mother Goose), Puccini (Aria: Maria Aveva from Mlle. Agneau), Stravinsky (Sonata in less than one movement), Gershwin (Lamb in Blue), J. Strauss (Waltz Gesang, Mädchen, und Lamm), Sousa (Mary and the Lamb Forever). Need more be said?
Questions and Topics
1. Discuss some procedures available to the composer of theme and variations.
2. Thematic variation in improvised jazz.
3. Theme and variations: its prehistory.
IV-5. MINUET AND TRIO
Objectives
This section explains the minuet-trio-minuet form and the internal structure of these larger sections. The Beethovenian transformation of this dance movement into the scherzo is considered, and the section ends with a discussion of and Listening Outline for the minuet from Mozart’s Eine kleine Nachtmusik.
Discussion TopicsSee also the comments on dance and its importance, II-2.16)
1. The text states “the minuet was a stately, dignified dance in which the dancing couple exchanged curtsies and bows.” Perhaps visions of a room full of ornately dressed gentlemen and ladies bowing and scraping in three-quarter time fills the head of the student, with even a vague recollection that the Father of our Country was known to have danced the minuet. A few minutes spent in correcting these misconceptions may well give a better appreciation for the importance of dancing, the reason for the minuet’s inclusion in symphonic forms even after it lost its popularity as a dance, and the period as a whole.
It is impossible to have a feeling of baroque and classical style without some appreciation for the importance of the dance. For an interesting and insightful introduction, see Catherine Turocy’s The Pleasures of the Dance: A delightful Journey into the Baroque of 18th Century France (Jarvis Conservatory Master Series, NapaCalifornia, 29 minutes). Further information and practical suggestions may be found in Wendy Hilton’s Dance of Court & Theater (Princeton Book Publishers, 1981). Even selected readings will bring rewarding insights and pleasures to anyone exploring the subject, and the minuet figures quite prominently. For dance in America, see “If the Company can do it!” Technique in Eighteenth-Century American Social Dance by Kate Van Winkle Keller (The Hendrickson Group, P. O. Box 766, Sandy Hook, CT 06482-0766). Consider also the two-volume Introduction to Baroque Dance mentioned in III-12 above, which has costumed dancers reconstructing social and theatrical dances from Feuillet’s Chorégraphie (1700).
The minuet was a product of the court of Louis XIV, and reflects its stylization and refinement. Classical ballet today is an outgrowth of that court, and the five basic positions were first outlined by Louis’s dancing master. The minuet was normally danced by one couple, while the others observed, flirted, or carried on conversations. The couple would first bow/curtsy to the presence (Louis, or the highest ranking nobleman present) and then to each other. They would then commence an intricate series of steps, tracing patterns with their feet on the floor that would frequently cover the full dancing area. The giving of hands while turning gracefully, and the beautifully embellished “Z” figures can make this a most sensuous dance, far from the common misperception. Steps were small, and the movements clear and economical, full of dignity and poise. The pattern consisted of four steps in six beats, or two measures of music (an important point for conductors and performers to remember so that the music does not become a One-2-3 waltz). The couple would end facing the presence, and pay their respects again.
2. To give some feeling of the difficulty of this dance, have the class execute some of the simpler movements. Since the five positions are basic to the dance and ballet, begin with them. One can usually find a student with ballet experience to demonstrate and instruct the class in each position (descriptions and illustrations of the hand and foot positions may be found in Gail Grant’s Technical Manual and Dictionary of Classical Ballet, an inexpensive Dover edition, as well as other ballet reference books). Ask the class to stand comfortably in place (just notice the usual mixture of bad postures!). Now assume the first position (heels together, feet in a straight line for trained dancers, at a 45 degree angle for others), with chest and head up, stomach in (not so easy for some of us!), full of poise, dignity, and noble bearing. Assume that we are dressed in a beautifully ornamented costume, tightly laced or corseted for the ladies and quite heavy for the men. Men would also be expected to have a hat, usually quite ornate and quite heavy. Now try doing a demi-plié (bend the knees without lifting the heels off the ground, keeping the knees over the toes) followed by a relevé (rise up fully onto the toes, keeping the weight between the big toe and second toe, ankles straight and strong) a few times gracefully. One will begin to understand why the dancing master and daily practice were so important, and why, as with ballet dancers today, it took years of practice to become a good dancer.