Classical

Lord Nelson Mass

"""is arguably Haydn's greatest single composition"".[1] Written in 1798, it is one of the six late masses by Haydn for the Esterhazy family composed after taking a short hiatus, during which elaborate church music was inhibited by the Josephinian reforms of the 1780s. The late sacred works of Haydn are masterworks, influenced by the experience of his London symphonies. They highlight the soloists and chorus while allowing the orchestra to play a prominent role. Though Haydn's reputation was at its peak in 1798, when he wrote this mass, his world was in turmoil. Napoleon had won four major battles with Austria in less than a year. The previous year, in early 1797, his armies had crossed the Alps and threatened Vienna itself. In May 1798, Napoleon invaded Egypt to destroy Britain's trade routes to the East. The summer of 1798 was therefore a terrifying time for Austria, and when Haydn finished this mass, his own title, in the catalogue of his works, was Missa in Angustiis (Mass for troubled times). What Haydn did not know when he wrote the mass, but what he and his audience heard (perhaps on September 15, the day of the very first performance), was that on 1 August, Napoleon had been dealt a stunning defeat in the Battle of the Nile by British forces led by Admiral Horatio Nelson. Because of this coincidence, the mass gradually acquired the nickname Lord Nelson Mass. The title became indelible when, in 1800, Lord Nelson himself visited the Palais Esterházy, accompanied by his British mistress, Lady Hamilton, and may have heard the mass performed."

London symphonies

"Considered Haydns crowning achievements, 6 of them. The London symphonies, sometimes called the Salomon symphonies after the man who introduced London to Joseph Haydn, were composed by Joseph Haydn between 1791 and 1795. They can be categorized into two groups: Symphonies Nos. 93 through 98, which were composed during Haydn's first visit to London, and Symphonies Nos. 99 through 104, composed in Vienna and London for Haydn's second visit.[1] All the London Symphonies, apart from one (No. 95), have a slow introduction to the first movement."

The Seasons

"Haydn was led to write The Seasons by the great success of his previous oratorio The Creation (1798), which had become very popular and was in the course of being performed all over Europe.The composition process was arduous for Haydn, in part because his health was gradually failing and partly because Haydn found van Swieten's libretto to be rather taxing. Haydn took two years to complete the work.The oratorio is divided into four parts, corresponding to Spring, Summer, Autumn, and Winter, with the usual recitatives, arias, choruses, and ensemble numbers. Intended to be bilingual, german and english, very difficult to do. Among the more rousing choruses are a hunting song with horn calls, a wine celebration with dancing peasants[7] (foreshadowing the third movement of Beethoven's Pastoral Symphony), a loud thunderstorm (ditto for Beethoven's fourth movement),"

Franz Joseph Haydn

(1732-1809). Most celebrating composer of his day. Served esterhazys, compose anything they wanted. Sheltered at the esterhazy place, first Anton and then Nicholas who was even more avid about music. Given freedom when Nicholas died, and Anton let him move to vienna. Mozart 24 years younger, thought he was incredible. Good business-man, sold his pieces to many publishing companies at the same time, originally not allowed to sell them. Kept current developments in music by streams of distinguished isitors, and some trips to vienna. Usually adds minuet movement before slow movement. Relied on conventions created by listeners expectations to create suprises. Galant style, songful melodies. Studied CPE Bach and liked his keyboard sonata emphindsam style. Wrote THe Joke, small rounded binary form. Inserts long rests between the theme and gives cadences, makes it sound like the song is ending but it isnt. Messed with standard song formats to create interest.Wrote oratorio The Seasons and The Creation. The creation has awesome scene painting in his instrumental introduction, depicion of chaos. Father of the Symphony, set symponic pattern for later composers. Created 4 movement symphony structure, 1)fast sonata form with slow intro 2) slow movement 3) minuet and trio 4) fast finale. Slow movement in closely related key. Wrote Symphony no. 88 in G Major, one of his most popular. Sometimes Haydn disguises the recapitulation or plays it down so its not easily recognized. Tried to create a lot of variety in his works because he wanted novelty and variety in his court offerings. Liked sudden contrats in dynamics, associated with literary movement called Sturm and Drang. Later in his carreer his orchestras had standard instrument format, flute, 2 oboe, 2 basson, 2 horn, strings. Sometimes trupets and timpani. Wrote London symphonies, he worked extremely hard on them and they are considered his crowning achievements. Symphony 94 called the suprise symphony, Fortissimo crash on a weak beat in the slow movement. Father of the string quartet. Addressed to the players, musical conversation. First violin leading roll, cello inner parts carry melody and engage in dialogue. FOr amateaurs to play for pleasure. Established 4 movement pattern but minuet often before the slow movement. Menuets and trio often called Scherzo, means joke, later it means especially fast movement in minuet and trio form. Op. 33. and Op. 76. Sacred music considered too cheerful, but Haydn thinks God wouldnt mind.

Domenico Scarlatti

(born October 26, 1685, Naples [Italy]—died July 23, 1757, Madrid, Spain) Italian composer noted particularly for his 555 keyboard sonatas, which substantially expanded the technical and musical possibilities of the harpsichord. Domenico, the son of the famous composer of vocal music Alessandro Scarlatti, was born in the same year as J.S. Bach and G.F. Handel.

Sinfonia

(in the 17th and 18th centuries) an orchestral piece used as an introduction, interlude, or postlude to an opera, oratorio, cantata, or suite. Symphony

La Clemenza di Tito

.an opera seria in two acts. About vitellia who is jealous because other girls get chosen as Tito's empress. She convinces friend to assassinate him. Tito survives assasination and chooses vitalia as bride. Going to give clemency to those who almost killed him, then vitellia tells the truth that she wanted him dead. gives clemency to her too.

Johann Adolf Hasse

1699-1783. great master of opera seria. Born in germany, but musical style so italian, italians named him the dear saxon. Wrote opera Cleofide. Married Faustina Bordoni.

G. B. Pergolesi

1710-1736. Most original composers of his day, died young of tuberculosis, best known for la serva padrona, an intermezzo. Also wrote Stabat mater (The mother was standing) important work. One of the most popular and frequently printed works of the century.

C. W. Gluck

1714-1787, good at syntheizing french, italian and german operatic styles. Liberated opera from conventions of opera seria, promoted dramatic expression in opera. In 1750 strongly affected by opera reform movement. Alceste his most famous opera. Resolve to remove abuses that deformed italian opera, reform opera to serve poetry and advance the plot. Enjoyed simplicity. Naturalistic lighting staging, acting. Became models for later works especially in paris Influenced Hctor Berloiz.

Intermezzo

2 or 3 segments between acts of serious opera or play. Originated in Naples/Venice 1700. 2 or 3 people in comedic situations.

Sonata form/ Binary form

2-4 movements of contrasting mood and tempo. Written for solo instrument plus keyboard. 3 mov sonatas later became the norm. Galant style, short phrases arranged in periods over light accomp.

Rococo

A homophonic musical style of the middle 18th century, marked by a generally superficial elegance and charm and by the use of elaborate ornamentation and stereotyped devices.--- Rococo (/rəˈkoʊkoʊ/ or /roʊkəˈkoʊ/), less commonly roccoco, or "Late Baroque", is an 18th-century artistic movement and style, affecting many aspects of the arts including painting, sculpture, architecture, interior design, decoration, literature, music, and theatre. It developed in the early 18th century in Paris, France as a reaction against the grandeur, symmetry, and strict regulations of the Baroque, especially of the Palace of Versailles.[1] Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, and gold. Unlike the political Baroque, the Rococo had playful and witty themes.

Minuet and Trio

ABA form. 3rd movement of Symphonies, 2nd movement of quartets

The Haydn Idiom

Adding nonconvential things to the strict format of music

Emotional Contrasts

Baroque- one emotion and a steady state. Classical, emotions can change quite rapidly, multiple emotions in one song.

Alberti Bass

Breaks underlying chords into a simple repeating pattern of short notes. C-e-g-e-c-e-g-e. just break chord up into triads, play over and over.

Sonata-rondo

By adding in this extra appearance of A, the form reads off as AB'AC"AB, hence the alternation of A with "other" material that characterizes the rondo. Note that if the development is an episodic development, then C" will be new thematic material—thus increasing the resemblance of sonata rondo form to an actual rondo. [A B']exp [A C"]dev [A B]recap is sonata rondo. [A B']exp [C"]dev [A B]recap is sonata.

C.P.E. Bach

C. P. E. Bach was an influential composer working at a time of transition between his father's baroque style and the classical and romantic styles that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Bach's dynamism stands in deliberate contrast to the more mannered galant style also then in vogue.[3] To distinguish him from his brother Johann Christian, the "London Bach," who at this time was music master to the Queen of England,[4] C.P.E. Bach was known as the "Berlin Bach" during his residence in that city, and later as the "Hamburg Bach" when he succeeded Telemann as Kapellmeister there.[5] He was known simply as Emanuel to his contemporaries

Lutheran Music

Cantata and elaborate chorale-based compositions considered old fashioned. Galant style congregational hymns. Nonliturgical oratorio became principal medium for North german composers.

Chamber Music

Chamber music composer of Emperor Joseph II, Emporer said this job was just meant to keep mozart in Vienna. Notable compositions from Salzburg but best works from Vienna. Very inspired by Haydn, wrote Haydn Quartets that have a lot of thematic development and equality between isntruments like Haydn. Mozart has more development and contrapuntal texture though. Quintets considered better than quartets. Wrote three flute quartets.

Classic Style

Classic style-simplicity and balance, no excess ornamentation or freills. Classical era preference for pieces in major mode, unlike baroque. Major considered more pleasing and natural, associated with pleasant emotions. Use closely related minor keys for contrast. 1720s- new musical languauge, songful periodic melodies with light accomp. First developed in italian comic opera. Wanted natural expressive, immediately appealing to a wide variety of listeners.

Comic vs Serious Opera

Comique opera was more hospitable to innovations than serious opera, because serious opera had been around for so long, had traditions. Serious opera didn't start changing to classical tastes till mid century.

Music of Middle 18th Century

Considered transitional,between Bach and Handel baroque music and Haydn Mozart as masters of the classical style. This music isnt well known.

Empfindsamer Stil

Emphindsam style, emotional style. Characterized by suprising turns of harmony, chromaticism, nervous rhythms, free, speechlike melody. Associated most closely with fantasias and slow mov by CPE Bach. The sensitive style (German: empfindsamer Stil), empfindsam style, or tender style is a style of musical composition and poetry developed in 18th-century Germany, intended to express "true and natural" feelings, and featuring sudden contrasts of mood. It was developed as a contrast to the Baroque Affektenlehre (lit. "The Doctrine of Affections"), in which a composition (or movement) would have the same affect (e.g., emotion or musical mood) throughout.

Nicholas Esterhazy

Employed Haydn. Nikolaus did not hire Haydn, but rather "inherited" him from his brother, who had hired him as Vice Kapellmeister in 1761. He was responsible for the promotion of Haydn to full Kapellmeister on the death of the old Kapellmeister, Gregor Werner, in 1766. It is evident that, following a brief initial rough period (Haydn was reprimanded for negligence in 1765), the prince ultimately came to treasure Haydn. For instance, he frequently presented Haydn with gold ducats in praise of individual compositions,[5] twice rebuilt Haydn's house when it burnt down (1768, 1776),[5] and reversed a decision (1780) to dismiss the mediocre soprano Luigia Polzelli from the payroll when it became evident that Polzelli had become Haydn's mistress.[6] Haydn was also allowed (1766) to retain another mediocre singer on the payroll, his younger brother Johann. The official reprimand of 1765 included wording insisting that Haydn compose more works for the Prince's favorite instrument, the baryton. Haydn responded immediately, and in the period starting at this time and continuing into the mid-1770s wrote 126 baryton trios, as well as other works for the instrument.[7] The baryton being quite obscure today, this music is not often played at present. There is no sign that Nikolaus had any real interest in Haydn's string quartets, now considered among his greatest works. However, there is one area of Haydn's œuvre where Nikolaus can be uncontroversially considered a great patron of musical arts, as he was the primary sponsor of Haydn's series of symphonies. Of the 106 symphonies, those following the series written for Count Morzin (Haydn's first employer) and for Paul Anton, and before the Paris symphonies of the late 1780s, were written specifically at Nikolaus's instigation. They were premiered by a small orchestra that Nikolaus provided to Haydn, giving the composer ample rehearsal time, salary levels to attract top personnel, and full artistic control. Few composers can ever have claimed to have possessed such an incubator for their creations, and the symphonies that Haydn wrote for this ensemble can fairly be regarded as Nikolaus's gift to posterity.

Ballad opera

English popular form of opera. Spoken dialogue, interpersed with borrowed tunes set to new words. The Begger's Opera was a ballad opera. Eventually wrote more original music for these operas.

Sonata Form

Exposition: I-V... Development: X on V... Recapitulation I-I....

Leopold Mozart

Father of Amadeus Mozart. Toured Mozart and Nannerl, but treated mozart poorly and demanded money from him. Violinist for archbishop of Salzburg, deputy Kapellmeister. Author of celebrated violin treatise.

Opera comique

French version of commic opera. Spoken dialogue, used popular tunes vaudevilles. Later on comic operas used to talk about social isue that aggitated france, like french revolution.

Periodicity

Frequent resting points break melodic flow into segments, they relate to eachother as pars of a larger whole. Frequent cadences. Baroque era there was original idea that was spun out with repetition and irrecular phrase structure, infrequent cadences.

G. B. Sammartini

Giovanni Battista Sammartini (c. 1700 - 15 January 1775) was an Italian composer, oboist, organist, choirmaster and teacher. He counted Gluck among his students, and was highly regarded by younger composers including Johann Christian Bach. It has also been noted that many stylizations in Joseph Haydn's compositions are similar to those of Sammartini, although Haydn denied any such influence.[2] Sammartini is especially associated with the formation of the concert symphony through both the shift from a brief opera-overture style and the introduction of a new seriousness and use of thematic development that prefigure Haydn and Mozart. Some of his works are described as galant, a style associated with Enlightenment ideals, while "the prevailing impression left by Sammartini's work... [is that] he contributed greatly to the development of a Classical style that achieved its moment of greatest clarity precisely when his long, active life was approaching its end".[1] He is often confused with his brother, Giuseppe, a composer with a similarly prolific output (and the same initials).

Rounded Binary Form

Highlights return t o the tonic in the second section by repeating the material that opened the first section. Return of opening key and opening material then adds b theme but in tonic after.

The Creation

Inspired when he heard oratorios of George Frideric Handel performed by large forces. The text of The Creation has a long history. The three sources are Genesis, the Biblical book of Psalms, and John Milton's Paradise Lost. Written in 3 parts, describes whole creation story.

La serva padrona

Intermezzo, opera in miniature, 3 characters- uberto, Serpina the maid, and mute Vespone the valet. Serpina tricks Uberto into proposing marriage to her. Uberto aria doesn't develop, changes emotions many times.

Opera buffa

Italian name for comic opera. emphasis on beautiful melody and changing emotions, style gallant. Leonardo Vinci pioneered this style. About ordinary people and social issues. Only italian comic opera used recitative instead of dialogue.

Middle Class

Middle class grew and aristocrasty diminished in impotance. Cosmopolitan age, Marriage between powerful manilies, tons of foreign-born rulers. Musical life also international.

Opera Reform

More flexible emotions and structure, less ornamented. Modified da capo aria, and other forms. Made orchestra more important, added choruses. Reversed focus on star singers to the melody and plot.

Johann Stamitz

Mostly composer of symphonies, wrote preclassic flute concertos too • Pioneer of mannheum school Mannheim school refers to both the orchestral techniques pioneered by the court orchestra of Mannheim in the latter half of the 18th century as well as the group of composers who wrote such music for the orchestra of Mannheim and others. • Father of Mannheim school • Sons carl and anton composed a lot for the flute, concertos.

Cosi fan tutte

Mozart and Da Ponte use the theme of "fiancée swapping"\. In a cafe, Ferrando and Guglielmo (two officers) express certainty that their fiancées (Dorabella and Fiordiligi, respectively) will be eternally faithful. Don Alfonso expresses skepticism and claims that there is no such thing as a faithful woman. He lays a wager with the two officers, claiming he can prove in a day's time that those two, like all women, are fickle. The wager is accepted: the two officers will pretend to have been called off to war; soon thereafter they will return in disguise and each attempt to seduce the other's lover. Donna Elvira also comic and serious.

Wolfgang Amadeus Mozart

Mozart has longer and more developed melodies than Haydn, many short melodies. 1756-1791. Child prodigy. Free agent, traveled across europe with father and sister, exposed to wide range of music and you can tell from the use of diverse styles to portray characters convey moods, ect. Influenced in Paris from ohann Schobert, rapid figuration in harpsichord writing and thick chrodal texture, he imitated this. JC Bach influenced Mozart as a boy, songful themes, tasteful embellishments, appoggiaturas, harmonic ambiguities. Contrasting themes in concerto and sonata form movements was inspired b bach too. Goes back and forth between styles very quickly. Absorbed every current style, extended Haydns stylicstic synthesis to an even wider range. Masterful depiction of mood and character, rich variety in instrumental music.

Chamber Music

Music for one or more solo isntruments accomp by keyboard/harp/guitar. Often piano was given a solo role when it wasn't accompaning the other instruments, cuz upper class daughters were skilled at keyboard, and less skilled other instrumentalists could play with them. String Quartet two violins viola and vello. 1st violin the solo isntrument. Concertante quartets each part is of equal importants. Wind ensembles. started out mostly oboes and bassoons in french ensembles of Louis XIV, then carinets and horms with bassoons became more common. Flute not as common.

The Enlightenment

Music serves human needs, primary purpose is for pleasure rather than religious or social ends. Music is universal and should appeal to wide audience. Understand music on first hearing, and music should change as quickly as our emotions. Reason, nature and progress. Solve problems with careful observation and reasoning. Leaders of Enlightenment were Voltaire, Montesquieu and Rousseau. Encyclopedie was the key text to the enlightenment. Promoting welfare of humankind, giving human rights and social reform. Improve life of lower classes, middle class grew love for art and music.

Die Entfuhrung aus dem

Opera singspiel. One of Mozarts first operas, established fame in vienna.. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio (questered living quarters used by wives and concubines in an Ottoman household of Pasha Selim. Rescue girl from TUrkish harem, interested in oriental settings and plots, taste of the exotic, and turks were enemies of Austria-Hungary are less threatening. thus the music lacks recitatives and consists entirely of set numbers. As Hughes notes, the action is mostly carried forward by the spoken dialogue, so the libretto gave Mozart little opportunity to display an achievement for which his later operas are celebrated, namely the construction of scenes in which the plot is both reflected in and driven forward by the music. Die Entführung is lighthearted and frequently comic, with little of the deep character exploration or darker feelings found in Mozart's later operas. Ottoman empire seemex exotic. Certain aspects of the opera conform to an eighteenth-century European view of orientalism. The Pasha's titular harem, for example, reprised themes of sexual libertinage. And the comically sinister overseer, Osmin, is a send-up of earlier stereotypes of Turkish despotism.[12] However, the opera also defies the stereotype of despotic Turkish culture, since its climax entails a selfless act of forgiveness on the part of the Pasha.

Guerre des bouffons

Pamphlet war, quarrel of the comic actors. Italian opera troup in paris sucessful for 2 seasons, some say french opera old fashioned. Some say italian opera is bad.

Classical Era Instrumental Music

Piano replaced harpsichord and clavichord, favorite keyboard instrument. Change dynamic levels. String quartet developed for social music making. Sonata became leading genre for solo/chamber music. Concerto and Symphony dominated orchestral music.

Lorenzo da Ponte

Poet for imperial court theater. Followed opera buffa conventions but lifted it to higher level, more character depth, intense social tensions between classes, introducing moral issues.

Musical Taste

Prefer vocally concieved melody in short phrases over sparse accompaniment. Instead of contrapuntal complexity. Natural- free from technical complications. Harmony articulates phrases, rather than continuously driving music forward.

Puritans and Moravians

Puritans were Calvinists, centered on metrical psalm singing. Bay Psalm Book first book published in America. Congregations taught to read notes, singing schools taught by traveling singing masters trained amateurs to sing psalm settings and anthems. William Billings prominent new music composer in amera had large body of work. wrote New England Psalm Singer. First published collection of music by one composer and in america. Moravians used european trends. Church services had concerted arias and motets in current styles, used organs, strings, other isntruments in church.

English church music

Really like handel so kept olera baroqu style of church music alive

Opera seria

Serious opera, without comic scenes or characters. Constant recitatives and arias, three acts, recitatives develop action and plot. Received standard form from Pietro Metastasio, who wrote tons of poems on greek/latin tales, used a ton by famous composers. He was a street urchin, rapper. Promoted morality through entertainment.

Sturm and Drang

Sturm und Drang comes from German, where it literally means "storm and stress." Although it's now a generic synonym of "turmoil," the term was originally used in English to identify a late 18th-century German literary movement whose works were filled with rousing action and high emotionalism, and often dealt with an individual rebelling against the injustices of society. The movement took its name from the 1776 play Sturm und Drang, a work by one of its proponents, dramatist and novelist Friedrich von Klinger. Although the literary movement was well known in Germany in the late 1700s, the term "Sturm und Drang" didn't appear in English prose until the mid-1800s. During this period, a new literary and artistic movement called "Sturm und Drang" (meaning storm and stress) had an impact on music. It soon became fashionable to write music that was slightly turbulent and hinted at emotional depths which reflected the political upheaval and cultural transformation which was occurring at this period in time. The name came from a 1777 play by Klinger and music which represented this style included Gluck's opera "Orfeo ed Euridice" and some of Mozart's operas.

French overture

The French overture is a musical form widely used in the Baroque period. Its basic formal division is into two parts, which are usually enclosed by double bars and repeat signs. They are complementary in styles (slow in dotted rhythms and fast in fugal style), and the first ends with a half-cadence (i.e., on a dominant harmony) that requires an answering structure with a tonic ending. The second section often but not always ends with a brief recollection of the first, sometimes even repeating some of its melodic content (Waterman and Anthony 2001). The form is first encountered in Jean-Baptiste Lully's ballet overtures from the 1650s. Later examples can be found as the opening movement of each of Johann Sebastian Bach's Orchestral Suites, Partita in D major, BWV 828, C minor Cello Suite, BWV 1011, and as an opening to many operas and oratorios by George Frideric Handel (including Messiah and Giulio Cesare). The 16th of Bach's Goldberg Variations is a miniature French overture. The French overture should not be confused with the Italian overture, a three-part quick-slow-quick structure.

Requiem

The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. The eccentric count Franz von Walsegg commissioned the Requiem from Mozart anonymously through intermediaries. The count, an amateur chamber musician who routinely commissioned works by composers and passed them off as his own,[1][2] wanted a Requiem Mass he could claim he composed to memorialize the recent passing of his wife. Mozart received only half of the payment in advance, so upon his death his widow Constanze was keen to have the work completed secretly by someone else, submit it to the count as having been completed by Mozart and collect the final payment. Mozart writing his own buriel requiem, thought he was poisoned. Costanze trying to hide that the piece was unfinished and have other composers finish it so she could still make money off of it.

New World Music

Villancios-spanish colonies. Catholic music of france- french canadian colonies. Anglican- organs and choirs.

Piano Concertos

Wrote a lot of them, fast slow fast. Blends elements of ritornello and sonata form, like JC bach concertos. Cadenza interupps the final ritornello. Punctuate long solos with quick orchesta passages. Second movement like a lyrical aria. Final movement usualy rondo or sonata rondo theme with pop character. Didnt let display get the upperhand, more interested in color texture and balance.

Sonata form

a type of composition in three sections (exposition, development, and recapitulation) in which two themes or subjects are explored according to set key relationships. It forms the basis for much classical music, including the sonata, symphony, and concerto. a type of composition in three sections (exposition, development, and recapitulation) in which two themes or subjects are explored according to set key relationships. It forms the basis for much classical music, including the sonata, symphony, and concerto. Sonata form, also called first-movement form or sonata-allegro form, musical structure that is most strongly associated with the first movement of various Western instrumental genres, notably, sonatas, symphonies, and string quartets. Maturing in the second half of the 18th century, it provided the instrumental vehicle for much of the most profound musical thought until about the middle of the 19th century, and it continued to figure prominently in the methods of many later composers. Although sonata form is sometimes called first-movement form, the first movements of multimovement works are not always in sonata form, nor does the form occur only in first movements. Likewise, the variant sonata-allegro form is misleading, for it need not be in a quick tempo such as allegro. https://www.britannica.com/art/sonata-form

Classical Era music form, the Sonata Form

adaptation of binary form.

Later comic operas

added serious plots and had ensemble finales, like "one day more" les mis

Pietro Metastasio

an Italian poet and librettist, considered the most important writer of opera seria libretti. wrote tons of poems on greek/latin tales, used a ton by famous composers. He was a street urchin, rapper. Promoted morality through entertainment.

Die Zauberflote

an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. spoken dialogue, no recitative. Ranks ass the first great german opera. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue. In the opera the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns the high ideals of Sarastro's community and seeks to join it. Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, with the Queen and her cohorts vanquished. The earthy Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion Papagena. He valued his Masonic affiliation, and this Magic flute has masonic things in it, like ceremonies and trials and stuff.

Don Giovanni

an opera in two acts with music by Wolfgang Amadeus Mozart and Italian libretto by Lorenzo Da Ponte. It is based on the legends of Don Juan, a fictional libertine and seducer. Mix of serious and comedy, Called it opera buffa.Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters something he cannot kill, beat up, dodge, or outwit. Mozart made don juan not just farcical, but bold and unrepentant to the last. Adds opera seria characters, situations, and styles into comic opera. Nobles are opera seria, lower class opera buffa, Don giovanni passes from seria to buffa.

The Beggar's Opera

ballad opera. Replace ancient heroes with modern urban thieves, prostitutes and their crimes. Almost mock serious opera. Were I laid on greenlands coast song from opera. Original song about man going mad, but new words about true love. Funny.

German Lied

became prominent. German writers believed music and musical instruments should emulate the singing voice. Simple song and expressive. Best songs have easy singable melodies. Telemann, CPE Bach Carl H Graun. LIEDER IS PLAIN.

Symphonies

derived from italian opera sinfonia, or overture. Four movements was the norm.

Eine kleine Nachtmusik

four mvoements for string quintet, most recognizable serenade.

Spain Flute Composer

o Cellist, compoer o Biggest latin instrumental music composer during high classic o International influences, Spanish features o Concerto debated whether it was originally by him

Mennheim orchestra

o Elector theodor, leading art patron, most outstanding orch in Europe, new orchestral style that would dominate romantic period. o Big dynamics, indicated in score by Jomelli (first conductor) o Original use of wind instruments, Jomelli first composer to use wind instruments in his operas more than supporting role. Solos. o Franz Richter member of Theodors court. Taught carl stamitz, johann stamitz son

Mozart Flute

o He disliked the flute yet wrote for them. o Only wrote two flute concertos, preromantic, virtuosic solo lines, powerful orchestra accomp, big interplay with soloist and orch o Uses flutes in all genres o Wrote 6 sonatas, for piano with accomp violin or flute. Wrote as a kid, no mature flute sonatas o Wrote 4 flute quartets o Concerto in D • Rewritten oboe concerto, very little changed • Salzburg style, small orch, clarity and elegance o Concerto in G • Andante maestoso, odd marking • Long minor section • First mov sonata form • Tons of romantic cadenzas written for it o Concerto for flute and harp • Written for 6 key flute, goes down to low c three times • Each movement has a cadenza • Very gallant style o Andante in C • Alternative slow movement to g major because original version not easy enough for commissioner de jong.

J. C. Bach

o Js son. Accompanied king George on flute, performed with wendling. o Master of gallant style. o Great contribution to concerted symphony. Flute featured in some. Forshadow symphony concertantes, not true ones, because tuti and solo sections not very divided.

C.P.E. Bach Flute

o Most important berlin composer o Harpsichord accomp, accompanied kings first solo as king o Essay on the True art of playing keyboard instruments, major source of 18th century performance practice o Concertos originally written for harpsichord and strings, arranged for flute. Baroque style concertos o Two ages of sonatas • Sonatas for Frederick, more conservative preferences • Hamburg period, made for public, less baroque, lighter, simpler. Expressive innovations, example of sturm and drank. German

Haydn Flute

o Older than Mozart but influenced by him to write for flute o Esterhazy family o Wrote 4 flute quartets, presto adagio minuet presto. True chamber music o Most famous solo flute works are transcriptions, of August Muller's works. o Flute prominent in Haydns other chamber works, London trios, two flutes and cello, ect. o Did use flute frequently in orch writing, esterhazy orchestra had good flutist Hirch.

Franz Benda

o Studied with quantz o Folk influences of prague o Embellished all movements unlike corelli and telemann German

Mozart Symphonies

only wrote 6 in the last ten years of his life. Earlier follow 3 move format, later it changes to four. Vienna symphonies like Haydns london symphonies. Wrote Prague Symphony and Jupiter Symphony.

Le nozze di Figaro

opera buffa in 4 acts. Libretto Lorenzo da Ponte. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. Amourous intrigues between commoners and nobles, risque by moral standards of the time, Joseph II banned performances of the play, but opera was so successful in VIenna emporer issued edict forbidding encores of any pieces other than solo arias.

Balanced Binary Form

present new material ain thepical of Domenico Scarlattis sonatas. dominant at the end of first section, repeat material in tonic at end f secod section. T

Singspiel

singing play. Opera with spoken dialogue, musical numbers, comic plot. Singspiel tunes published in German song collecions, some achieved such lasting popularity they became national folksongs. Merged with 19th century native opera, precursor of the German language musical theater of composers such as Mozart and Weber.

Classical Orchestra

smaller than orchestra now. Around 25 players in Haydns orchestra in 1760, Viennese orchestras in 1790 35 people. Last quarter of 18th century basso continuo abandomed in orchestral and ensemble music because essential voices were present in the melody instruemnts. Now violin leader directed the group, not harpsichord player. winds and horns only four doubling, reinforcing, filling in harmonies.

Social Roles and Music

still support from gov church courts, but musicians increasingly depended on public support.

Romance

strophic song, sentimental text.

Style gallant

the galant emphasis was on simplicity, immediacy of appeal, and elegance. In music, galant refers to the style which was fashionable from the 1720s to the 1770s. This movement featured a return to simplicity and immediacy of appeal after the complexity of the late Baroque era. This meant simpler, more song-like melodies, decreased use of polyphony, short, periodic phrases, a reduced harmonic vocabulary emphasizing tonic and dominant, and a clear distinction between soloist and accompaniment

Simple Binary Form

two sections mostly equal in length, music material different or only loosley related. A: I-V B: V-I

Mozart Piano Concertos

wrote 23 original concertos for piano and orchestra. In the works of his mature series, Mozart created a unique conception of the piano concerto that attempted to solve the ongoing problem of how thematic material is dealt with by the orchestra and piano, and with the exception of the two exceptionally fine early concertos K. 271 (Jeunehomme) and K. 414 (the "little A major") all of his best examples are from later works. He strives to maintain a mean between a symphony with occasional piano solos and a virtuoso piano fantasia with orchestral accompaniment; twin traps that later composers were not always able to avoid. His resulting solutions are varied (none of the mature series is really similar to any of the others structurally, apart from at a broad level) and complex. These works, many of which Mozart composed for himself to play in the Vienna concert series of 1784-86, held special importance for him. For a long time relatively neglected, they are recognised as among his greatest achievements. Early keyboard concertos were written by, among others, C. P. E. Bach, J. C. Bach, Soler, Wagenseil, Schobert, Vanhall and Haydn. Earlier still, in the Fifth Brandenburg Concerto by J. S. Bach, the keyboard part is elevated to the most prominent position among the instruments. These works, with their alternation of orchestral tuttis and passages for solo display, in turn owe their structure to the tradition of Baroque operatic arias, from which the first movements of Mozart's piano concertos inherited their basic ritornellic form. A similar structure can also be seen in the violin concerti of, for example, Vivaldi, who established the form, along with the three-movement concerto structure, and Viotti, wherein the concerto is divided into six sections. The keyboard parts of the concertos were almost invariably based on material presented in the ritornelli, and it was probably J. C. Bach, whom Mozart admired, who introduced the structural innovation of allowing the keyboard to introduce new thematic material in its first entry.

French Flute Composers

• Devienne o Classical performance practice and practice duets. o Promoted composition for wind instruments o Concertos Vivaldi style and preclassic. Solos difficult, to be performed by an advanced player. • Ignace Pleyel o Wrote a lot for flute, main interest was keyboard music o Haydns student, shamelessly rearranged own works and others music in his publishing house • Francois Gossec o Most important force in French classic instrumental music o Director of public concert des amateurs, became one of the greatest orchestras in Europe. o Commissioned a ton of music for that ensemble that used wind choir in new ways. • Charles Delusse o Decendant from family of wind instrument makers o Author of leading flute method o One of the few composers to write classical solo flute sonatas, 6 of them o Keep baroque continuo, but influence from rococo • Antoine Hugot o Conservatoire professor o Author of leading methods in 19th century o Wrote unaccompanied flute sonatas and 2 accompanied • Giovanni Giuseppe Cambini o Substancial contribution to repertory, Italian in france o Suppressed mozarts symphony concertante for flute, ob, clar, bas. Wrote for concert spiritual. o Jealousy because he had made one just before Mozart and didn't want to be upstaged, prevented the work from being performed, lost his great work. • Antoine Reicha o Prague native, spent most time in paris o International style o First flute in bonn orchestra, where Beethoven played viola o Pioneered woodwind quintets o Student Hector Berloiz, who authored 19th centurys most important orchestration treatise

Vienna Flute Composers

• Franz Krommer o Flute concertos, and symphony concertante with flute • Antonio Salieri o Gluck protégé, court musician. Opera composer. o Double concerto for flute and oboe • Johann Hummel o One of best composers of late classic o Sonatas for flute and piano • Beethoven o Did not write a lot of solo flute stuff o Flute stuff sounds classic not romantic o Allegro and minuet for 2 flutes

Random Classical Facts, String Quartets, Quintets, Concerto from Baroque to Classical, Music Schools

• Haydn and string quartets, sometimes flute would replace 1 violin, cambini, cimarosa, danzi, haydn, Mozart ect wrote for this. • Quintet, string quartet and flute, Boccherini, hoffmeister, toeschi. • Concertos grew as sonatas declined. Satarted with Blavet, Tacet, Florio, Wunderlich, Hugot. Johann Baptist Wendling, Andrew Ashe. • Larger woodwind ensembles like the Harmoniemusic of the baroque. (large wind band, background music for outdoor events). Woodwind ensembles often played divertimentos, less developed than sonatas. • Concerto change from baroque to classic. Baroque- tutti-solo exchange, solo part more elaborate. Classic- solo part has distinct theme and size/volume contrasts. Solo parts longer and solo has a contrasting theme before tutti recapitulation. Da capo aria form, singing quality forceful entrance. Winds in accomp orchestra now. Big cadenzas. • Double concerto appeared late 18th century. • Paris the musical capital of Europe. Institut National de Musique replaced Conservatoire National. French flutists came from here like Francois Devienne, Antoine Hugot