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Unit 4: Music & Emotion (Chapter 29 (The Ultimate Instrument: Haydn…
Unit 4: Music & Emotion
Chapter 29
The Ultimate Instrument: Haydn and the Symphony
Early History of the Symphony
Three section: Fast-Slow-Fast
eventually separate movements
dance movement (minuet) added
The Classical Orchestra
4 instrumental families
strings, woodwinds, brass, percussion
for the salon not concert hall
30-40 players
Scarlatti Italian Overture
Fast-Slow-Fast
Haydn's Symphony No. 100 (
Military
)
father of the symphony
wrote over 100
London Symphonies
last 12
highly imaginative, innovative
masterpieces in the classical symphony style
first presented in 1794
"Military" nickname from use of Turkish percussion & trumpet fanfare
Dramatic effects
Contrasts
Daring modulations
Trumpet fanfare
Turkish military music
triangle
cymbals
bass drum
bell tree
From Classical to Romanticism
Romanticism a self-conscious break from Enlightenment ideals
Beethoven
Early decades of 1800s
Artist struggling against society and convention
Bohemians
Eternal longing, indefinable discontent
Display of originality and self-expression
Art to unsettle rather than soothe
Worlds of strangeness and wonder
Historical Influences-REVOLUTIONS
Free enterprise, individualism
Industrial Revolution
Urbanization
Democracy
French Revolution
Transfer of power to the middle class
LG 19
homophonic texture and duple meter
3 part form: A-B-A'
A: major key, soft dynamic, focus on strings and woodwinds
B: minor key, more percussion instruments, abrupt changes in dynamics
A': including more woodwinds, brass and percussion, and abrupt dynamic changes
emphasis of instrumentation associated with military bands
bass drum
triangle
cymbals
brass
Franz Joseph Haydn (1732-1809)
born in a small Austrian village
choirboy at St. Stephen's in Vienna
Esterhazy's patronage began 1761 (29)
lasted nearly 30 years
England after prince's death
style embodies mature classical style
Movement 2
Allegretto
C Major
Variation form, combined with ternary (A-B-A')
Sudden change to the minor in middle section, military introduction to closing coda
Homophonic
Chapter 43
Absolutely Classic: Brahms and the 19th Century Symphony
Absolute Music or Programmatic?
Opportunity for individual interpretation
Programmatic
many thought program music was a step backward from the potential of music to express things beyond words
Absolute
Proponents of absolute music relied on structures of sound for expression
Some composers continued writing in multi-movement genres of the classical era
form was the most important organizing element
with this genre no programmatic thought process
Romantic Characteristics
melodic lyricism, "singing" melodies
harmony more chromatic, dissonant, and expressive
forms expanded, pieces longer
new forms: symphonic poem, choral
Nationalism
Exoticism
Themes
destiny
God and nature
life and death
good versus evil
dreams and passions
Moving the public...
public concert hall, not palace
larger orchestras
dynamic range increases
symphonic structure increasingly longer and expansive
rise of the conductor aka "Maestro"
rise of virtuoso performer
pop stars
Johannes Brahms (1833-1897)
born Hamburg, Germany
lifelong affection for folk music
hailed by Schumann as future leader of absolute music
remained close to the Schumann family
began writing symphonies at age forty
4 symphonies, 2 piano concertos, a violin concerto, chamber music, songs, and choral music
Brahms's Symphony No. 3 in F Major (LG 34)
aimed to show new and important things but...
still in the tradition of the Classical masters
written 1883, at the age of fifty
romantic in tone, Classical in form
cyclical
3rd Movement-Poco Allegretto
A-B-A'
Key
C minor
alternates between major and minor
chromatic-middle section
Syncopation
3 against 2 rhythm patterns
Lyrical
melancholy
waltz-like
LG 34
Symphony No. 3 in F Major, III
triple meter
1 strong beat and 2 weak beats
opening melody played several times by different instruments
3 part structure (A-B-A')
symphony orchestra
Chapter 38
Dancing at the Keyboard: Chopin and Romantic Piano Music
The 19th Century Piano
The piano is central to the Western musical tradition
Suited to amateurs and professionals
staple of refined education
home and concert hall
Rise of the virtuoso pianist
function was to dazzle audiences
Suitable for polyphonic and homogeneous textures, variety of dynamic and resonant effects
Technical improvements
factory-made, standardization, affordability
metal frame, increased string tension
improved mechanical action, extended range
from 5 to 7 or more octaves
Lyric Piano Piece
Beyond the Sonata and Concerto
etudes (highly virtuosic study pieces)
Character pieces:
nocturnes, preludes, and dances
Character piece
solo piano equivalent to the song
short (45 s to 10 min)
projects melodious and dramatic moods within a compact form
sometimes fanciful titles
Frederic Chopin (1810-1849)
Born outside Warsaw
French father, Polish mother
1831 to Paris for remainder of career
social circle of famous French composers, writers, and artists
Entire creative life revolved around the piano
Originated modern piano style
"Everything must be made to sing"
Relationship with author George Sand
SHE was a novelist
A Mazurka by Chopin (LG 29)
Polish roots exhibited in his mazurkas and polonaises
A mazurka was a lively triple-meter dance with an accent on the second or third beat of the measure
Mazurka in B-flat Minor, Op. 24, No. 4 (LG 29)
1833
chromatic, wide-ranges
dance-like triple meter
expressive depth, rubato (can push, pull tempo as the performed feels)
form: A-B-A'-B-A'-C-C-D-A long coda
Chopin Polonaise Op. 53
Heroic or Drum Polonaise
Dance of Polish origin
carnival parties
1st dance at "prom"-party before exams
Form: Ternary and Rondo
Wide Range of Keyboard
Trills
Dedicated to friend/banker: Auguste Leo
LG 29
Mazurka in B-flat Minor, Op. 24, No. 4
triple meter and dotted rhythms and accents, when notes are given greater emphasis
mostly in homophonic texture
rubato
left hand keeps a steady tempo while the right hand speeds up or slows down a little bit