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Classical Era, late 18th centry = age of Enlightment:
pursuit of…
Classical Era
Franz Joseph Haydn
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Emperor Quartet
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2nd movement
- G major
- theme and variations (four) form
- Tempo: begins Poco adagio, cantabile
- meter: 22
- source of text: an original hymn by Haydn known as "Kaiserhymne" ("Emperor's Hymn")
Unique feature: variation through the accompaniment alone. In each variation, the melody is presented in its unaltered form by each instrument, preserving its noble character
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Theme
Key: G major
Theme: played by the 1st violin, unfolds in elegant 4-bar phrases
Tempo: Poco adagio, cantabile
- 5 phrases: aabcc
- marked dolce ("sweetly")
- homophonic texture
- accents introduced at the climatic high G (m.12) impart a stirring intensity to the music
Variation I
- Theme played by 2nd violin
- instrumental reduction features just the two violins
- contrast and virtuosity achieved through elaborate 16th-note figuration played by 1st violin
- the acompaniment delicately encircles the melody
Variation II
- theme by cello
- contrapuntal lines above melody
- 1st & 2nd violins feature syncopation and increased rhythmic drive as variation unfold
- 1st violin introduces many chromatic inflections
Variation III
- theme by viola
- rich chromatic harmonies in the accompaniment
- syncopation in the violins
Variation IV
- theme by 1st violin; initially middle register, then soaring to upper register
- reharmonization with inflections of E minor --> more somer tone
- modulates back to G major by end of section A
- section B features dominant and tonic pedal points sustained by cello; lends a sense of finality to the movement
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Education:
- St.Stephen's Cathedral
- Nicolo Porpora
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Patrons:
- kapellmeister to Count Ferdinand von Mozin (Viena)
- assistant kapellmeister to Esterhazy family (Esterhaza state)
- concert promoter Johann Peter Salomon for series of concerts (London) ex. "London" symphonies
Genres cultivated:
- symphonies and string quartet
- sonata form
Hallmarks of individual style:
- sonata form in terms of formal elements, melody, and harmoney
- slow intro: ambiguous tonality, suspenseful atmosphere, chromatic harmony
- expositions often monothematic
influenced by folk songs and dances --> simple diatonic melodies with narrow range
- sound effects: pedal points to suggest bagpipes, pizzicato strings to suggest guitar
- musical playfulness: dsudden dynamic changes/abropt silences
- dramatic: sudden accents/bold changes of chords or keys. ex. loud C major chord in THe Creation to depict "light"
Wolfgang Amadeus Mozart
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born in Salzburg, Austria
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Instruments played: harpsichordist, pianist, organist, violinist, composer
Patrons:
- Archbishop, Hieronymus von Colloredo, grand salary as concertmaster at the court where Leopold was employed
- Emperor Joseph II, chamber music composer
- Requiem (Mass for the dead), commissioned by Count Franz von Walsegg, completed by student Franz Xavier Sussmayr
- comissioned to write The Clemency of Titus for coronation of Leopold II as King of Bohemia
Genres cultivated:
- symphany & string quartet
- sonata form
- concerto structure with double exposition in the 1st movement
- opera: 1.opera seria (serious Italian opera) 2. opera buffa (Italian comic opera) 3. Singpiel (German comic opera with spoken dialogue)
Hallmarks of individual style:
- orchestrial writing expanded to the use of wind instruments
- harmonic language balanced diatonic and chromatic elements
- crystallized 18th-century piano style
- 4 measure phrases
- exemplified Vienese Classical ideas: elegance, balance, poise, refinement
- absobed vocal qualities and melodic lyricisdm to instrumental writing
sonata
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principal sections
Introduction:
- not a standard component
- slow
- establishes tonic key
- tension/suspense to capture interest
- generally not included in the repeat of exposition
Exposition
Development
Recapitulation
(Coda)
- not standard
- reaffirming tonic
- may have repeated cadences
- sometimes w/ new material
first theme:
- returns in tonic
- bridge: remains tonic
- 2nd theme: restated in tonic
- codetta: restated in tonic
- Harmonic tension through modulation and increased dissonance
- manipulation of thematic material
- ex. sequential treatment, fragmentation, inversion, changes to orchestration
- may have new material
- ends with dominant preparation (empasis dominant in anticipation of returning to tonic)
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1st theme:
- establishes tonic key
- distinctive melodic & rhythmic character
- sets mood
bridge:
- move to a new key center
- scale figurations of chordal passages
2nd theme:
- establishes new key (usually in dominant or relative major)
- creates contrast of melodic & rhythmic character
- several themes (theme group)
codetta:
- affirms new key by extending the final cadence
- concludes with repeat sign
- closing theme or closing section
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late 18th centry = age of Enlightment:
- pursuit of knowledge
- rational thinking
- desire of equality