1. Classical Era Midcentury Instrumental Music

2. STYLISTIC TRANSFORMATIONS Introduction of a new instrument, the fortepiano Contrasted with strings and winds Favored by amateurs and rising middle class Development of the “Accompanied Sonata”

3. Domenico Scarlatti 1685-1757 Sonata in D Major (1749) NAWM pp. 59

4. C.P.E. Bach (1714-1788) Sonata in A Major, H. 186 (1779) NAWM pp. 64-67 Created the new performance idiom for the piano (fortepiano) Influenced the great Viennese composers of the Classical period with regards to form, style and compositional devices. Essay on the true art of playing the keyboard is still used as a primer for learning Classical Style.

5. “There can be no art without form.” Igor Stravinsky “There can be no art without form.” Igor Stravinsky

6. The Classical Sonata Form: Three or Four Movements Following Sonata Allegro Form Important genre for amateurs

7. The Sonata Cycle Movement I: Long Dramatic, Sonata Form: Allegro fast Movement II: Slow and lyrical, Theme and Variations or ABA. Andante, Adagio, or Largo Movement III: Minuet and Trio (18thC.) Minuet and Scherzo (19thC.), Allegretto or Allegro Movement IV: 18 th C = lively and happy ending, Sonata Allegro, Sonata Rondo, Theme and Variations. Very Fast. Allegro, Vivace, Presto. Grand Finale 19 th C. Triumph

8. Forms of Movements Theme and Variation Rondo Minuet and Trio Sonata-allegro form

9. New Style From 1770’s – 80’s Composite bass line changed to more independent parts for the bass viol, bassoon, cello. Change from the “overture sinfonia” to the “concert sinfonia”. Both in function and label. Sinfonia is a stand alone piece by this time.

10. New Style From 1770’s – 80’s New style of orchestration. In baroque the winds doubled the strings. Now winds become independent in the partiture. Given priority with the main themes. Not simply a garnish to the string section.

11. Changes in the Classical Symphony Shift in the function and valuation of the symphony. Move from introductions to theatre, plays, operas, civic events. Move to a piece intrinsic in itself. Symphony for Symphony’s sake.

12. Johann Stamitz (1717-1757) Sinfonia a 8 in E-flat Major ( 1755 ) NAWM pp. 73 Founder of the Mannheim School

13. Giovanni Battista Sammartini (1701-1775) Symphony in F Major (1730?) NAWM pp. 68

14. Symphony Format MOODTEMPOFORMKEY Mvt 1seriousfastsonatatonic Mvt 2calmslowsonata,NOT tonic th & var, ABA Mvt 3dancelikemoderateminuet &tonic or scherzoor fasttrio Mvt 4lighterfastsonata ortonic sonata-rondo

15. Sonata-Allegro Form

16. Sonata Form tonic theme 1 theme 2 transition 1 usually repeated theme 2 transition 2 theme 1 recapitulation development exposition

17. (First Movement) Exposition (A) Development (B)____ Recapitulation (A) First theme in Develops material from First theme restated home key the exposition in home key Bridge modulates Modulation to foreign Bridge to to keys Second theme in Fragmentation or Second theme contrasting key manipulation of transposed to thematic ideas home key Sonata Form

19. Mozart: Piano Sonata in A maj. K. 331, III Rondo form Janissary influence Use of Czech folk song Last movement “alla turka” Swirling movement, leaping melodies, drones Images of bells, triangles of a Janissary band.

20. Beethoven Piano Sonata in C minor. Pathetique Beethovenian Pathos in each movement Dramatic quality, sudden dynamic changes Adagio section that is hymn-like 2 nd and 3 rd movements are in Rondo form

21. Sonata-Allegro Form Mozart: 40 th Symphony, 4 th Movement 1st Theme 2nd Theme Modulating Bridge Development Recap

22. Sonata-Allegro Form

23. Symphony No. 5, Mvt. 1 Kamien, p. 193, CD #2 ExpositionDevelopmentRecapitulationCoda T1 B T2 CTT1 B T2 Ct What? How? — motive What change from Expos? What instruments? LONG! — New ideas Sonata form 4. 1. 2. 3.

24. Symphony No. 5, Mvt. 1 Kamien, Exposition Development Recapitulation T1 B T2 CTT1 B T2 Ct What? How? — motive What change from Expos? What instruments? Sonata form LONG! — New ideas

25. Symphony No. 5, Mvt. 1 DevelopmentDevelopmentDevelopmentDevelopment Theme 2 reminder — motive Based on Th 2 Reminder of Th 1 Horn call w/ new answer 2 notes of horn call! 1 note of horn call!! 1.a.1.b. 2.a. 2.b.c.d.2.e.

26. Click for guided listening to the entire development. Symphony No. 5, Mvt. 1

27. DevelopmentDevelopmentDevelopmentDevelopment — motive is ubiquitous! Horn call w/ new answer 2 notes of horn call! 1 note of horn call!! Reminder of Th 2 Back to 1 note Based on Th 2 Reminder of Th 1 New melody, motive R Th 1 melody & R Based on Th 1

28. Click for guided listening to the recapitulation and coda. Symphony No. 5, Mvt. 1

29. R e c a p i t u l a t i o n — motive is ubiquitous! Subdued horns + Bassoons! — in accompa- niment Theme 2 Closing Th Yes! It was an oboe. Now it continues w/ a short cadenza. Important addition Theme 1Bridge 4.a.b.

30. Symphony No. 5, Mvt. 1 C o d a Long! based mostly on — motive some new ideas introduced

31. Symphony No. 5, Mvt. 1 ExpositionDevelopmentRecapitulationCoda T1 B T2 CTT1 B T2 Ct What? — motive This movement is UNIFIED like no earlier piece had ever been! — motive Listen to entire piece

32. Symphony No. 5, Mvt. 2 I =contrasting key “time out,” lyrical double theme & variations (Why not a rondo?) A B A’ B’ A” (?) A’’’ Coda Ths A & B Mood? Instruments?

33. Symphony No. 5, Mvt. 3 I =scherzo (“joke”) minuet & trio form & triple meter BUT character is rough and rollicking, not genteel — motive R ABA’ energy level? Perceived tempo? Texture? Dynamic? Virtuoso double bass

34. Symphony No. 5 Bridge between mvts. 3 & 4 Listen for: timpani: — motive R repeated patterns--high strings ambiguous mode (How will this symphony end?) C minor? (turmoil, struggle, failure) C major? (victory, triumph, overcoming) Crescendo at end leads to Mvt 4

35. Symphony No. 5, Mvt. 4 ExpositionDevelopmentRecapitulationCoda T1 B T2 CTT1 B T2 Ct What? How? VERY LONG! Earlier themes reviewed including — C Major! Triumphant mood — motive R! — motive R a la mvt 3

36. Symphony No. 5 Mvt 1: — motive used in every part of sonata form Cyclicism: — motive used in Mvts 1, 3, 3-4 bridge, 4. (It is even obscurely used in mvt 2!!!) Mvts 3 & 4 tied together by ambiguous bridge

37. Sonata form (Introduction) Exposition Development Recapitulation (Coda) Structure (organization) of a single movement

38. Sonata form (Introdu Exposition Development Recapitulation Structure (organization) of a single movement

39. Sonata form Exposition presents musical material Th 1 More energy faster louder Tonic key Mood? Instrumentation? Accompaniment? BridgeBridge Closing Section Transitions & modulates Mozart--Symphony No. 40 in G Minor, Mvt. 1 Th 2 Less energy slower R softer Away key Mood? Instrumentation? Accompaniment?

40. Sonata form Exposition presents musical material Click to hear and track the Exposition.

41. Sonata form Exposition presents musical material Th 1 BridgeBridge Th 2 Closing Section transitions & modulates

42. Development expands on, works with musical material theme(s) from expos reworking of themes sense of conflict modulations What? How? Exposition presents musical material Th 1 BridgeBridge Th 2 Closing Section transitions & modulates Sonata form

43. HOW might a composer work with the exposition’s raw material? Development checklist: Repeat theme Fragment theme (and use part of it) Use imitation Add counter melody Change tone color (instruments) Change dynamics Change theme’s rhythm Change theme’s character Change accompaniment Modulate (change key)

44. Development theme(s) from expos reworking of themes sense of conflict modulations What? How? Th 1 BridgeBridge Th 2 Closing Section transitions & modulates Sonata form

45. Development Entirely based on Theme 1 Theme repeated in different keys. Dynamic? Who plays theme? Dynamic? Entire theme or part of it? What instruments? Composition device Dynamic? Entire theme or part? What instruments? Composition device Dynamic? Motive imitations. Tone color changes. Provides transition to Recapitulation. Sonata form Bassoon counter- melody

46. Development Entirely based on Theme 1 Theme repeated in different keys. Louder Theme in bass w/ violin counter- melody. Exchange! Repeated in several keys. Softer Theme fragmented. (MOTIVE) Tone color changes. Imitation. Louder Motive inverted. Tone color changes. Imitation. Softer Motive imitations. Tone color changes. Provides transition to Recapitulation. Sonata form Bassoon counter- melody

47. Development expands on, works with musical material theme(s) from expos reworking of themes sense of conflict modulations What? How? Exposition presents musical material Th 1 BridgeBridge Th 2 Closing Section transitions & modulates Recapitulation reviews musical material transitions Th 1 BridgeBridge Th 2 Closing Section Sonata form

48. Development expands on, works with musical material theme(s) from expos reworking of themes sense of conflict modulations What? How? Exposition presents musical material Th 1 BridgeBridge Th 2 Closing Section transitions & modulates Recapitulation reviews musical material transitions Coda closes mvt Th 1 BridgeBridge Th 2 Closing Section How? What do you hear? Sonata form

49. (Introduction) Exposition Development Recapitulation (Coda) U C & U Th 1 Th 2 C Th 1 Th 2 C BB Sonata form Unity & Contrast are balanced

50. LOG Mozart Symphony No. 40 in G Minor, K. 550, Mvt. 1 Symphony movement I = S onata form What does “K. 550” mean?

51. Symphony Origin: ca. 1700 OPERA 3-mvt. overtures (often called “sinfonias”) Early 1700s--sinfonias performed without operas 1740s--sinfonias written as separate works & 4th mvt added

52. Symphony Format MOODTEMPOFORMKEY Mvt 1seriousfastsonatatonic Mvt 2calmslowsonata,NOT tonic th & var, ABA Mvt 3dancelikemoderateminuet &tonic or scherzoor fasttrio Mvt 4lighterfastsonata ortonic sonata-rondo

53. K. 550 Symphony in G minor, No. 40 July 25, 1788 One of the last and most beautiful of the master. Labeled “Romantic” by the people of the time for Intensity Chromaticism Unconventionality Thematic development Abundance of Ideas Ambiguity.

54. A Roadmap for Form: The First Movement Sonata allegro. Exposition. Theme for violins in Gminor. Three note motive that is prime for development, sequence. Transition coupled with crescendo to go into the second theme in Bflat major. Build up of tension. Codetta keeps the listener in the contrasting key.

55. Development: Develops the three note motive from the beginning. Changes melody. Combines motives. Sequences downward. Inversion of motives. Build up of tension.

56. Recapitulation Follows the exposition. G-minor remains the home key. Tender… this is a change from convention. Most composers would go to G major just to end the work in a triumphant sound.

57. Structure of Music Melody carried the interest Form still needed to give meaning Note power of the human voice Instrumental music uses strong melody as power