10 - Composers' Musical Styles

Léonin

First composer of polyphony known by name, active at Notre Dame School of Paris and in the late 12th century

Léonin

Produced two-part organum in both styles: organal and discant

Léonin

Wrote "Magnus Liber Organi" (great book of organum)

Pérotin

Active at Notre Dame School of Paris in the 13th century

Pérotin

Expanded organum to 3 or 4 parts

Pérotin

Composed "substitute clausulae" to replace Leonin's organum

Pérotin

Wrote "Sederunt Principes," organum quadruplum

d'Arras

Monk who lived and worked in Northern France

d'Arras

Wrote both sacred and secular music, famous for writing monophonic chansons

d'Arras

Composer of "Ce fut en mai"

Machaut

Celebrated musician of the Ars Nova who wrote both sacred and secular music for royalty and the clergy

Machaut

One of the first composers to have a complete edition of collected works

Machaut

Greater variety in intervals used (i.e. 3rds and 6ths), more sophisticated counterpoint

Machaut

14th century rhythmic complexity with syncopation, hocket, isorhythm

Machaut

Wrote both forms of chansons

Machaut

Frequently wrote his own poetry

Machaut

Longer and more complex works than the Ars Antiqua

Machaut

Composed the first complete setting of the Mass Ordinary, the "Messe de Nostre Dame"

Machaut

Wrote 23 motets, including "Hareu! Hareu!"

des Prez

Significant composer of the Franco-Flemish School

des Prez

Great master of contrapuntal techniques: canonic writing, imitative counterpoint

des Prez

Rich in emotional expression, vocal settings sought to express the meaning of the text through syllabic text settings, word painting, matching of musical stresses with accentuation of text

des Prez

Modal harmonies - triadic (3rds and 6ths) with frequent dissonances

des Prez

Wrote close to 100 motets, 18 masses, and over 60 chansons

Palestrina

Expressed his personal religious faith through music style and spiritual characters

Palestrina

Wrote vocal polyphony in a cappella style, his style still known to this day; polyphony balanced with homophonic textures (chordal declamation)

Palestrina

Performing forces ranged from four to six voices, in mass compositions used cantus firmus, parody, paraphrase, canons

Palestrina

Clarity in text setting achieved through chordal texture, clear-cut phrases, vocal lines moving mostly by step or narrow leap

Palestrina

Dissonance avoided or used with care as passing notes, resolved immediately

Palestrina

His style was ideal for the Council of Trent's Counter-Reformation

Gesualdo

Italian prince, musician, and murderer

Gesualdo

Utilized extravagant word painting with exaggerated chromaticism and high levels of dissonance

Gesualdo

Wrote his own texts, often reflecting his own guilt and remorse

Gesualdo

Wrote six books of madrigals, sacred music (Tenebrae Responsoria) and instrumental music

Farmer

Composed four-voice madrigals, combining chordal homophonic textures with imitative polyphony

Farmer

Favored light-hearted, pastoral texts with modal harmonies, largely diatonic

Farmer

Wrote one full collection of madrigals entitled Tears and Lamentations of a Sorrowful Soul

Tielman Susato

Composer, instrumentalist, and publisher based in Antwerp, Belgium

Tielman Susato

Published "Danserye," a collection of popular dances such as Pavane Mille Regretz, in 1551 in Belgium

Monteverdi

Late Renaissance and Baroque period and elevated opera to its full artistic potential

Monteverdi

Embraced elements of Baroque style such as figured bass, major/minor tonality, monody, and the doctrine of the Affections

Monteverdi

Used chromaticism as an expressive device, and used word painting in his madrigals and operas

Monteverdi

Increased emotional intensity through the use of stile concitato (agitated style)

Monteverdi

Increased the role of instruments in operas to create moods and characters

Monteverdi

Differentiated between recitative and aria style in operas, increased the role of ensembles, established the love duet

Purcell

Considered the most important English Baroque composer

Purcell

Prolific, despite his short life, he combined national styles by embracing: lyric arias (Italian), ornamentation and the French overture (French), and Renaissance madrigal and choral tradition (English)

Bach

His music represents the ultimate in Baroque craftsmanship and polyphonic writing

Bach

Did not invent new forms but perfected all existing forms except opera

Bach

Amazing control of polyphonic texture, and wrote fugues throughout his career demonstrating a wide variety of techniques and approaches

Bach

Composed many sets of works, was a numerologist so sets were in special numbers (specifically 6)

Bach

Composed many sacred works for the Lutheran Church, and composed a Mass in B minor though he was not Catholic

Bach

Influenced by Italian, French, and English styles (lyric arias, dance rhythms & french overture, choral style and English dances)

Bach

Virtuosic organist who wrote difficult works for keyboard, and composed keyboard music for all levels, from students to performers

Handel

Versatile cosmopolitan musician with talents in many areas, absorbing the international styles of his time (German, French, Italian)

Handel

Used basic elements (chordal passages, scale figures)

Handel

Conveys pageantry and dramatic theatrical style through full SATB choral sound, bold dynamic contrasts

Handel

Frequent alteration between homorhythmic passages and contrapuntal textures

Handel

Important contributor to the opera seria, over 40 works in this genre

Handel

His da capo arias were a showcase for vocal virtuosity, and he used vivid word painting as well as both forms of recitatives in operas and oratorios

Handel

Created the English oratorio, emphasizing the role of the chorus, and wrote virtuosic, idiomatic keyboard works, inventing the organ concerto

Scarlatti

A brilliant harpsichordist, he contributed to the development of idiomatic writing for harpsichord including: rapid passagework, hand crossing, and arpeggiated figures

Scarlatti

Harmonic vocabulary included dissonance, acciaccaturas, suspensions, and pedal points

Scarlatti

Absorbed internation influences (Italian, Spanish, French), and composed in binary and rounded binary structures which foreshadowed the coming sonata form

Haydn

One of the Viennese masters who explored and perfected the symphonic genre

Haydn

Fond of experimentation, particularly concerning formal structure

Haydn

Embraced pre-classical style, but also the dramatic contrasts of Sturm und Drang

Haydn

Many of his symphonies involve humor or wit

Haydn

Often used a monothematic exposition in his sonata form movements

Haydn

Father of the symphony and string quartet

Haydn

Influenced by folk music in use of rustic melodies, pizzicato strings, pedal points

Haydn

Contributed to the development of sonata form; often had dramatic, slow introductions

Haydn

Used vivid word painting in masses and oratorios, and dramatic elements included sudden accents and bold changes of chords or keys

Mozart

Exemplified elegance, balance, poise, refinement, and sophistication in his compositions

Mozart

Explored and developed virtually all Classical genres

Mozart

Skillful use of counterpoint with homophonic texture, and frequently utilized symmetrical phrase structures (four-measure phrases)

Mozart

Contributed to the development of sonata form, and used double-exposition sonata form in the first movement of concertos

Mozart

Influenced by the Mannheim orchestra to use wind instruments

Mozart

Crystallized the 18th century piano style both in solo works and concertos

Mozart

Balanced diatonic and chromatic elements in his harmonic language

Mozart

Opera was central to his career, and he contributed to all three types (seria, buffa, & singspiel), creating compelling and realistic characters in his operas both dramatically and musically

Mozart

Used the recitative secco to advance the plot, and used sectional forms in his arias to allow shifting moods in his characters

Mozart

Absorbed vocal qualities and melodic lyricism into his instrumental writing

Beethoven

Influential composer most famous for his piano sonatas

Beethoven

Bold innovator, employing explosive accents and extreme dynamic contrasts

Beethoven

Early Period "Imitation" (up to 1802): Absorbed the Classical style traits exhibited by Haydn and Mozart, use of Sturm und Drang (preferring minor keys, esp. C minor)

Beethoven

Second period "Externalization" (1803 - 1805): More "Romantic" elements, increased use of chromatic harmony and abrupt modulations; expanded the Development and Coda sections in his sonata-form movements

Beethoven

Replaced the Menuet and Trio with the Scherzo and Trio, and experimented with cyclical form, as well as linking movements together

Beethoven

Expanded the orchestra to include piccolo, trombone and contrabassoon

Beethoven

Late Period "Reflection" (1815 - 1827): Style became abstract/meditative, employed counterpoint more frequently, including fugal writing, experimented further with form and content (ex. added SATB soloists and chorus to Symphony no. 9's final movement), frequent use of variation technique

Schubert

The last of the four great Viennese composers

Schubert

Combined Classical traits (repeated exposition sonata form, choice of genre, symmetrical phrasing, size and make-up of orchestra) with Romantic traits (chromatic harmony, major and minor tonality, unexpected modulations, Lied, choice of poems, interest in supernatural and folklore elements, melodic lyricism)

Schubert

Influenced by Mozart (lyrical melodic style) and Beethoven (symphonic writing), as well as German Romantic poets like Johann Wolfgang von Goethe

Schubert

Close connection between text and music in art songs (word painting)

Schubert

Increased role of piano in art songs: piano accompaniment depicts elements of the poem

Schubert

Introduced new psychological intensity to songs and song cycles, and vocal lyricism pervades all of his works

Schubert

Sorrow and personal emotions are reflected in many works (Death and the Maiden Quartet, Winterreise)

Schubert

Turned his own Lieder into new compositions