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THE CLASSICAL PERIOD (1750-1820)

THE “CLASSICAL” PERIOD AND TERMINOLOGY

Originally, the term "Classical" was not used to define the period from 1750 to 1820. Instead, the term "GALANT" was employed to reflect the era's aesthetic characterized by a light, graceful, and elegant approach to music. The designation "Classical" also extended to other forms of art during this era, including painting, sculpture, and architecture. A contemporary issue with the term "Classical" is that it has come to refer to any music outside the realms of rock, pop, jazz, folk, or popular genres.

STYLE CHARACTERISTICS OF THE CLASSICAL PERIOD

MOOD

  • The music of the Classical period displays a great variety and contrast.

  • Emotional expressions range from elegance to violence and from elation to depression/anger.

  • The emotional landscape is vast, showcasing the diverse capabilities of composers of the time.

RHYTHM

  • Rhythm during the Classical Period exhibits a sense of flexibility.

  • Features of rhythm include:

    • Unexpected pauses and syncopations.

    • Frequent changes from longer note values to shorter ones.

    • Rhythmic changes can occur suddenly or gradually, enhancing the dynamic quality of the music.

TEXTURE

  • Classical music is predominantly homophonic, in stark contrast to the polyphonic textures of the Baroque period.

  • Typically, this involves a single melody accompanied by a simple harmony.

  • There can be rapid changes in texture, even within the same piece.

MELODY

  • Melodies from the Classical period are characterized by their popularity and memorability.

  • These melodies are often symmetrical.

  • Variations on a theme became a favored compositional technique, allowing for creative exploration.

DYNAMICS

  • Dynamic contrasts in Classical music are generally more gradual than those found in the Baroque period, though there are instances of extreme contrasts.

  • Basso Continuo, a hallmark of Baroque music, comes to an end during this period, as composed accompaniment replaces the improvisation of figured bass that defined the earlier era.

THE CLASSICAL ORCHESTRA

  • The Classical orchestra naturally expanded in size to accommodate demands and advancements in the genre, growing from the 25-piece orchestras of the Baroque to a standard of 60 members during the Classical period.

BREAKDOWN OF THE CLASSICAL ORCHESTRA SIZE

  • STRINGS:

    • 1st violins

    • 2nd violins

    • Violas

    • Cellos

    • Double Basses

  • WOODWINDS:

    • 2 Flutes

    • 2 Oboes

    • 2 Clarinets

    • 2 Bassoons

  • BRASS:

    • 2 French Horns

    • 2 Trumpets

  • PERCUSSION:

    • 2 Timpani

THE CLASSICAL MIDDLE CLASS

  • The emergence of the Classical Middle Class marked a shift in cultural desires, driven by their ability to afford more luxuries than in previous times.

  • They sought amenities such as:

    • Theater

    • Literature

    • Concert Debuts without the requirement of church or royal invitations

    • Private music lessons for their children

    • Availability of printed music (still considered a luxury in the period)

VIENNA AS THE CAPITAL OF MUSICAL EUROPE

  • During the Classical period, Vienna emerged as the epicenter of musical innovation, dominated by major composers such as Haydn, Mozart, and Beethoven.

  • Music played a central role in court life and was a symbol of both prestige and elevated culture.

  • Composers had opportunities to debut their music in intimate private concerts as well as in more spontaneous public performances, such as garden parties and street concerts, popular among Vienna’s elite who favored elegance and refinement.

JOSEPH HAYDN (1732-1809)

  • Early Life: Haydn was born in the small Austrian village of Rohrau, coming from a family with a folk musical background. At the age of 8, he moved to Vienna to serve as a choirboy at the Cathedral of St. Stephen. Following a change in his voice, he was let go, and he navigated life in Vienna, eventually finding support through local street performances and bands.

THE ESTERHAZY FAMILY

  • At age 29, a pivotal point in Haydn's career occurred when he received a contract from the Esterházys, one of the wealthiest and most influential noble families in Hungary.

  • His contract required him to fulfill extensive responsibilities, including:

    • Two concerts and two opera performances weekly

    • Daily chamber music

    • Conducting the orchestra

    • Rehearsing singers

    • Supervising music lessons for the nobility

  • Wiener noblemen appreciated Haydn’s talent, dubbing him the best composer in Europe.

WORKING WITH THE ESTERHAZY’S

  • The Esterházy estate where Haydn worked included facilities such as an opera house, theater, and concert halls, and an impressive 126 guest rooms.

  • The extensive workload raised questions about artistic ownership and the obligations imposed by contractual agreements.

HAYDN’S MUSICAL JOURNEY

  • Haydn gained significant popularity, especially during his visits to London in 1791-92 and 1794-95, where he composed a number of symphonies dedicated to the city.

  • His return to Vienna after these successful tours solidified his status, and he continued to compose until his death in 1809.

  • Haydn's music is noted for its humor, surprise, and innovative harmonic twists, with works that include 104 symphonies, 68 string quartets, and two significant oratorios, The Creation (1798) and The Seasons (1801).

PHILOSOPHY ON ART

  • Haydn believed that “Art is FREE”, expressing disdain for strict compositional rules, thus reflecting his individual style.

THE CLASSICAL SYMPHONY

  • Among the most significant contributions of the Classical period to music was the SYMPHONY, an extended instrumental work typically lasting 20 to 45 minutes and consisting of 4 movements:

    1. 1st movement: Vigorous and dramatically fast

    2. 2nd movement: Lyrical and slow

    3. 3rd movement: Dance-like

    4. 4th movement: Heroic and brilliant finale

  • Each movement of the symphony was a self-contained composition, reminiscent of Bach and Vivaldi's concertos.

HAYDN’S SYMPHONY NO. 94 “SURPRISE”

  • The second movement of Haydn’s Symphony No. 94 in G major incorporates THEME AND VARIATIONS, where the original theme is stated and then altered through changes in key, rhythm, dynamics, and melody.

  • The movement also features a COUNTERMELODY that enhances the polyphonic texture.

WOLFGANG AMADEUS MOZART (1756-1791)

  • Mozart is revered as a monumental figure in music history, demonstrating prodigious talent from a young age, such as playing the harpsichord and violin at age 6 and composing symphonies by age 8.

  • His father, Leopold Mozart, showcased his children’s talents across Europe, introducing them to nobility, highlighting their musical skills.

MOZART’S EARLY CAREER

  • At 15, Mozart returned to Salzburg, where he was constrained by the Archbishop's limitations.

  • After a challenging decade without success, at 25, he defied his father's wishes, leaving Salzburg for Vienna to pursue a freelance career in music.

  • His first German opera, The Abduction from the Seraglio (1782), achieved immediate success in the city.

RECOGNITION AND SUPPORT

  • His work caught the attention of the Emperor and garnered enthusiastic support from young students eager to learn from him.

  • Haydn praised him highly, indicating that Mozart was the greatest composer he knew.

MOZART’S OPERA SUCCESS

  • In 1786, Mozart's opera “The Marriage of Figaro” achieved remarkable success, particularly in Prague.

  • The success prompted a series of commissions that fueled Mozart's prolific output.

  • Following this, in 1787, he composed Don Giovanni, noted for its depth and complexity, yet faced mixed reactions upon its premiere in Vienna due to its more somber elements.

LATER WORKS

  • In 1790, he composed Cosi Fan Tutte (All Women Behave Like This), and in his final year, wrote The Magic Flute (1791).

  • Mozart received an anonymous commission for a REQUIEM, a mass intended for the dead, which he believed would be for his passing.

  • He died of rheumatic fever in 1791, leaving the Requiem unfinished; it was later completed by his student, Franz Xavier Sussmayer.

MOZART’S MUSICAL STYLE

  • Mozart excelled in various forms, writing outstanding works in genres like piano sonatas, symphonies, string quartets, piano concertos, operas, choral music, and chamber music.

  • Notably, he wrote with such precision that he never felt the need to revise a note.

OPERA DON GIOVANNI (1787)

  • Mozart’s opera Don Giovanni is characterized by its mix of seduction, comedy, and violence mixed with supernatural elements.

  • The narrative centers around Don Juan, who attempts to seduce numerous women, culminating in fatal confrontations and a quest for vengeance fueled by his misdeeds.

SONATA FORM IN THE CLASSICAL PERIOD

  • Sonata Form refers to a specific structure employed not just in sonatas, but in symphonies and concertos, primarily divided into three main sections:

    1. Exposition: Establishes the primary key, presenting the first and second themes, followed by transitions and often repeating the entire section.

    2. Development: Dramatic, featuring modulations, fragmented motives from earlier themes, and a build-up of harmonic tension.

    3. Recapitulation: Reintroduces the first theme in the original tonic key, resolving the tension created in development.

    4. Coda: Concludes the movement, revisiting themes and further developing them, typically spanning no more than 12 measures.

SYMPHONY NO. 40 IN G MINOR, K. 550

  • Mozart's G minor Symphony is notable for commencing in a minor key, an unusual choice for this period.

  • The first movement, structured in Sonata form, features a mysterious opening motive juxtaposed with triumphant and lyrical contrasts.

  • The "K" in the title refers to Ludwig von Köchel, the musician who cataloged Mozart’s works.

LUDWIG VAN BEETHOVEN (1770-1827)

  • Born in Bonn, Beethoven came from a family of musicians. He played for Mozart at the age of 16, who recognized him as a potential force in music history.

  • He moved to Vienna at 22 to study under Haydn, establishing a lasting legacy in the city.

RECOGNITION AND REBEL

  • Beethoven's reputation grew; in 1809, he received an unprecedented lifetime annuity from three noblemen in Vienna as a testament to his genius and popularity.

  • He supported himself through various means, including public performances and private lessons.

  • Unfortunately, at 29, he began to experience signs of deafness, leading to a profound impact on his emotional state and creative output.

HEILIGENSTADT TESTAMENT

  • In 1802, withdrawing from society due to his hearing loss, Beethoven wrote the Heiligenstadt Testament, a poignant letter where he shares his despair and dedication to his art: “I would have ended my life—it was only my art that held me back.”

PERSONAL LIFE

  • Beethoven’s life was marked by turbulence; he experienced a tumult of personal relationships and artistic endeavors, often characterized by a mix of brilliance and frustration.

  • In his later years, he communicated through notebooks as a means of interaction as his deafness worsened.

BEETHOVEN’S MUSICAL STYLE

  • Known for demanding perfection, Beethoven’s music eludes the fluidity of Mozart's, often requiring extensive revisions.

  • He is regarded as a pivotal figure between the Classical and Romantic eras, contributing to monumental works marked by their dramatic and climactic nature.

  • As orchestras evolved, Beethoven's compositions reflected heavier textures and broader experimentation in harmony and form.

BEETHOVEN’S DIVERSE OEUVRE

  • His compositions include 32 piano sonatas, designed to challenge the evolving capabilities of the instrument.

  • The 9 symphonies, particularly the "9th Symphony," famous for its incorporation of the "Ode to Joy", stand as titanic achievements in musical history.

  • Other significant works include 16 string quartets, 5 piano concertos, 2 masses, numerous vocal pieces, and the opera Fidelio, which was not well-received at its premiere.

BEETHOVEN’S THREE PERIODS

  • Beethoven's works can be categorized into three stylistic periods:

    1. Early Period (1790-1802): Reflects influences of Haydn and Mozart.

    2. Middle Period (1803-1814): Characterized as the heroic period; longer and more thrilling compositions emerge.

    3. Late Period (1815-1827): Features experimental harmonies and extended forms, delving into philosophical and personal themes.

BEETHOVEN’S FIFTH SYMPHONY

  • Beethoven’s 5th Symphony in C Minor, Op. 67 is one of the most celebrated compositions, featuring the iconic “short-short-short-long” rhythmic motif.

  • The 1st movement, marked Allegro con Brio, is a powerful expression of sonata form, contrasting the first theme in C minor with the second theme in E-flat major.

EXAM PIECES

  • Students are accountable for the following pieces for assessment:

    • Haydn: Surprise Symphony, 2nd movement - Andante

    • Mozart: Don Giovanni - Act I Introduction

    • Mozart: Symphony No. 40 in G minor - 1st movement

    • Mozart: Requiem: “Dies Irae” movement

    • Beethoven: 5th Symphony, 1st movement