Classical Era
Midcentury Instrumental Music
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”
Domenico Scarlatti
1685-1757
Sonata in D Major
(1749)
NAWM pp. 59
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.
“There can be no art
without form.”
Igor Stravinsky
The Classical Sonata
Form: Three or Four Movements
Following Sonata Allegro Form
Important genre for amateurs
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: 18th C = lively and happy ending,
Sonata Allegro, Sonata Rondo, Theme and
Variations. Very Fast. Allegro, Vivace, Presto.
Grand Finale 19th C. Triumph
Forms of Movements
Theme and Variation
Rondo
Minuet and Trio
Sonata-allegro form
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.
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.
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.
Johann Stamitz
(1717-1757)
Founder of the
Mannheim School
Sinfonia a 8 in E-flat
Major ( 1755 )
NAWM pp. 73
Giovanni Battista
Sammartini (1701-1775)
Symphony in F Major
(1730?)
NAWM pp. 68
Symphony Format
MOOD
TEMPO
FORM
KEY
Mvt 1
serious
fast
sonata
tonic
Mvt 2
calm
slow
sonata,
NOT tonic
th & var, ABA
Mvt 3
dancelike
or scherzo
moderate
or fast
minuet &
trio
Mvt 4
lighter
fast
sonata or
tonic
sonata-rondo
tonic
Sonata-Allegro Form
Sonata Form
exposition
usually repeated
tonic
theme
1
theme
2
recapitulation
development
transition
2
theme
1
theme
2
Sonata Form
(First Movement)
Exposition (A)
Development (B)____
Recapitulation (A)
First theme in
home key
Develops material from
the exposition
First theme restated
in home key
Bridge modulates
to
Modulation to foreign
keys
Bridge to
Second theme in
contrasting key
Fragmentation or
manipulation of
thematic ideas
Second theme
transposed to
home key
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.
Beethoven Piano Sonata in C
minor. Pathetique
Beethovenian Pathos in each movement
Dramatic quality, sudden dynamic changes
Adagio section that is hymn-like
2nd and 3rd movements are in Rondo form
Sonata-Allegro
Form
Mozart: 40 Symphony, 4 Movement
th
1st
Theme
2nd
Theme
Modulating
Bridge
th
Development
Recap
Sonata-Allegro Form
Symphony No. 5, Mvt. 1
Kamien, p. 193, CD #2
Exposition Development
1.
2. 3.
4.
T1 B T2 CT
•••—
motive
What
instruments?
Recapitulation Coda
LONG!
•••—
New
ideas
What
instruments?
T1 B T2 Ct
What?
How?
What
change
from
Expos?
Sonata form
Symphony No. 5, Mvt. 1
Kamien,
Exposition
Development
T1 B T2 CT
•••—
motive
What
instruments?
What?
How?
Recapitulation
LONG!
T1 B T2 Ct
•••—
New
ideas
What
What
change instruments?
from
Expos?
Sonata form
Symphony No. 5, Mvt. 1
D e v e l
1.a.
1.b.
•••— motive
o p m e n t
2.a.
2.b.c.d.
Based on Th 2
Horn call
w/ new
answer
2 notes of
horn call!
1 note of
horn call!!
Theme 2 reminder
2.e.
Reminder
of Th 1
Symphony No. 5, Mvt. 1
Click
for guided listening
to the entire development.
Symphony No. 5, Mvt. 1
D e v e l
Based on Th
1
Th 1
New
melody melody,
&R
motive R
•••—
motive is
ubiquitous!
o p m e n t
Based on Th
Reminder of Th 1
2
Horn call 2 notes
w/ new
answer
of horn
call!
1 note
of horn
call!!
Reminder
of Th 2
Back to
1 note
Symphony No. 5, Mvt. 1
Click
for guided listening
to the recapitulation
and coda.
Symphony No. 5, Mvt. 1
R e c a p i t u l a t i o n
Theme 1
Important
addition
Yes! It was an
oboe. Now it
continues w/ a
short cadenza.
Bridge
Theme 2
4.a.b.
Closing Th
Subdued
horns +
Bassoons!
•••— in
accompaniment
•••— motive is ubiquitous!
Symphony No. 5, Mvt. 1
C
o
d a
Long!
based mostly on •••— motive
some new ideas introduced
Symphony No. 5, Mvt. 1
Exposition Development
Recapitulation Coda
T1 B T2 CT
T1 B T2 Ct
•••—
motive
What?
•••—
motive
•••—
motive
•••—
motive
This movement is UNIFIED like no earlier
piece had ever been!
Listen to entire piece
Symphony No. 5, Mvt. 2
I = contrasting key
“time out,” lyrical
double theme & variations (Why not a rondo?)
A
B
A’
B’
A”
(?)
Ths
A& B
Mood?
Instruments?
A’’’
Coda
Symphony No. 5, Mvt. 3
I = scherzo (“joke”)
minuet & trio form & triple meter BUT
character is rough and rollicking, not genteel
A
•••—
motive R
B
A’
energy level?
Perceived tempo?
Texture?
Dynamic?
Virtuoso double bass
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
Symphony No. 5, Mvt. 4
Exposition Development
Recapitulation Coda
T1 B T2 CT
T1 B T2 Ct
•••—
motive R!
C Major!
Triumphant mood
What?
How?
•••—
motive R
a la mvt 3
VERY
LONG!
Earlier
themes
reviewed
including
•••—
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
Sonata form
Structure (organization) of a single movement
(Introduction) Exposition Development Recapitulation (Coda)
Sonata form
Structure (organization) of a single movement
(Introdu
Exposition Development Recapitulation
Mozart--Symphony No. 40
in G Minor, Mvt. 1
Sonata form
Exposition
presents musical
material
Th 1
B
r
More energy
i
faster
d
louder
g
Tonic key
e
Mood?
Instrumentation? Transitions &
modulates
Accompaniment?
Th 2
Closing
Section
Less energy
slower R
softer
Away key
Mood?
Instrumentation?
Accompaniment?
Sonata form
Exposition
presents musical
material
Click to hear
and track the
Exposition.
Sonata form
Exposition
presents musical
material
Th B Th Closing
1 r 2 Section
i
d
g
e
transitions &
modulates
Sonata form
Exposition
Development
presents musical expands on, works
material
with musical material
Th B Th Closing theme(s) from expos
1 r 2 Section reworking of themes
sense of conflict
i
modulations
d
g
What?
e
How?
transitions &
modulates
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)
Sonata form
Development
Th B Th Closing theme(s) from expos
1 r 2 Section reworking of themes
sense of conflict
i
modulations
d
g
What?
e
How?
transitions &
modulates
Sonata form
Development Entirely based
on Theme 1
Theme
repeated
in different
keys.
Bassoon
countermelody
Dynamic?
Dynamic?
Dynamic?
Dynamic?
Who plays
theme?
Entire theme
or part of it?
Entire theme Motive
or part?
imitations.
What
instruments?
What
Tone color
instruments? changes.
Composition
device
Composition Provides
device
transition to
Recapitulation.
Sonata form
Development Entirely based
on Theme 1
Louder
Softer
Louder
Softer
Theme
repeated
in different
keys.
Theme in
bass w/ violin
countermelody.
Theme
fragmented.
(MOTIVE)
Motive
inverted.
Motive
imitations.
Tone color
changes.
Tone color
changes.
Bassoon
countermelody
Exchange!
Imitation.
Provides
transition to
Recapitulation.
Repeated in
several keys.
Tone color
changes.
Imitation.
Sonata form
Exposition
Development
Recapitulation
presents musical expands on, works reviews musical
material
with musical material material
Th B Th Closing theme(s) from expos Th B Th Closing
1 r 2 Section reworking of themes 1 r 2 Section
sense of conflict
i
i
modulations
d
d
g
g
What?
e
e
How?
transitions &
transitions
modulates
Sonata form
Exposition
Development
Recapitulation
presents musical expands on, works reviews musical
material
with musical material material
Th B Th Closing theme(s) from expos Th B Th Closing
1 r 2 Section reworking of themes 1 r 2 Section
sense of conflict
i
i
modulations
d
d
g
g
What?
e
e
How?
transitions &
transitions
modulates
Coda
closes
mvt
How?
What
do
you
hear?
Sonata form
Unity & Contrast are balanced
U
(Introduction) Exposition Development Recapitulation (Coda)
Th B Th
Th B Th
C&U
C&U 1
1
2
2
C
C
LOG
Mozart
Symphony No. 40 in G Minor, K. 550, Mvt. 1
Symphony movement
I = Sonata form
What does “K. 550” mean?
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
Symphony Format
MOOD
TEMPO
FORM
KEY
Mvt 1
serious
fast
sonata
tonic
Mvt 2
calm
slow
sonata,
NOT tonic
th & var, ABA
Mvt 3
dancelike
or scherzo
moderate
or fast
minuet &
trio
Mvt 4
lighter
fast
sonata or
tonic
sonata-rondo
tonic
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.
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.
Development:
Develops the three note motive from the
beginning.
Changes melody.
Combines motives.
Sequences downward.
Inversion of motives.
Build up of tension.
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.
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