THE CLASSICAL PERIOD (1750-1825) THE CLASSICAL PERIOD OF MUSIC 1) TIME OF GREAT MUSICAL EXPERIMENTATION AND DISCOVERY 2) CENTERS AROUND ACHIEVEMENTS OF VIENNESE SCHOOL A) HAYDN B) MOZART C) BEETHOVEN 3) THREE CHALLENGING PROBLEMS A) EXPLORE MAJOR-MINOR SYSTEM TO ITS FULLEST B) TO PERFECT A LARGE FORM OF ABSOLUTE INSTRUMENTAL MUSIC (THE SONATA CYCLE) C) TO DIFFERENTIATE BETWEEN ITS (SONATA CYCLE) VARIOUS TYPES 1) SONATA 2) CONCERTO SYMPHONY 3) ELEMENTS OF THE CLASSICAL PERIOD 1) ELEGANT AND LYRICAL MELODIES A) ELEGANT AND LYRICAL MELODIES B) CLEAR-CUT CADENCES 2) THE HARMONIES THAT SUSTAINED THESE MELODIES A) FIRMLY ROOTED IN THE KEY RHYTHM 3) A) MUSIC WAS IN EITHER 2, 3, 4, OR 6/8 B) STAYED IN RHYTHMIC STYLE IT BEGAN WITH 4) FORM A) UNFOLDED
The exposition of Symphony No. 5 is a lively one, with those first notes played by the orchestra, to open up the listeners ears. The first few measures ensure the listener that the theme is what it is, and that throughout the song, slight, but also vast variances are heard. The first theme ranges from the beginning up to 55 seconds and then moves on into theme 2. Theme two starts at about 55 seconds and takes us off with a happy, major, melodic feeling that ends around 1:30.
Occasionally, composer simply borrowed popular tunes, but more often, they wrote original themes with a popular character. Classical melodies often sound balanced and symmetrical because they are frequently made up of two phrases of the same length. The second phrase, in such melodies, may begin like the first, but it will end more conclusively and it will be easier to sing. Dynamics and the piano - The Classical composers' interest in expressing shades of emotion led to the widespread use of gradual dynamic change - crescendo (gradually getting louder) and diminuendo ( gradually getting softer). The end of basso continuo - The basso continuo was gradually abandoned during the classical period.
Vivaldi was progressive musically. He established the concerto form as an instrumental standard, played with the idea that the soloist was at war with the larger orchestra and using the contrasts to dramatic effect, not only between players but in speed and volume levels as well, and he pushed the envelope on violin technique, something in which he probably remained untouched. His usual writing style was antiphony, a simple style, which allowed him to experiment with instrument solos and maintain a light and innocent texture to the music. Vivaldi was one of the rare Italian composers interested in woodwind instruments. He composed several concertos for the bassoon, oboe, recorder and flute, as well as the rarer clarinet.
Jacques de Liege objected to the Ars Nova and defended the “ancient art”. He believed that the people appreciated and enjoyed the ancient motets and the ancient manner more than the new. Many arguments were made against the “new art” Ars Nova. Motets were the initial musical works by Philip de Vitry to represent the Ars Nova. The motets sung in Latin used isorhythm creating equal rhythm throughout.
Concerto Grosso – a small group of soloist is pitted against a larger group of players. Tutti – between two and four soloist play with anywhere from eight to twenty or more musicians. Fugue – a polyphonic composition based on one main theme. Subject – the main theme. Episodes – the transitional sections between presentations of the subject.
Schoenberg does this by octave displacement. Schoenberg doesn’t really develop the motif but instead represents the motif in different ways by using techniques like melodic inversions, augmentation and diminution. Schoenberg uses a large orchestra made up from brass, strings, percussion and woodwind. The instruments change quickly between each other making the piece contrast in timbre. Schoenberg also makes the instruments play at the extremities of their range either very high or very low.
The movements of this symphony combine a fixed idea along with other elements to connect the movements to one another. The fixed idea is in each of the movements. Berlioz uses methods in his orchestration from his inspirations of opera. You can tell by the English Horn and Harp used. In the first movement of Symphonie Fantastique, Berlioz introduces the emotional calmness by the slowness of the build using string instruments.
It begins with a free style melody that soon change to the shape note tune. Also, this part is slow and feel sad, The crescendo of music can make driven by emotional development. Then back to the relaxing tunes. I think that the percussion is still the most exciting part. It makes the entire third part of a more complete and more vibrant and layering.
Gradual changes in dynamics. (Pg. 302 – 303).” Figure 1: a standard set up for a baroque orchestra from “http://dandanmusic.weebly.com” Figure 2: The typical arrangement of the early classical orchestra from “http://dandanmusic.weebly.com” Listening to Bach’s Brandenburg Concerto No. 2, it is as lively a