1) 2) 3) THEME-BUILDING BLOCK THEMATIC DEVELOPMENT-EXPANDING THE THEME MOTIVE-SMALLEST MELODIC UNIT OF A THEME THE CLASSICAL ORCHESTRA 1) ESTABLISHED IT AS WE KNOW IT TODAY 2) BLENDED THE FOUR INSTRUMENTAL FAMILIES A) THE HEART WAS THE STRING CHOIR B) WOODWINDS ASSISTED THE STRINGS C) BRASS SUSTAINED HARMONIES AND ADDED BODY D) PERCUSSION (TIMPANI) SUPPLIED RHYTHMIC LIFE 3) 30-40 PLAYERS 4) VOLUME OF SOUND WAS NOT STRONG 5) LIFE BEGAN TO MOVE TOWARD THE CONCERT HALL (NEAR THE END OF THE PERIOD) with Beethoven 6) GRADUAL CRESCENDOS AND DECRESCENDOS 7) THE PIANO WAS INVENTED DURING THIS
Piano Sonata in Bb, K.333: movement I is a classical sonata that was written by Mozart in 1783; Sonata for Horn, Trumpet and Trombone: movement I is a neoclassical piece of music that is in ternary form, it was written by Poulenc in 1922 and revised in 1945. There are many similarities and differences between these pieces and I will be comparing and contrasting the tonality and structure that they have. Mozart’s K.333 is written in sonata form, which was the form that was most common during the classic period, the period in which Mozart wrote this piece. A sonata form contains three main sections, which are called ‘subjects’. These sections are the exposition, which starts from the first bar in K.333, the development, which between bars 63 and 93 and the recapitulation that occurs from bar 93 until the end of the piece.
Tin Pan Alley paved the way for musical entertainment that we enjoy to this day. According to the Songwriters Hall of Fame, The term “Tin Pan Alley” originally referred to W. 28th Street in New York around 1910 when during it’s heyday because songwriters would be creatively banging around on lower end pianos that you could hear from the street. Tin Pan Alley was the basis for traditional music that surrounds us to this day. Without the pianos that wailed their tunes through publisher’s doors beginning in 1880, people would have been deprived of the musical entertainment that Tin Pan Alley so strongly influenced. From Vaudeville, Broadway, and Hollywood musical movies, to ragtime, jazz, swing, and rock and roll, all the way to television variety shows after the depression; the pianos of Tin Pan Alley are credited for laying the foundation for the many entertainments that have endured for over two hundred years.
The art form known as Opera had originated in Italy in the early sixteenth and seventeenth centuries, even though it put the squeeze on older traditions of medieval and Renaissance courtly entertainment. The word opera, meaning "work" in Italian, was first used in the modern musical and theatrical sense in 1639 and soon spread to the other European languages. The earliest operas were unassertive productions compared to other Renaissance forms of sung drama, but they soon became more extravagant and took on the remarkable staging of the earlier genre known as intermedio. The earliest operas, including Claudio Monteveredi’s Orpheus were performed in private theatres at the courts of nobility and royals. The first public opera house opened in Venice, Italy in 1637, and by the eighteenth century public doors began charging the public for admission into these opera houses.
An Italian harpsichord maker, Bartolomeo Cristofori (1655-1731), invented the fortepiano and continued to develop this instrument until the 1720s. In the 1730s, Gottfried Silbermann, a German constructor of keyboard instruments, took up the work of Cristofori and built several grand pianofortes based on Cristofori’s design. The classical fortepiano has lighter, thinner, less emphatic, more transparent and sustained tone color than the modern piano we have now. The lightness of its construction produced a crisper sound that is characteristic of the music written of this day. Cristofori’s pianos were not treasured in the beginning since his pianofortes were still very similar to the clavichords.
Haydn was able to begin immediately his pursuit of a career as a freelance musician. During this arduous time, Haydn worked at many different jobs: as a music teacher, as a street serenader, and eventually, in 1752, as valet–accompanist for the Italian composer Nicola Propora, from whom he later said he learned "the true fundamentals of composition" Franz Joseph Haydn is the composer who, more than any other, epitomizes the aims and achievements of the Classical era. Perhaps his most important achievement was that he developed and evolved in countless subtle ways the most influential structural principle in the history of music: his perfection of the set of expectations known as sonata form made an epochal impact. In hundreds of instrumental sonatas, string quartets, and symphonies, Haydn both broke new ground and provided durable models; indeed, he was among the creators of these fundamental genres of classical music. His influence upon later composers is immeasurable; Haydn's most illustrious pupil, Beethoven, was the direct beneficiary of the elder master's musical imagination, and Haydn's shadow lurks within (and sometimes looms over) the music of composers like Schubert, Mendelssohn, and Brahms.
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
This period saw the gradual strengthening of Prussia with the Zollverein and economic reforms. Also with the failure of the congress of Vienna, which was aimed to control the liberalist and nationalist ideas, Austria started suffering more problems as the Austrian leader was much more conservative about these ideas than Bismark, so the Austrians lost influence amongst the people. Futhermore, Prussia was in advantage because Bismark was much more popular than the Austrian leader. Bismark was more effective; the type of economic progress contented the majority of the middle classes. Kleindutch supporters saw in Prussia a more cohesive state, which was less archaic and more progressive economically.
His emotions reflected clearly in his music. He is also said to have brought about the transition from Classicism to Romanticism in the field of music. The Middle Period The middle period began around 1800 and is said to have been Beethoven’s most productive period . He once said to his friend Krumpholz, "I am not very well satisfied with the work I have thus far done. From this day on I shall take a new way."
Franz was like Mozart in that he was somewhat of a child prodigy. He showed remarkable talent with the piano as well as in sight reading music. Franz had a turning point in his career when at nineteen he came across the great violinist Paganini. Paganini would bedazzle audiences with his abilities on the violin. Franz vowed then, and there to be the pianist version of Paganini.