Bethany Deibler

MUS 115, 9:10

Fall 2007
Classical Period
1. Ludwig an Beeth!"en # Beeth!"en grew u$ being beaten daily be hi% &ather. 'i%
&ather !nly wanted a (u%i)ian t! (a*e (!ney &!r hi(, n!t a %!n. +&ter %! (any brutal
beating%, Beeth!"en l!%t hi% hearing. 'a"ing %ur"i"ed hi% abu%i"e )hildh!!d,
Beeth!"en had t! %trength t! (!%t anything. 'e had the will t! li"e and write (u%i).
'i% (u%i) ha% e(!ti!n tied t! it while !ther (u%i) li*e M!,art-% d!e% n!t. 'e (ade l!t%
!& (!ney. 'e %tudied under Fran, .!%e$h 'aydn. 'e wr!te all *ind% !& (u%i), &r!( a
$ian! )!n)ert! t! an !$era.
Mu,i! /le(enti # wa% an 0talian1b!rn Briti%h )!($!%er, $iani%t, tea)her, and $ian!
(anu&a)turer. 'e wa% an !rgani%t &!r a (a2!r )hur)h in 3!(e when he wa% 14. Later he
went t! 5ngland. 'e "i%ited and learned &r!( 'aydn. 'e )harged a l!t !& (!ney &!r
hi% le%%!n% in !rder t! )!ntinue hi% $ian! (anu&a)turing bu%ine%%. 'e a)6uired %!(e
Briti%h $ubli%hing right% &!r Beeth!"en-% (u%i). 'e wr!te Gradus ad Parnassum !$.
77, an e8er)i%e b!!* &!r *eyb!ardi%t%.
/arl /,erny # wa% an +u%trian $ian! tea)her, )!($!%er, and $er&!r(er. 'e be)a(e a
$u$il !& Beeth!"en at age 10. Later he )!uld $er&!r( any (a2!r $ian! $ie)e &r!(
(e(!ry. 'e u%ed hi% !wn %tyle when tea)hing $ian!. 'e tran%)ribed (any $ie)e% by
'andel, 'aydn, M!,art, and Beeth!"en int! $ian! $ie)e%. 'e wr!te (!re than 100
w!r*%.
Fran, .!%e$h 'aydn # wa% an +u%trian )!($!%er. 'e taught b!th M!,art and
Beeth!"en. +% a y!ung b!y, 'aydn wa% in the b!y-% )h!ir in the )hur)h. But he wa%
*i)*ed !ut !& the )hur)h due t! beha"i!ral $r!ble(%. +&ter that, n! !ne *n!w% what he
did. 'e (!%t li*ely li"ed !n the %treet% and $layed in bar% t! rai%e (!ney. S!(e !& hi%
new (u%i) idea% in)luded %tring 6uartet%, di&&erent &!r(% &!r di&&erent $ie)e% and a
%y($h!ny with!ut the ba%%! )!ntinu! !r the har$%i)h!rd. 'e wa% a trailbla,er &!r the
(u%i)al %tyle !& thi% $eri!d. 'aydn ha% a "ery !$ti(i%ti) !utl!!* !n li&e. 'e wr!te
hu(!r in hi% (u%i). +n e8a($le i% the %ur$ri%e %y($h!ny. 'e wa% a (u%i)al geniu%.
Le!$!ld M!,art # wa% the &ather !& 9!l&gang +(adeu% M!,art a% well a% +nna, b!th
$r!digi!u% (u%i)ian%. 'e wa% a :er(an )!($!%er and (u%i)ian. 'e re)!gni,ed the
talent !& hi% %!n and tra"eled the w!rld with hi(. 'e al%! $layed in !r)he%tra !& $rin)e,
+r)hbi%h!$ !& Sal,burg.
9!l&gang +(adeu% M!,art # wa% a )hild $r!digy. 'e )!uld $er&e)tly $lay any
in%tru(ent a&ter a &ew (inute% !& %tudying h!w it w!r*ed. 'e wa% bru%hed a%ide until
the age !& 4. 9hen he $layed hi% %i%ter-% $ian! $ie)e $er&e)tly at that age, he g!t
n!ti)ed and be)a(e "ery &a(!u%. 'e ne"er $ra)ti)ed and (e(!ri,ed (u%i) li*e n! !ne
ha% e"er d!ne. 'e had written an !$era by age 9. Un&!rtunately, he wa% an al)!h!li) by
age 12. 'e wa% hea"ily int! drug% but thi% did n!t a&&e)t hi% ability t! write (u%i). 'i%
(u%i) h!we"er, %in)e he wr!te it when he wa% %! y!ung, ha% the e(!ti!nal &eeling !& a
)hild. 3eal e(!ti!n that adult% )an under%tand d!e% n!t enter hi% (u%i) until age 22
a&ter hi% &ather died. M!,art-% li&e wa% ruined by drin*ing and drug%. 'i% li&e i%
)!($arable t! t!day-% r!)* %tar. 0t i% un&!rtunate that %u)h a (u%i)al geniu% had %u)h a
terrible li&e. 'e died !& al)!h!l $!i%!ning.
+nt!ni! Salieri # wa% n!t &riend% with M!,art be)au%e M!,art t!!* hi% be%t $ie)e !&
(u%i) and )hanged it t! (a*e it e"en better the &ir%t ti(e he e"er heard it. 'e wa%
Bethany Deibler
MUS 115, 9:10
Fall 2007
2eal!u% !& M!,art. 'e wa% an 0talian )!($!%er. 'e (!%tly wr!te !$era%. 'e taught
Beeth!"en.
Fernand! S!r # wa% a guitari%t and )!($!%er. 'e taught guitar and wr!te %e"eral ty$e%
!& (u%i). 'e wr!te !r)he%tral $ie)e% with guitar !r $ian! a))!($ani(ent. 'e wr!te
ballet%. 'e wr!te &!r $e!$le in S$ain, L!nd!n and 3u%%ia.
:i!"anni Batti%ta i!tti # wa% an 0talian )!($!%er and "i!lini%t. 'e %tudied under
;ugnani. 'e (!"ed a l!t and had ti(e% when he didn-t $lay (u%i). 'e wa%, h!we"er,
!ne !& the (!%t in&luential te)hni)ian% !& hi% generati!n.
2. Mannhei( %)h!!l wa% a gr!u$ !& wh! %er"ed the )!urt !& the 5le)t!r ;alatine /arl
<he!d!r at Mannhei(. .!hann Sta(it, wa% a B!he(ian )!($!%er, "i!lini%t and a
$r!(inent $er%!n in the gr!u$. +nt!n=n Fil% wa% the !riginal dire)t!r !& the gr!u$.
Mannhei( !r)he%tra wa% $ut t!gether by thi% gr!u$. <he !r)he%tra t!ured 5ur!$e and
be)a(e ren!wned n!t !nly &!r the $re)i%i!n and &ine%%e !& it% $er&!r(an)e% but al%! &!r
it% e8$l!itati!n !& %u)h de"i)e% a% the >Mannhei( )re%)end!- and the >Mannhei(
r!)*et-. B!th !& whi)h are %$e)iali,ed dyna(i) )hange%. <hey had !ther $er%!nali,ed
thing% in their (u%i) a% well.
4. M!,art led the )hange in 0talian !$era during thi% ti(e. 'e had a %u$re(e ability t!
)!!rdinate the (u%i) with what wa% g!ing !n !n the %tage. M!%t !& hi% !$era% were
)!(edie%. ?$era% ba)* then were li*e a r!)* )!n)ert t!day. <he $e!$le wh! !wned the
)!($anie% were ba%i)ally !rgani,ed (a&ia gr!u$%. 0talian% (ade u$ (u)h !& the
$!$ulati!n !& the %inger%, (u%i)ian% and )!($!%er% in !$era. @early all !& the (a2!r
0talian )itie% had an !$era h!u%e. <he !$era% were !&ten di%li*ed by the ruler% be)au%e
they (ade &un !& the(.
7. Sonata Allegro Form # re&er% t! a %ingle (!"e(ent. <he &a%t !$ening !& a )la%%i)al
%y($h!ny i% !&ten in the %!nata &!r(. 0t )!n%i%t% !& the e8$!%iti!n, the de"el!$(ent and
the re)a$itulati!n. <he e8$!%iti!n i% where the(e% are $re%ented, de"el!$(ent i% where
the the(e% are treated in new way% and the re)a$itulati!n i% when the (ain the(e%
return. S!(eti(e% a )!da will &!ll!w the re)a$itulati!n.
Concerto # a three (!"e(ent w!r* &!r an in%tru(ental %!l!i%t with an !r)he%tral
a))!($ani(ent. Between the !r)he%tra and %!l!i%t, there i% inter$lay !& (el!di) line%.
<he &ir%t (!"e(ent i% &a%t, the %e)!nd %l!w and the third &a%t again. <he &ir%t (!"e(ent
i% in %!nata &!r( with tw! e8$!%iti!n%. <he &ir%t e8$!%iti!n i% the !r)he%tra %etting u$
&!r the entran)e !& the %!l!i%t and the %e)!nd i% the %!l!i%t-% entran)e. <he (iddle
(!"e(ent (ay ha"e any &!r( and the la%t !ne i% u%ually a r!nd! !r %!nata1r!nd!.
Rondo # a tune&ul (ain (el!dy that i% returned t! %e"eral ti(e% during the %!ng. <he
(el!dy i% u%ually %i($le and ea%y t! re(e(ber %! the li%tener% )an dete)t when it
)!(e% ba)*. 0t )an be either an inde$endent $ie)e !r a% a &inale.
Scherzo # !&ten a third (!"e(ent in a )!($!%iti!n. 0t i% u%ually in an +B+ &!r(. 0t i% a
6ui)* te($! %!(eti(e% de%)ribed a% r!ugh hu(!r. 0t i% 0talian &!r 2!*e.
Divertimento # $ie)e% !& (u%i) written by M!,art and 'aydn &!r !utd!!r entertain(ent
$ur$!%e%.
Ternary Form # !r <hree1$art &!r( + B +. Ba%i)ally a %!ng with three $art%. <he &ir%t
$art i% re$eated a&ter a (iddle %e)ti!n.
Bethany Deibler
MUS 115, 9:10
Fall 2007
Binary Form # !r tw!1$art &!r( + B. D!e% n!t )hange (u)h. <he *ey )hange% during
the wh!le $ie)e and at the end it i% in the %a(e *ey it %tarted in.
Theme and variations # a %i($le (u%i)al the(e. 5a)h ti(e it i% re$eated, it i% )hanged
%lightly. 0t (ay %tart %i($le, but it get% (!re and (!re )!($li)ated a% the $ie)e
$r!gre%%e%.
Minuet and Trio # ?&ten the third (!"e(ent !& )la%%i)al %y($h!nie%. 0t i% a tri$le (eter
ABC and u%ually ha% a (!derate te($!. 0n + B + &!r(. <he + wa% a (inuet and the B
wa% !riginally a tri! with three in%tru(ent%.
Cadenza # + brea* in a )!n)ert! where the %!l! in%tru(ent $lay% with n! !r)he%tral
a))!($ani(ent. 0t u%ed t! be an i($r!"i%ed %!l! but n!w it i% !&ten written in. 0t i%
there &!r the %!l!i%t t! %h!w !&& hi%Dher %*ill !n that in%tru(ent.
Rubato # %lightly )hanging the te($! t! add dra(ati) e&&e)t and e8$re%%i!n t! the
$ie)e. Reuiem # Ma%% &!r the dead.
Alberti Bass # Si($le a))!($ani(ent t! a (el!dy )!n%i%ting !& br!*en )h!rd%.
!verture 1 Sh!rt (u%i)al )!($!%iti!n, $urely !r)he%tral, whi)h !$en% an !$era and %et%
the !"erall dra(ati) (!!d. ?r)he%tral intr!du)ti!n% t! later a)t% $& an !$era are )alled
$relude%.
Sym"hony # a )!($!%iti!n la%ting between 20 t! 70 (inute%. 0t %h!w% the great range
!& t!ne )!l!r and dyna(i)% !& the !r)he%tra. <he !$ening (!"e(ent i% alway% &a%t and
in the %!nata &!r(. <he %e)!nd (!"e(ent i% %l!w with an + B + &!r(. <he third i%
!&ten a (inuet and tri! and 6uite &a%t. <he &!urth i% li"ely and brilliant. 0t i% u%ually
lighter than the &ir%t (!"e(ent.
Sym"honic !rchestra # Sy($h!nie% were $layed %! !&ten that the !r)he%tra% that
$layed the( be)a(e *n!wn a% %y($h!ni) !r)he%tra%.
5. ;ian! wa% (!%t !& the )!($!%er%- &a"!rite in%tru(ent. Milli!n% !& $ian! )!n)ert!% ha"e
been written !"er the year%. 0t wa% a $retty re)ent in"enti!n during thi% $eri!d and the
)!($!%er and (u%i)ian% l!"ed it. <he )!n)e$t !& being able t! $lay b!th l!ud and %!&t
!n the %a(e *eyb!ard wa% a new idea. + har$%i)h!rd )!uld be $layed at di&&erent
dyna(i) le"el% but it wa% (!re di&&i)ult. ;ian!% all!w $e!$le t! be (!re e8$re%%i"e
while they are $laying. 0t i% n!t a li(iting in%tru(ent.
E. + natural tru($et wa% re$la)ed by a *eyed tru($et. + *eyed tru($et had (!re n!te%
but it had a dull unattra)ti"e %!und t! it. Later a "al"ed tru($et wa% in"ented. <hi%
tru($et had b!th a g!!d %!und and the ability t! $lay a )hr!(ati) %)ale. <he %a(e wa%
&!r the Fren)h h!rn. 'a"ing "al"ed in%tru(ent% )reated a wh!le new w!rld !&
$!%%ibilitie% &!r the%e in%tru(ent%. <he )!($!%er% wr!te )!n)ert!% &!r the%e
in%tru(ent%, n!t !nly &!r "i!lin% and $ian!%. +dding the bra%% %!und t! the !r)he%tra%
al%! )reated (!re !& a )!ntra%t and a bigger, &uller %!und.