Roxenette Gil B.

Pangilinan
X Curie
MUSIC ASSIGNMENT
1. What is Sonata Allegro Form?
The sonata-allegro form is part of the Sonata Cycle, which is the blueprint of Symphonies, String Quartets, and other
works like Sonatas in the classical period. It is also called the First movement form, as it is always used as the first
movement in the Sonata Cycle. The sonata-allegro form contains three components /sections: Exposition,
Development, and Recapitulation.
In the Exposition, theme 1 or theme group 1 is introduced in the Tonic key. Haydn, a composer in the Classical
period, was one of the unique composers who usually implemented a slow introduction before the actual
introduction of theme group 1. Theme group 1 is expanded and a bridge modulates to a contrasting key, such as the
Dominant or relative major /minor key. Theme 2 or theme group 2 is then presented in the contrasting key and a
Codetta is used at the end of the Exposition. The Exposition is repeated.
In the Development section, themes from the Exposition is fragmented, inverted, and articulated to show the
extreme possibilities of this section. The composer modulates very often until he /she thinks that it has been well
developed, after which a modulation returning to the Tonic key must be written.
Finally, in the Recapitulation, theme group 1 and theme group 2 both return to the Tonic key. Theme group 1 is first
presented, followed by some expansion of that theme leading to theme group 2. Theme group 2 is now in the Tonic
key (as opposed to a contrasting key in the Exposition), with some expansion. A Coda (Italian word for "tail")
usually appears at the end to close the first movement.
The following table is to illustrate the sonata-allegro form in a visual form:
Sonata-Allegro Form
Exposition

optional slow introduction

1st Theme or theme group
tonic key with expansion
bridge which modulates
2nd Theme or theme group
contrasting key, expansion
closing Codetta - cadence
key of Theme 2, exposition
repeated

Development

harmonically unstable
builds tension through
modulations
frequent modulations to
foreign keys
fragmentation of themes
into motives, manipulated
by sequence, melodic
potential explored, often
inverted, etc.
transition returns to Tonic
key

Recapitulation

1st Theme or theme group

returns
Tonic key with expansion
2nd Theme or theme group
returns
now in Tonic key with
expansion
Coda - cadences in Tonic
key

2. Define the ff:

a. Sonata - A collection of (usually four) instrumental movements
- Sonata (From Latin and Italian sonare, "to sound"), in music, literally
means a piece played as opposed to a cantata (Latin and Italian cantare,
"to sing"), a piece sung

- a musical composition of 3 or 4 movements of contrasting forms

b. Concerto - The term Concerto (from the Italian: concerto, plural concerti or the
anglicised form concertos) usually refers to a three-part musical work in which
one solo instrument is accompanied by an orchestra. The concerto, as understood
in this modern way, arose in the Baroque period side by side with the concerto
grosso, which contrasted a small group of instruments with the rest of the
orchestra. While the concerto grosso is confined to the Baroque period, the solo
concerto has continued as a vital musical force to this day
c. Symphony - A symphony is a musical composition, often extended and usually
for orchestra. "Symphony" does not imply a specific form. Many symphonies are
tonal works in four movements with the first in sonata form, and this is often
described by music theorists as the structure of a "classical" symphony, although
many symphonies by the acknowledged classical masters of the form, Joseph
Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven, do not conform
to this model
3 MAJOR COMPOSER DURING CLASSICAL ERA

1.
Ludwig van Beethoven (English pronunciation: /ldv vn
betovn/; German: [lut.v fan bet.hofn] ( listen); baptised 17
December 1770[1] 26 March 1827) was a German composer and pianist.
He was an important figure in the transitional period between the Classical
and Romantic eras in Western classical music, and remains one of the most
acclaimed and influential of all composers.
Born in Bonn, which was then in the Electorate of Cologne in western
Germany, he moved to Vienna in his early twenties and settled there,
studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. At the
age of about thirty[2], his hearing began to deteriorate, yet he continued to compose, and
to conduct and perform, even after he was completely deaf.
Beethoven is acknowledged as one of the giants of classical music; occasionally he is
referred to as one of the "three Bs" (along with Bach and Brahms) who epitomize that
tradition. He was also a pivotal figure in the transition from 18th century musical
classicism to 19th century romanticism, and his influence on subsequent generations of
composers was profound.[60]

Overview
Beethoven composed in a fairly wide variety of musical genres, and for a fairly wide
variety of instrument combinations. His works for symphony orchestra include nine
symphonies (of which the Ninth includes a chorus), and about a dozen pieces of
"occasional" music. He wrote nine concerti for one or more soloists and orchestra, as well
as four shorter works that include soloists accompanied by orchestra. Fidelio is the only

opera he wrote; vocal works including orchestral accompaniment include two masses and
a number of shorter works.
His work for piano was extensive; 32 piano sonatas, and numerous shorter works,
including arrangements (for piano solo or piano duet) of some of his other works. Works
with piano accompaniment include 10 violin sonatas, 5 cello sonatas, and a sonata for
french horn, as well as numerous lieder.
The amount of chamber music produced by Beethoven was notable. In addition to the 16
string quartets, he wrote five works for string quintet, seven for piano trio, five for string
trio, and more than a dozen works for a variety of combinations of wind instruments

The three periods

Beethoven's compositional career is usually divided into Early, Middle, and Late
periods.[60] In this scheme, his early period is taken to last until about 1802, the middle
period from about 1803 to about 1814, and the late period from about 1815.
In his Early period, Beethoven's work was strongly influenced by his predecessors Haydn
and Mozart, but he also explored new directions and gradually expanded the scope and
ambition of his work. Some important pieces from the Early period are the first and
second symphonies, the set of six string quartets Opus 18, the first two piano concertos,
and the first dozen or so piano sonatas, including the famous Pathtique sonata, Op. 13
His Middle (Heroic) period began shortly after Beethoven's personal crisis brought on by
his recognition of encroaching deafness. It is noted for large-scale works that express
heroism and struggle. Middle-period works include six symphonies (Nos. 38), the last
three piano concertos, the Triple Concerto and violin concerto, five string quartets (Nos.
711), several piano sonatas (including the Moonlight, Waldstein and Appassionata
sonatas), the Kreutzer violin sonata and Beethoven's only opera, Fidelio.
Beethoven's Late period began around 1815. Works from this period are characterized by
their intellectual depth, their formal innovations, and their intense, highly personal
expression. The String Quartet, Op. 131 has seven linked movements, and the Ninth
Symphony adds choral forces to the orchestra in the last movement.[60] Other
compositions from this period include the Missa Solemnis, the last five string quartets
(including the massive Groe Fuge) and the last five piano sonatas
2. Wolfgang Amadeus Mozart (German pronunciation: [vlfa amadeus motsart],
full name Johann Chrysostom Wolfgang Amadeus Mozart[1] (27 January 1756 5
December 1791), was a prolific and influential composer of the
Classical era. He composed over six hundred works, many
acknowledged as pinnacles of symphonic, concertante, chamber,
piano, operatic, and choral music. He is among the most enduringly
popular of classical composers.

Mozart showed prodigious ability from his earliest childhood in Salzburg. Already
competent on keyboard and violin, he composed from the age of five and performed
before European royalty; at seventeen he was engaged as a court musician in Salzburg,
but grew restless and traveled in search of a better position, always composing
abundantly. Visiting Vienna in 1781 he was dismissed from his Salzburg position and
chose to stay in the capital, where over the rest of his life he achieved fame but little
financial security. The final years in Vienna yielded many of his best-known symphonies,
concertos, and operas, and the Requiem. The circumstances of his early death have been
much mythologized. He was survived by his wife Constanze and two sons.
Mozart always learned voraciously from others, and developed a brilliance and
maturity of style that encompassed the light and graceful along with the dark and
passionatethe whole informed by a vision of humanity "redeemed through art,
forgiven, and reconciled with nature and the absolute".[2] His influence on all
subsequent Western art music is profound. Beethoven wrote his own early
compositions in the shadow of Mozart, of whom Joseph Haydn wrote that "posterity
will not see such a talent again in 100 years".
Style
A sheet of music from the Dies Irae movement of the Requiem Mass in D Minor (K.
626) in Mozart's own handwriting. It is located at the Mozarthaus in Vienna.Mozart's
music, like Haydn's, stands as an archetypal example of the Classical style. At the
time he began composing, European music was dominated by the style galant: a
reaction against the highly evolved intricacy of the Baroque. But progressively, and in
large part at the hands of Mozart himself, the contrapuntal complexities of the late
Baroque emerged once more, moderated and disciplined by new forms, and adapted
to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in
every major genre, including symphony, opera, the solo concerto, chamber music
including string quartet and string quintet, and the piano sonata. These forms were not
new; but Mozart advanced the technical sophistication and emotional reach of them
all. He almost single-handedly developed and popularized the Classical piano
concerto. He wrote a great deal of religious music, including large-scale masses: but
also many dances, divertimenti, serenades, and other forms of light entertainment.
The central traits of the Classical style are all present in Mozart's music. Clarity,
balance, and transparency are the hallmarks of his work, but any simplistic notion of
its delicacy masks the exceptional power of his finest masterpieces, such as the Piano
Concerto No. 24 in C minor, K. 491, the Symphony No. 40 in G minor, K. 550, and
the opera Don Giovanni. Charles Rosen makes the point forcefully:
It is only through recognizing the violence and sensuality at the center of Mozart's
work that we can make a start towards a comprehension of his structures and an
insight into his magnificence. In a paradoxical way, Schumann's superficial
characterization of the G minor Symphony can help us to see Mozart's daemon more
steadily. In all of Mozart's supreme expressions of suffering and terror, there is
something shockingly voluptuous.[70]

Especially during his last decade, Mozart exploited chromatic harmony to a degree
rare at the time, with remarkable assurance and to great artistic effect.
Mozart always had a gift for absorbing and adapting valuable features of others'
music. His travels certainly helped in the forging of a unique compositional
language.[71] In London as a child, he met J.C. Bach and heard his music. In Paris,
Mannheim, and Vienna he met with many other compositional influences, as well as
the avant-garde capabilities of the Mannheim orchestra. In Italy he encountered the
Italian overture and opera buffa, both of which deeply affected the evolution of his
own practice. Both in London and Italy, the galant style was in the ascendent: simple,
light music with a mania for cadencing; an emphasis on tonic, dominant, and
subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly
articulated partitions in the overall form of movements.[72] Some of Mozart's early
symphonies are Italian overtures, with three movements running into each other;
many are homotonal (all three movements having the same key signature, with the
slow middle movement being in the relative minor). Others mimic the works of J.C.
Bach, and others show the simple rounded binary forms turned out by Viennese
composers.
As Mozart matured, he progressively incorporated more features adapted from the
Baroque. For example, the Symphony No. 29 in A Major K. 201 has a contrapuntal
main theme in its first movement, and experimentation with irregular phrase lengths.
Some of his quartets from 1773 have fugal finales: probably influenced by Haydn,
who had included three such finales in his recently published Opus 20 set. The
influence of the Sturm und Drang ("Storm and Stress") period in music, with its brief
foreshadowing of the Romantic era to come, is evident in the music of both
composers at that time. Mozart's Symphony No. 25 in G minor K. 183 is another
excellent example.
Mozart would sometimes switch his focus between operas and instrumental music.
He produced operas in each of the prevailing styles: opera buffa, such as The
Marriage of Figaro, Don Giovanni, and Cos fan tutte; opera seria, such as Idomeneo;
and Singspiel, of which Die Zauberflte is the most famous example by any
composer. In his later operas he employed subtle changes in instrumentation,
orchestral texture, and tone color, for emotional depth and to mark dramatic shifts.
Here his advances in opera and instrumental composing interacted: his increasingly
sophisticated use of the orchestra in the symphonies and concertos influenced his
operatic orchestration, and his developing subtlety in using the orchestra to
psychological effect in his operas was in turn reflected in his later non-operatic
compositions
3.
Franz Joseph Haydn (March 31, 1732 May
31, 1809) was an Austrian composer. He was one of the most
important, prolific and prominent composers of the classical

period. He is often called the "Father of the Symphony" and "Father of the String
Quartet" because of his important contributions to these genres. He was also
instrumental in the development of the piano trio and in the evolution of sonata
form.[3][4]
A life-long resident of Austria, Haydn spent much of his career as a court musician for
the wealthy Hungarian aristocratic Esterhzy family on their remote estate. Isolated from
other composers and trends in music until the later part of his long life, he was, as he put
it, "forced to become original".[5] At the time of his death, he was one of the most
celebrated composers across Europe.[6]
Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer,
and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus
Mozart and a teacher of Ludwig van Beethoven.
James Webster summarizes Haydn's role in the history of classical music as follows:[44]
"He excelled in every musical genre He is familiarly known as the 'father of the
symphony' and could with greater justice be thus regarded for the string quartet; no other
composer approaches his combination of productivity, quality and historical importance
in these genres."

Structure and character of the music

A central characteristic of Haydn's music is the development of larger structures out of
very short, simple musical motifs, often derived from standard accompanying figures.
The music is often quite formally concentrated, and the important musical events of a
movement can unfold rather quickly.
Haydn's work was central to the development of what came to be called sonata form. His
practice, however, differed in some ways from that of Mozart and Beethoven, his
younger contemporaries who likewise excelled in this form of composition. Haydn was
particularly fond of the so-called "monothematic exposition", in which the music that
establishes the dominant key is similar or identical to the opening theme. Haydn also
differs from Mozart and Beethoven in his recapitulation sections, where he often
rearranges the order of themes compared to the exposition and uses extensive thematic
development.[46]
Haydn's formal inventiveness also led him to integrate the fugue into the classical style
and to enrich the rondo form with more cohesive tonal logic (see sonata rondo form).
Haydn was also the principal exponent of the double variation form variations on two
alternating themes, which are often major- and minor-mode versions of each other.
Perhaps more than any other composer's, Haydn's music is known for its humor.[47] The
most famous example is the sudden loud chord in the slow movement of his "Surprise"
symphony; Haydn's many other musical jokes include numerous false endings (e.g., in
the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed
in the trio section of the third movement of Op. 50 No. 1.

Much of the music was written to please and delight a prince, and its emotional tone is
correspondingly upbeat.[citation needed] This tone also reflects, perhaps, Haydn's
fundamentally healthy and well-balanced personality. Occasional minor-key works, often
deadly serious in character, form striking exceptions to the general rule. Haydn's fast
movements tend to be rhythmically propulsive and often impart a great sense of energy,
especially in the finales. Some characteristic examples of Haydn's "rollicking" finale type
are found in the "London" symphony No. 104, the string quartet Op. 50 No. 1, and the
piano trio Hob XV: 27. Haydn's early slow movements are usually not too slow in tempo,
relaxed, and reflective. Later on, the emotional range of the slow movements increases,
notably in the deeply felt slow movements of the quartets Op. 76 Nos. 3 and 5, symphony
No. 102, and piano trio Hob XV: 23. The minuets tend to have a strong downbeat and a
clearly popular character. As early as Op. 33 (1781) Haydn turned some of his minuets
into "scherzi" which are much faster, at one beat to the bar.

Evolution of Haydn's style

Haydn's early work dates from a period in which the compositional style of the High
Baroque (seen in Bach and Handel) had gone out of fashion. This was a period of
exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was
himself one of the musical explorers of this time.[48] An older contemporary whose work
Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach.[18]
Tracing Haydn's work over the six decades in which it was produced (roughly, 1749 to
1802), one finds a gradual but steady increase in complexity and musical sophistication,
which developed as Haydn learned from his own experience and that of his colleagues.
Several important landmarks have been observed in the evolution of Haydn's musical
style.
In the late 1760s and early 1770s Haydn entered a stylistic period known as "Sturm und
Drang" (storm and stress). This term is taken from a literary movement of about the same
time, though it appears that the musical development actually preceded the literary one by
a few years.[49] The musical language of this period is similar to what went before, but it
is deployed in work that is more intensely expressive, especially in the works in minor
keys. James Webster describes the works of this period as "longer, more passionate, and
more daring."[50] Some of the most famous compositions of this time are the "Farewell"
Symphony No. 45, the piano sonata in C minor (Hob. XVI/20, L. 33), and the six string
quartets of Op. 20 (the "Sun" quartets), all from 1772. It was also around this time that
Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20
quartets end with such fugues.
Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more
overtly entertaining style. There are no quartets from this period, and the symphonies
take on new features: the first movements now sometimes contain slow introductions,
and the scoring often includes trumpets and timpani. These changes are often related to a
major shift in Haydn's professional duties, which moved him away from "pure" music

and toward the production of comic operas, which were very popular in 18th Century
Italy. Several of the operas were Haydn's own work (see List of operas by Joseph
Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in
symphonic works,[51] which helped him continue his career as a symphonist during this
hectic decade.
In 1779, an important change in Haydn's contract permitted him to publish his
compositions without prior authorization from his employer. This may have encouraged
Haydn to rekindle his career as a composer of "pure" music. The change made itself felt
most dramatically in 1781, when Haydn published the six string quartets of Opus 33,
announcing (in a letter to potential purchasers) that they were written in "a completely
new and special way". Charles Rosen has argued that this assertion on Haydn's part was
not just sales talk, but meant quite seriously; and he points out a number of important
advances in Haydn's compositional technique that appear in these quartets, advances that
mark the advent of the Classical style in full flower. These include a fluid form of
phrasing, in which each motif emerges from the previous one without interruption, the
practice of letting accompanying material evolve into melodic material, and a kind of
"Classical counterpoint" in which each instrumental part maintains its own integrity.
These traits continue in the many quartets that Haydn wrote after Opus 33.[52]
In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his
"popular style", a way of composition that, with unprecedented success, created music
having great popular appeal but retaining a learned and rigorous musical structure.[53]
An important element of the popular style was the frequent use of folk or folk-like
material, as discussed in the article Haydn and folk music. Haydn took care to deploy this
material in appropriate locations, such as the endings of sonata expositions or the opening
themes of finales. In such locations, the folk material serves as an element of stability,
helping to anchor the larger structure.[54] Haydn's popular style can be heard in virtually
all of his later work, including the twelve London symphonies, the late quartets and piano
trios, and the two late oratorios.
The house in Vienna where Haydn lived in the last years of his life, now a museumThe
return to Vienna in 1795 marked the last turning point in Haydn's career. Although his
musical style evolved little, his intentions as a composer changed. While he had been a
servant, and later a busy entrepreneur, Haydn wrote his works quickly and in profusion,
with frequent deadlines. As a rich man, Haydn now felt he had the privilege of taking his
time and writing for posterity. This is reflected in the subject matter of The Creation
(1798) and The Seasons (1801), which address such weighty topics as the meaning of life
and the purpose of humankind, and represent an attempt to render the sublime in music.
Haydn's new intentions also meant that he was willing to spend much time on a single
work: both oratorios took him over a year to complete. Haydn once remarked that he had
worked on The Creation so long because he wanted it to last.[55]
The change in Haydn's approach was important in the history of music, as other
composers soon were following his lead. Notably, Beethoven adopted the practice of
taking his time and aiming high.

Identifying Haydn's works

Haydn's works are listed in a comprehensive catalogue prepared by Anthony van
Hoboken. This Hoboken catalogue provides each work with an identifying number,
called its Hoboken number (abbreviation: H. or Hob.). The string quartets also have
Hoboken numbers, but are usually identified instead by their opus numbers, which have
the advantage of indicating the groups of six quartets that Haydn published together; thus
for example the string quartet Opus 76, No. 3 is the third of the six quartets published in
1799 as Opus 76.