CLASSICISM

CLASSICISM
HISTORICAL CONTEXT: THE AGE OF THE ENLIGHTENMENT
The Enlightenment: With this liberal ideology the middle class (bourgeoisie), which has the economic power after the overcoming of the baroque crisis, will face the "Old Regime ". They affirm that the Critique of Pure Reason (Kant) supported already by the progresses of the baroque science, will drive the man towards his natural happiness, in an egalitarian, secular and educated society (Encyclopedia). All this will end in the French Revolution. Musically, Vienna turns into the center, synthesizing the European styles (Italian, French and German), separated during the Baroque.

AESTHETIC AND FUNCTIONALITY

The perfection of the human being and of the society in progress and without problems (" gallant style ") are shown through a beautiful and happy music, and with clear, symmetrical and perfectly balanced forms, that avoids the baroque contrasts and that opposes the "naturalness" to the previous pomposity. The function of the music is now "to entertain". Its center shifts from the churches and palaces (court culture) to the lounges and public concerts (bourgeois culture)

ELEMENTS Melody
Short musical phrases articulated in clearly defined periods of frequent cadences. The design and character of the themes derive of its own function; Example: Principal theme: rhythmic; 2nd theme: Cantabile, Transition theme: undefined, conclusive.

Rhythm
The feeling of stiffness from the Baroque mechanic pace is softened by subdividing the pulse and prolonging the duration of the chords.

Harmony
The tonal language is consolidated, and very hierarchized around the Tonic (I degree), Subdominant (IV degree) and Dominant (V degree). The musical discourse follows this sequence: Rest-Tension-Rest. Modulation is used to develop themes and to enhance the dramatic tension.

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Timbre and dynamic

Orchestra grows by increasing the string section and incorporating the French-horn, clarinet and timpani. Dynamic progressive changes in volume with expressive endings. Great pianos development that eventually substitutes the harpsichord.

Texture
The polarity melody-bass is lost in benefit of the accompanied melody, that only emphasises the melody, although without excluding other secondary motives in the accompaniment (countermelodies) that balance the texture.

Text/Lyrics
The melody configuration, balanced and neutral,(focused on the musical structure coherence) doesnt allow the expressive or descriptive text relation. Absolute music reaches the top.

MUSICAL FORMS Sonata: The main innovation is the Sonata Form, that now has a dramatic
inspiration, in opposition of the architectonic Baroque sonata. Presentation of a thematic-harmonic conflict, development of it and final resolution. Its going to be the most important form till the 20th century in its different versions: Sonata (1 or 2 instruments), Quartet ( 4 inst.), Symphony (Orchestra), and Concert (soloist(s) and orchestra) Structure: It has four movements: I) Sonata form: (tempo allegro) Exposition of two contrasting themes in character and tonality. Exposition is repeated. Development: The former thematic material is elaborated freely through its fragmentation, combination, processing and modulation. and finally the Recapitulation of the exposition II) Tempo lento(slow movement): with a Cantabile character and usually a Lied form (A-B-A) III) Minuet: It is omitted in concertos. Ternary rhythm and light character. IV) Finale: Rondo form alternating contrasting stanzas or episodes with a recurrent refrain (A-B-A-C-A). Sometimes the central part has a development character (Sonata-Rondo)

COMPOSERS AND WORKS

-PRE-CLASSICISM: C.P.E.Bach: works for harpsichord in the Expressive style: free forms according to the changing expression of feelings. Unexpected contrasts. Aesthetic very advanced closer to the Romanticism than to its own period.

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-FULLNESS: Haydn: Aristocratic taste. He lived to the service of princes with an orchestra at his disposal to experiment with his influential innovations particularly in the formal field. 104 symphonies, quartets, oratories Mozart: He assimilates from his childhood the musical language (prodigy child), expressing naturalness and spontaneity in his music, but also keenness and depth. He tries to dignify the life of the independent musician without getting it. Symphonies (Jupiter), sonatas and concerts for piano and operas (Don Giovanni, The Marriage of Figaro) stand out. -TRANSITION TO THE ROMANTICISM: Beethoven: From the Classicism in his first sonatas and symphonies, he will represent the prototype of a romantic genius, getting to place the music at the head of the arts and imposing his individuality to the strict classic forms and to the society (getting over from his own deafness). He takes to the top the symphonic genre (9 symphonies), being anticipated in many aspects (orchestration, harmony, forms) to the Romanticism. For all of this, he is one of the musicians who has influenced more his successors.

THE OPERA
During the 18th century the boundaries between the numerous integrated scenes (arias, recitatives) are tended to soften in order to create Integrated Scenes (plot units with great consistence) Italy: The Opera Seria focuses on the tastes of the bourgeois public: Librettos of Metastasio (mythological characters with a passional conflict and with an heroic act at its end). Opera Buffa: It avoids of the conventions of the Opera Seria. Progressive and fresh style, and popular humour. It has less means and characters (a comic bass is very typical) The Concertant is invented: different texts and attitudes are superposed. At the end of each act the characters go on stage in a concertant of increasing animation. Pergolesi:La serva padrona France: Gluck (Orfeo et Euridice): seriousness and more dramatic solidity. He avoids ornamental excesses and appreciates the orchestra and chorus. Germany: Mozart dominates all the genres: Seria (Idomeneo), Buffa (The marriage of Figaro), and the German and Italian schools (The magic flute, Cosi fan tutte). All of this is synthesised in Don Giovanni. Detailed psychological description of the characters, brilliant Concertants and final ensemble endings. Fluency and elegance.