Chapter 18 Early 18th century Principle musical genres: Madrigals, oratorios, cantata Major composers of baroque era: Vivaldi,

handel, moraeu Prussia becomes germany (but germany is not established yet, this is why italy and france are the centers for music making at the time) Less aristocratic ruling taking place Recovering from dark ages Foundations for the society we live in today were being placed Dramatic increase in literacy Rise of middle class (created an increasing demand for music) Naples had become a center for music and became an independent kingdom Had four conservatories after this, and were originally orphanages that specialized in teaching music. Naples was also a center for opera (scarlotti was a leading instrumentl composer at the time) Rome is now the seat of opera Venice gained some power as a place for music performance (due to St. Marks Cathedral being located here) 1670-1740 VIVALDI he was italys best known composer virtuoso violinist born in Venice, spent most of his time there, but travelled throughout Europe for the rest of his life he travelled with a group of musicians so not only did he bring his music with him, but he had his players as well so the people got an instant glimpse of what was happening in other areas composed 500 concertos he was the first to use a large amount of strings in his compositions he used pizz. And muted strings he composed 3 movement form pieces for the most part (others are 2 part/binary form) opus 3 no. 6 (listen) main composer in france of the time was Couperin western art music that pianists study today are his piano pieces he composed French suites (sections of a French suite) look at his music and discuss how it has Italian and French styles 1683-1764 ROMEAU organist later recognized as a theorist

his music was looked down upon at the time because it was so radical his theory was based on the laws of acoustics his work was one of the most prominent of the time music is propelled by dissonance and rested on consonance established the 3 pillars of harmony (tonic, subdominant, and dominant) he used these terms each work had a central tonic key dominant 7th returning to the tonic his operas are quite substantial (one of his first operas) content, subject matter, and textures of music was different in his works later in the 18th century growing power of Prussia german speaking composers: bach family (1685-1787), handel (1685-1759), hayden, Mozart, telemaun common practice period of music (1600- on) 1681-1767 Telemaun over 3000 works synthesized works using german counterpoint BACH little of his music was published and circulated had to composed a cantata every week for church service wrote in all forms except opera his first position was an organist concert master at viedmar wrote sacred cantatas after this period he was in charge of 4 churches and all the music performed in them he learned composition by copying and arranging works by other composers his music sounds similar because he would reuse general ideas he perfected the cantata they were used in Lutheran services consisted of gospel readings around 200 church cantatas have been preserved in their church scores other sacred music he composed were the passions (st. johns passion and st matthews passion) he composed 3 sets of 6 suites: English, french and partitas suites included 1. Allemande 2. Courante 3. Sarabande 4. Gigue 24 preludes and fuge.. one is in a minor key and one in a major key other works to know: Brandenburg concertos HANDEL His most important patrons were british monarchs, brought European traditions to England where not much musically was going on

He wrote opera too, his were based on lives of roman heroes or events of the crusades, this set him apart from others Composers are very concerned with text setting His operas were very serious in nature Wrote oratorios: The Messiah (premiered in 1741) Wrote the messiah in 30 days Simple rececitve, church cantata, english oratorio, works by bach Chapter 20 mid to late 18th century enlightenment-applied reason beliefs: indiv. Right, socialism, etc. welfare of human kind free masonry rise of middle class, middle class families could afford musical instruction for their families galant- term for everything modern and sophisticated during the enlightenment style became foundation for the music of this time (pg 477) coexisting with galant style is the sentimental style (empfindam) more chromaticism than the gallant narrowest definition of classical style would include haydn and mozart classical period 1730-1815 qualities of classical style baroque melody- consisted of sequential repetition of phrases no pedal in bach succession of short distinct phrases of 2-4 meas in length most of the music comprised of melodies which consisted of 2 or more phrases alberni base terms: periodicity

ch quiz for 19 and 20 read 22-23

CHAPTER 21

Opera 1720s and 1730s Opera bufa - Italian comic opera- full length work, sung throughout Consisted of 6 or more characters Turned into stock characters- buffoon/busybody maid Difference in this kind of opera was that the Dialogue was rapid Purely for entertainment, not lots of symbolism De capo form Le serva pedroma is an example

Opera serio- simple melodic style, eventually merged with the other opera form Sought to promote morality through entertainment Two pairs of lovers, other characters Would end with heroic deed Opera is still in 3 acts at this point Occasionally duets and larger ensembles (string quartet) Rececitive- develop the action to the dialogue/ explaining what is taking place/ most dramatic moments appear here Role of the orchestra expands Overture-introductory piece to an opera (today they are performed as stand alone pieces) Opera form- ABA Two contrasting keys (major and minor) Dramatic music 1698-1783 most prolific opera composer in Europe at this time opera in other languages before they had only been sung in Italian in france comic opera was opera buffount russo composed some operas, wrote extensively in his treatises, he was a naturalist 1710 opera comic began in England it was valid (set in English/ used spoken dialogues) mixture of pop songs, didnt really follow a storyline beggars opera by john gay is the surviving opera of the time (satires London society of the time) german opera didnt appear till the late 18th century called singspiel (feat. Spoken dialogue and chamber music) strauss wrote some Opera reform- wanted opera to be more natural (more flexibility in order to make action more natural) Wanted orchestra to be more involved Articulated in an essay by Francesco Alberati written in 1755 Composers and librettists considered themselves philosophers Jommelli and Tratta 1714-1787 look prolific composer of opera reform he believed Italian operas of all sorts abused all elements of theater, drama, and music alchest was a model for reform opera (orchestra played a prominent role/ almost like another character) used many diminished chords

song and church music in the early classic period song reflected amateur musicians strophic- same music/ different text lied has special importance (its a german song) in lieu of opera there were song cycles over 750 collections were published was particularly strong with north german composers staele antico- Palestrina- church adopted his music (few dissonances/very lyrical) Lutheran music rejected elaborate choral music Centered on hymns New England psalm singers Dissolving of basso continuo Clarinet had been invented (entered orchestra in the late 1700s) Mozart was the first to incorporate clarinet Chamber ensembles- significant outcome of instrumental music in the mid-century Continuo group without keyboard. Large string ensembles also came into being Birth of string quartet CLARINET 1710 joined flute, oboe, and bassoon as principle instrument woodwind section of orchestra by the mid-century music was composed for these instruments music prior to this you would have scores and whichever instrument happened to fit that clef you would play it concert orchestra was significantly smaller than todays koch wrote on sonata form essay dealing with some aspect of composition and its function in the 18th century essay on opinion of the piece we listened to, application of overture , what were subtlties heard, how did it affect perception of music, how did u apprehend the straightforward piece, compared to the one with rhythmic alterations bach is german, wrote overture suite, should performers play it in the French style? Or not?

HAYDN His string quartets were the first to become part of the canon of music that we study today 1732-1809 very baroque, even though he was a contemporary of mozart tight knit themes the gallant style- sophisticated, yet whimsical he could write as much music as he wanted because there was an orchestra completely at his disposal in the house where he worked. This is why he wrote so much music. 1761-1767 he composed 30 symphonies during this time oxford symphony 1789 he received an honorary doctorate from oxford for the performance of this piece counter melody by winds in the development it modulates through many keys very motivic in the recapitulation the closing theme is extended and intensified pinnacle of haydns career Mozart and haydn were friends and admired each other, difference in their careers is that Mozart achieved international success earlier even though he was 24 years younger Haydn developed in an isolated environment, Mozart grew up as a child prodigy and his father took him around Europe Mozarts father wrote a very highly regarded treatise on violin playing in the French style Mozart was known for being able to improvise at the piano, but he had a difficult time after his prodigy years, his father was always trying to get him gigs to play, he didnt have major patrons he just held positions in churches, he became a freelance composer between 1780 and 1790. Earned a reputation as being viennas finest pianist He wasnt recognized as a composer until later when they put all of his works together 1788 he had financial problems went back to composing piano sonatas 6 quartets he wrote were dedicated to haydn called the haydn quartets rondo abacaba

TEST TUESDAY (BEFORE BREAK) 20, 21, 22, 23 ESSAY Essay questions and term i.d. 21 terms: opera buffa- (comic opera) full length work with 6 or more singing characters and was sung throughout; plots centered on ordinary people in the present day da capo aria- favored form in the first half of the century; basic ABA scheme opera seria- serious opera, conflicts of human passions in stories based on ancient greek or latin tales; rarely has a tragic ending, ends with a deed of heroism opera comique- native French version of light opera, begun around 1710 as popular entertainment at suburban parish fairs, used spoken dialogue instead of recitative singspiel- (singing play) an opera with spoken dialogue, musical numbers and a comic plot, some became folksongs; eventually merged with early 19th century native opera lied- german song, simple and expressive, considered best when the melody was easy to sing, even by those untrained in music. Fortepiano- 18th century pianos string quartet- chamber music; 2 violins, viola and cello; primarily for the enjoyment of the performers and their companions sonata form- most common form for the first movement of a sonata, chamber work, or symphony in the classic period; themes arranged in 3 part structure elements of sonata form- exposition (first theme or group of themes in the tonic), transition (to dominant or relative major), development (motives or themes from the exposition are presented in new aspects or combinations and modulates), retransition (passage leading to and emphasizing the dominant), recapitulation (material of exposition is restated in original order but with all themes in tonic), coda (after the recapitulation that revisits one or more themes and confirms the tonic key) esterhazy family- haydn spent most of his career serving this family sturm und drang- long symphonies that are rhythmically complex, more contrapuntal, and more challenging to play; greater dynamics, richer harmonic palette, modulations range more widely, emotional agitated character

London symphonies- 12 london symphonies are haydns crowning achievements; expanded orchestra, daring harmonic conceptions Leopold Mozart- mozarts father, violinist for the archbishop of Salzburg; well regarded composer and author of a treatise on violin playing; he sacrificed his own advancement to devote himself to the education of his talented son. Dates for Haydn: 1732-1809 Mozart: 1756-1791 Essay questions: Compare the comic opera genres of germany, france, italy, and England Italy- (opera buffa) full length work with 6 or more singing characters and was sung throughout; plots centered on ordinary people in the present day; contain arias in galant style; contained intermezzos which were 2 or 3 segments performed between acts; around midcentury plots drifted to more serious storylines France- (opera comique) until midcentury it consisted almost entirely of popular tunes; used spoken dialogue instead of recitative; by midcentury started with serious plots like Italians England- (ballad opera) spoken dialogue that set new words to borrowed tunes; over time they started to write more original music Germany- (singspiel- an opera with spoken dialogue, musical numbers and a comic plot, some became folksongs; eventually merged with early 19th century native opera) adopted style and format of Italian opera mixed with French and native elements What was the enlightenment, and how did the wider cultural climate of the 18th century affect music? The most vibrant intellectual movement of the 18th century; central themes were: reason, nature, and progress; valued individual faith and practical morality over the church, preferred naturalness to artificiality, promoted universal education, and growing social equality; the expanding middle class allowed for the pursuit of learning and the love of art and music, growing interest made new demands on writers and artists. Things were being made more accessible to the general public. More writings were being focused on the common people. What distinguishes the galant style from the empfindsam style? Galant became a new term for the courtly manner in literature; freer, more songlike, homophonic; originated in Italian operas and concertos; foundation for the musical idiom of the mid to late 18th century. Empfindsam is characterized by surprising turns of harmony, chromaticisms, nervous rhythms, and rhapsodically free, speechlike melody; most closely associated with fantasias and slow movements; it too originated in italy. Briefly describe genres used by haydn and Mozart in terms of form, style, content, and social function; symphony, string quartet, piano sonata, and concerto

Symphonies- derived from the Italian opera sinfonia, or overture; 3 movements, typically the first and last were fast and the middle was slow, often in a closely related key. (later a minuet movement was added after the slow movement, making it 4 movements) Absorbed the new galant style that emphasized expressive melody in short phrases, arranged in periods, over light accompaniment. Preference in major mode. Binary forms that are harmonic. Simple binary is two sections roughly equal in length and feature music material that is different or loosely related. Balanced binary form is presenting new material in the dominant at the end of the first section, and repeat it in the tonic at the end of the second section. Rounded binary form highlights the return to the tonic in the second section by repeating the material that opened the first (minuets often feature this form). Symphonies dominated the orchestral music of this time. String quartet- chamber music developed for social music making for the enjoyment of the performers and their companions. Instrumentation included 2 violins, a viola, and a cello. First violin carries the melody, cello provides the bass, and the inner voices fill out the texture. The layout of them being at a table facing each other shows that it was meant as a social entertainment. Concerto- popular as a vehicle for virtuosos, 3 movements fast, slow, fast like the symphony. First movement followed a form unique to concertos, retained elements from ritornellos with episodes that feature the soloist. The first movement is a sonata form framed by a ritornello form. By Bachs time it had become a tradition for the soloist to play a cadenza. Performed in concerts. Piano sonata- viewed in terms of themes arranged in a 3 part structure, or as a 2 part form organized by phrase structure and harmony (expanded version of binary form. First section principle ideas are presented organized in 4 phrases. First period of second section begins with opening theme on dominant, moves through one or more keys and then returns to the tonic. Second period begins and ends on the tonic, parallels the first section and restates. (exposition, transition, development, retransition, recapitulation, intro/coda) Compare careers of Haydn and Mozart including circumstances of their lives, similarities and differences in their careers and styles. Haydn- LIFE.. exemplified the enlightenment. Became a choirboy at age 7 and he got to study and train in music, was kicked out at 17 when his voice changed, and he began to study composition on his own and struggled as a freelance musician. He finally found a position for a Hungarian prince that would set him up for life. The Esterhazy family employed him for the rest of his life. He composed exclusively for this family on command. His publications brought him fame and praise. STYLE.. devised themes that seemed familiar at first, and by following conventions for phrasing, form, and harmony. By using these conventions the listeners would expect a certain thing, but haydn could surprise them by doing something unexpected. Main source of his style was the galant style, expressiveness of the empfindsam style, baroque counterpoint. His compositional process began by improvising at the keyboard, then he put it on paper while still working at the keyboard, and completed by writing a full score.

Mozart- LIFE.. he was a child prodigy. His father was a performer and composer who published a highly regarded treatise. His father sacrificed his own career to promote the musical lives of his talented children. Mozart toured throughout Europe, composed minuets at age 5, a symphony before age 9, his first oratorio at age 11, and his first opera at 12. He held a position with the archbishop of Salzburg for 8 years but was unhappy so he left to go to Vienna to work as a freelance musician. He earned a reputation as viennas finest pianist. He taught piano and composition and composed on commission and for publication. 1787 he was appointed chamber music composer to the emperor. He had financial problems following 1788. Differences between careers- Mozart achieved international recognition earlier, despite being 24 years younger. Mozart never found a permanent position and worked as a free agent in Vienna. Haydn had a stable job, so while he was ok financially, it was not always the case for Mozart. They were friends and admired each other, seen as equals and defined the music of this era. Discuss opera reform and major composer(s) associated with it. Describe how opera reform movement changed the style of opera seria (in the other question) Original opera seria form consisted of alternating recitatives and arias, a few large ensembles, rare simple choruses, except in the overture the orchestra is mainly to accompany singers. Some composers wanted opera to be more natural, so they wanted flexibility in recitatives and arias to make them more natural. Used more orchestra, reinstated choruses, resisted demands of singers. Two important composers in the reform were Niccolo Jommelli and Tommaso Traetta. Both worked where French tastes were predominant. Jommellis works provided models for later opera serias; Traetta tried to combine the best of French tragedy with Italian opera and borrowed material from Rameau. Another composer, Gluck, was affected by the reform. He wanted to remove the abuses that had deformed Italian opera and to confine music to what the reformers considered its proper function (to serve the poetry and advance the plot). He aimed to make the overture an integral part of the opera as well, to adapt the orchestra to the dramatic requirements, and lessen contrast between aria and recitative. He aspired to write music of a beautiful simplicity.