The Classical period in in Western (European) music occured from about 1730 (the birth of CPE Bach) to 1820 (the death of Ludwig van Beethoven), but there is great debate over the real span of the Classical era. Probably the best known composers from this period are Wolfgang Amadeus Mozart, Joseph Haydn, and Ludwig van Beethoven, though other notable names include Muzio Clementi, Johann Ladislaus Dussek, Carl Philipp Emanuel Bach, and Christoph Willibald Gluck. Beethoven is also regarded either as a Romantic composer or a composer who was part of the transition to the Romantic; Franz Schubert is also something of a transitional figure. The period is sometimes referred to as Viennese Classic, since Mozart, Haydn, Beethoven, and Schubert all worked at some time in Vienna.
Classical music is these days considered primarily a written musical tradition, preserved in thousands upon thousands of pages of staff paper. There are differences between particular performances of a classical work. The use of musical notation, generally taken for granted, is one of the most overlooked benefits to classical music interpretation, since the written music contains the technical instructions for performing the work. The written score, however, does not usually contain explicit instructions as to how to interpret the piece in terms of production and/or performance, apart from directions for dynamics and tempo. However, improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit some of their skill. Traditionally this was improvised by the performer; however more often than not, it is written for (or occasionally by) the performer beforehand.
Classical music concerts often take place in a relatively solemn atmosphere, and the audience is expected to stay quiet to avoid distracting the concentration of other audience members. The performers often dress formally and performers do not engage in direct involvement with the audience, unless the pice falls for it. Private readings of chamber music may take place at more informal parties and performances.
Classical music's written transmission has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. Indeed, deviations from the composer's instructions are sometimes condemned as outright blasphemous. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the composer's original intent than the composer was able to imagine. Thus, classical music performers often achieve very high reputations for their musicianship, even if they do not compose themselves.
Classical composers often aspire to imbue their music with a very complex relationship between its affective (emotional) content, and the intellectual means by which it is achieved. Many of the most esteemed works of classical music make use of musical development, the process by which a musical germ, idea or motif is repeated in different contexts, or in altered form, so that the mind of the listener consciously or unconsciously compares the different versions. The classical genres of sonata form and fugue employ rigorous forms of musical development.
Another consequence of the primacy of the composer's written score is that improvisation plays a relatively minor role in classical music, in sharp contrast to traditions like jazz, where improvisation is central. Improvisation in classical music performance was far more common during the Baroque era than in the nineteenth and twentieth centuries, and recently the performance of such music by modern classical musicians has been enriched by a revival of the old improvisational practices. During the Classical period, Mozart and Beethoven sometimes improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists.
Domenico Scarlatti
Domenico Scarlatti was a transition composer from the Baroque to Classical period. Refer back to Baroque page to read about the life and characteristics of him that also influenced the Classical period.
Gluck
1. Dates of Life: 1714-1787
2. Where Born/Died:
- Born in Erasbach, Bavaria
- Died in Vienna, Austria
3. Life:
Fascinated with the ideas of the Enlightenment, Gluck attempted to portray the Enlightenment through his music. He reformed opera, using neo-classicism while still using libretto that dealt with the problems of the day. He studied music at university in Prague, stayed in Vienna for a while, and then left for Milan, where he worked for the Melzi family. He moved back to Vienna, and lived the life of a typical 18th century opera composer. He wrote Don Juan, which was performed in Vienna. It was a revolution in opera because it had a narrated story, for the first time. He also spent some time in France, teaching Marie Antoinette.
4. Mentors: Giovanni Battista Sammartini
5. Main Influences: Ranieri Calzabigi
6. Main Type of Composition: Opera
7. Great Works:
Jascha Heifetz plays "Melodie" by Gluck
Schubert
1. Dates of Life: 1797-1828
2. Where Born/Died:
- Born in Vienna, Austria
- Died in Vienna, Austria
3. Life:
He lived at the beginning of the Romantic period. He was known for his lieder. He was very prolific, sometimes producing several songs in a day. He introduced, in his piano piece Wanderer Fantasy, the cyclical form. He did not have a literary career, and he was not a virtuoso performer or a conductor, so his works were largely unknown to the public during his lifetime. He learned the violin from his father, and was accepted into the Imperial Court Chapel as well as the Stadtkonvikt (Royal Seminary). There his talents grew, encouraged by the principal. The poet Goethe inspired many of his songs. He, like Mozart, worked for an Esterhazy.
4. Mentors: His father, Franz Theodor Schubert; his older brother, Ignaz; Michael Holzer, the pianist at his church
5. Main Influences: inspired by poets such as Johann Wolfgang Goethe and Friedrich von Schiller
6. Main Type of Composition: Best known for his lieder, but also chamber music
7. Great Works:
1. Dates of Life: 1750-1825
2. Where Born/Died:
- Born in Legnago, Italy
- Died in Vienna, Austria
3. Life:
At age 24, he was hired to work in Vienna by the Habsburg court. There, he composed Italian operas. He was there before Mozart, and they knew each other, even shared a bill on one occasion. In 1778, Salieri’s opera L'Europa riconosciuta, opened the Teatro alla Scala in Milan. At Gluck’s request, he moved to Paris in 1784 where he composed several French operas, including Les Danaïdes and Les Horaces. He also composed Tarare, a controversial opera, with Pierre-Augustine Caron de Beaumarchais. His music fell out of favor in Vienna as there was less demand for Italian composers. He taught many composers, including Beethoven, Liszt, and Schubert. He went insane in 1823.
4. Mentors: Florian Gassmann, Gluck
5. Main Influences: Bach, Gluck
6. Main Type of Composition: Mostly vocal work, including operas
7. Great Works:
Muzio Clementi
By: Laura
-Born in Rome, Italy
-Died in England
-Composed over 100 piano sonatinas
-Piano: Gradus ad Parnassum, Op. 44 (a collection of 100 studies for piano); Sonatinas, Op. 36
-Orchestra: Symphonies No. 1-4
-Vocal: Il martirio de’gloriosi (oratorio); Santi Girolamo e Celso (oratorio)
-Clementi was a composer, virtuoso pianist, conductor, teacher, music, publisher, and a manufacturer of pianos.
-He is called the father of modern piano writing and piano playing/pianoforte.
-Clementi took part in a famous piano competition with Mozart in 1781 in Vienna.
-Beethoven used Clementi’s Introduction to the Art of Playing on the Piano Forte and held Clementi in very high esteem.
Joseph Schuster:
Joseph Schuster:
· Born in
· Died in
Prince of
1776 he composed his first opera seria: ‘Didone Abandonata’ , which
was a great success. In the following years he composed many
successful operas in Neapel and
popular in
and music and sacred songs. Famous orchestra works are his string
quartets (the Mailänder quartette), which long seemed to be Mozart’s
works. But the thruth is that Schuster composed them in 1780.
-also : chamber music, string quartets and
sacred songs
- Mailänder quartette
- La fedeltà in amore
- Streichquartette Nr. 1-6 „Quartetti Padovani“
Wolfgang Amadeus Mozart:
Johannes Chrysostomus Wolfgangus Theophilus Mozart
Ludwig van Beethoven
1. Dates of Life: 1770-1827
2. Where Born/Died:
- Born in Bonn, Rhineland, Germany
- Died in Vienna, Austria
3. Life:
Beethoven was, of course, pivotal in music history. He ushered in the Romantic Era. In his early years, he composed very much in the Classical style, while later he began to become very original, stretching musical boundaries so much as to hint at the musical trends of the late 19th century (bearing in mind he only lived until 1827). In childhood, his father, a singer, intended to make of his son a second Mozart. At 12, he was a promising keyboard virtuoso. He moved to Vienna, hoping to have Mozart as a teacher, but found Haydn instead. He became deaf fairly early in life, leading him to contemplate suicide in 1802. He was seen as antisocial, because his deafness troubled him deeply. When he was offered a job at Kassel, his friends were alarmed and paid a vast sum of money for him to stay in Vienna. Beethoven became one of the first independent artists in history.
Beethoven's musical career can be divided into three sections. In the first section, for the most part, he emulated his predecessors Mozart and Haydn in style and sound. In the second section, themes of heroism and struggle are very common, due to his deafness. He had also found his own sense of style and sound in this section of his life, and truly shined as a composer. In the third section of his life, he grew very introspective and intellectual, and looked into his own soul for his music. Deafness had completely taken over by now, and inspired most of the dreariness in his later works.
Beethoven was amazing at building a beautifully sound structure for piece, sometimes sketching the architecture of a movement before he even had a theme or idea for the movement. He was one of the first composers to consistently use "organic growth" to develop themes and ideas in his pieces; the clear cut phrases themes and ideas for Mozart had finally come to an end. He made innovations in almost every form of music he touched. For example, he diversified even such a well-crystallized form as the rondo, making it more elastic and spacious, which brought it closer to sonata form.
4. Mentors: C.G. Neefe, Joseph Haydn, J. G. Albrechtsberger.
5. Main Influences: Bach, Mozart
6. Main Type of Composition: Many; known today for his famous Symphonies
7. Great Works:
Symphony #5
Symphony #9
Symphony #3 (“Eroica”)
Joseph Haydn
By: Laura
-Born near Vienna, Austria
-Died in Vienna, Austria
-Best remembered for his string quartets (he was called the “father of the string quartet”) and symphonies (composed 106 symphonies)
-Composed over 150 works for the keyboard, including 60 keyboard sonatas
–Also composed operas, masses, and oratorios
Great works:
-Piano: Piano Sonata in E-flat Major, Hob. XVI: 52; Piano Concerto in G Major, Hob. XVIII: 4; Piano Concerto in D Major, Hob. XVIII: 11--Orchestra: Symphony No. 94 in G Major (The Surprise); Symphony No. 101 in E-flat Major (The Clock)
-String Quartet: The Joke, Op. 33, No. 2; The Frog, Op. 50, No. 6; The Sunrise, Op. 76, No. 4
-Oratorio: The Creation, Op. 33, No. 2
-Haydn was called “Papa” Haydn even though he never had any children. He had a good sense of humor and a likable disposition.
Friedrich Kuhlau
By: Laura
-Born in Uelzen, Germany
-Died in Copenhagen, Denmark
-Kuhlau is best known for his elegant and graceful piano compositions, including
sonatas and sonatinas.
-Kuhlau wrote many great pieces for flute, although he never played the instrument himself.
-Also composed waltzes, rondos, variations, operettas, piano concertos, dramatic works
Piano: Six Sonatinas, Op. 55; Concerto for Piano, Op. 7; 17 Sonatas
Chamber: Three Quintets, Op. 51; Flute Sonata, Op. 69
Drama: The Elf’s Hill
-This dramatic work was incidental music. The composition, first produced in 1828, is a national play.
-Kuhlau lost his sight in one eye in a childhood accident. He studied the piano during his recovery.
-Kuhlau is called “The Beethoven of the Flute” for having the natural ability to compose for flute, even though he never played flute himself.
By: Laura
-Born in Weimar, Germany
-Died in Hamburg, Germany
-Mostly known for his sonatas; over 200 sonatas and other solos written, primarily for the clavier
-70 cantatas, litanies, motets, etc.
-Symphonies, concertos
Die Israeliten in der Wüste (The Israelisted in the Desert)
Carl Maria von Weber:
· Born in
· Died in
uncle of Mozart’s wife (Constanze). He was Kapellmeister in Eutin
and worked later as an actor. Weber’s mother Genovefa Weber was
an opera singer and an actress.
from 1806 to 1807 he worked as a manager at the for prince
Friedrich Eugen-Heinrich von Württemberg-Oels. After that time he
traveled through
of the opera house in
Kapellmeister in
Caroline Brandt, who he got a child with. After he wrote his last piece
“Oberon” he died because of Leukemia.
-Joseph Haydn
chamber music. He also performed orchestra works and concertos
and a few sacred vocal pieces. Weber is well known for his operas.
· Der Freischütz
· Silvana
· Peter Schmoll und seine Nachbarn
· He often used dynamic changes
Johann Baptist Vanhal:
Johann Baptist Vanhal:
· Born in Neu Nechanitz, today:
· Died in
father’s farm and in 1761 went to
house of Karl Ditters von Dittersdorf. From 1769 to 1771 he wrote his
first opera under the influence of Florian Leopold Gassmann. After
short trips to Hungarian, he finally settled down in
lived until his death in 1813.
During his whole live he composed 1300 works, more than 100
quartets, 73 symphonies and many chamber music and piano
sonatas. He also composed an opera about the battle at Trafalgar.
- Karl Ditters von Dittersdorf
-A-major cello concert
MELODY:
The melody in the Classical period was usually thematic, which means that it was a short tune. It was similar in character to those associated with singing, dancing, marching, and hunting. It can also be described as isolated from the rest of the harmony. Either it is higher pitch wise, played by a different instrument, or tempo variations. One textbook example of a melodic motif in this period is the beginning in Beethoven's fifth. Click here to listen to it. One easy way to recognize melodies from the classical period is that it is easy to hum. Because the melodies are monophonic and simple they stand out compared to the rest.
The focus on melody led to a linear kind of structure of the music. Periodicity characterizes the newer styles, in which the melodic flow is broken up by resting points that divide it into, for example, antecedent and consequences phrases. The musical ideas weren’t spun out, but rather articulated through distinct phrases, typically two or four measures in length. With this concept it was easy to compare a melody to a sentence or a paragraph and to think of a musical composition as equivalent to prose or speech.
HARMONY:
The continuously driving harmonic motions typical of the older styles are divided into a series of stable or even static moments. Therefore, harmonic change slows down and modulations are less adventuresome. However, a great deal of bustling activity occurs during these relatively slow-moving and conventional harmonies.Modulations ususall follow a pattern, just like the harmony follows a pattern and is very predictable.
PHRASING & GALANT AND EMPFINDSAM STIL:
Instead of the contrapuntal complexity and spun-out instrumental melody of Barque music, audiences during the classical time period preferred and critics praised music that featured a vocally melody in short phrases over spare accompaniment. The empfindsamer Stil (German for "sentimental style") was characterised by speechlike melody. The galant style was organized in phrases of two, three, or four measures. These phrases combined into larger units, lightly accompanied with simple harmony and punctuated by frequent cadences.