["","100 HIGH BAROQUE RELIGIOUS CHORAL MUSIC IN CONTEXT T the final development of the used it to control the flow of their Baroque aesthetic known work by modulating between FOCUS as the High Baroque was different keys. Increasingly complex High Baroque religious underway by around 1680. The new counterpoint, combining distinct choral music tonal system, in which music was melodic lines, one of the defining built from notes forming major and characteristics of Baroque music, BEFORE minor scales, was fixed by this was employed to create vivid 1471 The Flemish composer time, and High Baroque composers dramatic effects; coupled with Jacob Obrecht writes a Passio such as Johann Sebastian Bach incisive rhythmic features, the secundum Matthaeum music achieved an unprecedented (Matthew Passion). The Crucifixion, often depicted in emotional power. Renaissance art, as here by the German 1620s In Rome, Giacomo painter Lucas Cranach the Elder, In earlier periods, vocal art Carissimi produces oratorios became a subject for composers, too, music had been preeminent; now on Old Testament subjects to as music grew ever more descriptive. increasing interest in instrumental satisfy the demand for operatic music offered composers another entertainment during Lent. 1718 Handel composes the first version of Esther, about the Old Testament queen. Eventually, in 1732, this piece would be revised into the first English oratorio. AFTER 1829 Felix Mendelssohn conducts the Berlin premier of the St. Matthew Passion\u2014a key moment in the revival of interest in Bach\u2019s music. 1846 Mendelssohn premieres his oratorio Elijah, depicting the life of the Prophet Elijah. 1850 The Bach\u2013Gesellschaft is formed in Leipzig by Moritz Hauptmann (Cantor of the Thomaskirche), Otto Jahn (a biographer of Mozart), and the composer Robert Schumann, in order to publish the complete works of Bach. 1963\u20131966 Polish composer Krzysztof Penderecki writes the St. Luke Passion, an atonal orchestral-choral setting of the Passion story.","BAROQUE 1600\u20131750 101 See also: Ein feste Burg ist unser Gott 78\u201379 \u25a0 The Art of Fugue 108\u2013111 \u25a0 Elijah 170\u2013173 \u25a0 The Dream of Gerontius 218\u2013219 dramatic resource. Breaking the Many of the genres heard in choral Johann Sebastian Bach bounds of pure accompaniment, music of this time are the same as the ever-more prominent orchestra those found in secular music. As Born in Eisenach, Germany, could play a far more varied and church composers were required in 1685, Bach was the most expressive role, which helped to to write music for more than 60 prominent of a long line of fuel the popularity of Baroque services a year, it was not unusual musicians. Taught music first opera. This tended to flourish in for them to remodel secular pieces, by his father, then his brother, mercantile centers, where wealthy as Johann Sebastian Bach did Bach was appointed as a court individuals joined the nobility to (1685\u20131750) when writing his musician in Weimar on leaving enjoy the spectacle, offering rich Christmas Oratorio (1734\u20131735). school in 1703. His reputation opportunities for composers such as an outstanding keyboard as George Frideric Handel. Most Evolving choral genres player quickly spread. He had citizens, however, experienced the During the High Baroque period, soon written the first of more new musical developments during the form of the Mass in north than 200 cantatas. church services. Germany evolved from the prima pratica (\u201cfirst practice\u201d), In 1717, Bach moved to Dramatizing church music characterized by a polyphonic K\u00f6then to take up a postion as Composers soon realized that the setting of the most important Kapellmeister and wrote many operatic techniques and music parts of the church service (Kyrie, instrumental works, including that infused classical myths with Gloria, Credo, Sanctus, Agnus Dei) the Brandenburg Concertos. contemporary relevance could with a choir and an instrumental In 1723, he took up his last serve liturgical purposes equally, accompaniment, into a much post as cantor of St. Thomas bringing life to the biblical texts, grander entity. This was due Church in Leipzig, where he which many in the congregation partly to the influence of Italian remained until his death in could not themselves read. Since traditions, which, after 1712, Bach 1750 at the age of 65. During operas were not permitted to be encountered through the music of this period, he became the staged during the six weeks of Antonio Vivaldi. The orchestra preeminent composer of High Lent, composers would present grew in size and, especially with Baroque music, with a skill performances of oratorios on obbligato (essential, fully written) for counterpoint that has biblical themes instead. accompaniments, made a much arguably never been equalled. greater musical contribution. Solo Not \u201cbrook\u201d [in German: voices were also more common. Other key works Bach], but \u201csea\u201d should he be called because of his Bach wrote five Masses, but 1723\u20131732 Six Motets, infinite, inexhaustible richness the B minor Mass (1749) stands BWV 225\u2013231 apart as one of the most important 1733 Magnificat, BWV 243 in tone combinations works in the Western music canon. 1749 Mass in B minor, and harmonies. It was written at the end of his life BWV 232 and unperformed before his death. Ludwig van Beethoven Unusually for the Lutheran tradition, it presents a complete setting of the Latin Ordinary in 25 separate movements over some two hours. Although on the wane by this period, the motet (sacred verses set to music) was still an important choral genre, particularly in France, where two distinct styles had been established. The petits \u276f\u276f","102 HIGH BAROQUE RELIGIOUS CHORAL MUSIC Oratorio Oratorio versus Opera Opera Plots are inspired by Takes religious text as stirring myths, history, its subject matter. and literature. Performed as a concert Performed as musical piece without props. theatre, with sets, scenery, and costumes. Uses a singing narrator In later operas, to advance the plot. characters advance the plot. Singers are static and Characters move and characters do interact. not interact. motets were accompanied only The anthem was prevalent in and accompaniment continued to by continuo, whereas the grands England, as a sectional dramatic be popular in the Baroque period. motets, such as those of Jean- work placing instrumental sections The subtle word-painting that the Baptist Lully, included soloists with solo passages, recitatives, and madrigal engendered influenced and an increasing number of full choruses. Purcell was a gifted other genres and is found in many instruments. They were less exponent of the form, and Handel sacred choral works of the period. common in Germany; the best- took it to even greater heights. His known examples today are by four ceremonial anthems include St. Matthew Passion Heinrich Sch\u00fctz and Bach. Bach\u2019s the renowned Zadok the Priest, For a musician such as Bach who motets, which strongly influenced written for the coronation of King was principally concerned with Wolfgang Amadeus Mozart George II in 1727. church music, the Passion, which (1756\u20131791), were virtually the set the biblical events from the Last only works of his to be regularly The Magnificat, sung at vespers Supper up to the Crucifixion, was performed after his death until and evensong, is the canticle (hymn) an opportunity to use the dramatic the Bach revival in the early of the Virgin Mary from Luke\u2019s techniques of opera within a 19th century. Each was arranged Gospel, first set in the Renaissance. religious setting. Bach wrote at for different sized choirs, and it is Monteverdi and Vivaldi produced least three such works (only two unclear how they were used within important Baroque settings, but have survived); for its mastery of church services, although some Bach\u2019s Magnificat for five parts emotion, imagination, and power were written for funerals. and orchestra is probably the best of expression make the St. Matthew known today. Passion a towering monument of Other choral forms of the High human creativity. It was written Baroque period include the anthem, Although the madrigal is more to be performed either side of the the Magnificat, and the madrigal. usually associated with earlier periods, this secular form for voices","BAROQUE 1600\u20131750 103 sermon at the Good Friday service Cantatas and oratorios such as recitatives, arias, and (in either 1727 or 1729). Bach also choruses, but the cantata tends collaborated with the Leipzig poet The oratorio had traditionally to use them more subtly in Picander to create a libretto, which been a concert piece for order to imply the drama. both presented the biblical drama orchestra, choir, and soloists, and offered contemplations upon depicting a biblical episode or By the High Baroque period, the content. The St. Thomas Church the life of a saint. It differed from it is difficult to differentiate the for which it was written added an opera only in being unstaged cantata from the oratorio. Bach\u2019s extra layer of drama to proceedings; and lacking interaction between Christmas Oratorio, for example, by using its two organ lofts, Bach characters. The cantata often is actually a cantata. Bach, was able to distribute his forces used similar forces but was whose cantatas are considered as a double choir across the venue. performed in church before to be some of the most sublime Although he had employed such and after the sermon and was religious music ever written, techniques in other works, such as a series of reflections on the also wrote secular works in the motets, its use here with the service\u2019s biblical texts. Both the genre, such as the Coffee addition of two orchestras and genres used operatic elements Cantata, which is essentially organists allowed for the widest a short comic opera. variety of dramatic textures. in four-part harmony, but three are referenced as accompanying devastating pathos of abandonment. In addition to the original elements in other movements. In However, in the hands of Bach, this material, Bach also inserted a this way, Bach was able to mix the same absence of strings in the number of Lutheran chorales. known with the new\u2014essential for soprano aria \u201cAus Liebe will mein When Martin Luther had started a congregation first experiencing Heiland sterben\u201d (\u201cOut of Love My translating services into German, such an intense, large-scale work. Saviour Is Willing to Die\u201d) suggests new melodies had been required. a different, almost plaintive mood. These formed well-known hymns Musical characterization that became the mainstay of Rather like an opera, the key Throughout the work, Bach is congregational worship. Bach roles in the St. Matthew Passion clearly aware of the need to use harmonized many hundreds of are taken by soloists, but in the the orchestra to ensure that his such melodies, regularly using absence of physical drama and congregation receives the full \u276f\u276f them as the basis of cantatas or costumes, Bach often gives them chorale preludes. In the St. Matthew distinct musical characterizations. Bach played the organ and taught Passion, the chorale melodies date The tenor Evangelist, the narrator, for 27 years at the St Thomas School from between 1525 and 1656, and always uses recitative secco with in Leipzig, as shown here in an 1882 would therefore have been familiar continuo (speechlike solo singing engraving. He and his pupils supplied to his audience. Most are presented with a sparse bass accompaniment) music for the city\u2019s four main churches. to deliver the Gospel texts. This One who has completely allows the narrative to be strong, forgotten Christianity clear, and unambiguous. The words truly hears it here of Jesus, however, are recitatives as Gospel. accompanied by the strings from Friedrich Nietzsche the first orchestra. In playing sustained notes and highlighting key words, they add an unworldly sound to the Vox Christi (voice of Christ)\u2014often likened to a halo. Such characterization is perhaps most strongly heard when, almost operatically, Jesus utters his last words without the accompaniment of strings, resulting in the truly","104 HIGH BAROQUE RELIGIOUS CHORAL MUSIC impact of the text. This attention two maids, although they are He demands that singers to orchestration, which was far not usually all taken by different should be able to do with more prevalent in stage works soloists. In many performances their throats whatever he of the time (which were often of the minor soloists are also members can play on the keyboard. similar length to the Passion), can of the choirs. With such a diverse be seen in the use of the oboes da cast and discursive text, it was Johann Scheibe caccia (a low oboe similar to the also possible for Bach to break from cor anglais) to underpin the eerie the oratorio tradition of avoiding Critic and composer (1708\u20131776) description of Golgotha in \u201cAch interaction between soloists; he Golgotha.\u201d No less vivid is the included duets and crowd scenes freedom of the prisoner Barrabas, moment in \u201cBuss und Reu\u201d (\u201cGuilt with passages that simulate they then embark on a series and Pain\u201d) where the alto describes simultaneous and interjecting of complex musical structures his tears to the sound of flutes speakers. So, in \u201cWeissage uns, notoriously difficult to perform. playing staccato notes. Christie\u201d (\u201cProphesy Christ\u201d) the An earlier, particularly poignant two choruses alternate in a style moment follows Jesus\u2019s capture in A large, varied cast known as cori spezzati, which was the garden, where after a sighing The piece also has parts for Judas, first developed at St. Mark\u2019s in orchestral introduction, the soprano Peter, two priests, Pontius Pilate Venice, while in \u201cHerr, wir haben and his wife, two witnesses, and gedacht\u201d (\u201cLord, We Thought\u201d) they sing simultaneously to represent The St. Thomas Boys Choir, Leipzig, the power-hungry Pharisees. still flourishing today, dates back more than 800 years to 1212. With Bach as The real glory of the choruses is Cantor (1723\u20131750), the church and city in the contrapuntal writing, notably became the center of Protestant music. when, after singing in excruciating dissonance as they call for the","BAROQUE 1600\u20131750 105 and alto bemoan Jesus\u2019s fate betrayal of Jesus, as he repeats Bach and three of his sons pose for in resigned tones. In contrast, the 17 words of the text with a portrait (1730) by Balthasar Denner. the chorus demands his release, increasing anguish. Bach had 20 children, and from the early creating an extraordinary tension 1500s to the late 1700s, his family between the two moods. While the The St. Matthew Passion produced more than 70 musicians. resignation continues, the chorus, received only a handful of which may depict the disciples performances in Bach\u2019s lifetime. Passion existed only in hand- or the congregation, gets more The newer Classical style had copied examples within a very agitated, and the orchestra drives begun to revolutionize musical small circle of admirers, some of the music forward to a breathless composition and enjoyment, and whom had been his students. conclusion. The ending of this the composer was considered to section in the major key might be behind the times in writing It was through such a group that seem surprising, underpinning as it contrapuntal music of this kind. Mendelssohn came to study Bach\u2019s does the words \u201cmurderous blood.\u201d works in the early 19th century It is suggested, however, that the and put on a performance of the music might be reminding the St. Matthew Passion in 1829. This listener that while the story is one performance, although a landmark of suffering, without the capture of in the revival of Bach\u2019s music, was Jesus, his Crucifixion\u2014and thereby neither complete nor authentic, but salvation\u2014is not possible. it did help to raise awareness of Bach\u2019s work. It was not long before Elsewhere, many of the more societies were created to publish contemplative texts, such as the and perform his work. Today, the chorale \u201cIch bin\u2019s ich sollte b\u00fcssen\u201d St. Matthew Passion is frequently (\u201cIt is I who should suffer\u201d) or the presented as a staged work; with bass aria \u201cMache dich, mein Herze, its similarities to opera, it can have rein\u201d (\u201cMake thyself clean my a powerful effect on audiences. \u25a0 heart\u201d), encourage listeners to feel the emotion and identify with the drama. The most striking example is perhaps the aria \u201cErbarme dich, mein Gott\u201d (\u201cHave mercy Lord, my God\u201d). The simplicity of the lilting rhythm, accompanied by a lamenting violin, underpins and emphasizes the intensity of Peter\u2019s sense of horror and guilt at his The most beautiful piece Bach\u2019s legacy of music ever written By the end of Bach\u2019s life, his music for the violin. was called \u201clearned\u201d in the most Yehudi Menhuin pejorative sense; the music of his son Carl Philipp Emanuel Bach was Describing \u201cErbarme dich, mein Gott\u201d better known. Very little of Bach\u2019s music was printed, although the keyboard works were sometimes studied; Ludwig van Beethoven (1770\u20131827) often performed fugues and preludes from Bach\u2019s The Well- Tempered Clavier. However, major works such as the St. Matthew","106 TAELLLEPMRAANISNEIS ABOVE MUSIQUE DE TABLE (1733), GEORG PHILIPP TELEMANN IN CONTEXT T he demand for Tafelmusik evening\u2019s entertainment and (table music)\u2014background contains meticulously crafted FOCUS music for banquets\u2014grew music that is always memorably Tafelmusik steadily from the mid-16th century melodious\u2014even evoking popular onward. Musique de table, a folk songs at times. BEFORE collection of such music by Georg 1650 Joachim von Sandrart\u2019s Philipp Telemann, a prolific Handel, who was among the painting Das Friedensmahl German composer who relished collection\u2019s 206 subscribers, (\u201cThe peace meal\u201d) depicts the assimilation and mastery appears to have borrowed some of musicians performing of different musical styles, draws its musical ideas. Themes in his Tafelmusik at a banquet for together a range of chamber genres oratorio The Arrival of the Queen of a diplomatic conference. that lent themselves to Tafelmusik. Sheba bear resemblance to material Telemann marketed the collection from the Concerto in the second 1680s Printed collections of as a prestige product that could be \u201cproduction\u201d of Musique de table. \u25a0 Tafelmusik, mostly by German purchased by subscription. composers of the day, become He [Telemann] could more common. Telemann\u2019s collection divides write a church piece in into three \u201cproductions,\u201d each one AFTER containing an orchestral dance eight parts with the 1770s The genre of Tafelmusik suite, a concerto, a quartet, a trio same expedition another is gradually replaced by other sonata, and solo sonata, finishing types of \u201clight\u201d musical with an orchestral \u201cconclusion.\u201d would write a letter. entertainment such as the Apart from the dance suites, George Frideric Handel divertimento and serenade. considerable use is made of the slow-fast-slow-fast four-movement 1820 An engraving by Johann pattern of the traditional Sonata da Wunder depicts a performance Chiesa (a genre of instrumental of Tafelmusik at a municipal chamber or orchestral music banquet in \u201cKr\u00e4hwinkel\u201d\u2014an sometimes performed at church invented place name intended services). Each \u201cproduction\u201d to suggest old-fashioned, provides enough music for an small-town parochialism. See also: Corelli\u2019s Concerti Grossi 80\u201381 \u25a0 Water Music 84\u201389 \u25a0 The Four Seasons 92\u201397 \u25a0 C.P.E. Bach\u2019s Flute Concerto in A major 120\u2013121","BAROQUE 1600\u20131750 107 HHAIINSSDHWSAHOROUPLLSEIWCHHEEROAERRDITN HIPPOLYTE ET ARICIE (1733), JEAN-PHILIPPE RAMEAU IN CONTEXT G alant music was born US mezzo-soprano Jennifer Holloway out of opposition to the plays Diane during a rehearsal of FOCUS perceived complexity of Rameau\u2019s Hippolyte et Aricie in the The style galante Baroque music. While the latter Th\u00e9\u00e2tre du Capitole, Toulouse, in 2009. was often characterized by BEFORE seriousness and grandeur, the The debate between Lullistes and 1607 Monteverdi\u2019s L\u2019Orfeo, style galante was elegant, light, Ramistes raged for several years, the earliest opera still in the and immediate. during which Rameau released a current repertoire, is premiered further four operas. In time, in Mantua. One of the most lauded however, his music became more advocates of this style was the accepted, and by the time of the 1673 The French operatic French composer Jean-Philippe Querelle des Bouffons in 1752, a tradition was born with the Rameau, whose first opera, two-year dispute about the relative premiere of Jean-Baptiste Hippolyte et Aricie, premiered in merits of French and Italian opera, Lully\u2019s Cadmus et Hermione, Paris in 1733. Rameau cast his Rameau\u2019s music was considered the first of Lully\u2019s trag\u00e9dies opera in the conventional five-act typically French. \u25a0 en music (tragedy in music). form of a trag\u00e9die en musique that was established by Jean-Baptiste AFTER Lully. In every other way, however, 1752 A performance of he broke Lully\u2019s mold, using daring Giovanni Battista Pergolesi\u2019s dissonances, longer phrase opera buffa (comic opera) structures, and an ornate approach La serva padrona (\u201cThe to melodic writing that came to servant turned mistress\u201d) typify the style galante. ignites the Querelle des Bouffons, a dispute between War of words supporters of serious and Hippolyte et Aricie drew harsh comic opera. criticism from so-called \u201cLullistes,\u201d who feared that Rameau\u2019s Italianate 1774 Having reformed Italian music threatened the iconic status opera, Christoph Willibald of Lully\u2019s operas in French culture. Gluck composes Iphig\u00e9nie en Aulide for the Paris stage. See also: Le bourgeois gentilhomme 70\u201371 \u25a0 Orfeo ed Euridice 118\u2013119 \u25a0 The Magic Flute 134\u2013137 \u25a0 The Barber of Seville 148 \u25a0 La traviata 174\u2013175","108 IN CONTEXT BFWAISANOCTDNHRSDOIETSNRHOLFEMIUKMELEROSASWTNTAHROS\u2026 FOCUS Baroque counterpoint THE ART OF FUGUE (1751), JOHANN SEBASTIAN BACH BEFORE c.1606\u20131621 Sweelinck composes the Fantasia chromatica, one of the first works to demonstrate contrapuntal development of a single subject. 1725 Fux publishes Gradus ad Parnassum (\u201cSteps to Parnassus\u201d), which includes exercises in how to write fugues. Mozart later studied this work. AFTER 1837 Mendelssohn publishes Six Preludes and Fugues, Op.\u00a035, demonstrating the fugue as a viable Romantic genre. 1910 Busoni publishes the Fantasia contrappuntistica, a homage to The Art of Fugue which includes a postmodern completion of its last fugue. I n contrast to later music that frequently depended on a single melody line over a series of harmonies, Baroque music was often constructed by combining a number of independent and interlacing melody lines, or voices. This technique, known as counterpoint, allowed composers to create works of overwhelming complexity and drama, reflecting the richness of other contemporary art forms. However, it also required consummate skill to compose long spans of music with sufficient variety and interest. The rise of the Classical style, and its emphasis on simplicity and preference for more slowly changing","BAROQUE 1600\u20131750 109 See also: Missa l\u2019homme arm\u00e9 42 \u25a0 Ein feste Burg ist unser Gott 78\u201379 \u25a0 St. Matthew Passion 98\u2013105 \u25a0 Elijah 170\u2013173 \u25a0 Faur\u00e9\u2019s Requiem 210\u2013211 \u25a0 The Dream of Gerontius 218\u2013219 The second fugue of Bach\u2019s The Well-tempered Clavier is in C minor. Both sets of 24 preludes and fugues are arranged in the 12 major and minor keys between C and the B above it. harmony, reduced the need then transferred to the other parts experience a satisfying musical for musicians to master such (or \u201cvoices\u201d as they are known, performance. While these works complex techniques. However, even in instrumental music) while abide by the strict Baroque rules Bach, the preeminent practitioner the first part continues with a that govern dissonance when of counterpoint in the Baroque complementary melody. it is permitted (for instance, on period, considered the skill to be passing notes on weak beats), so vital that he attempted toward For the performer, the difficulty their structure is relatively free. the end of his life to organize and of such works is not just to be able display the results of his knowledge to play the often swiftly flowing Building a fugue in works such as The Art of Fugue, parts with ease but also to be able Bach was best known for his a cycle of some 20 fugues. to balance the relative importance fugues, which follow the same of the voices, so that the listener principles but organize them \u276f\u276f Principles of counterpoint can appreciate the interplay and Much earlier, Bach had published didactic works to teach keyboard players counterpoint. These included two collections of special significance\u2014the 15 Inventions in two parts and the 15 Sinfonias in three parts. In each of the pieces, a simple opening melody is presented unaccompanied and Preludes, fugues, and well-tempered tuning Bach\u2019s two books entitled The Frequency ratios between other When tuning a piano, such as this Well-Tempered Clavier each notes are more complex, so Schimmel concert instrument from contained 24 preludes and tuning to a C major scale, Germany, the tuner uses a tuning fugues in all the major and keeping all the intervals pure, fork or an electronic device to adjust minor keys. These provided would make other scales sound the strings to the required pitch. models that keyboard players out of tune to slightly different could use to develop their degrees. The mean-tone system, proficiency and also celebrated used from c.1570 and based on a the range of keys that could be pure third interval, worked well employed using the tuning only for 10\u201315 of 24 keys. The methods of his time. well-tempered system was a compromise, tuning to intervals Tuning, or \u201ctemperament,\u201d sufficiently equidistant to allow was always a tricky issue. for performances in all keys. The A note one octave apart from modern equal temperament another sounds similar because system divides the octave into the sound frequency can be equal, mostly impure intervals. reduced to a simple 2:1 ratio.","110 BAROQUE COUNTERPOINT Structure: The fugue EXPOSITION EPISODE MIDDLE SECTION EPISODE FINAL SECTION CODA Soprano S FP FP A FP S CS FP CS FP FP Alto A CS FP S CS FP FP FP FP S FP FP Bass S CS FP FP FP FP FP FP A FP FP S TP In a fugue, a word derived from the Key Latin for \u201cflight,\u201d each of three or more voices enter one after the other, imitating S = Subject\u2014The principal theme of the fugue. and modifying the initial theme. The A = Answer\u2014The subject, repeated a fifth (5 notes) higher. structure illustrated here has many CS = Counter-Subject\u2014A contrasting secondary theme. other possible variants. FP = Free Part\u2014Material based on the first theme. TP = Tonic Pedal\u2014Sustained final bass note. within far more rigorous structures, same note in a different octave, although they are often performed which allow for very rich listening while the second voice now in concert halls, they are not as experiences. The basic structure of performs the counter-subject and powerful as his organ fugues or a fugue requires a melody known the first voice will usually play free those found in his sacred music. as the \u201csubject\u201d to be presented by material derived from the subject. However, they had a considerable the first voice in the home key. The This continues in the same way influence on later composers, who next voice then presents the same until all the voices have entered, dubbed them the \u201cOld Testament\u201d melody but starting on the fifth creating an exposition that of music (the Beethoven sonatas note of the scale being used, and moves rapidly from simplicity to were the New Testament) and paid this is known as the \u201canswer.\u201d complexity, while using limited tribute to them; Shostakovich, for When replying to this, the original musical material. instance, composed 24 Preludes voice plays a \u201ccounter-subject,\u201d and Fugues. Even now, pianists which may be very contrasting. The fugue will then progress study Bach\u2019s The Well-Tempered The third voice then enters with by adding mood-changing Clavier as part of their training. the \u201csubject\u201dagain, starting on the \u201cepisodes,\u201d again often derived from the opening material. The Bach\u2019s fascination with Ceaseless work, analysis, middle section, in turn, presents counterpoint did not merely focus reflection, writing much, the subject in different keys and on the fugue. His suites of dance endless self-correction, formats until the work returns to movements rely on an understanding the opening key. However, further of counterpoint for their inner that is my secret. variants heighten this journey, such energy; even when the music is for Johann Sebastian Bach as the \u201cstretto,\u201d where subjects and solo violin or cello, it often hints at answers enter before the previous what the other voices would play ones have been resolved. if there were more instruments by injecting notes and phrases in Teaching tools different registers. In writing the 48 fugues of The Well-Tempered Clavier, Bach offered Bach was similarly attracted a compendium of techniques to be to canons, where one voice follows studied by both keyboard players the exact melodic contour of the and composers. These were other but slightly later (the round, designed as teaching tools, and \u201cLondon\u2019s Burning\u201d is an example of this). His use of this technique is","BAROQUE 1600\u20131750 111 particularly evident in the Goldberg In The Musical Offering, his last It\u2019s the most difficult thing Variations, a set of 30 keyboard major keyboard work, written for I\u2019ve ever approached. You\u2019ve variations published in 1741, which the newly invented piano, Bach were, he said, for \u201cconnoisseurs to wrote a collection of 14 canons got to keep it going; how refresh their spirits.\u201d and fugues based on a theme do you do that? \u2026 There\u2019s purportedly composed by the King never been anything more Based on a repeating base of Prussia, Frederick II. Rather than beautiful in all of music. line, Bach composed every third always writing out the music in full, variation as a canon, but with one here Bach presents some musical Glenn Gould extra dimension. The first canon conundrums that have come to be begins with both voices starting called \u201criddle fugues.\u201d In these, he Pianist (1932\u20131982) on the same note. In the next canon, writes out only the main melody, however, although the second voice sometimes as an acrostic, and presented The Art of Fugue in the is playing the same tune as the then, in Latin, briefly states what same way, perhaps to suggest that first, it plays it one note higher; here kind of canon it should be and in it was pure music without being incredible skill is required to create how many voices. The performer tied to any particular instrument. melodic material that works and has to work out how to play the sounds pleasing to the listener\u2019s piece. He even includes a so-called Unfinished legacy ear. The next canon presents the \u201ccrab canon\u201d where the theme is The Art of Fugue is the culmination second voice two notes higher, played backward and forward at of Bach\u2019s contrapuntal interests. and this continues until, in the last the same time. Interestingly, the Written as 14 fugues and four canon, the voices are nine notes six-part fugue from this work, canons, each one uses the same apart. Apparently not content with known as the \u201cRicercar a 6\u201d is principal theme in some way this plethora of canons, Bach had written on six staves\u2014one staff to generate music of extraordinary 14 more sketched out in his copy per voice\u2014rather than in an subtlety and variety. The last of Goldberg Variations, built on the arrangement for two hands. Bach fugue, or \u201ccontrapunctus\u201d as he first eight notes of the bass line. calls them, presents a series of three different subjects, each worked out in four voices before moving to the next. The final one presents one of the most poignant moments in the history of music. Bach introduces a four-note theme that spells out his name (in German notation B = B-flat and H = B, so BACH = B-flat A C B), but before he finishes working it out, the manuscript trails off. \u25a0 Glenn Gould, a brilliant 20th-century Canadian pianist, seen here recording Bach\u2019s keyboard music, was noted for his skill in clearly articulating the texture of the preludes and fugues.","CLASSI 1750\u20131820","CAL","114 INTRODUCTION Italian composer The opera Doktor Domenico Scarlatti und Apotheker, a The court composer publishes 30 Essercizi Singspiel (\u201csing-play\u201d) of Frederick of Prussia, (\u201cExercises\u201d) as part of by Carl Ditters von Carl Philipp Emanuel more than 500 sonatas Dittersdorf opens written for keyboard. Bach composes in Vienna. his Flute Concerto in A major. 1753 1758 1786 1755 1762 1787 Johann Stamitz\u2019s In Vienna, Christoph Antonio Salieri Symphony in E-flat major Willibald Gluck\u2019s Orfeo ed premieres his transforms the symphony Euridice overturns the Tarare, a trag\u00e9die form with its sudden conventions of Italian opera, en musique, set to changes in dynamics and creating a more dramatic and a French libretto, integrated entertainment. new fourth movement. in Paris. T he 18th century was the was so influential that the term artificial nature of Baroque opera, \u201cAge of Enlightenment\u201d \u201cclassical music\u201d is widely used to began a series of \u201creform operas,\u201d in Europe, a time when refer to long-established musical simplifying the music and aiming the old political order was giving traditions in general. Among the for a more realistic drama. way to a new, more inclusive first to adopt the new style were society. The aristocratic courts two of J.S. Bach\u2019s sons: Carl Philipp The Viennese scene continued to provide patronage Emmanuel, a court musician who As the Classical style became for the arts, but the rise of an bridged the gap between Baroque established, composers and urban middle class created a and Classical styles of music, and performers tended to gravitate new concert- and operagoing his brother Johann Christian, who toward Vienna, which was audience with different tastes. made his name in London, staging becoming the cultural as well as The music of the period also public concerts and popularizing geographical center of Europe, reflected Enlightenment values the newly invented piano. Some with a prosperous population of rationalism and humanism that of the most exciting developments, eager to hear new music. Three looked to the aesthetic ideals of however, were happening in composers stood out from the Ancient Greece, rejecting the Mannheim, Germany, where the others: Joseph Haydn, Wolfgang extravagant counterpoint of the court orchestra enabled composers Amadeus Mozart, and Ludwig Baroque era in favor of a more such as Johann Stamitz to explore van Beethoven. detached style that emphasized new musical forms, including the elegance and proportion. symphony and concerto. Haydn, although a central figure in the formation of this Viennese The Classical period in music Opera was undergoing a similar musical scene, was not initially a history began around 1750. It lasted transformation. Christoph Willibald part of it. He took a conventional not much more than 50 years yet Gluck, dissatisfied with the stilted, job as Kapellmeister (musical","Inventor of the string Muzio Clementi CLASSICAL 1750\u20131820 115 quartet, Joseph Haydn publishes his Piano composes his Opus 54, Sonata in F-Sharp In London, the Czech minor, Op. 25, No. 5, piano virtuoso and three string quartets introducing innovations whose originality to the sonata form. composer Jan Ladislav Dussek publishes an transforms chamber music. influential treatise on piano playing. 1788 1790 1793 1788 1791 1803 Wolfgang Amadeus Singspiel reaches Beethoven releases his Mozart composes its zenith with \u201cEroica\u201d Symphony to Symphony No. 40 in widespread acclaim, the highly successful paving the way for G minor, the high point premiere of Mozart\u2019s the music of the of the symphony in the Romantic period. The Magic Flute Classical period. in Vienna. director) at the Esterh\u00e1zy family\u2019s style as he toured Europe. Realizing did not make it as a child prodigy, rural estate in Hungary, producing he was not suited to life as a court at the age of 13 he got a job as a music for twice-weekly concerts. musician, he decided to try to earn a court musician in Bonn and then Isolated from the wider musical living as a freelance composer\u2014one became a freelance composer, world, Haydn developed his own of the first to do so\u2014in Vienna. Here performer, and teacher in Vienna. particular style. He had a staff of he met Haydn on one of his trips to He settled there in 1792, too late talented musicians (who referred the capital from Esterh\u00e1zy, and the to meet his hero, Mozart, who had to him as \u201cPapa Haydn\u201d) and was two became friends. Mozart was died the year before, but he took able to both hone his skills and inspired to develop his symphonies lessons in composition from Haydn. refine musical forms, such as the and string quartets along the same symphony, string quartet, sonata, lines as Haydn had, but he also Beethoven\u2019s early compositions, and solo concerto. Despite the made a living\u2014and a reputation\u2014 symphonies, piano sonatas, remoteness of the Esterh\u00e1zy estate, as a composer and performer of and chamber music were in the news of his music spread to Vienna piano music. He later became style established by Haydn and and beyond, once it was published. known as the foremost opera Mozart but showed signs of a composer of the period. more passionate temperament As Haydn was starting his that differed from the Classicism career as a court musician, a young Enter Beethoven of his elders. In 1803, Beethoven\u2019s musical prodigy from Salzburg was While Haydn and Mozart were Third Symphony, the \u201cEroica,\u201d being paraded around the courts at the height of their fame in the extended the form of the symphony, and concert halls by his ambitious 1770s, another ambitious father developing and expanding father. A precocious genius, had aspirations for his gifted son. expressive musical language and Wolfgang Amadeus Mozart learned Although Ludwig van Beethoven heralding the beginning of a new the elements of the new Classical period of musical history. \u25a0","116 IILATTIKSSCAECFTOTRAHRERUSTANECCDETISNERD,O SYMPHONY IN E FLAT MAJOR, OP. 11, NO. 3, (1754\u20131755), JOHANN STAMITZ IN CONTEXT I n 1741, the composer Johann Stamitz\u2019s musical home Mannheim, Stamitz moved from his home seen here in an engraving of 1788 FOCUS in Bohemia (now the Czech showing the Elector's castle, court Expanding the scope Republic) to Mannheim, capital church (Hofkirche), and armoury of the orchestra of the Electoral Palatinate, a became a center of music innovation. German territory. There he became BEFORE court violinist and, in 1745, was group, not from the keyboard, as had 1720s Composers of appointed concertmaster of the previously been the norm, but from Neapolitan operas, such orchestra. Stamitz raised the his desk at the head of the violin as Leonardo Vinci, write standards of orchestral playing, section, using his bow to signal the \u201csinfonie\u201d (symphonies) in hiring talented musicians, some start of the piece and to indicate three movements as preludes of whom were also composers rhythm and tempo. Under Stamitz, to their dramatic works. in their own right, and extended the Mannheim orchestra became the orchestra by adding wind renowned for the superb quality 1732 Italian composer instruments, such as oboes and and precision of its playing and for Giovanni Battista Sammartini horns. He directed this diverse the new soundscape that it created. begins to write a series of three-movement symphonies. AFTER 1766 In Paris, Mozart befriends the Mannheim composer and conductor Christian Cannabich, a pupil and follower of Stamitz. 1772 Haydn, in his Sturm und Drang (\u201cStorm and Stress\u201d) symphonies, further explores the emotive style of orchestral music pioneered by the Mannheim composers.","CLASSICAL 1750\u20131820 117 See also: Mozart\u2019s Symphony No. 40 in G minor 128\u2013131 \u25a0 Symphonie fantastique 162\u2013163 \u25a0 Schumann\u2019s Symphony No. 1 166\u2013169 \u25a0 Faust Symphony 176\u2013177 The wind instruments could with the first movement concluding Johann Stamitz not be used to better on a recapitulation of the second theme, this time in the home key. Born in Ne\u02c7 meck\u00fd Brod (now advantage; they lift and carry, This sonata form (usually with a Havl\u00edc\u02c7ku\u02da v Brod), Bohemia, in they reinforce and give life to recapitulation of the first theme) 1717, Stamitz learned music became the template for symphonic from his father, an organist the storm of the violins. writing in the Classical period, and choirmaster, before C.F.D. Schubart particularly in first movements. attending a Jesuit school in Jihlava and university in Poet, organist, and composer Musical fireworks Prague. He probably worked An even more striking feature of as a violinist before arriving Many of the works played by Stamitz\u2019s symphonies, including in Mannheim in the early Stamitz\u2019s Mannheim orchestra the E-flat\u2014and of the Mannheim 1740s, rising rapidly to the were symphonies, a form that had school in general\u2014was the use court post of director of originated in Italy as the prelude, of strong, dynamic contrasts. orchestral music in 1750. or overture, to operas but had now Sometimes a sudden fortissimo become part of the Baroque concert appears in a passage of soft music, Stamitz lived most of his repertoire. These works usually sometimes a dramatic crescendo, working life in Mannheim, consisted of three movements: in which the orchestra\u2019s sound although he also spent a year one slow between two fast. gets gradually louder and louder, in Paris, in 1754\u20131755, where to exhilarating effect. Another he was already celebrated as a The symphony reinvented favorite mannerism was the composer and performed in In the Symphony in E-flat, and other \u201cMannheim rocket,\u201d a rapidly rising a series of successful concerts. works, Stamitz took hold of the melody or phrase accompanied by Stamitz wrote church music symphony form and transformed a crescendo. Combined with the and many chamber works, it, creating many of the features Mannheim orchestra\u2019s varied but he is best remembered for that distinguish its musical style. instrumental palette of strings and his orchestral pieces, which He added an extra movement: a wind instruments, symphonies like include violin concertos and minuet with a contrasting section, those of Stamitz thrilled audiences many symphonies, of which called a \u201ctrio\u201d because it was and pointed the way to a more 58 survive. He returned from originally meant to be played by dramatic, emotional music. Paris to Mannheim in 1755 three musicians. He also adopted and died there in 1757. the sonata form, used in the The E-flat symphony was one opening movement of the E-flat of Stamitz\u2019s last orchestral works, Other key works symphony, in which the first but his legacy lived on through theme, played in the home key his two composer sons, Carl and c.1745 Three Mannheim (E-flat) by the full orchestra is Anton. They and others, such as Symphonies (in G major, contrasted with a second theme, Christian Cannabich (1731\u20131798), A major, and B-flat major) here played by the oboes, in the who led the Mannheim orchestra c.1750 Mass in D major dominant key (B-flat). This is after Stamitz\u2019s death, developed 1754 Flute concerto in C major followed by a development section, his style, and soon court composers all over Europe were writing new symphonies to entertain their employers. The Mannheim composers impressed the young Mozart, who admired their orchestra and adopted some of Stamitz\u2019s compositional techniques in his own music. \u25a0","118 MTAHLOLEVIOMNFOGOSAPTCETRIAN ORFEO ED EURIDICE (1762), CHRISTOPH WILLIBALD GLUCK IN CONTEXT T he opera Orfeo ed Euridice involving and more real. He also by Christoph Willibald humanized his characters and FOCUS Gluck was first performed their arias by making them Classical opera seria in Vienna in 1762. It is based express emotions more directly. on a familiar tale from classical BEFORE mythology, the story of Orpheus\u2019s Opera seria 1690 Composers such as journey to the underworld to In the mid-18th century, the most Alessandro Scarlatti create a rescue his wife, Eurydice. Unlike fashionable type of opera was new style of opera derived from the original myth, but in line with what is now called opera seria Baroque vocal works\u2014the contemporary taste, Gluck\u2019s opera (serious opera). This type of opera Neapolitan School\u2014rapidly has a happy ending. features recitative\u2014passages sung popularizing the genre. in the rhythm of speech with many Even if the opera\u2019s story was syllables on the same note that are 1748 Gluck\u2019s fame is largely familiar, Gluck\u2019s style was usually accompanied only by enhanced when his opera quite new. He transformed opera continuo instruments (typically La Semiramide riconosciuta to integrate the music and drama harpsichord and cello alone), (\u201cSemiramis Revealed\u201d) is more fully than before, streamlining playing an improvised added bass performed in Vienna for the distracting elements that slowed up line\u2014and arias, accompanied by birthday of Habsburg empress the action, making the work more full orchestra. The arias have a Maria Theresa. distinct structure, called da capo There is no musical (\u201cfrom the top\u201d), with three sections, 1752 Gluck and librettist rule that I have not the third being a repeat of the first, Pietro Metastasio produce willingly sacrificed with ornamentation to show off the the highly successful opera, to dramatic effect. singer\u2019s ability. In between, the La clemenza di Tito (The Christoph W. Gluck second section introduces a new Clemency of Titus). melody or develops the initial tune. Meanwhile, features such as rich AFTER and varied stage sets and elaborate 1781 Mozart\u2019s opera ballets, often enliven the event. Idomeneo premieres. It shows the influence of Gluck believed that the lavish Gluck, particularly in the spectacles and the long showy accompanied recitatives. arias tended to get in the way of the drama and that the difference in musical texture between the","CLASSICAL 1750\u20131820 119 See also: Euridice 62\u201363 \u25a0 St. Matthew Passion 98\u2013105 \u25a0 The Magic Flute 134\u2013137 \u25a0 Der Freisch\u00fctz 149 arias and recitatives interrupted This improved the flow and made Christoph the flow. Gluck and his librettist, the music more expressive of Willibald Gluck Ranieri de\u2019 Calzabigi, wanted to character and emotion. In the reform opera by putting the drama Act One aria in which Orfeo The son of a forester, Gluck center stage, sweeping away sings of his grief, the composer was born in Erasbach, Bavaria, absurdities of plot and making the inserts moving recitatives before in 1714. Largely self-taught, music serve the action. Musically each verse, further integrating he traveled widely, learning this meant doing away with the the elements. the organ and cello in Prague. repeats in the da capo arias and He studied with the composer developing a simpler, clearer style. Outcomes and effects Giuseppe Sammartini in Milan, A good example is Orfeo\u2019s Act III The effect of these changes was before heading to London in aria \u201cChe far\u00f2 senza Euridice\u201d to make operas more focused on the 1740s, where he composed (\u201cWhat shall I do without Eurydice\u201d), character and action\u2014in other operas for the King\u2019s Theatre. an aria in rondo form in which the words, if not fully realistic, more There, he met Handel, who opening theme returns at the end real and more emotionally moving. famously stated that his own but without the direct da capo The plots tended to be more cook (bass singer Gustavus repetition. Gluck also integrated coherent and the characters and Waltz) knew more about the arias and recitatives, using the situations\u2014even when drawn from counterpoint than Gluck. whole orchestra to accompany mythology\u2014more credible. At the latter as well as the former. the same time, there were fewer Gluck eventually settled in opportunities for singers to make Vienna, where he worked with Gluck\u2019s opera Il Parnasso confuso the sort of virtuosic displays that librettist Ranieri de\u2019 Calzabigi. premiered in 1765 at the marriage could interrupt the action. Later The pair aimed to \u201creform\u201d of Emperor Joseph II. Johann Franz composers, especially Mozart, opera by integrating the music Greipel\u2019s painting shows Archduke further developed these ideas to and the action. They made Leopold on the harpsichord. produce operatic masterpieces. \u25a0 operas inspired by classical mythology, including Orfeo ed Euridice (1762) and Alceste (1767). Gluck\u2019s fame grew with further works, including French versions of Orfeo and some of his other operas. He retired after suffering a stroke in 1779 and died in 1787. Other key works 1767 Alceste 1777 Armide 1779 Iphig\u00e9nie en Tauride","120 WTTRHEEAMISNUOESUDTLB,PINRLODATYSLFIRKOEM FLUTE CONCERTO IN A MAJOR, WQ 168 (1753), CARL PHILIPP EMANUEL BACH IN CONTEXT I n 1738, the young C.P.E., or status of servants, and had to write Emanuel, Bach was appointed and play music that suited their FOCUS court harpsichordist in the employer\u2019s tastes. A new freedom household of the Crown Prince of expression Frederick of Prussia. Two years later The king calls the tune the prince acceded to the throne Frederick was an accomplished BEFORE and became known as Frederick flautist. Emanuel was therefore 1750 C.P.E. Bach writes a the Great as his power increased. junior to the much better paid court setting of the Magnificat in flautist Johann Joachim Quantz a style like that of J.S. Bach, Emanuel, as Bach was known, and had the task of accompanying possibly in a bid to secure his traveled with the court to Berlin, the king in court concerts. He was father\u2019s former job as cantor of where he lived as a court musician also expected to compose music for the Thomasschule in Leipzig. for 28 years. The best keyboard Frederick to play\u2014pieces such as player of his generation, he his Flute Concerto in A major. To AFTER attracted widespread admiration save time, Emanuel took concertos 1772 Joseph Haydn writes his but never felt truly valued. Court that he had written for another Symphony No. 44, the \u201cTrauer\u201d musicians of the time had the (Mourning) symphony, a masterpiece of the portrayal of Carl Philipp Emanuel Bach emotion in orchestral music. The second keyboard instruments. He is, 1777 Johann Christian Bach, surviving son however, best known for the Emanuel\u2019s younger brother, of Johann symphonies and concertos in a publishes his Op. 13 Keyboard Sebastian highly personal and emotional Concertos, almost the musical Bach, Emanuel style that were written later opposite of Emanuel\u2019s was born in in his career. Emanuel died in dramatic, emotional music. Weimar, Germany, in 1714. His Hamburg in 1788, aged 74. father nurtured his son\u2019s gift 1779 C.P.E. Bach begins to for the harpsichord. Other key works publish his series of rondos Emanuel studied law before and other solo keyboard works devoting all his time to music. 1749 Magnificat in D, Wq 215 that mark the high point of his In the service of Frederick the 1775\u20131776 Symphonies, Wq 183 \u201cemotional\u201d musical style. Great from 1740, he composed 1783\u20131787 Keyboard Sonatas, works for the court musicians Fantasias and Rondos, Wq 58, and wrote a treatise on playing 59, 61","CLASSICAL 1750\u20131820 121 See also: Great Service 52\u201353 \u25a0 Water Music 84\u201389 \u25a0 Musique de table 106 \u25a0 Hippolyte et Aricie 107 \u25a0 The Art of Fugue 108\u2013111 \u25a0 Beethoven\u2019s String Quartet No. 14 in C-sharp minor 156\u2013161 Patronage during the 18th century Grand Prince The Esterh\u00e1zy Habsburg ruler Diplomat Baron Ferdinando de\u2019 Medici family of Hungary Emperor Joseph II Gottfried van Swieten (1663\u20131713) (from 1761) (1741\u20131790) (1733\u20131803) Invites Employs Domenico Helps Salieri Sponsors Commissions Mozart on Scarlatti to Commissions Employs Commissions become Mozart\u2019s Die C.P.E. Bach\u2019s various his court in Handel \u2019s Haydn Beethoven\u2019s six symphonies musical Florence in for life from Opus 1 Piano director of Entf\u00fchrung for string projects opera Rodrigo 1761 trios (1795) the Italian aus dem Serail orchestra (1773) (1782\u20131790) 1702 (1707) opera in 1774 (1788) A small circle of noble patrons supported composers in the 1700s. As music became more popular, musicians gained a greater independence, but patronage still played a crucial role. instrument and transcribed them emotion. In this he was following a principal churches. He still had to for the flute\u2014like others, the A fashion known as Empfindsamkeit write to order, but he had time major concerto began life as a (sensibility) that was a reaction to compose the music he wanted to harpsichord concerto. against the rationalism of write, either to perform himself or Enlightenment philosophy. In his for patrons who were willing to give Although Emanuel Bach studied bid to create expressive music, full rein to his emotional style. Later composition with his father, Johann Emanuel developed a distinctive composers such as Mozart and Sebastian, their styles are very style that featured sudden,dramatic Beethoven worked increasingly different. The father\u2019s music was changes in harmony, dynamics, in this freelance way, carving out based on counterpoint, while his and rhythm, giving his works a role that was less like that of son was interested in conveying (especially in the fast movements) servant and creating music that a spontaneous quality; he also was more personal. \u25a0 Keyboardists whose chief created affecting, melodic slow asset is mere technique \u2026 movements. Some strong rhythmic A musician \u2026 must feel all and dynamic contrasts appear in the emotions that he hopes overwhelm our hearing the outer movements of the A major to arouse in his audience. without satisfying it and stun Flute Concerto, and Emanuel would the mind without moving it. no doubt have heightened the C.P.E. Bach drama had he not had to consider C.P.E. Bach what Frederick would want to play. Seeking independence The king did not like Emanuel\u2019s more dramatic, unpredictable pieces; he preferred simpler works. In 1768, Emanuel left to become music director of Hamburg\u2019s five","IOTWORABISGEFICONORCAMELED STRING QUARTET IN C MAJOR, OP. 54 NO. 2, HOBOKEN III:57 (1788\u20131790), JOSEPH HAYDN","","124 DEVELOPMENT OF THE STRING QUARTET IN CONTEXT J oseph Haydn invented the Rugeri, and the Guarneri family. string quartet. Why he More responsive violins, violas, FOCUS settled on the combination and cellos were exciting both to Development of the of two violins, viola, and cello is not composers and players. Haydn was string quartet certain, but it may be that their also interested in the advances in individual pitch registers closely bow-making. Earlier bows had to BEFORE reflect the voices in a choir. The stay close to the string, releasing 1198 P\u00e9rotin\u2019s motet instruments, and the musicians to sounds in a sustained manner; by Viderunt omnes establishes play them, would also have been \u201cbouncing\u201d the new bow off the the practice of composing readily available at the Hungarian string, a quick, almost percussive for four voices\u2014the basis court of the Esterh\u00e1zy family, where sound could be produced, as Haydn of the string quartet. Haydn was composer-in-residence. shows in the finale of his Op. 33, C major quartet (1781). 16th\u201317th centuries Early The standard chamber music pieces for string quartets grouping before Haydn was the The sound-carrying qualities include Gregorio Allegri\u2019s trio sonata, in which a keyboard of these new instruments and four-part Sinfonia and instrument was joined by two high- techniques eventually spurred the Alessandro Scarlatti\u2019s Sonate a melody instruments (violin or flute), composition of chamber music that quattro, but the standard form with a continuo instrument, such could be performed in large concert of chamber music was the trio as a cello, doubling the bass line of halls and not just in private salons. sonata, usually for two violins the keyboard. Haydn\u2019s inspired use and basso continuo. of four instruments of the string Original, emotive works family effectively modernized an The emotional expressiveness of AFTER older tradition that Henry Purcell Haydn\u2019s mature work links it to the 1890s Inspired by Haydn, had developed a century earlier German Sturm und Drang (Storm London concert promoter with his String Fantasias for up to and Stress) artistic movement. Johann Peter Salomon brought six voices, performed on viols. For Haydn, the string quartet was string quartets out of private the perfect vehicle for extreme drawing rooms and into public Enhanced sound emotional contrasts designed to concert halls. Haydn benefited from the great shock the audience. His early strides that had been made in accomplished quartets include instrument-making, epitomized Op. 9, which he later declared in Italy by the Amati family, was the true starting point of Antonio Stradivari, Francesco his quartet compositions, and Joseph Haydn Spanning the Baroque and capitals, most notably to London Classical periods, Joseph where his compositions were in Haydn was a key figure in great demand. After the London the development of the Classical Symphonies (93\u2013104), Haydn style. Born in Lower Austria in wrote only six Masses and two 1732 to parents of modest means, oratorios. In his last public he was a musically gifted child appearance, he conducted The and attended a cathedral choir Seven Last Words in December school in Vienna from the age of 1803. He died quietly at home eight. His early music, including in Vienna in 1809. some string quartets, was first published in Paris in 1764. Other key works Haydn\u2019s employment from 1768 Symphony No. 49 1761 to 1790 at Esterh\u00e1zy 1795 Piano trio No. 24 in D major Palace, in Hungary, cemented 1797\u20131798 The Creation his reputation as a composer. He 1798 Nelson Mass later traveled to many musical","CLASSICAL 1750\u20131820 125 See also: Corelli\u2019s Concerti Grossi 80\u201381 \u25a0 C.P.E. Bach\u2019s Flute Concerto in A major 120\u2013121 \u25a0 Clementi\u2019s Piano Sonata in F-sharp minor 132\u2013133 \u25a0 Die sch\u00f6ne M\u00fcllerin 150\u2013155 \u25a0 Beethoven\u2019s String Quartet No. 14 in C-sharp minor 156\u2013161 Op. 20, in which the gradual the Austrian Carl Ditters von At the Esterh\u00e1zy Palace, shown liberation of the four parts into Dittersdorf on first violin, and the here in an 18th-century image, Haydn solo voices within the quartet Czech Johann Baptist Vanhal on had a secure but onerous post\u2014not framework marked a new cello, the four composers would only composing, but also managing development of the genre. often play quartets together and musicians, manuscripts, and events. experiment with each other\u2019s Op. 20, No. 2 is particularly compositions. This led Mozart to quartets. He experimented with interesting, as it reverses the more dedicate his first six mature string almost all possible tonalities usual form of a quartet, in which quartets to Haydn. (changes in pitch, and major and the first violin dominates, by minor modes), as well as Classical casting the cello as top voice, the As the demand for Haydn\u2019s forms (sonata, fugue, variations, second violin and viola below it, music spread through Europe, his minuet, scherzo, and rondo). while the first violin is initially quartets were performed in concert There are quartets that are more silent. The minuet third movement halls as well as in private salons, consistently virtuosic and more of Op. 20, No. 4, is also innovative. and he adjusted their style brilliantly projected, and there The standard pulse for minuets is accordingly. By making the first are also earlier compositions, three, but here accents make it violin parts ever more brilliant, such as the slow movement of sound as though it is in the rhythm with higher notes and displays of his Op. 20, No. 1, that perhaps of two. Likewise, in three of the virtuosity, he naturally made the better convey the perfect intimate finales (Op. 20, Nos. 2, 5, and 6), lower three voices more athletic, sound of a quartet, but the extreme Haydn uses a well-established too. The performers also had to contrasts between the movements form, a fugue, to develop new ideas, learn to project their sound. of Op. 54, No. 2, as well as Haydn\u2019s such as interrupting long stretches inspired and brave decision to of sotto voce (very soft) playing by A memorable, daring work end with a slow movement, single sudden bursts of forte (loud). Haydn\u2019s Op. 54, No. 2 in C major, this out as a truly memorable composed in 1788, is one of his piece of music. \u276f\u276f European acclaim many exceptionally inventive Haydn is thought to have first met Mozart in the early 1780s, and they became close friends. With Haydn on second violin, Mozart on viola, When we invoke the name Haydn, we mean one of our greatest men \u2026 Every harmonic artifice is at his command. Ernst Ludwig Gerber Organist and composer (1746\u20131819)","126 DEVELOPMENT OF THE STRING QUARTET Viola Plays notes in the Second violin mellow middle range Often plays in corresponding with harmony with the first violin, but sometimes the alto voice. with the viola. First violin Cello Often leads and Plays the bass line, plays the highest the foundation for notes and the most difficult parts.\u00a0 the high-melody instruments. Anatomy of a string quartet The Op. 54, No. 2 quartet was turn in the development section, creation of what appears to be a among those that Johann Tost, a while the recapitulation is marked quintet, when the lower three play violinist much admired by Haydn by the cello\u2019s exuberant arpeggio on with occasional double stops, and a wily merchant, took to Paris and interjections from the first freeing up the first violin to present to promote and sell. Its brilliantly violin. When the movement should a lament that sounds as if it is soloistic writing for first violin was head to its conclusion, Haydn\u2014like totally improvised. The freedom aimed at a musical audience that other great Classical composers, of Haydn\u2019s notation gives every preferred the quatuor concertant, a such as Mozart, Beethoven, and violinist an opportunity to present string quartet genre fashionable in Schubert\u2014ignores compositional an individual and uninhibited the French capital from around 1775 conventions by ending with a interpretation of this passage, to the French Revolution of 1789. It huge climax. With both violins at which Brahms emulates in the must also have suited Tost\u2019s talent their loudest, the viola and cello slow movement of his Clarinet for playing in very high registers. join in before the movement ends Quintet Op. 115. almost reflectively but for its final An exuberant opening two upright chords. The sadness of the ending\u2014 The key of C major that Haydn on a quiet chord\u2014is deliberately chose for the quartet is traditionally Surprising contrasts unresolved. Instead of the normal an indication of happy, optimistic The ensuing adagio (slow) in break (and even the tuning of music. The piece begins with C minor is highly introspective instruments between movements bright and brilliant opening in mood. A sad gypsy melody is that often occurred), the piece bars and a fast and vivaciously pitched in the lowest registers of all moves straight on into the minuet, improvised melody in celebratory four instruments. The miracle of which starts hesitatingly and then mood. Each instrument leads in this movement is the imperceptible gradually emulates the optimism of the first movement. In the","CLASSICAL 1750\u20131820 127 It can safely be reassuring melody. Yet even here Chamber groups suggested that there is the cello behaves unusually, no more original Haydn climbing into the pitch of the first In the 18th century, as quartet [Op. 54 No. 2], nor violin. After a fast interlude, the education widened and the any that contains more quartet ends peacefully. middle class expanded, prophetic innovations. appreciation of music spread Haydn\u2019s legacy beyond the court and church. Hans Keller It is not known how well the The number of amateur quartet was received, and indeed, musicians with money and contrasting trio sections, this all the much less imaginative works leisure time rapidly increased, changes as a dissonant A-flat note of a fellow Austrian, Ignace Joseph and musical friends would is repeatedly accented on a weak Pleyel, were more popular in Paris get together in a \u201cchamber,\u201d beat, sounding like screams of at the time. However, less than 20 or room, to make music at anguish. The conventional repeat years later, when Beethoven home. This created a market of the minuet plays a critical role produced his Op. 18 quartets in for musical compositions in restoring an optimistic mood. 1800, a revival of Haydn\u2019s quartets suited to an intimate setting, occurred. The style of Haydn\u2019s especially for strings, which The finale, however, produces 83 quartets had revolutionized blended harmoniously and the biggest surprise. Instead of the chamber music. Schumann studied were more affordable and conventional fast movement, Haydn them before embarking on his three widely available, following presents an adagio with a calm and Op. 41 quartets, and all future improvements in the composers of quartets would take manufacture of instruments. inspiration from Haydn. \u25a0 While string quartets were Haydn often visited Vienna as part the most popular form of of Prince Esterh\u00e1zy\u2019s retinue. In this chamber ensemble during 19th-century painting, he is shown (in the Classical and Romantic light blue) directing a quartet from his periods, composers also wrote preferred second violin position. for quintets, with an extra viola, cello, or the addition of a double bass, and eventually works featuring other \u201cfifth\u201d instruments, such as the clarinet, creating a richer sound. Work for woodwind quintets (flute, oboe, clarinet, bassoon, and horn) also appeared. As many middle-class households acquired a piano in the late 18th century, composers produced chamber music for the piano\u2014the piano trio (piano, violin, and cello), quartet (piano trio and viola), and quintet (string quartet with piano). The piano duet for two players at one instrument also became popular for domestic and concert performances, and a number of composers wrote works for four hands, including Mozart and Schubert.","128 IN CONTEXT RTTAHRBAIEEOSMVMEEEDONASMDLTOOLUZMASARGSTETNEIRUSS FOCUS Innovation in the Classical SYMPHONY NO. 40 IN G MINOR, K. 550 (1788), symphony WOLFGANG AMADEUS MOZART BEFORE 1759\u20131795 Joseph Haydn composes more than 100 symphonies in the four- movement format. 1764 Aged eight, Wolfgang Amadeus Mozart composes his First Symphony in E-flat major, K.16. AFTER 1803 Ludwig van Beethoven completes his stormy, political \u201cEroica\u201d symphony. 1824 Beethoven finishes his symphonic project with the Ninth Symphony, including a final movement featuring vocal soloists and chorus. B y the beginning of the 1780s, Mozart had written more than 30 symphonies. These works were influenced by both musical and extra-musical factors, including his work in the archbishop\u2019s court in his home city of Salzburg, his tours of Italy\u2019s musical centers, his search for employment in Munich and Paris, and his visits to Mannheim, the capital of the symphony during the 18th century. Classical zenith After he settled in Vienna in 1781, Mozart wrote relatively few symphonies, focusing instead on piano concertos, chamber music, and works for the theatre. Yet in the summer of 1788, he wrote his","CLASSICAL 1750\u20131820 129 See also: Stamitz\u2019s Symphony in E-flat major 116\u2013117 \u25a0 The Magic Flute 134\u2013137 \u25a0 \u201cEroica\u201d Symphony 138\u2013141 \u25a0 Der Freisch\u00fctz 149 \u25a0 The Ring Cycle 180\u2013187 final three symphonies, Nos. 39\u201341, minor keys, syncopated rhythms, Wolfgang Amadeus including the Symphony No. 40 in melodic leaps, and other flourishes, Mozart G minor, K.550, possibly composed all of which characterize Mozart\u2019s for a projected concert series in \u201cLittle\u201d G minor symphony (No. 25, Born in Salzburg, then part a central Viennese casino. These K. 183\/173dB), completed in 1773. of the Holy Roman Empire, works represent the culmination in 1756, Mozart followed in of the symphonic genre during This moody music often went the footsteps of his father, the Classical period\u2014though they hand in hand with the virtuoso Leopold, a musician and also look ahead to the music of playing associated with the city composer in the archbishop\u2019s the 19th century, with its emphasis of Mannheim in Germany, which court. Yet Mozart\u2019s brilliance on a broad range of harmonies, Mozart visited in both 1763, as a violinist, pianist, and along with concert programs when he was seven years old, composer meant that Salzburg ascribing distinct narratives and and again in 1777\u20131778, at age 21. often seemed stifling, even themes to musical pieces. Mannheim\u2019s instrumentalists provincial, and he tried to were famous for creating dynamic find employment elsewhere. Expressive forces shifts and thrilling crescendoes. As a young man, Mozart had been But it was not just the style of the In 1781, he settled in the influenced by the Sturm und Drang Mannheim symphony that was city of Vienna, the seat of (\u201cstorm and stress\u201d) movement that new. Its structure also differed from Habsburg pomp and power. emphasized emotion and creative its counterparts, consisting of four Working as a freelance individuality. This style, which rather than three movements. The composer, he perfected genres took its lead from contemporary symphony\u2019s previously dancing \u276f\u276f such as the symphony, the literature, is also evident in works concerto, and the string by the pioneering and prolific Mozart often composed music quartet, and wrote a handful \u201cfather of the symphony,\u201d Joseph in segments before fleshing them of highly successful operas. Haydn. In music, Sturm und Drang out as finished manuscripts, such Mozart died of mysterious found expression in the use of as the one below of his Symphony causes in late 1791, at the age No. 40 in G minor. of 35, leaving behind some 600 musical works and an extraordinary legacy for the generation that followed. Other key works 1773 Symphony No. 25 in G minor 1779 Kr\u00f6nungsmesse 1786 The Marriage of Figaro 1790 Cosi fan tutte 1791 Requiem (incomplete)","130 INNOVATION IN THE CLASSICAL SYMPHONY (and somewhat frivolous) finales of this was designed to impress Mozart created a second version were also given greater weight by the worldly Viennese, as were the of Symphony No. 40 that included these court composers, further audacious tonal choices that clarinets, which had only recently been revolutionizing the genre. Mozart made across all four invented. These were created by the movements. These often require 18th-century craftsman Jacob Denner. The 40th symphony feats of musical ingenuity across While several of Mozart\u2019s early the scale, particularly at the first movement, which starts as if works flaunt these Mannheim- beginning of the development in mid-flow. Equally complex\u2014and influenced, dramatic musical section of the energetic finale. sometimes quite confrontational\u2014 characteristics\u2014for example, Here, Mozart uses 11 out of the is the orchestral texture. Although juxtaposing the woodwind and 12 notes of the chromatic scale it never breaks out into a full fugue, string sections to powerful (leaving out only G, the tonic\u2014or as in the final movement of effect\u2014his later \u201cGreat\u201d Symphony, central note\u2014of the symphony), Mozart\u2019s \u201cJupiter\u201d Symphony No. 40 in G minor is characterized creating a complex and sometimes by a more integrated instrumental dissonant sound. It is little wonder palette. This style is typical of that Arnold Schoenberg, known for works from Vienna, which along employing all 12 notes in a scale, with Mannheim was the city most would later be drawn to this work strongly associated with the in particular. symphony as a genre in the 18th century. While ostensibly more The home key, G minor, is also subdued, harmonic color and an important component of the melodic drama are in plentiful work. It was, for Mozart, the supply here as well. musical channel through which he frequently expressed pain or Beginning with a sighing figure tragedy, not just in complete works in the strings, Symphony No. 40 but also in arias such as Pamina\u2019s in G minor features a number of \u201cAch, ich f\u00fchl\u2019s\u201d (\u201cOh, I feel it\u201d) in bold, stormy passages, as well The Magic Flute. In addition to as virtuoso writing for the entire Symphony No. 40\u2019s harmonic twists orchestra. Indeed, the whole work and turns, its feeling of emotional has the feeling of an unspoken, unpredictability stems from the tragic drama and often echoes varying lengths of its musical Mozart\u2019s music for the stage. All phrases, as at the beginning of the A musical hub Schubert (who was born in Vienna), the Strauss family, As capital of the Habsburg Brahms, Bruckner, Mahler, Empire, Vienna was the center Schoenberg, and Webern. of European music for two centuries. It was home to many As the public interest in of the great Classical composers, music expanded, new theatres including Mozart, Haydn, and and concert halls were built to Beethoven. They converged on cater for them. Empress Maria the city in search of patronage Theresa built the Burgtheater and audiences, the first in a close to the royal palace in 1741, long list of composers, including and in 1833, the composer and conductor Franz Lachner The Burgtheater on Michaelerplatz, founded the K\u00fcnstlerverein, Vienna, was operated by the Habsburg the forerunner of the Vienna court. A number of Mozart\u2019s operas Philharmonic Orchestra, rival to were premiered here. the Berlin Philharmonic for the title of world\u2019s top orchestra.","CLASSICAL 1750\u20131820 131 in C major (No. 41) that followed, mold with radically different works, counterpoint\u2014alternate melodic such as \u201cEroica\u201d in 1804, and the lines played above or below the Ninth Symphony of 1824. main melody\u2014is apparent throughout. Even the minuet Mozart\u2019s music is so Romantic developments and trio of the symphony\u2019s third pure and beautiful that The tonally (and expressively) movement, normally an exercise I see it as a reflection diverse music of Beethoven\u2019s in pleasant repetition, prove rather of the inner workings contemporary Franz Schubert heated, more in the manner of a also found its model in Mozart\u2019s quarrel than a courtly dance. of the universe. final works. Those who followed Albert Einstein these Viennese masters, such as Together, the symphony\u2019s four Hector Berlioz and Franz Liszt, movements move us far beyond After Mozart\u2019s death, his final three continued to adapt the Classical the balance and poise of Mozart\u2019s symphonies, a magnificent triptych symphony to their own Romantic earlier works\u2014as well as those with the G minor at its heart, were ends, introducing new dramatic of his contemporaries. They look repeatedly held up as the pinnacle effects and elements, such as ahead to the more turbulent of the Classical symphony. These program notes to help the audience music of the Romantic period. works\u2014along with Haydn\u2019s own interpret the music, as in Berlioz\u2019s great body of symphonies\u2014no Symphonie fantastique and Mozart\u2019s legacy doubt provided the benchmark for Liszt\u2019s symphonic poems. It is not clear if Symphony No. 40 the young Ludwig van Beethoven. was premiered during Mozart\u2019s Born in Bonn, Beethoven arrived Collectively, these gave the lifetime, and many commentators in Vienna the year after Mozart\u2019s symphony an even greater sense claimed that it was not written death and became one of Haydn\u2019s of theater and formed the basis for Vienna at all, but for posterity. pupils, initially emulating the for Richard Wagner\u2019s \u201csymphonic\u201d However, the presence of a second music of both his teacher and his operas, with their emphasis on version of the score, including idol Mozart. Eventually, however, recurrent motifs and the changing parts for two clarinets, probably Beethoven would break their role of the orchestra\u2014Wagner was written for Mozart\u2019s friends, the first to place the orchestra out the clarinetists and basset horn of sight of the audience, focusing players Anton and Johann Stadler, attention on the stage. The roots of indicates that Mozart must have such bold innovations are found in heard at least one performance the symphonic works Mozart wrote before he died in 1791. toward the end of his short life. \u25a0 The first movement of a The second symphony presents several themes and movement presents lyrical develops the sections in different keys, ending melodies. It usually has a ternary form, with three sections, the third in the main key, usually in a fast-pace sonata-allegro form. repeating the first. The fourth movement is Two brisk minuets separated by a fairly fast and often in a rondo form, in contrasting trio section in ternary form which the first section is repeated and there make up the third movement. is a different new section between each repetition.","132 POWTIHNAHEENOOOPLEBEIRSJOFETROCOCRTHMSOEUEFSBRTTSRFHTOAEITRUATE PIANO SONATA IN F-SHARP MINOR, OP. 25, NO. 5 (1790), MUZIO CLEMENTI IN CONTEXT T he development of the became commonplace. Composers instrumental sonata also began structuring their music FOCUS mirrored a change in the into large-scale arcs called sonatas, The instrumental sonata function of music in the Classical which allowed the audience to period. Music was no longer an experience a more varied musical BEFORE accompaniment to dance or prayer journey. Anglo-Italian composer 1758 Domenico Scarlatti but a focus in its own right, and Muzio Clementi was an important publishes his 30 Essercizi per composers thus worked to find innovator in this evolving structure, Gravicembalo, which form new ways to engage the audience. his Sonata in F-sharp minor being part of his more than 500 With the rise in popularity of the a prime example of the form. sonatas for keyboard. newly invented piano, one way of achieving this was through the A Clementi & Co. square piano 1771 Joseph Haydn drama of juxtaposing loud and soft from London, where Clementi\u2019s specifically names a piano passages, which had not been piano manufacturing company piece a \u201csonata\u201d rather than possible on the harpsichord. This flourished in the early 18th century. a divertimento. AFTER 1818 Beethoven completes his Hammerklavier Sonata, Op. 106, which takes the sonata to new heights of complexity and virtuosity. 1853 Franz Liszt writes his piano Sonata in B minor and redefines the genre for the Romantic age.","CLASSICAL 1750\u20131820 133 See also: Scarlatti\u2019s Sonata in D minor 90\u201391 \u25a0 Haydn\u2019s String Quartet in C major, Op. 5, No. 2 122\u2013127 \u25a0 \u201cEroica\u201d Symphony 138\u2013141 \u25a0 Pr\u00e9ludes 164\u2013165 Generally, sonatas were formed of The Sonata Principle Muzio Clementi three or four movements, the first of which was structured according Exposition Born in Rome in 1752, Muzio to what is now called the Sonata Two themes are presented Clementi came to the notice Principle. This was usually the in two different keys. The first of the English patron, Sir Peter longest and most dramatic of the Beckford, at the age of 14. movements and the one in which theme is in the tonic key. Taking Clementi to his estate the composer was expected to in Dorset, England, Beckford demonstrate his dexterity in Development sponsored Clementi\u2019s musical musical discourse to move and grip The themes are education for the next seven the audience. Usually a fast, driving manipulated, fragmented, years. At his debut, Clementi movement, the first movement of extended, and transformed. was possibly the most Clementi\u2019s Sonata in F-sharp minor accomplished keyboard player is unusual in that it portrayed a Recapitulation in the world, and he was the slower, more meditative mood of Both themes are replayed, first true piano virtuoso. considerable pathos, distinguishing now both in the tonic key. it from other works of the time. In 1780, Clementi began Coda a two-year tour of Europe, A sonata\u2019s second movement Rounds off the movement. during which he met Mozart was usually slower, giving the in Vienna. (While Clementi composer a chance to demonstrate The sonata principle was impressed by Mozart\u2019s his finer sensibilities, and often had creates a musical \u201cspirit and grace,\u201d Mozart in songlike sections. In his F-sharp turn called him a \u201ccharlatan.\u201d) minor sonata, Clementi goes one argument that creates Back in London, Clementi step further: sometimes the treble tension and resolution. became a celebrated composer has a single line, resembling a and teacher. He was also a singer\u2019s aria, accompanied by the audience and often great acclaim very successful publisher and light repeated chords found in for the performers. In this sonata, piano manufacturer, and he operatic string writing. By using Clementi enjoyed showing off his helped to found the Royal such a technique, Clementi was technique of playing two passages Philharmonic Society. He perhaps attempting to steal a little a third apart with one hand\u2014a skill died in 1832 and is buried limelight from the opera\u2014the most for which he was famous. This was in Westminster Abbey. public forum for music at the time. beyond the ability of amateurs (and most performers), thereby setting a Other key works Minuet\/trio and finale seal on this work as a piece worthy In four-movement sonatas, it was of the concert hall. \u25a0 Before 1781 Piano Sonata then traditional to include a minuet in B-flat minor, Op. 24 No. 2. and trio as a throwback to the 1800 12 Waltzes for Piano, Baroque dance suites, and this Triangle, and Tambourine provided a kind of respite amid the 1826 Gradus ad Parnassum stronger movements\u2014although Beethoven would soon exchange this respite for a vigorous \u201cscherzo\u201d (Italian for \u201cto joke\u201d), whose mood might range from irony to terror. The finale was usually lighter in substance but far more brilliant in terms of technical display, thus allowing a satisfying ending for an","134 IN CONTEXT IDPWNOEEWAJTOWEHYRA\u2019STLOHKDFR,ABOMRYUUKGTSNHHICIEG,HT FOCUS Opera in German THE MAGIC FLUTE (1791), WOLFGANG AMADEUS MOZART BEFORE 1770 Johann Adam Hiller\u2019s comic opera Die Jagd (\u201cThe Hunt\u201d), one of the most popular 18th-century singspiels opens. 1789 The premiere of Oberon, K\u00f6nig der Elfen (Oberon, King of the Elves) by Czech Paul Wranitzky sets a trend for Zauberoper (\u201cmagic opera\u201d). AFTER 1805 Beethoven\u2019s only opera, Fidelio, a singspiel, has its first performance in Vienna. 1816 E.T.A. Hoffmann\u2019s Undine, a Zauberoper about a water spirit, opens in Berlin. 1821 Carl Maria von Weber\u2019s Der Freisch\u00fctz (\u201cThe Marksman\u201d), a Romantic singspiel with a supernatural theme, premieres in Berlin. M ozart\u2019s The Magic Flute, a two-act opera first performed in Vienna in September 1791, marked the peak of the development of singspiel (\u201csing-play\u201d), a uniquely German opera genre that combined music with spoken word. Based on a libretto by Mozart\u2019s friend Emanuel Schikaneder, the opera is set in ancient Egypt and tells the story of a prince, Tamino, who strays into the realm of the mysterious Queen of the Night where he is attacked by a serpent. Rescued by the queen\u2019s three ladies-in-waiting, he falls in love with a portrait they show him of the queen\u2019s daughter, Pamina, who","CLASSICAL 1750\u20131820 135 See also: Orfeo ed Euridice 118\u2013119 \u25a0 C.P.E. Bach\u2019s Flute Concerto in A major 120\u2013121 \u25a0 Mozart\u2019s Symphony No. 40 in G minor 128\u2013131 \u25a0 The Barber of Seville 148 \u25a0 Der Freisch\u00fctz 149 \u25a0 Tosca 194\u2013197 Mozart\u2019s The Magic Flute remains Mozart\u2019s Idomeneo (1781) and La songs. John Gay\u2019s The Beggar\u2019s hugely popular. The opera drew more clemenza di Tito (1791)\u2014often drew Opera (1728) was the most famous than 400,000 spectators at Austria\u2019s its stories from the mythology and ballad opera, but it was Gay\u2019s Bregenz Festival during a two-year history of ancient Greece and Irish contemporary Charles Coffey run in 2013 and 2014. Rome. Opera buffa was comic, who had the greatest impact in with Mozart\u2019s The Marriage of 18th-century Germany. His ballad \u276f\u276f has been abducted by Sarastro, Figaro (1786) an outstanding high priest of the gods Isis and example of the genre. I\u2019ve just got back from the Osiris. Tamino vows to rescue opera; it was as full as ever \u2026 Pamina. He, his comic companion, Singspiel had its roots in early you can see [it] continuing to Papageno (the queen\u2019s bird- 18th-century Vienna, where the catcher), and Pamina undergo a imposing Theater am K\u00e4rntnertor rise in people\u2019s estimation. series of ordeals, armed only with specialized in popular musical Wolfgang a magic flute and magic chimes. dramas. Unlike the Italian operas Light eventually triumphs over performed for the court and nobility, Amadeus Mozart darkness, bringing a happy ending. these entertainments were for Viennese of all social backgrounds. Popular appeal From Vienna, singspiels spread to Mozart wrote 20 operas in all, in Germany, where in the mid-century three genres: opera seria, opera they gained in popularity due to buffa (both sung throughout), and the influence of French op\u00e9ra singspiel. Opera seria, the grandest comique and English ballad opera. form of opera\u2014a style that includes Both these genres mingled spoken dialogue, often satirical, with","136 OPERA IN GERMAN Freemasons swear in a new Mozart and Freemasonry many attractions\u2014it offered a member in a colored copper free-thinking and enlightened engraving of c.1750. Mozart was On December 14, 1784, Mozart approach to religion; espoused similarly initiated into Vienna\u2019s was admitted to one of Vienna\u2019s the virtue of justice, which for \u201cBeneficence\u201d lodge in 1784. eight Freemason lodges. The city many Masons meant active at that time had more than 700 opposition to abuses of state Masons, including \u201cbrethren\u201d\u2014 and clerical power; and provided then, as now, only men could be a place where men of different Masons\u2014drawn from the highest status could mix on terms nobility, officialdom, and even of relative equality. Mozart clergy, but also from the ranks remained a devoted Mason of the middle classes: doctors, the rest of his life and wrote merchants, booksellers, and several pieces for performance musicians, including Mozart\u2019s at Masonic occasions, notably librettist for The Magic Flute, 1785\u2019s Masonic Funeral Music in Emanuel Schikaneder. For men C Minor in memory of two of his like Mozart, Freemasonry had recently passed brethren. opera The Devil to Pay, a huge numbers added for atmosphere and Vienna\u2019s Burgtheater in 1778. success in Britain, became a to convey character. In works such as One of its biggest successes was success in translation in Berlin, in Hiller\u2019s Die Jagd (\u201cThe Hunt\u201d) (1770) Mozart\u2019s The Abduction from the the 1740s. Two adaptations of other and Benda\u2019s Walder (1776) and Seraglio (1782). operas by Coffey inspired the Romeo und Julie (1776), the singing Leipzig-based Johann Adam Hiller, parts became the dramatic core of In the spring of 1791, Emanuel regarded as the father of singspiel, the piece. Official recognition Schikaneder commissioned Mozart to begin his career in the 1760s. of such works as examples of a to write another singspiel\u2014this popular and distinctively German time for the Theatre auf der Wieden National genre genre, to be encouraged in the face in Vienna, where Schikaneder was In the hands of composers such as of the all-dominant Italian opera, the director. Oberon, the King of Hiller, Georg Anton Benda, Karl came when Habsburg Emperor the Elves, with music by Mozart\u2019s Ditters von Dittersdorf, and Ignaz Joseph II, a lover and patron of the friend Paul Wranitzky, was a recent Umlauf, singspiels were no longer arts, established a short-lived hit for Schikaneder\u2019s company simply spoken dramas with musical National-Singspiel company at and an example of a new breed of singspiel, sometimes called The Magic Flute\u2019s characters expressed through music The Queen of the Night Papageno (bird-catcher) Tamino and Pamina Sarastro (high priest) Soprano, whose vocal Baritone, who sings upbeat Tenor and soprano, Bass, whose slow and dignified dexterity culminates and bouncy folk melodies respectively, whose performance, with speechlike in a staccato aria that with prominent use of pan romantic and deeply felt delivery in parts and heightened represents instability, pipes, suggesting his arias represent enlightened by grand orchestral flourishes, greed, and duplicity. happy-go-lucky nature. principles of light and joy. suggests justice and wisdom.","CLASSICAL 1750\u20131820 137 Zauberoper (\u201cmagic opera\u201d), which mingled comedy with supernatural elements and impressive spectacle. Keen to repeat the success of Wranitzky\u2019s work, Schikaneder himself wrote the libretto for the new opera, although it is likely that Mozart collaborated as well. The two men took a fairy tale by August Jacob Liebeskind, Lulu, oder die Zauberfl\u00f6te (Lulu, or The Magic Flute), as their starting point but transformed it almost beyond recognition. Among other things, they added Masonic elements (Wranitzky, Schikaneder, and Mozart were Freemasons), such as in the initiatory ordeals that the protagonists endure. The Magic Flute Night to the touching comedy of Opera-goers in London watch from a Mozart died in 1791, just two the duet, \u201cPa-pa-pa-Papagena,\u201d box in a 1796 painting by an unknown months after The Magic Flute in which Papageno and his mate artist. Opera became fashionable in premiered. It was not only his last Papagena imagine a blissful future the early 18th century, with new operas major completed work but also one together. Only such a perfect commissioned for each season. of his most sublime. In all Mozart\u2019s command of musical expression operas, he showed an unsurpassed enabled Mozart to hold together The Magic Flute\u2019s influence on gift for creating the right music to convincingly the often unsettling the development of singspiel and fit each character, situation, or ambivalences and reversals of the German Romantic opera was emotion. In The Magic Flute, this opera, such as the point when the fundamental. It carried singspiel ranges from the deep solemnity of Queen of the Night unexpectedly into the 19th century, when the the priest Sarastro\u2019s songs and two turns from grieving mother to spite- genre developed in two directions. powerful arias of the Queen of the filled ally of her daughter\u2019s worst One strand led to Beethoven\u2019s enemy, Monostatos. opera Fidelio (1805), and\u2014more Salieri listened and watched formatively\u2014to further \u201cmagic with total attentiveness \u2026 The opera\u2019s premiere on operas,\u201d such as E.T.A. Hoffmann\u2019s there wasn\u2019t a number that September 30, 1791, started badly Undine (1816) and Carl Maria von didn\u2019t call forth from him but ended well. During the first act, Weber\u2019s Der Freisch\u00fctz (1821) and the audience was muted in its Oberon (1826). These were the a \u201cbravo\u201d or a \u201cbello.\u201d response. Perhaps, despite the precursors of full-blown German Wolfgang Amadeus recent success of Oberon, King of Romantic opera, best exemplified the Elves, they were baffled by the in the works of Richard Wagner. Mozart Zauberoper\u2019s strangely magical The other strand of singspiel stayed qualities. In the second act, true to its lighter-hearted origins, however, the audience came leading to the Viennese operettas alive and at the end called Mozart of Johann Strauss the younger onto the stage to applaud him. (Die Fledermaus) and Franz Leh\u00e1r The Magic Flute has remained (The Merry Widow). \u25a0 perennially popular ever since.","138 IN CONTEXT IINLIMVYE NOONTLYES FOCUS Breaking the mold of SYMPHONY NO. 3 IN E-FLAT MAJOR, the classical sonata \u201cEROICA,\u201d OP. 55 (1804), LUDWIG VAN BEETHOVEN BEFORE 1759 Joseph Haydn writes his First Symphony\u2014in three movements. 1793 The German theorist Heinrich Christoph Koch is the first to describe how the sonata form works. 1800 Beethoven completes his First Symphony. AFTER 1810 Critic E.T.A. Hoffmann describes Beethoven as \u201ca purely romantic composer\u201d in a review of Symphony No. 5. 1824 Beethoven\u2019s Symphony No. 9 amazes audiences by adding voices to a previously purely instrumental genre. B eethoven\u2019s \u201cEroica\u201d broke boundaries and audience expectations on its public premiere in 1805, representing a radical reworking of what was understood by a \u201csymphony.\u201d The composer\u2019s daring expansion of sonata form, his rebalancing of musical structure, and even his ordering of the work\u2019s movements, met with puzzlement and outrage. The seeds of the symphony were sown, surprisingly, with a dance. In March 1801, a new ballet, Die Gesch\u00f6pfe des Prometheus (The Creatures of Prometheus) had its first performance at the Vienna Burgtheater. Beethoven provided the music, which ended with a jolly theme in E-flat major. The melody","CLASSICAL 1750\u20131820 139 See also: Stamitz\u2019s Symphony in E-flat major 116\u2013117 \u25a0 Mozart\u2019s Symphony No. 40 in G minor 128\u2013131 \u25a0 Symphonie fantastique 162\u2013163 \u25a0 Schumann\u2019s Symphony No. 1 166\u2013169 \u25a0 Dvor\u02c7\u00e1k\u2019s Symphony No. 9 212\u2013215 I\u2019ll give another with a dedication to Prince Franz kreuzer if the thing Joseph (who paid Beethoven handsomely for it) and given the will only stop! subtitle \u201ccomposed to celebrate Audience member the memory of a great man.\u201d The most likely candidate for the Public premiere of the \u201cEroica\u201d (1805) \u201cgreat man,\u201d and the source of the title \u201cEroica\u201d (Italian for \u201cheroic\u201d), is Louis Ferdinand, Ludwig van Beethoven Prince of Prussia, who was killed in battle against the French in The son of an obscure court 1806 and to whom Beethoven musician, Beethoven was born had dedicated his Third Piano in Bonn in 1770. He moved to Concerto, Op. 37, in 1803. Vienna in 1792 and studied briefly with Haydn and obviously appealed to him, as Tearing up the rule book Antonio Salieri. A prodigiously around the same time he included Symphony No. 3 begins with talented pianist, he made his it in a collection of 12 orchestral a movement that was stretched name first as a virtuoso and Contredanses (country dances) and expanded far beyond anything acquired a number of wealthy and Fifteen Variations and Fugue that Viennese audiences had noble admirers, who aided his for solo piano, which would later heard before. Instead of the establishment as a composer. form the basis of the \u201cEroica\u201d finale. carefully balanced proportions of the classical sonata form, where an In every musical genre he A symphony takes shape \u201cexposition\u201d and \u201crecapitulation\u201d explored, Beethoven was a Beethoven began to plan his Third match each other around a short radical innovator, constantly Symphony in autumn 1802, had \u201cdevelopment\u201d section, with a surprising audiences. After a complete piano score by October brief \u201ccoda\u201d (\u201ctail\u201d in Italian) to \u276f\u276f Haydn\u2019s death in 1809, he was 1803, and had an orchestrated the preeminent composer of version by early summer 1804. The The herioc deeds of Napoleon his generation and a leading work was first performed privately Bonaparte, depicted in Napoleon figure in the new Romantic at the home of Prince Franz Joseph Crossing the Alps by Jacques-Louis age. In a cruel twist of fate, von Lobkowitz, one of Beethoven\u2019s David (1748\u20131825), inspired Beethoven Beethoven started to lose his patrons and sponsors, and then to write the \u201cEroica\u201d symphony. hearing in his late 20s, and by given its public premiere at the 1818 he was nearly completely Theater an der Wien, in Vienna. deaf. Nevertheless, after this date, until his death in Vienna The composer had intended in 1827, Beethoven wrote to dedicate his work to Napoleon some of his most inventive Bonaparte. But when the general and radical works. declared himself the Emperor of France, Beethoven crossed his Other key works name from the manuscript. Removing the dedication made 1808 Symphonies No. 5 and political sense: once Napoleon\u2019s No. 6, Op. 67 and Op. 68 invasion plans became clear, it 1818 Piano Sonata in B-flat, would have been career suicide to Hammerklavier, Op. 106 celebrate him in a new symphony. 1824 Symphony No. 9 in D The work was eventually printed minor, Op. 125","140 BREAKING THE MOLD OF THE CLASSICAL SONATA The Lobkowitz Palace, in Vienna, in a colored etching by Vincenz Reim (1796\u20131858), was the site of the first performance of Beethoven's Symphony No. 3 in August 1804. round off the movement, Beethoven Beyond the thematic manipulation, The third movement is lighter\u2014a composed a hugely extended the music of the first movement is lively scherzo (Italian for \u201cjoke\u201d). development, falling between a full of syncopations that distort Like most scherzo symphony long exposition and recapitulation, the listener\u2019s sense of the rhythm. movements, it includes a trio and ending with a coda of more Also, strong dissonances\u2014ugly middle section based on three than 100 measures. to listeners in the early 1800s\u2014 instruments. Beethoven innovated leap out, where major and minor here by using French horns more Not only was the extreme seconds (notes two semitones and prominently in a symphony than duration and balance of the first one semitone apart, respectively) ever before. These instruments had movement unusual, but Beethoven grate against each other. no valves in the early 1800s, so they also introduced an entirely new could play arpeggios only in a single theme after the exposition (where Constant surprises key, which made them sound all themes were traditionally first Beethoven followed the huge especially martial, like a battle call. stated) had ended. This new theme structure of the first movement, was in E major, a key very far from with its surprising tonal twists and The main theme of the scherzo the home key of the piece. turns, with a slow movement, cast starts in an unexpected key. The as a Marcia funebre, or funeral music has already changed key, The shape of the opening theme march. It is an intensely dramatic from E-flat to B-flat, before the oboe of the \u201cEroica\u201d is also atypical. piece, with the minor-key opening finally begins the theme. Once It includes a C-sharp, a rogue note theme eventually giving way to again, Beethoven was deliberately that does not belong in the key of a blazing, more hopeful C major, catching his audience by surprise. E-flat major, and so pulls the music before the opening theme returns away from its home key and and is presented as a fugato\u2014a The end and beyond unsettles it. As a result, Beethoven short fuguelike piece, where the The finale of \u201cEroica\u201d is a set of had to rewrite this subject in the theme is imitated simultaneously variations on a theme. Although recapitulation to get rid of the by different instruments as if they this was not the first symphony to C-sharp and create a satisfactory are chasing each other. To have resolution. This defied the rules such rich and intricate musical This strange and of sonata form, in which the textures woven so extensively thundering work, the recapitulation is meant to contain into more than one movement most extensive and the work\u2019s musical ideas in the was groundbreaking. richly artistic piece of same form as they appeared in all those created by the exposition. Beethoven\u2019s original and wondrous spirit. Opening of a review Allgemeine musikalische Zeitung (February 18, 1807)","CLASSICAL 1750\u20131820 141 Expressive grandeur in Beethoven\u2019s \u201cEroica\u201d Opens with two More developed first movement A second movement powerful chords. than any symphony to date, that opens with a sombre and longer than many funeral march in C minor. entire symphonies. Use of triadic \u201cEroica\u201d is An energetic scherzo in (three-note) themes. revolutionary the third movement. Huge range Harmonic tensions of keys. and surprises. Prominent use of brasses to produce \u201cheroic\u201d end. use a theme-and-variation form as subtly interlinked. He was to Symphony No. 3 was already known its closing movement, Beethoven venture even further in his later as the \u201cEroica\u201d by the time it was broke with tradition by failing to symphonies, and by the time he published, as this frontispiece of start with the theme itself. Instead, reached the Ninth, in 1824, what the first edition shows. the movement begins with a bass had once been four separate units line, from which Beethoven builds linked only by a common title, the orchestral texture until we had become a musical narrative finally reach the theme melody. He brilliantly interwoven across the was turning the form on its head by old sonata structure. effectively writing variations before he had even got to the theme. Also, Those who witnessed the early rather than the variations being performances of the \u201cEroica\u201d found based on a single melody, the whole it a difficult work to understand\u2014it orchestra is involved in exchanging was simply too far from their idea and developing interweaving lines of how a symphony should work, of material, ending in an elaborate both in terms of its length and its fugato that brings the music firmly structure. But it was soon accepted and finally to the home key. as a work of profound genius and was to exert a huge influence on Beethoven had created a four- later generations of symphonists, movement journey through keys, from Schumann and Brahms to themes, and ideas, cleverly and Bruckner and Mahler. \u25a0","ROMA 1810\u20131920","NTIC","144 INTRODUCTION Niccol\u00f2 Paganini Franz Schubert\u2019s In Paris, Hector Intended to convey a composes the first of his song cycle Die sch\u00f6ne Berlioz premieres longing for springtime, Symphonie fantastique, 24 Caprices for Solo M\u00fcllerin marks Robert Schumann Violin, which are among the high point in one of the most writes his Symphony the most difficult violin the German Lied influential works in the No. 1 over four days programmatic genre. pieces of all time. (song) form. in January. 1805 1824 1830 1841 1821 1826 1839 1846 Based on a German folk Epitomizing Fr\u00e9d\u00e9ric Chopin\u2019s The colorful legend, Carl Maria Beethoven\u2019s late style, cycle of 24 preludes, orchestration of Felix von Weber\u2019s opera Mendelssohn\u2019s Elijah Der Freisch\u00fctz his String Quartet covering all major explores German No. 14, Op. 131 abandons and minor keys, breathes new life national identity. the quartet\u2019s traditional defies conventional into the oratorio, a thematic structure. form and development. Baroque genre. T he Romantic movement bohemian clothes replaced the wigs example, are in a more Classical arose largely as a reaction and formal costumes of the Classical style. Yet Schubert was inspired by to the rationalization and period, and the lifestyles of the the subjects of German Romantic urbanization of European society Romantic composers were often poetry in the songs, or Lieder, for following the Industrial Revolution. as colorful as their music. which he is best known. This From the end of the 18th century, aspect of Romanticism, especially writers, artists, and composers Beethoven developed a more the love of nature, later inspired the turned away from the formal personal style of music from 1803. work of Robert Schumann, whose elegance of the Classical period In what is regarded as his \u201cmiddle symphonies and piano pieces were in favor of personal expression period,\u201d he produced groundbreaking often programmatic (painting a and a fascination with nature. In piano sonatas, string quartets, picture or telling a story in music), music, this manifested itself in a other forms of chamber music, and, a genre begun by Beethoven\u2019s gradual expansion of the harmonic above all, symphonies. In his \u201clate \u201cPastoral\u201d Sixth Symphony, which and instrumental palette to appeal period,\u201d a final burst of creativity, depicts a series of rural scenes. to the emotions rather than the when he was isolated from the intellects of the audience. world by profound deafness, he Hector Berlioz relished the produced work of extraordinary possibilities offered by a larger The new style intensity, such as his last piano orchestra and extended harmonic Beethoven fulfilled the stereotype sonatas, string quartets, and language. His operas, orchestral, of the Romantic musician, as the Ninth Symphony, with its and choral works, all on a grand did the violinist Niccol\u00f2 Paganini innovative choral finale. scale with large orchestras, were and some other virtuoso performer- expressive and highly personal. He composers. Long unkempt hair and Not every composer joined the continued the drift away from the Romantic tide. The instrumental abstract to the programmatic in his works of Franz Schubert, for","ROMANTIC 1810\u20131920 145 The premiere of Johann Strauss II Johannes Brahms\u2019s The brutal plot of Giacomo Giuseppe Verdi\u2019s writes The Blue First Symphony premieres Puccini\u2019s opera Tosca La traviata in Venice Danube, a waltz shocks audiences by in Karlsruhe, Germany, typifies verismo (\u201crealism\u201d), taking a fallen woman with a rich symphonic recalling the Classical a form of opera popular in as its subject matter. sound that takes Europe by storm. style of Beethoven. Italy and France. 1853 1867 1876 1900 1857 1876 1896 1908 Franz Liszt\u2019s Faust The fourth part of Inspired by Nietzsche\u2019s Gustav Mahler Symphony, inspired by Richard Wagner\u2019s Ring novel, Richard Strauss writes Das Lied Johann Wolfgang von Cycle opens in Bayreuth, composes Also sprach von der Erde, a Zarathustra, a symphonic contemplation on Goethe\u2019s play of the marking the end of his the inevitability same name, premieres \u201ctotal artwork,\u201d composed poem that rejects in Weimar, Germany. Romantic conventions. of death. over 26 years. symphonies, a trend that was Johann Strauss I and II, father and matter and aiming for a more taken up later by many composers, son, played on this nostalgia with convincing form of dramatic especially Franz Liszt, who their waltzes, but other composers representation. Others followed his developed a form known as the also felt the lack of discipline in lead: Bizet in France, the giants of symphonic poem, or tone poem. Romantic music. Foremost among Italian opera, Verdi and Puccini, them was Johannes Brahms, who pursued a new kind of realism Liszt was also famous as a who moderated expression within in opera, and in Germany, Richard young man for his virtuosity when stricter Classical forms. Another Wagner, whose operas were on the performing his own piano pieces, was Felix Mendelssohn, whose grandest of scales and stretched and he gained a large and devoted oratorios harked back to the musical language. With his following. These solo piano recitals Baroque period, reviving German innovatory harmonies, Wagner were popular entertainment of the and English choral traditions laid challenged the idea of tonality, period, especially when given by down by Handel and Bach. which had been the foundation Romantic characters such as of musical form since the end of Liszt or Fr\u00e9d\u00e9ric Chopin, whose Romantic opera the Renaissance. more delicate and lyrical style of Opera, with its combination of composition appealed particularly literature and music, was ideally Wagner inspired what is now to French audiences. suited to portraying Romantic known as the late Romantic style, themes and ideas. Carl Maria von exemplified by composers such as Exceptions to the rule Weber established the template Anton Bruckner, Gustav Mahler, Despite the popularity of Romantic for Romantic opera by choosing and Richard Strauss. This heralded music, some composers missed German folklore rather than the beginning of modern music in the elegance of Classicism. In Classical mythology as his subject which the old rules of harmony no fashionable Vienna, for example, longer applied. \u25a0","146 PPTTHEIHGCEEEUNVRLOI,IOMAHLERAINNLLYOFISNHPTUO\u2026IMESTATHNHAALTF 24 CAPRICES FOR SOLO VIOLIN, OP. 1 (1824), NICCOL\u00d2 PAGANINI IN CONTEXT V iolinist-composer Niccol\u00f2 that he had struck a deal with Paganini\u2019s career as an the devil in return for his gifts. FOCUS international performer His greatest triumphs were The rise of the virtuoso lasted just six years, from 1828 to in Paris, which was in thrall to 1834, but his influence on music grand spectacle, new technology, BEFORE was immense. Setting out to and brilliance in every field. 1733 Pietro Locatelli publishes entertain, he introduced new L\u2019arte del violino, which inspires playing techniques and raised Technical innovations Paganini\u2019s own Caprices. the expectations of audiences, Paganini had studied and honed performing feats no one had his art in Italy. It is thought that 1740 The violinist Giuseppe achieved before him. He owned he started composing his 24 Tartini, known for his fast and numerous violins, including a Caprices in the early 1800s, even exciting playing, epitomized by handful by perhaps the greatest though he did not publish them his violin sonata Devil\u2019s Trill, maker of all, Antonio Stradivarius. until 1820. In these showpiece makes a concert tour of Italy. works, and numerous others, he Chronic illness, thought to be challenged every aspect of existing AFTER Marfan syndrome, left Paganini violin technique and introduced 1834 Hector Berlioz completes looking gaunt. This led to rumors new ideas designed to showcase Harold en Italie, a symphony the performer\u2019s skills. The pieces featuring a solo viola part Easter Sunday; in the are peppered with breakneck composed for Paganini. evening I heard Paganini. passage work, double- or even What ecstasy! In his hands triple-stopping (bowing two or 1838 Franz Liszt publishes the driest exercises flame up three strings at the same time), as an early form of his technically like bithium pronouncements. well as new tricks such as left-hand demanding \u00c9tudes d\u2019ex\u00e9cution pizzicato (using the fingers of the transcendante d\u2019apr\u00e8s Robert Schumann left hand to pluck the strings) and Paganini (\u201cTranscendental ricochet (bouncing bowing). studies after Paganini\u201d), in which he transcribed six of Inspired by Paganini Paganini\u2019s violin caprices for As a 19-year-old, in 1831, the solo piano. Hungarian composer Franz Liszt heard Paganini in Paris and was inspired to achieve the same level of virtuosity on the piano and to","ROMANTIC 1810\u20131920 147 See also: The Four Seasons 92\u201397 \u25a0 Faust Symphony 176\u2013177 cultivate an equally dramatic Paganini\u2019s and Liszt\u2019s talent Niccol\u00f2\u00a0Paganini persona. His career coincided pushed the boundaries of existing with technical advances in piano techniques for both violin and Born in the Italian port town manufacturing that made the piano. The concerto became a of Genoa in October 1782, instrument reliable, versatile, and stage for soloists to excel on these Paganini learned the violin loud enough to fill the large concert instruments, while the theme and and guitar from his father, halls that catered for the growing variations form, in which a simple, who was an outstanding middle classes. Liszt was the most often well-known melody would amateur musician. The young highly gifted of a new breed of be submitted to increasingly Paganini supplemented his composer-pianists who competed impressive reworkings, became training with a strict regimen for prominence\u2014sometimes in popular among concert-goers of practice, later claiming piano-playing duels. His celebrity and composers. The theme of he became a virtuoso after status helped establish the piano Paganini\u2019s Caprice No. 24 inspired hearing a performance by the recital in its present form, thereby works by Liszt, Johannes Brahms, Polish-born French violinist benefiting other composers. and Sergei Rachmaninoff. August Duranowski. The First Triumph of Paganini, Later virtuosos included the In 1809, Paganini left a by Annibale Gatti, c.1890, possibly Belgian composer-violinist Henri court appointment in Lucca depicts a performance at the court Vieuxtemps and composer-pianists to pursue a solo career. He at Lucca, where Paganini built his Louis Moreau Gottschalk in the US, traveled in Italy, composing reputation during the early 1800s. Leopold Godowsky in Poland, and and performing works that Rachmaninoff in Russia. \u25a0 displayed his skills. Health problems, including syphilis, delayed him until 1828, after which he went first to Austria, Bohemia, and Germany and then, in 1831, to Paris, where his 10 concerts at the Op\u00e9ra caused a sensation. In 1834, continuing ill health forced him into semi-retirement in Italy, where he died in 1840. Other key works 1813 Le Streghe (The Witches) 1816 Violin Concerto No. 1 1819 Sonata \u201ca Preghiera\u201d 1826 Violin Concerto No. 2 in B minor","148 LGSIIESVTTE,ITMANETDOAIMLWAUUSILNICLDRY THE BARBER OF SEVILLE (1816), GIOACHIN0 ROSSINI IN CONTEXT S urviving a disastrous first marry her himself. Central to night in Rome in 1816, the plot is the barber Figaro, a FOCUS Il barbiere di Siviglia (The \u201cfixer\u201d in Seville. Its songs include Italian opera buffa Barber of Seville) by Gioachino Figaros\u2019s \u201cLargo al factotum della Rossini quickly won universal citt\u00e0\u201d (\u201cMake way for the factotum BEFORE acclaim. Rossini had already of the city\u201d) and Rosina\u2019s \u201cUna voce 1782 An earlier operatic written 16 operas, but this was his poco fa\u201d (\u201cA voice has just\u201d). version of Il barbiere di Siviglia first opera buffa (\u201ccomic opera\u201d) as (The Barber of Seville) by the opposed to an opera seria (\u201cserious Operatic realism Italian composer Giovanni opera\u201d). It relates the attempts of The low-life settings and street Paisiello is performed for the the Count Almaviva to win the language of the opera buffa brought first time in St. Petersburg. beautiful Rosina, ward of the much fresh realism to musical drama, and older Dr. Bartolo, who intends to its popularity spread throughout 1786 Mozart\u2019s The Marriage Europe. Mozart\u2019s The Marriage of of Figaro receives its first Dear God, here it is finished, Figaro and Cos\u00ec fan tutte are other performance in Vienna. this poor little Mass. Is this examples of the comic opera genre. sacred music \u2026 or music of AFTER the devil? I was born for opera Beethoven admired The Barber 1843 Gaetano Donizetti\u2019s of Seville, as did Verdi and Wagner. comic opera Don Pasquale is buffa, as you well know. Yet, apart from a one-act farce, performed for the first time at Gioachino Rossini Rossini wrote no other comedies. the Th\u00e9\u00e2tre Italien in Paris. In the 1820s, he became director of the Th\u00e9\u00e2tre Italien, in Paris, 1850 Crispino e la comare where he wrote five more operas, (\u201cThe cobbler and the fairy\u201d) culminating in Guillaume Tell by the brothers Luigi and (William Tell) in 1829. After this, Federico Ricci is one of the last his output declined. One of his few examples of true opera buffa. large-scale pieces in the last three decades of his life was his Petite messe solennelle (\u201csmall solemn mass\u201d) of 1863. \u25a0 See also: Le bourgeois gentilhomme 70\u201371 \u25a0 The Magic Flute 134\u2013137 \u25a0 La traviata 174\u2013175 \u25a0 Tosca 194\u2013197"]
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