Classical Style Period – 1750 – 1820
By the middle of the 18th century, faith in the power of reason was so great that itbegan to undermine the authority of the social and religious establishment.Philosophers and writers referred to this age as “The Age of Enlightenment”.
In the visual arts, the heavy, monumental style of the Baroque gave way to themore intimate rococo style with its light colors, curved lines, and graceful ornaments.
By the late 18th Century, there was another change in taste, and rococo art wasthought frivolous, excessively ornamented, and lacking in ethical content. This stylewas replaced by the neo-classical style – which attempted to recapture the “noblesimplicity and calm grandeur” of the Ancient Greek and Roman Art.
The reason the term “classical” is used to refer to this era of music is the common stress on balance and clarity of structure.
Contrast of Mood
Great variety and contrast of mood received new emphasis in classical music. Classical compositions will fluctuate in mood. Dramatic, turbulent music might lead into a carefree dance tune. Not only are there contrasting themes within a movement, but there also may be striking contrasts within a single theme. Mood in classical music may change gradually or suddenly, expressing conflicting surges of elation and depression. But such conflict and contrast are under the firm control of the classical composer, such as Haydn, Mozart, and Beethoven, who were able to impart unity and logic to music of wide emotional range.
Rhythm
Flexibility of rhythm adds variety to classical music. A classical composition has a wealth of rhythmic patterns, whereas a baroque piece contains a few patterns that are reiterated throughout. Baroque works convey a sense of continuity and perpetual motion, so that after the first few bars one can predict pretty well the rhythmic character of an entire movement. The Classical style also included unexpected pauses, syncopations, and frequent changes from long notes to shorter notes. And the change from one pattern of note lengths to another may be either sudden or gradual.
Texture
In contrast to the polyphonic texture of late baroque music, classical music is basically homophonic. However, texture is treated as flexible as rhythm. Pieces shift smoothly or suddenly from one texture to another. A work may begin homophonically with a melody and simple accompaniment but then change to a more complex polyphonic texture that features two simultaneous melodies or melodic fragments imitated among the various instruments.
Melody
Classical melodies are among the most tuneful and easiest to remember. The themes of even highly sophisticated compositions may have a folk or popular flavor. Occasionally, composers simply borrowed popular tunes (Mozart borrowing “Twinkle, Twinkle Little Star) More often, however, they wrote original themes with a popular character.
Classical melodies tend to sound balanced and symmetrical because they are frequently made up of two phrases of the same length. The 2nd phrase in such melodies may begin like the first, but it ends more conclusively. Such a melodic type, which may be diagrammed a a′, is easy to sing. Baroque melodies tend to be less symmetrical, more elaborate, and harder to sing.
Dynamics and the use of the Piano
Classical composers’ interest in expressing shades of emotion led to the widespread use of gradual dynamic change – crescendo and decrescendo. They did not restrict themselves to the “terraced” dynamics (abrupt shifts from loud to soft) characteristic of baroque music. During the classical period, the desire for gradual change led to the replacement of the harpsichord by the piano. By varying finger pressure on the keys, a pianist can can play more loudly or softly. Although the piano was invented around 1700, it began to replace the harpsichord only around 1775. Most of the mature compositions of Haydn, Mozart and Beethoven were written for the piano, rather than for harpsichord, clavichord, or organ – which had been featured in baroque music.
End of the Basso Continuo
The basso continuo was gradually abandoned during the classical period. In the classical composer’s works, a harpsichordist did not need to improvise an accompaniment. One reason why the basso continuo became obsolete was the more and more music was written for amateurs, who could not master the difficult art of improvising. Also, classical composers wanted more control over their works by specifying the accompaniment rather than trust the judgment of improvisers.
Classical Orchestra
A new orchestra evolved during classical period. Unlike the baroque orchestra, which could vary from piece to piece; it became a standard group of four sections:
- Strings – 1st violins, 2nd violins, violas, cellos, double basses
- Woodwinds – 2 flutes, 2 oboes, 2 clarinets, 2 bassoons
- Brass – 2 french horns, 2 trumpets
- Percussion – 2 timpani
Notice that woodwind and brass instruments are paired and that clarinets have been added. Trombones were also used by Mozart and Haydn, but only in opera and church music, not in solely instrumental works. The number of musicians was greater in a classical orchestra than in a baroque group.
Classical Forms
Instrumental compositions of the classical period usually consist of several movements that contrast in tempo and character. There are often four movements, arranged as follows: 1 – fast movement 2 – slow movement 3 – dance-related movement 4 – fast movement
- Symphonies and Strinq Quartets follow the four movement pattern.
- Sonatas may consist of two, three, or four movements.
- Symphony – written for full orchestra String Quartet – written for two violins, viola and cello
- Sonata – written for one or two instruments
Sonata-Allegro Form
Sonata form refers to the form of a single movement. It consists of three main sections:
- Exposition – where the themes are presented
- Development – where the themes are treated in new ways
- Recapitulation – where the themes return.
- Coda – a concluding section which may or may not be added. (Coda is Italian for tail)
A single sonata form movement may be outlined as follows: Introduction/Exposition: 1st theme in tonic (home) key Bridge containing modulation from home key to new key 2nd theme in new key Closing section in key of 2nd theme Development: New treatment of themes Modulation to different keys Recapitulation 1st theme in tonic key Bridge 2nd theme in tonic key Closing section in tonic key (Coda) In tonic key
Theme and Variations
This was widely used in the classical period, either as an independent piece or as one movement of a symphony, sonata, or string quartet. In this form, a basic musical idea – theme – is repeated over and over again and is changed each time. This form is outlined as follows: Theme (A) 1st Variation (A′) 2nd Variation (A”) 3rd Variation (A’’’)
Each variation, even though usually about the same length as the theme, is unique and may differ in mood from the theme. Changes in melody, rhythm, harmony, accompaniment, dynamics, or tone color may be used to give a variation its own identity. They may be connected to each other, or separated by pauses. For the original theme, the composer may borrow someone else’s, or compose an original theme.
OTHER FORMS:
Minuet and Trio Rondo Concerto – is a three movement work for an instrumental soloist and orchestra.
KEY POINTS:
- Two pre-classical styles prevailed in the early 18th century – the decorative Rococo (in France) and the sensitive style (Empfindsamkeit) in Germany.
- Taste in Opera changed radically during this era; some preferred Italian comic opera over French court, and others were drawn to the more popular ballad opera (The Beggar’s Opera), with its familiar songs and spoken text.
- Melodic ideas – themes – are used as building blocks in a composition; these melodies are made up of short melodic or rhythmic fragments known as motives.
- Themes can be expanded by varying the melody, rhythm, or harmony through thematic development; this usually happens in large-scale pieces.
- Repeated short patterns, or ostinatos, can also be used to build compositions.
- Form is the most important organizing element in absolute music – music which has no specific pictorial or literary program
- Many of the great masterworks of instrumental music are in the standard multimovement cycle of three or four movements; these include the Classic-era Symphony, Sonata, String Quartet (and other chamber music) and the Concerto.
- Cyclical structure is a nineteenth century device that links movements, and occurs when a theme from an earlier movement reappears in a later one.
- Classical music is characterized by a singable, lyrical melody; diatonic harmony; regular rhythms and meters; homophonic texture; and the frequent use of folk elements
- Music centered around the court, with composers (especially Haydn) and women musicians – employed under the patronage system.
- Concert life in the early Americas was focused on the performance of European music.
- Classical Era is considered the “Golden Age” of Chamber music – ensemble music for two to ten performers, with one player per part.
- String Quartet was the most important chamber music genre of the ear; duos, trios, quintets, serenades and divertimentos were also cultivated.
- Form for String Quartet followed the standard four movement structure of fastslow-moderate dance – fast.
- Mozart was a child prodigy.
- Mozart, despite dying at an early age of 35, made significant contributions to nearly all musical genres, including the Symphony, Sonata, Concerto, Chamber music, sacred music, and various types of opera.
- Mozart’s music is known for its lyrical melodic lines, colorful orchestration, and dramatic content.
- Symphony was one of the principal instrumental forms of the Classical era.
- Beethoven is viewed as transitional figure whose music – divided into three style periods – straddles the Classical and Romantic eras.
- His 9 symphonies are monumental works intended for the concert hall rather than the aristocratic salon; His 5th symphony, his best known composition, is built on a now-famous four note motive that permeates all 4 movements.
- Classical Concerto form usually has only three movements – fast – slow – fast.
- The Mass, Requiem Mass, and the Oratorio were the dominant sacred choral forms of the Classical era.
- Opera Buffa (Italian comic opera) and Opera Seria (Italian serious opera) prevailed.
