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MUSC 224

CLASSICAL AND ROMANTIC MUSIC, 1780 - 1890

Week 1
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Review

Galant Style (J.C.Bach)


Symmetrical Phrasing

Melody accompanied by a particular musical pattern (e.g.Alberti bass)

Use of diatonic harmony, predominantly

Empfindsamer (Expressiveness) (C.P.E.Bach)


Asymmetrical phrasing

Great range of dynamics

Chromaticism in the harmony

The next step in history is the fusion of both styles: Mozart, Haydn, Beethoven used them.

THE CLASSICAL ERA

Week 2
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HAYDN (2)

Esterhazy (Austrian Empire / Holy Sacred Empire) paid the best musicians and they had their
own opera company

Haydn was appointed vice Kappel Meister and then Kappel Meister

He served three princes

The seat of the Esterhazy was Eisenstadt, Hadyn could not travel, he was needed full-time

Esterhaza (magnificent Palaces in the current Hungary)

Symphony

He cultivated a style influenced by Manheim (Stamitz) and CPE Bach

In honor of the prince, he composed a trilogy of symphonies:

(1761)

N.6 Le Matin (about 4 minutes - average duration at that time)

N.7 Le Midi

N.8 Le Soir

1776 (US Independence)

Sturm und Drang (Storm and Stress)

Expression of emotions themselves

This movement happened parallel to Hadyns life

nothing indicates he read this literature

In his symphonies, Haydn used dissonance while exploring keys

MUSC 224

(1772)

Symphony N.45 F# minor ("Farewell")

5 mov

dramatic

Unusually, this symphony has a melody in the development

By the end of the piece, musicians start to leave the stage, being Haydn and Tomasini the last
ones to leave.

Haydn composed and performed for a highly educated audience (The Esterhazy, family &
guests)

Hoboken studied Haydns works and catalogued them

Hoboken I : 104

(I = Symphony)

Opus

Hoboken

Kchel

Deutsch

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