Assignment 5

Ana Sofía Ramírez Ramírez

Discuss the evolution of the patronage system during the Classical era
During the Baroque and Classical era, the Church and nobleman would hire
musicians as their servants. Musicians would compose and perform for their patrons in
exchange for a salary and sometimes a place in court. The social life in courts
demanded a constant stream of new music, so it was the composer’s job to supply it.
They would have creative liberty to a certain point. Some of the nobleman were
instrumentalists themselves, so composers had to write music for their particular
instruments. Haydn, for example, composed a number of pieces for the baryton
because the prince Esterházy played that instrument. Nonetheless, with the
revolutions, the aristocracy became smaller and the middle class grew. This situation
also started a change in the patronage system. The general public increased their
demand for public concerts and operas. This demand allowed composers to leave the
patronage system and make enough money to live. Mozart was one of the first to
venture out of the system. Unfortunately, he had no economic stability, but this was
because of irresponsible spending and not for a lack of success.

List and define the mayor components found in a typical sonata cycle. Include
information about individual movements forms and tempos.
The sonata cycle is a format for three and four movement pieces. It is used for
instrumental pieces such as symphonies, quartets, and concertos. This format was
cemented during the Classical era, although the terms used for analysis appeared later
in history.
Three movement pieces such as concertos follow a fast – slow – fast pattern,
and four-movement pieces such as sonatas and symphonies have a fast – slow –
faster – fastest pattern. Each movement also follows codified forms. The first
movement is always in sonata form (not to be confused with sonata cycle); the second
movement can be a sonata form, rondo, theme and variation, simple three-part form, or
sonata-rondo; the third movement can be either a minuet and trio, or a scherzo and
trio; and the last movement can be a sonata form, rondo, theme and variation, or
sonata-rondo.
The sonata form has three major components: exposition, development, and
recapitulation. The exposition presents the ideas for the movement. It presents a theme
in the tonic key, then a second contrasting theme, usually in the dominant key, and
sometimes even a third theme. Solo concertos use a double exposition in which the
orchestra plays the themes of the exposition in one key first, then the soloist plays
them in different key centers. The development uses the thematic material and
experiments with it in the melodic and harmonic sense. The recapitulation restates the
exposition, but in this section, all themes are played in the tonic key. In addition, this
movement can have an introduction or a coda depending on the needs of the piece.

The Rondo is a five or seven-part form with a recurring theme. It has three
themes that are identified with the letters A, B, and C. This structure always restates
the first theme making it a round form. The five-part rondo is organized as ABACA, and
the seven-part rondo is organized as ABACABA. The other kind of rondo is a hybrid
called sonata rondo. It uses two themes, repeats the first theme, then develops, and for
the recapitulation it again uses first theme, second and first. So the exposition is ABA,
the development is C, and the recapitulation is C.

The theme and variations is the format that allows most freedoms, the only rule
is that there must exist a theme to work on. During the Classical period the theme was
played first, and then the variations, but during the romanticism the theme could be
played after the variations or not at all (as in the Enigma Variations). The variations
could change the accompaniment, key, instrumentation, rhythm, etc. the limits are
extensive.

The minuet and trio was used as a third movement in four-part cycles, it comes
from a baroque dance and it is ternary in form. The minuet is made of two sections (A
and B) that are repeated. Sometimes the ending of B is the same as A, making it a
rounded form (A-BA). The trio is also made of two sections (C and D) and it can also
be rounded (C-DC). When the trio ends, the minuet is replayed without repetitions. The
final form in the general sense is ABA, but at a smaller scale is ABA-CDC-ABA.
Beethoven replaced the minuet with a scherzo and trio to make it more dramatic and
fast.
Professor Peter Schickele (P.D.Q. Bach) – New horizons in Music Appreciation.
This sketch comments the first movement in the same manner as a sports game. It
starts with a comedic analysis of the beginning of the symphony. This theme is not
ordinary and the commentators remark on its unique characteristics. First, they
examine the duality in the four-note motif. The pauses in between the reiterations make
difficult to determine if it is slow or fast. Then they address the question of whether it is
a theme or a motif and explain how this motif is developed to become a theme.
0:54
When the second theme begins, the French horn misses a note and the player gets
benched. This interaction is personally cathartic. On the multiple times I have listened
to this symphony, this section is often subject of mistakes on the horn section.
2:23
After the situation with the solo, the orchestra continues the second theme. The second
theme is contrasting in key and character. It is in a mayor key and more lyrical,
although it is still constructed on a short motif. This section also displays a conversation
between the sections of the orchestra. Motifs are passed around the winds and there
are instances of questions and answers.
3:02
The development section experiments how far can this motif change and still be
recognizable. The commentators make a great job in dissecting and pointing out
Beethoven’s ideas through this development. It is also enjoyable watching the public
cheering to this music. Surely, many music enthusiasts would like to cheer in
performances of classical music, but social etiquette makes it difficult.
4.30
After building tension, the recapitulation begins. This recapitulation is not an exact copy
of the introduction. Of particular note is a cadenza played by the oboe at the beginning
of this part. Here the commentators emphasize on how surprising it is to have a
cadenza in this section.
5:25
After a dispute between the oboist and the conductor, caused by the cadenza, the
conductor gets benched. This sketch also ads some details particular to the way an
orchestra works, such as the concert master having the number one and the first oboe
having the number two, the conductor protecting his wrists, and the concertmaster
leading in the absence of the conductor.
6:38
The next change to the recapitulation happens on the second theme. Here the call is
played on the bassoon rather than the horn. While the orchestra plays the second
theme the commentators explain that this piece is written in a minor key, but it looks
like it will end on a major key.
7:00
Another interruptions shows a bass player being injured and substituted by an electric
bass player. The substitute gets set up and plays the beginning of Smoke on the
Water, followed by the beginning of the symphony.
8:23
The concert resumes and it runs smoothly for a few moments until the end of the
recapitulation appears. Instead of ending the movement, Beethoven adds a coda
stirred by the brass section.
9:27
The coda showcases a new theme that is passed around the sections. After a few
moments the first theme comes back. The commentators wonder if it is a new
recapitulation, but they soon find that it is just a preparation for the final chords.
Haydn – last movement from Symphony 101 (The Farewell Symphony) 
The First theme appears in a minor key it made out of two phrases of eight bars, and it
is a good example of the sturm und drang. Second theme is in a mayor key. This
theme, instead of closing after two eight-bar phrases, builds tension until it arrives to a
cadence.
0:49
The expositions repeats.
1:37
The development begins with the first theme. It appears in a major key and the second
half of the first phrase is changed. Also, fragments of the exposition return with slight
modifications.
2:14
The recapitulation modulates at the end of the first theme. The second theme is in a
different key, but that is the only major change that occurs. At the end, Haydn uses a
dominant chord instead of a tonic to signal that the piece is not over.
3:03
The next section is what makes this symphony unique. Instead of a coda Haydn added
an entire new section that could be another movement. It also follows the sonata form
and it is written in the galant style. The exposition has two themes made out of two
phrases each.
3:46
The development is quite short and it uses fragments of the themes presented on the
exposition. What is unique here is that the musicians stop playing and leave the stage
one by one.
4:40
The recapitulation arrives with the first theme played as in the exposition. Instead of a
second theme there is a modulatory bridge that leads to another section.
5:43
Very much how the prince Esterhazy refused to end his stay on the countryside, Haydn
refuses to end this piece. The next section works as a coda. It uses the first theme and
returns to the original key of the symphony. By the end of the piece there are only two
violins left playing.
This conductor plays with the nature of the piece, and makes comedic interactions with
the players and the audience as the musicians leave the stage.
Mozart – Queen of the Night aria (Der Holle Rache) from The Magic Flute
This is one of the most famous arias in the classical repertoire. It is very demanding for
the soprano, and it heightens a dramatic point in the opera. Here the Queen of the
Night is explaining to her daughter that she must kill Sarastro for the good of them
both.
2:10
The orchestra joins just after the Queen of the Night tells her daughter what she must
do. After a dramatic chord the soprano starts to sing. The first section is made by two
phrases. There is text painting in the music that heightens the words of the aria.
2:51
The following part is a virtuosic section of fast and extremely high coloratura. The line
“you won’t be my daughter nevermore” is repeated multiple times to make the point
clear. The orchestra closes this section, but after the cadence the tension is kept by a
tremolo.
3:37
The next section begins in a mayor key, but it modulates at the end of the phrase. This
part has many changes in character and texture. Mozart combines lyrical sections with
dramatic statements to show how the mother has many resources to convince her
daughter.
5:00
After the final statement of the soprano, the orchestra closes the aria in the same
dramatic manner. This piece is another great example of the sturm und drang.
Beethoven – Symphony No. 9 (excerpt) last movement, the Ode to Joy
Bernstein explains that he has been studying Beethoven in every aspect and that he
has discovered that his music is universal. Beethoven speaks to all the people, of all
classes, ages, and times. Beethoven brings a message of thought, brotherhood,
freedom and love.
1:30
This little introduction is to talk about the ninth symphony. Bernstein affirms last
movement of the symphony gives life to Schiller’s poem. He then recites and translates
the poem verse by verse.
2:05
He then explains how the music for this poem transcends in a way that the poetry did
not because Beethoven’s music reaches people in a way that words or religion cannot.
Bernstein explains that in spite of his tumultuous life Beethoven speaks of hope in a
way that touches peoples’ hearts to this day.
3:01
Bernstein argues that, specially in this time he speaks, the world needs this music to
fight the despair. While he is talking the theme to the symphony plays on the
background.
3:52
The theme is restated on the winds section while the strings and percussion
accompany. This second variation is more grandiose in character.
4:39
The next section uses different thematic material played on the brass section. It is still
grandiose in character. The accompaniment becomes a wave of fast-moving notes
played by the string section. This passage continues to grow to a climax but it ends
abruptly.
5:06
This new section changes in character and key. It displays slower and reflective
melody played by woodwinds and violins. This melody is interrupted too with a sudden
change of character, rhythm, and texture. Beethoven uses again the material from the
beginning to introduce the next section.
5:33
Here appears a bass singer with a recitative. This is the first time voices are used in a
symphony.
6:28
At the end of the recitative there is a small call and answer interaction between the
bass soloist and the chorus. Immediately the soloist sings the first half of the Ode to
Joy melody with a light accompaniment. The second half is sung by the choir with a
thicker texture on the orchestra.
7:19
The theme is displayed again but now with four soloists. There are different melodies
interacting between the four voices, basses, and woodwinds. The second half of the
theme is more straight-forward. The melody is on the chorus and the orchestra
supports them.
8:09
The next part the melody is more ornamented. It begins with the tenor and baritone,
then the alto joins, and finally the soprano. Again the second half presents on the
chorus. This variation does not end in the same way as the others; It instead transitions
to a sudden key change that works as a cadence.
Beethoven – Symphony no.7 – Allegretto
https://youtu.be/-4788Tmz9Zo?t=882
14:42
This movement is a theme and variations. There is a kind of introduction made of one
chord. After this chord the theme presented. It is a funeral march made out of two
phrases.
15:46
The first variation uses the theme on the upper strings while the cellos and the violas
play a new melody above.
16:35
In the second variation the themes appear in the violins, while the lower strings add an
accompaniment line. The woodwinds join during the second phrase.
17:25
In the third variation, the full orchestra plays. The winds have the first theme and the
violins have the second theme.
18:20
The next section has a new theme (third theme) made of two phrases played on the
woodwinds.
19:30
The third theme is repeated on the wood winds and the ending of it is used to move the
music forward to the next section.
19:50
The fifth variation uses the first theme on the lower strings and the second theme on
the woodwinds. Meanwhile, the upper strings have an arpeggiated accompaniment in
staccato.
20:54
During the sixth variation, the theme is modified to create a small fugato on the strings.
As the end of the variation approaches, brass and woodwinds join to grow into the
following variation.
21:48
In the seventh variation, all the strings, brass, and timpani play the theme while the
woodwinds embellish with scales and arpeggios.
22:12
The next section arrives in a subtle manner. It uses the third theme again played on the
woodwinds while the strings play an arpeggiated harmony. The end of the section uses
the motivic material of the first theme to foreshadow its return.
23:13
The ninth variation gives a part of the theme to different sections, so it played on its
entirety through the orchestra. The first measures are played by the flutes, then the
oboes, next the horns, and finally the strings. The second phrase does the same. For
the end Beethoven repeats the last measures of the theme as a closing statement.