Music- Classical
adapted from Writers of the Western World: Hibbard and Frenz
The qualities of classic music at its best and purest are easily observable. There is a stricter adherence to the rules and models inherited from preceding composers than is apparent in later music. One authority defines classic music as music in which a more or less consciously accepted scheme of design is evident, with an emphasis on elements of proportions and of beauty as such--as distinguished from that class in which the main object appears to be the expression of emotion, or even the representation in tone of ideas which usually receive, not a musical, but rather a literary or pictorial expression.
By Mozart's time there were several generally accepted forms which musical composition followed. One of the most important of these forms will be discussed here, the sonata form. Sonata form, the customary form of first movements-the Rondo, theme and variation, or minuet are other forms found in other movements--should not be confused with the musical composition known as the sonata. A sonata commonly is a composition in four movements--an opening allegro, a slow movement, a lively movement (frequently a minuet), and a final movement, which is almost always fast. The first movements of sonatas in classical style are written in sonata form. Here is a useful description of that form.
Sonata form is an expanded ABA pattern divided into an exposition, a development section, and a recapitulation. A movement in sonata form will begin with the statement of the principal subject. This subject may be of almost any length and nature, the only real requirement being that it allow ample possibilities for later development. It is followed by a second subject designed as a contrast and written in a different key. If the first subject was strongly rhythmical, the second is likely to be primarily melodic; or if the first was announced by the brass, the second may well be given out by the woodwinds. Once these two themes have been stated, the essential basis of the entire movement is established: one might paraphrase Coleridge by saying that sonata form is devoted to the reconciliation of opposite or discordant themes. The announcement of these two subjects will usually be followed by a brief section devoted to a considerably less important closing subject.
The middle section is freer. It allows for varied treatment in distant keys of any material presented by the exposition, and it may even include new material. There is really no restriction on the composer except that he exploit the possibilities of his themes and that he have a final cadence (usually a brilliant cadenza in the concerto) leading back to the original key of the movement and thus introducing the recapitulation.
This last section is exactly what its name implies--the final A section of the vastly expanded ABA form. It repeats the first, second, and closing subjects, putting them all in the tonic key this time in order to achieve an effect of finality. This repetition, like that of the simple ABA form, does not have to be exact and literal, but it must be unmistakable and must give the effect of repetition rather than of further development. Reducing sonata form to its simplest terms, we may summarily describe it as the statement of a first subject, a contrasting second subject, and a closing subject; the development of this thematic material; and finally its restatement.
Sonata form, then, is one of the patterns, which the classical composers followed in composing their symphonies; it is the skeleton, which supported their musical creations. When we hear a great classical symphony like the "Hafffner" by Mozart several times, we become aware of the genius which fills out the patters and makes the composition what it is. Mozart had unlimited melodic resources; some of his melodies are the loveliest the world has ever heard. In this symphony he has shaped that material into a magnificent architectural structure. In the "Haffner" we have a combination of lyric melody and the mathematical construction, which makes it one of the great classical symphonies.
But, we may ask, what is the difference between a classical theme and a romantic theme? A romantic composer could clothe the same form with his musical ideas' the form would be classical' what is there about the classical theme that makes it distinguishable from the romantic?
Classical music is absolute music--music, which is complete without worlds. A classical theme is a theme, which in itself is self-sufficient. The author as a composer and we as hearers are interested in it and in its elaboration and development in a composition. It may have emotional overtones but we are not primarily interested in these. A romantic theme, on the other hand, is one which is heard more as the expression of an emotion, or a sentiment, than as an element in a musical structure.
Since classical music leans so heavily upon form, the titles generally indicate the technical nature of the composition. Once the listener is familiar with the structure of the various forms, the music will be much more intelligible than it is at first hearing. All of the music listed in this book is serious music; all of it is music, which should be heard more than once to be appreciated properly.
Compositions
Carl Phillip Emanuel Bach (1714-1788)
Symphony No. 3 in C major
This work is classical in form and thematic material; it has three movements, and is performed as a continuous work. It is a forerunner of later compositions more like the symphonies of Haydn and Mozart.
Corelli (1653-1713)
Concerto Grosso in G Minor ("Christmas Concerto")
A Concerto Grosso in the 18th century was really an orchestral concerto--a succession of movements played by two or more solo instrumentalists, and accompanied by the whole orchestra. This is typical in form, but outstanding for the beauty of its melodies.
Handel (1685-1759)
Suites for Harpsichord, Book I: Nos. 4,5,6
The suite is an adaptation of the dance music of the period by the classical composers, as contrasted to the Sonata, which grew out of church music. Each suite usually consists of a prelude and several movements written in a dance form. All movements are written in the same key, a fact which created a certain monotony not relieved until composers wrote symphonies, each movement of which might be in a different key. The Handel suites are typical of the classical suite.
Haydn (1732-1809)
Symphony NO. 102 in B Flat Major
A classical symphony, but in the themes of the slow movement may be detected romantic overtones, which foreshadow the fully developed romanticism of the 19th century. A good example of Haydn's symphonic style.
Bach (1685-1750)
Suite for Unaccompanied 'Cello, No. 3
A prelude and six dances. This is the work of Johann Sebastian Bach, the father of an illustrious musical family.
Preludes and Fugues from the Well Tempered Clavichord
Before hearing these it may be well to study the form of the fugue in a good source book, such as the Oxford Companion to Music. Bach's fugues are masterpieces of counterpoint, the art of interweaving melodies into a pattern. This is absolute music at its purest.
Mozart (1756-1791)
Symphony in D Major ("Haffner"), K. 385
A model of a classical symphony as written by Mozart, it includes a brilliant opening movement, a quiet second one, a robust third, and a vigorous finale.
Quintet for Clarinet and Strings, K. 581
Classical in form, with warmly melodic themes. Note especially the theme and variations, and the hints of romanticism in the Romanza.
Sonata in F Major, K. 332
A piano sonata, in which each movement is in sonata form. A good sonata to study for purpose of learning the form; the accompanying folder has a good analysis which is helpful.
Beethoven (1770-1827)
Symphony No. 4 in B Flat Major, Op. 60
All movements but the third are in sonata form, and the thematic material is (again in all but the third movement) less subjective than in others of his symphonies.
Symphony No. 8, in F Major, Op. 93
Strict observance of classical form and objective thematic material place this symphony in the classical list.
Concerto No. 4 for Piano and Orchestra, in G Major
The first and last movements are classical in form (first--sonata form; last--Rondo). The content is a blend of classical and romantic material; the second movement is more romantic than any of the others.
Tschaikowsky (1840-1893)
Serenade in C Major, Op. 48
Tschaikowsky said of his first movement: "It is my homage to Mozart; it is intended to be an imitation of his style." It is sonata form without a development section. All but the third movement are classical in form.
Prokifieff (1891-1953)
Classical Symphony in D Major
A composition which attempts (and succeeds very well) to capture the spirit of Mozart. Prokofieff here wrote music, which he believed Mozart might have written were he living today. It is classical in form, Mozartian in spirit, but modern in idiom.
Ibert (1890- )
Concertino da Camera for Saxophone and Orchestra (1st and 3rd Movements)
These movements use distinctly modern material in a formal pattern which is morel like the old concerto grosso than is at first apparent.
Hindemith (1895- )
Quartet No. 3, Op. 22
Another modern composer whose material is extremely modern, but who shows a tendency in his compositions to follow classical patterns.
Gregorian Chant
Plainsong (or Gregorian Chant) is pure melody, and needs no accompaniment. It is the music of the Church and belongs to the pre-harmonic age, that is, the age before harmony was used for accompaniment.
Bloch (1880- )
Concerto Grosso for Piano and String Orchestra
A modern treatment of the 18th century form. Compare with the concerto by Corelli.
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