1750-1825

CLASSICAL
1. HISTORICAL AND CULTURAL
A. Social and political upheaval
i.

Seven years war, American and French Revolutions, Napoleonic

Wars

ii.

Political and economic power shifted from the

aristocracy/church/religious institutions to the middle class
(mentality of liberty, equality and fraternity)

iii.

As the 18th century advanced, more people made more money. The
middle class wanted aristocratic luxuries like music and literature.
Thus the composer took middle class tastes into account.

B. Age of enlightenment
i.

Belief in progress, reason was the best guide for human conduct not
custom or tradition

C. Visual arts
i.

In the early 18th century, heavy baroque styles gave way to the
rococo style which was lighter, this change to lightness was also
paralleled by the music scene

D. Patronage
i.

Musicians were seeking new audiences and patrons for their

income, money was still difficult to come by

ii.

Beginning of the public concert: first era in which public concerts

became important

iii.

Music still composed for church/court but the public concerts

reflected the view that music should be written for
enjoyment/entertainment

E. Viennese Classical period

i.

Centered in Vienna

ii.

Beethoven, Haydn and Mozart

1. Focal point for musical activity

2. FEATURES

i.

Baroque music was too complex; classical music tried to appeal to a

broader, middle class audience

B. Melody
i.

Less ornate, phrases were regular

ii.

Composers borrowed tunes from popular and folk songs

C. Contrasting moods
i.

Contrasting themes within a movement, contrasts within single

themes

ii.

Gradual or sudden changes

iii.

The goal for music was to be more expressive and natural

D. Flexibility of rhythm
i.

Includes unexpected pauses, syncopations, frequent changes in

note values (i.e. long notes to shorter notes)

E. Largely homophonic
F. Less ornamentation
G. Clear cadences and simple diatonic harmony with abundant use of
tonic-dominant chords
H. Use of the piano
i.
I.

Desire for gradual dynamic change led to replacement of

harpsichord by the piano (around 1775)
Basso continuo discontinued

i.

No need for improvisation for the accompaniment

ii.

More music was written for amateurs who could not improvise over
a figured bass

3. COMPOSERS + SIGNIFICANT WORKS

A. Haydn (1732-1809)
i.

father of the symphony and father of the string quartet

ii.

spent most of his career as a court musician

Haydn Symphony no 6.
Mozart Quartet in G major, attempt to emulate the form of Haydns
string quartets

4. ENSEMBLE SIZE + INSTRUMENTS

A. The classical orchestra
i.

Standard group of four sections: strings, woodwinds, brass and

percussion
1. 1st violins, 2 nd violins, violas, cellos, double basses
a. strings had the most melodic importance, with lower
strings providing accompaniment
2. 2 flutes, 2 oboes, 2 clarinets, 2 bassoons
a. woodwinds provided a contrasting tone colour and given
melodic solos
3. 2 French horns, 2 trumpets (trombones were only used by
Haydn and Mozart in opera and church music)
a. brought power to loud passages ad filled out the harmony
usually do not play main melody
4. 2 timpanis

ANALYSIS