Download - Enlightenment 1
ENLIGHTENMENT AND THE ART OF TAXONOMY
The OrchestraAn ensemble that comprises a core group of string
instruments, which are doubled (i.e., more than one to a part) along with pairs of wind (woodwind and brass) instruments,
and, often timpani and percussion.
The Orchestra
An ensemble that comprises a core group of string instruments, which are doubled (i.e., more than one to a part) along with pairs of wind (woodwind and brass) instruments, and, often timpani and percussion.
The Philadelphia OrchestraThe Philadelphia Orchestra
Development of the Orchestra
Strings, occasional winds, sometimes
doubling, sometimes with separate lines
Winds increasingly become regular members, with
increasingly specific parts
Continued expansion and enlargement, especially of brass
instruments. Continuo abandoned.
Increase in percussion
instruments.
17th. C 18th. C 19th. C 20th. C
Continuo group Harpsichord Theorbo (bass lute) Basoon Bass viol (double bass)
Woodwinds Flutes Oboes
Strings Violins Violas Cellos
The baroque orchestra
Carl Linnaeus (1707-1778)Carl Linnaeus (1707-1778)
Carl Linnaeus (1707-1778)
Diderot, D’Alembert, Encyclopédie (1751-1772)Diderot, D’Alembert, Encyclopédie (1751-1772)
Taxonomy of Human Knowledge:
!
Memory (History) Reason (Philosophy) Imagination (Poetry)
Taxonomy of Human Knowledge:
Memory (History)Reason (Philosophy)Imagination (Poetry)
Jean-Jacques Rousseau 1712 - 1778
The first “alienated” intellectual Emphasized nature and the individual Blasted social institutions Wrote articles on politics and music Attacked Baroque opera Advocated simpler, more natural music that focused on real life Encouraged development of comic opera
Article “Sonata” from Rousseau’s Dictionary of Music (English translation, 1779)
What does it mean for music to be enlightened?
What does it mean for music NOT to be enlightened?
Johann Adolf Scheibe, on Bach (1737) !!
This great man would be the admiration of whole nations if he had more amenity, if he did not take away
the natural element in his pieces by giving them a turgid and confused style, and if he did not darken their beauty by an excess of art. Since he judges according to his own fingers, his pieces are extremely difficult to play; for he demands that singers and instrumentalists should be
able to do with their throats and instruments whatever he can play on the clavier. But this is impossible.
Turgidity has led [Bach] from the natural to the artificial, and from the lofty to the somber; and one admires the onerous labor and uncommon effort-- which however are vainly employed, since they conflict with Nature.
The Galant Style
Johann Christian Bach, Piano concerto No. 1 in C major, Allegreto
Functional harmony and tonality
Different harmonic areas have different functions
This includes a strong sense of direction—the home key functions as the center of gravity for a piece
TONIC
(home)
Subdominant
(link from Tonic to Dominant)
DOMINANT (farthest point away from tonic, leads back home: there-and-back)
The SymphonyOriginated in Classical period
Outgrowth of public concerts
Large multimovement work for orchestra
Each movement a distinct musical work
“Pleasing variety”
Contrasting tempi, forms, themes, moods
The Symphony
I Opening movement
II Slow movement
III Minuet (with trio)
IV Closing movement
First movement
Moderate to fast tempo
Sonata form
Optional slow introduction
Many moods possible
Emphasizes contrast and development
Second movement
Slow tempo
No standard form
Often lyrical and songlike
Third movement
Moderate tempo, triple meter
Minuet form (ternary)
Stylized dance
Usually aristocratic in mood
Fourth movement
Fast to very fast
Usually sonata or rondo form
Light, tuneful, brilliant
SONATA FORMNOT the form of a sonata
A sonata is a multi-movement composition for a solo instrument or small ensemble (i.e. a Piano Sonata, or a Sonata for Cello and Piano). The form of a sonata varies, but is often a three or four movement work. A sonata is a GENRE.
Sonata form is the FORM of a single movement, and is found in many genres: symphonies, sonatas, string quartets, etc. etc.
SONATA FORM SEEN FROM A DISTANCE
A B A’
Rounded binary form, (like the Da Capo aria and other baroque forms)
AExposition
B A’Development Recapitulation
Presents thematic material
Brings thematic material back to the tonic
Takes thematic material and breaks it down,
reworks it, wanders to other keys
Sonata form
|:A:|Exposition
B A’Development Recapitulation
Presents thematic material
Brings thematic material back to the tonic
Takes thematic material and breaks it down,
reworks it, wanders to other keys
Coda
Sonata form
|:A:| B A’ Coda
Sonata form
Exposition Development Recapitulation
|:Primary Theme:| Bridge ’ Secondary
Theme
Tonic DominantModulation
Exposition
Cadence theme
Closing
Exposition: Mozart Symphony No. 40, I (1788)
Bridge: modulates to new key
First theme: stable theme in tonic key
(Medial caesura [pause] leads to second group]
(Theme repeats with instruments added)
Exposition: Mozart Symphony No. 40, I
Cadence theme
Second theme: stable, in new key
(Second theme repeats, expands)
Exposition: Mozart Symphony No. 40, I
Bridge: modulates to new key
First theme: stable theme in tonic key
(Medial caesura [pause] leads to second group)
(Theme repeats with instruments added and varied ending)
Exposition: Mozart Symphony No. 40, I
Cadence theme
Second theme: stable, in new key
(Second theme repeats, expands)
Development: Mozart Symphony No. 40, I
Develops themes from exposition (First theme with nuances and shades)
!Heightens tension
!Contrast and motivic variation
!Modulates frequently
!Retransition returns to first key
Recapitulation: Mozart Symphony No. 40, I
The bridge is longer and more varied
First theme—Sounds familiar, we’re back to where we started (Theme repeats with instruments added and varied ending)
Second theme in the first key
Coda (all the themes return for last appearance)
Closing theme . . . leads to . . .
Wolfgang Amadeus Mozart 1756–1791
Born in Salzburg to musical family
Child prodigy
After court position, moved to Vienna
Made living from teaching and concerts
Died with Requiem Mass unfinished
Franz Joseph Hadyn
1732–1809
30-year career with Esterhazys
Kapellmeister—wrote for court, church, and opera
Gained international fame with public concerts
Turned to choral music late in life
104 symphonies, 83 string quartets, numerous divertimentos, trios, and sonatas, and over 20 operas.
String quartet
Like the Symphony, the String Quartet emerged in the enlightenment. Also like the symphony, the string quartet
was often a four-movement work, the form of each movement echoes the forms of symphonic works.
String Quartet Op. 33 No. 2, IV Finale: Presto(1781)
Rondo form
A B Transition A Transition ? ???AB’