Classical Student Book

8/9/2019 Classical Student Book

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Classical Unit

Classical music refers to music composed between 1750 and 1820

approximately. Famous composers include Haydn, o!art,

"eet#o$en and %c#ubert.at is classical music' (t is music t#at old people listen to or

old)fas#ioned music or is it somet#in* li+e ueens "o#emian

-#apsody' (t is neit#er. ld peoples music is not a fair

representation of Classical usic neit#er is music t#at is old

fas#ioned. "o#emian -#apsody is a classic tune but it is not a

classical piece of music.

/Classical mean #a$in* a well balanced structure of form, a clearmelodic line and not#in* t#at is o$erdone or /s#owy. "aroue

usic is #i*#ly decorated w#ereas classical music is muc# clearer.

(n classical music you can #ear eac# indi$idual part and t#ese

parts are no lon*er #ea$ily decorated.

"aroue music #ad been mainly polyp#onic lots of parts played

simultaneously3 often wit# a #arpsic#ord playin* in t#e

bac+*round. 4#e texture in t#e classical period tended to beclearer, li*#ter and less complicated and #omop#onic t#at is tunes

t#at were abo$e a c#ordal accompaniment.

4#e classical period of music saw many de$elopments in form and

structure. 4#e most important de$elopment included t#e

%ymp#ony, %onata, %olo Concerto and t#e %trin* uartet.


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Classical period

Classical music refers to music composed between 1750 and 1810. Famous

composers include Haydn, o!art, early "eet#o$en and %c#ubert.

4#e dates of 1750 and 1810 are not exact, t#e "aroue period did not end

o$er ni*#t and t#e classical start in t#e mornin*. 4#ere were si*ns t#at t#emusic was c#an*in* as far bac+ as t#e 170s. 4#e "aroue trio %onata be*an

to *i$e way to t#e Classical %onata6 t#e (talian $erture, found in many

"aroue operas, *rew into t#e Classical %ymp#ony.

%ome people refer to classical music as /old peoples music or /old fas#ioned

music. (t is $ery different to pop music or roc+ music.

arly Classical style is called style *alant a /courtly style w#ic# aimed

c#iefly to please t#e listener. 9ater, t#e style matured to emp#asis moreand more ualities associated wit# classical arc#itecture: *race and beauty

of line melody3 and s#ape t#e form or desi*n used by a composer to build

up #is music3, proportion and balance, moderation and control. (n particular,

t#e classical composer stri+es a perfect balance in #is music between

expressi$eness and formal structure.

"aroue music #ad been mainly polyp#onic often wit# a #arpsic#ord playin* in

t#e bac+*round. 4#e texture in t#e classical period tended to be clearer,

li*#ter and less complicated and were #omop#onic tunes abo$e a c#ordal

accompaniment. ;ou could #ear w#at eac# part in t#e music was doin* now

and t#e music was no lon*er o$erdone.

4#e classical period was mainly concerned wit# form and structure, and it

was in t#is time t#at many of t#e musical forms we #ear today were

establis#ed. %ome of t#ese include %ymp#ony, %olo Concerto, %onata and

%trin* uartet.


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The Orchestra

4#e orc#estra, w#ic# #ad be*un to ta+e s#ape durin* t#e "aroue period,

now started to *row. 4#e continuo was still bein* used but mainly to +nit t#e

texture to*et#er. (n time t#e continuo fell out of use and composers be*anto use wind instruments, especially t#e #orns, to bind t#e texture.

(n t#e earlier part of t#e Classical period, orc#estras were still small and

$ariable: a basis of strin*s, two #orns were usually added, and one or two

flutes or a pair of oboes. %oon #owe$er, composers were includin* bot#

flutes and oboes, one or two bassoons, and occasionally two trumpets and a

pair of +ettle drums. Clarinets found a re*ular place towards t#e end of t#e

18t# century, and t#en ma+in* t#e woodwind section a self)contained section

of t#e orc#estra.

4#e "aroue rc#estra:

iolins Harpsic#ord Cellos

4#e Classical rc#estra:

iolins Cellos


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ain %tyles and Forms

%tyles FormsConcertos

%ymp#onyC#amber usic

pera ? $erture

%onata

%trin* uartet

"inary

4ernary-ondo

inuet and 4rio ? %c#er!o

4#eme and >ariations

C#amber usic

Concerto

pera ? $erture

%ymp#ony

%onata

%trin* uartet

"inary

4ernary

inuet and 4rio

-ondo

%c#er!o

4#eme @ >ariations


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Classical Composers

Joseph Haydn 1732-1809

Haydn was born in -o#rau in 172 and died in >ienna in

180A.%pecialist Benres: %ymp#onies, %trin* uartets, pera,

ratorios and asses.

aor &or+s: 15 %ur$i$in* peras6 10D %ymp#onies6

>iolin and +eyboard concertos6 strin* uartets6

+eyboard sonatas6 c#amber music and son*s and 12

asses

Wolfan !"ade#s $o%art 17&'-1791

o!art was born in %al!bur* in 175E. He was 1 of 7c#ildren to a musical family.

%pecialist Benres: pera, %ymp#onies, iano Concertos, %trin* uartets and

C#urc# usic.

aor &or+s: peras 4#e arria*e of Fi*aro, Cosi fan tutte, 4#e a*ic

Flute, 21 piano concertos, 5 $iolin concertos, concertos for clarinet and

ot#er wind instruments, D1 %ymp#onies, 2D %trin* uartets and ot#er

c#amber music and 17 asses.

(#d)i *an +eetho,en 1770-1827"eet#o$en was born in "onn in 1770 and died in >ienna

in 1827.

%pecialist Benres: %ymp#onies, iano Concertos, %trin*

uartets and iano %onatas.

aor &or+s: A %ymp#onies, 4#e oonli*#t %onata for

iano, =iabelli >ariations and E %trin* uartets.

ran% .ch#/ert 1797-1828

%c#ubert was born on t#e 1st of Ganuary 17A7 in

>ienna

%pecialist Benres: %on*s, piano music, symp#onies

and c#amber music.

http://images.google.co.uk/imgres?imgurl=http://www.beethoven.ws/images/b2.jpg&imgrefurl=http://www.beethoven.ws/pictures.html&h=257&w=239&sz=10&hl=en&start=2&tbnid=21W1QNYObmDVeM:&tbnh=112&tbnw=104&prev=/images%3Fq%3DBeethoven%26svnum%3D10%26hl%3Den%26lr%3D


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aor &or+s: %ymp#onies o8 Infinis#ed3, oA 4#e Breat3, iano uintet

4#e 4rout3, %on*)Cycle =ie %c#one ullerin and o$er E00 son*s.

Classical Composers

Gosep# Haydn 172)180A

Haydn was born in -o#rau in 172 and died in

>ienna in 180A. He was 1 of 12 c#ildren and at t#e

a*e of E, #is talent was noticed by family and

nei*#bours. J relati$e in Hambur* offered to

ta+e Haydn as a boarder and start #is musical

education. He san* in a c#oir at a youn* a*e and

started #is compositional career early. He was

noticed by rince aul Jnton

ster#a!y w#o #ad

#eard one of Haydns symp#onies and immediately offered #im a ob. Haydn

accepted and started #is career as composer in residence to t#e ster#a!y

family. He was treated fairly but was no more t#an a ser$ant in t#e eyes of

t#e ster#a!y family. Jfter t#e deat# of rince aul Jnton, #is brot#er

rince i+olaus became t#e successor and was muc# more socially ambitious,

resultin* in Haydn #a$in* to compose muc# more music for #is patrons

entertainment. He wrote %ymp#onies, Concertos, strin* uartets, trios and

a $ast uantity of c#amber music for t#e princes own instrument, t#e

arc#aic, a six)strin*ed baryton similar to t#e $iola damore3.

"y t#e 1780s, Haydns international reputation was *rowin* rapidly and #is

compositions were slowly bein* publis#ed.

(n 17A0, rince i+olaus died w#ic# meant t#at Haydn could tra$el for t#e

first time. "y 17A1, #e #ad tra$elled to 9ondon and was #onoured wit# a

=octor of usic from t#e xford Ini$ersity. He wrote twel$e symp#onies,

collecti$ely +nown as t#e /9ondon %ymp#onies, w#ic# were met wit# *reat

ent#usiasm.

(n #is final years Haydn wrote masses for t#e new rince, rince i+oluas

t#e ((, and ratorios. 4#e increasin*ly frail composer made #is last public

appearance at t#e performance of 4#e Creation at >ienna to #onour #is 7E t#

birt#day. He died in >ienna in 180A.

%pecialist Benres: %ymp#onies, %trin* uartets, pera, ratorios and

asses.

aor &or+s: 15 %ur$i$in* peras6 10D %ymp#onies6 >iolin and +eyboard

concertos6 strin* uartets6 +eyboard sonatas6 c#amber music and son*s and

12 asses


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&olf*an* Jmadeus o!art 175E)17A1

o!art was born in %al!bur* in 175E. He was 1 of 7

c#ildren to a musical family. His fat#er was a talented$iolinist and an aut#or of a successful boo+ on $iolin

tec#niues. Jt t#e a*e of four &olf*an* be*an to

study


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9udwi* >an "eet#o$en 1770)1827

"eet#o$en was born in "onn in 1770 and died in >ienna

in 1827. His fat#er was an alco#olic bully w#o was

determined t#at "eet#o$en would turn into a c#ildprodi*y li+e o!art. Jlt#ou*# "eet#o$en was a $ery

able pianist, #e was +nown more for #is impro$isation

ability and compositions rat#er t#an #is piano s+ills.

He arri$ed in >ienna in 17A2 and was tau*#t for a w#ile

by Haydn, but #e found little success in t#is. He made a

name for #imself as a pianist wit# impro$isatory s+ills.

"y 17AE #e #ad publis#ed some of #is own wor+s earnin* enou*# money to

buy #is own apartment. He continued to compose and was +nown for pus#in*

t#e boundaries of con$entional compositional tec#niues and to expand

%onata form.

(n t#e first of #is nine symp#onies #e relied more on r#yt#m to dri$e #is

music rat#er t#an lyrical t#emes. He de$eloped s#ort melodic fra*ments or

motifs w#ic# became prominent t#rou*#out t#e music. From t#e second

symp#ony onwards "eet#o$en replaced it wit# a faster, more dynamic and

r#yt#mic %c#er!o.

"eet#o$ens career was ta+in* off around #is 0 t# birt#day but #e was

forced to come to terms wit# t#e fact t#at #e was *oin* deaf. =urin* a stay

in Heili*enstadt outside >ienna, "eet#o$en wrote a letter to #is brot#ers

describin* t#e misery #e was facin* as a result of #is deafness. He

contemplated suicide but said /(t seems impossible to lea$e t#e world before

( #a$e accomplis#ed all ( am destined to do. 4#e letter was ne$er sent, and

was found after #is deat#.

"eet#o$en continued to compose music. (n 1808 #is fift# and sixt#

symp#onies were premiered. His fift# symp#ony is a pro*ression from

tra*edy to #ope and #as been interpreted as a representation of

"eet#o$ens stru**le a*ainst misfortune, and is one of t#e first symp#onic

wor+s to recycle t#ematic material between mo$ements. "y 1818, "eet#o$en

was completely deaf, alt#ou*# #e continued to compose. "y 182E #e was a#ea$y drin+er and suffered from li$er disease, #e died in 1827 and was laid

to rest in front of 10,000 people.

%pecialist Benres: %ymp#onies, iano Concertos, %trin* uartets and iano

%onatas.

aor &or+s: A %ymp#onies, 4#e oonli*#t %onata for iano, =iabelli

>ariations and E %trin* uartets.

http://images.google.co.uk/imgres?imgurl=http://www.beethoven.ws/images/b2.jpg&imgrefurl=http://www.beethoven.ws/pictures.html&h=257&w=239&sz=10&hl=en&start=2&tbnid=21W1QNYObmDVeM:&tbnh=112&tbnw=104&prev=/images%3Fq%3DBeethoven%26svnum%3D10%26hl%3Den%26lr%3D


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Fran! %c#ubert 17A7)1828

%c#ubert was born on t#e 1st of Ganuary 17A7.

His fat#er tau*#t #im #ow to play piano and #e

also learnt to play t#e $iola. 4o*et#er wit# #isfat#er and brot#ers, t#ey made up a strin*

uartet. %c#ubert attended sc#ool w#ere #e won

a sc#olars#ip, #e #ad daily musical lessons and

played in t#e sc#ool orc#estra. "y t#e time #e

left at 1E #e #ad already composed a substantial uantity of music.

%c#ubert spent sometime as a teac#er and met and fell in lo$e wit# a sin*er

named 4#erese Brob. He t#en be*an writin* son*s and t#ese early efforts

mar+ed t#e be*innin* of a lifelon* in$ol$ement wit# poetry and particular

poet Go#ann &olf*an* $on Boet#e.4#e next year saw %c#ubert compose 150 son*s wit# many of t#em bein*

settin*s of Boet#es texts. J friend of %c#uberts sent Boet#e some of t#e

settin*s and as+ed permission to dedicate t#em to #im but Boet#e #ated #is

wor+s bein* set to music.,

%c#ubert left t#e family #ome in 181E continuin* to set poems to music and

also writin* se$en piano sonatas #ea$ily influenced by "eet#o$en. He also

wrote symp#onies in t#is period w#ilst teac#in* durin* #is time as a music

teac#er to t#e dau*#ters of Count ster#a!y.

His time in >ienna was carefree and full of socialisin* wit# a close +nit *roupof friends. He li+ed to ta+e wal+s and *et inspiration from #is surroundin*s.

He be*an to recei$e public reco*nition #owe$er, #e #ad no experience of

business matters and ras#ly sold #is ten $olumes of son*s.

(n 182, %c#ubert became ill, #e continued to compose #owe$er. (n #is last

four years, %c#ubert #ad to stru**le wit# depression and #is illness. His

compositions became frantic and #is nint# symp#ony was declared unplayable

due to t#e unstoppable r#yt#mic pulse. 4#e wor+s of t#ese years included

c#amber music, piano sonatas and piano trios.

%c#ubert continued to compose son*s until t#e end of #is life. He died of4yp#us in o$ember 1828 at t#e a*e of 1.

%pecialist Benres: %on*s, piano music, symp#onies and c#amber music.

aor &or+s: %ymp#onies o8 Infinis#ed3, oA 4#e Breat3, iano uintet

4#e 4rout3, %on*)Cycle =ie %c#one ullerin and o$er E00 son*s.


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Classical or +aro#e

9isten to t#e followin* two excerpts and answer t#e uestions t#at follow.

1. ic# excerpt features a piece of "aroue music'

xcerpt 1 or xcerpt 2

2. ic# except features a piece of Classical usic'


. ic# style, "aroue or Classical, is mainly polyp#onic, and w#ic# style is

mainly #omop#onic tune wit# accompaniment3'

"aroue music is in style

Classical music is in style

D. Classical music is li*#ter in style, clearer in texture and doesnt follow a

polyp#onic texture.

4-I or FJ9%'

5. at are t#e main differences between t#e two orc#estras, and t#e ways

in w#ic# t#eir composers use t#em'


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.y"phonyat is a %ymp#ony'

=urin* t#e classical period many composers wrote %ymp#onies for full

orc#estra. 4#e word symp#ony actually means /%oundin* to*et#er and comesfrom t#e (talian $erture w#ic# #ad t#ree contrastin* sections uic+,

%low, uic+. J symp#ony is really a +ind of %onata for orc#estra.

ost symp#onies are made up of four separate mo$ements, eac# wit# a

different c#aracter. 4#e mo$ements are often set out in t#e followin* way.

irst $o,e"ent: at a fast pace. &ritten in w#at is +nown as .onata for"

t#at is, t#ree main sections w#ic# are xposition, =e$elopment and

-ecapitulation.

.econd $o,e"ent at a slow pace. er#aps in Ternary t#ree part3 desi*n,

or The"e and *ariations or e$en .onata for" a*ain. ften described as

/%on* li+e.

Third $o,e"ent o!art and Hayden wrote a $in#et and Trio at t#is point.

"eet#o$en and many later composers preferred to write a .cher%o and Trio

at a faster pace and was $i*orous and bris+er. .cher%o means a /o+e3

o#rth $o,e"ent Finale. Jt a fast pace and was often li*#t)#earted inmood. 4ondo 5!+!C!66 or .onata for"6 or a mixture of t#e two.

%ometimes, The"e and *ariations.

f course, t#is basic pattern may be $aried to suit t#e desire of t#e

composer. For instance, t#ere may be a slow introduction to t#e first

mo$ement, or t#e %c#er!o may come before t#e slow mo$ement. o$ements

ma+in* up t#e symp#ony would contrast well wit# eac# ot#er in pace and

mood.

o!art and Haydn enric#ed and perfected t#e symp#ony durin* t#e second

#alf of t#e classical period. "esides replacin* t#e minuet wit# t#e %c#er!o,

#e made ot#er c#an*es. He increased t#e time scale of t#e %ymp#ony and

also its ran*e of expression and dramatic impact. (n mo$ements in %onata

form #e len*t#ened bot# t#e de$elopment section and t#e coda sometimes

t#e de$elopment section3. He also expanded t#e si!e of t#e orc#estra,


13/22

especially in #is last symp#ony o. A3 w#ic# introduces $oices and mixed

c#orus in t#e final mo$ement.

Concerto

J lar*e wor+ for O4CH.T4! (13 and soloist in mo$ements or sections3.4#e mo$ements usually follow t#e structure Kfast)slow)fastL.

9isten to t#e rd mo$ement from o!arts Horn Concerto in b. 4#is

mo$ement is in 4O:O (13 form) t#e main TH$ (13 +eeps Kcomin*

roundL, wit# contrastin* t#emes #eard in between. &e can s#ow t#is

structure by J"JCJ.

1. 4#e main t#eme J, first played by t#e #orn, t#en by t#e orc#estra. 4#e#orn oins in a*ain towards t#e end.

2. 4#e first contrastin* t#eme ". 9ater listen for #untin*)li+e

!!4. (13 from t#e #orn and ot#er instruments.

. 4#eme J comes round a*ain.

D. 4#e second contrastin* t#eme C. ac# p#rase is be*un by t#e #orn,

t#en completed by t#e strin*s. J lin+in* passa*e wit# more #orn

fanfares follows.

5. 4#eme J comes round for t#e last time.

E. J CO:! (23 ends t#e mo$ement.


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.y"phony

J lar*e wor+ for O4CH.T4! J3 in D mo$ements or sections3. 4#e

mo$ements follow t#e structure of:

1. Fast usually in .O!T! O4$; H3

2. %low often in T4!4< O4$ (13

. $=UT > T4=O (13 or in later symp#onies .CH4?O (23

D. Fast could be 4O:O (13, .O!T! O4$ H3 or TH$ >

*!4=!T=O. (13

.O!T! O4$ H3

Jlt#ou*# sonata form and its related concepts are all Hi*#er le$el, some

+nowled*e of t#e form is reuired to listen effecti$ely to symp#onies.

M%(4( 4#eme J in t#e K#omeL or tonic +ey

"rid*e passa*e c#an*in* +ey or $O:U(!T=@3

4#eme " in a different +ey

=>94 aterial is de$eloped .AUC. J3

=$=T!T=O (13, $O:U(!T=O (13 etc.3

-CJ(4IJ94( 4#eme J in t#e K#omeL +ey"rid*e passa*e altered to lead toNN

4#eme " now in t#e K#omeL +ey

CO:! (23

9isten to t#e 1st o$ement from o!arts ine


15/22

"ar 7 CH4O$!T=C (13

"ars 1)2 +4O CHO4: J3

"ars 20 22 C4.C:O (13


16/22

(ntermediate neusic 9istenin*

Classical and "aroue

nd of Init Jssessment

1. ;ou will #ear a number of excerpts wit# uestions to

answer. Jttempt all uestions.

2. For some uestions you will be as+ed to tic+ one box or two

boxes. -ead eac# uestion carefully.

. 4#e second #alf of t#e test features uestions t#at do not

reuire any music to listen too. ;ou can wor+ at your own

pace. "e clear wit# your answers and try not to worry about

spellin*, as lon* as ( can ma+e out w#at you meanP

J-


17/22


18/22

.E 9isten to t#is excerpt and identify t#e style of t#e music.

4ic+ one box.

Jria

-ecitati$e

=uetC#orus

.7 9isten to t#is excerpt and identify t#e style of t#e music.

4ic+ one box.

Jria

-ecitati$e

=uet

C#orus

.8 9isten to t#is excerpt and identify t#e style of t#e music.

4ic+ one box.

Jria

-ecitati$e

=uet

C#orus


19/22

Classical usic

.1 9isten to t#is excerpt. 4ic+ one box to identify t#e +ey.

r*an4rumpet

Horn

boe

.2 9isten to t#is excerpt. (dentify t)o features present in t#e music.

4ic+ one box from eac# column.

Col#"n ! Col#"n +

boe %ymp#ony

Harpsic#ord Concerto

4rumpet %onata

. 9isten to t#e followin* excerpt. (dentify t#e feature present in t#e

music. 4ic+ one box.

%euence

-epetition

%yncopation

C#an*e of


20/22

.5 4#is uestions concerns *roups of instruments. C#oose from t#e

followin* concepts to correctly identify t#e *roup playin*.

a3 rc#estra

%trin* uartet

%oloist ? rc#estra

b3 rc#estra

%trin* uartet

%oloist ? rc#estra

c3 rc#estra

%trin* uartet

%oloist ? rc#estra

%ection 4#ree

4#e next section will #a$e no musical excerpts to support t#e uestion. ;ou

must recall upon pre$ious +nowled*e in order to answer t#e uestions.

1. ame 2 composers from t#e "aroue period.

and

2. Homop#onic describes music from t#e "aroue eriod.

4-I or FJ9%

.

D.

5.

E. ame 2 composers from t#e classical period.

and


21/22

7. =ecide w#ic# sentence best describes polyp#ony.

usic t#at is clear wit# one melodic line

usic t#at is unclear wit# many melodic lines

8. &rite a definition of CC-4.

A. (n w#at way did t#e rc#estra expand durin* t#e classical period'

10. ame t#e four instruments t#at ma+e up a %trin* uartet.

1.

2.

.

D.


22/22

Classical or +aro#e

9isten to t#e followin* two excerpts and answer t#e uestions t#at follow.

1. ic# excerpt features a piece of "aroue music'


2. ic# except features a piece of Classical usic'


. ic# style, "aroue or Classical, is mainly polyp#onic, and w#ic# style is

mainly #omop#onic tune wit# accompaniment3'

"aroue music is in style

Classical music is in style

D. Classical music is li*#ter in style, clearer in texture and doesnt follow apolyp#onic texture.

4-I or FJ9%'

5. at are t#e main differences between t#e two orc#estras, and t#e ways

in w#ic# t#eir composers use t#em'

Classical Student Book

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