Classical Music 2

Front 1

Symphony No. 45 in F#m

Back 1

Haydn
1772
"Farewell" Hob 45 mvt 1

1. Sturm and drang style - flat 2 used, excitement and violence
2. Theme in arpeggiations - class back to galant style
3. Syncopation becomes a feature for texture or themes
4. #Fm is experimental because instruments were not set up to play that way
5. Minute messes with symphony form

Front 2

Sinfonie in D Major

Back 2

C.P.E Bach
1773
H. 663 mvt 1 and 2
1. Written out accelerando in 1st mvt
2. No clear tonality in the beginning but in arpeggiations -galant
3. Only uses winds for 2nd theme - usually violins had melody
4.cyclic, no clear movements, transitions written out
5. No repeats, everything is written out

Front 3

Piano Concerto in C Major

Back 3

Salieri
1773
Mvt. 1

1. Uses accompany recective in orchestra
2. Exposition is very clear
3. Mozarts rival. 4. String introduction before piano soloist enters

Front 4

Concerto in Eflat Major

Back 4

Mozart
1777
K. 271 mvt 1

1. Lyrical melody atop Alberti bass - galant
2. Improv like qualities
3. Soloist is now getting cadenzas, used to only be opera
4. In pairs, binary groups fill out form
5. Rondos build up energy tempo and speed
6. Spinning out technique uses sequences

Front 5

Ariadne August Naxos

Back 5

Benda, J.

Brandes - librettist
1775
1. Reflects changing emotions I'm melodrama
2. Melodrama speaking with music

3. Influenced Mozart

4. One act duodrama

5. the textadapted of a cantata by Heinrich Gerstenberg

Front 6

Piano Sonata in G minor

Back 6

Clementi

Op. 34 No. 2 All mvts.

1793

1. Made the pianoforte popular - virtuostic composing for piano

2. Doesn't start recap in the correct key, does end up in the right key for another recap

3. Introduction section developed more during the development -- not just a slow introduction

4. Acc. rhythm in the second movement becomes second theme

5. Full chords explore the instrument

Front 7

Piano Trio in c minor

Back 7

Haydn
1789
hob xv 13 mvt 2

1. Piano the dominant instrument, violin doubles piano and cello has unimportant part
2. Only 2 movements
3. Cello doubles piano left hand because the register was weak at the time 4. Bridge contains aspects of both themes. 5. Written to be played in the home, accessible. 6. First theme is stated clearly - aspect of galant

Front 8

Idomeneo

Back 8

Mozart
1781
Varesco, after danchet
Overture and act 1 scene 1

1. Galant aspect in arpeggiations in overture
2. Switch to minor keys for strum and drang technique
3. Unison texture to a cadence
4. Singers play and equal role, not dominant anymore
5. Cyclic, transitions written out with no breaks

Front 9

String quartet in Eflat major

Back 9

Haydn
1772
Op. 20 No. 1 mvt. 1 and 3

1. Thematic material is actually a phrase - mono thematic
2. Plus 6 chord used to clarify at the end of phrases to resolve to the dominant
3. Large scale ABA form but no textual contrat
4. Contrapuntal technique
5. Aspects of sonatas and rondo - imitative aspects

Front 10

Piano Sonata in G Major

Back 10

Dussek
Op.35 no. 2 mvt. 1
1797

1. Was a gambler so didnt leave an archive, can be hard to find his music
2. Virtuosic, wrote his own music and toured
3. In sonata form
4. Focus on texture rather than theme - 5 different textures
5. Accepted conventional form more

Front 11

Piano Sonata in G Major

Back 11

Dussek
Op.35 no. 2 mvt. 1
1797

1. Was a gambler so didnt leave an archive, can be hard to find his music
2. Virtuosic, wrote his own music and toured
3. In sonata form
4. Focus on texture rather than theme - 5 different textures
5. Accepted conventional form more

Front 12

Sonata for piano and violin in e minor

Back 12

Mozart
1778
K. 304 all mvts

1. Strings become more important, used to just be piano
2. In the middle of trip when he composed this piece, normally at court to write church music
3. Double exposition borrows from concertos
4. No strange chords but instead uses dramatic tension
5. Piano still leads changes in music
6. Lighter style

Front 13

String quartet in G Major

Back 13

Haydn
Op. 77 no. 1
1794

1. Bridge combines aspects of theme A and B
2.starts with clear theme but blends forms - aspects of sonata
3. Flat 6 relation to the first movement in 2nd
4. Monothematic - themes and variations
5. Virtuosic violin because of Solomon

Front 14

String Quartet in Eflat Major k. 614

Back 14

Mozart
K. 614 mvt. 2
1791

1. 3 part texture
2. No harmonic shock
3. Unison texture to end phrases
4. Trills come back from the first movement
5.textural variations instead of theme

Front 15

Mass in C minor

Back 15

Mozart
K. 427
1783

1. Galant arpeggiations and basso continuo
2. Away from Salzburg
3. Choir sings multiple octaves
4. French opera overture rhythm throughout Gloria
5. Ostenuto form from opera