History Of Chamber Music

Front 1

Marco Scacchi

Back 1

coined term “chamber music” in the 17th C.; chamber music was one of three contexts: musica ecclesiastica (church music), musica theatralis (theater music), and musica cubicalaris (chamber music); no reference to number of players, number sequence of movements, or formal designs of individual movements; indicated only that the composition was to be performed in a private residence rather than church or theater.

Front 2

Jordi Savall

Back 2

current famous Spanish viol player, also conductor, teacher, scholar, concert impresario, record label director (Aria Vox), minor film personality; viol can be traced to Central Asia where bowed stringed instruments were first seen in the 10th C., appeared in Moorish Spain not too long after; reveres treatise by Diego Ortiz about how to embroider given melody or chord progression with ornaments, variations, and outright inventions

Front 3

Marin Marais

Back 3

official viol player for Louis XIV; in charge of musique de chambre; wrote primarily viol music; studied composition with Jean Baptiste Lully

Front 4

Ottaviano de Petrucci

Back 4

issued the “Odhecaton,” earliest example of printed music and optional scoring in 1501, absence of complete texts suggests they may have been performed by instrumental ensembles

Front 5

Paul Hofhaimer

Back 5

active at court of Emperor Maximilian, issued “Harmoniae poeticae” in 1539, title page says “most excellently suited for voices as well as for instruments”

Front 6

Orlando Gibbons

Back 6

uses optional scoring in his “First set of madrigals and mottets of 5 parts: apt for viols and voyces”

Front 7

Thomas Morley

Back 7

specifies in his two volumes of Consort Lessons the ensemble of broken consort (flute, lute, treble viol, cittern, bass viol, and bandora), forefront of publishing dance music in 16th C.

Front 8

Florentine Maschera

Back 8

student of Claudio Merulo, played important role in history of canzona, Merulo’s organ canzonas served as compositional models for Maschera, but Maschera published set of canzonas written especially for instrumental ensemble, “Libro primo de canzoni da sonare a Quattro voce,” first to use term “da sonare” to specify instrumental performance

Front 9

Claudio Merulo

Back 9

teacher of Florentine Maschera, his organ canzonas were used as compositional models for Maschera

Front 10

Ottoboni

Back 10

major patron of Haydn

Front 11

John Taverner

Back 11

wrote first mass for in nomine wrote for Henry VIII

Front 12

William Laws

Back 12

core composer for Charles I, viol consorts

Front 13

Christopher Simpson

Back 13

published The Division-Violist (1659) as an instruction book on violin

Front 14

Thomas Mace

Back 14

published Musick's Monument in 1676, similarly had instruction on Viol in its 3rd section.

Front 15

William Byrd

Back 15

key figure in the dissemination of Fantasies for viol in the 16th century after being granted a patent for publishing music in 1575.

Front 16

Violin Builders

Back 16

Amati, Guarneri, Stradivari, Guadagnini

Front 17

Corelli

Back 17

publications of Baroque string sonatas is a paradigm of the genre. benefactors included Queen Christiana of Sweden, Cardinal Pietro Ottoboni, and Cardinal Pamphili. came out with 6 opuses, mixed with chiesa and camera sonatas and one opus of concertos both chiesa and camera. often had similarities to the variation canzona with respect to thematic transformation, (e.g. the chiesa in G major op. 1/9, camera in E minor, op. 2/4). Sequences and continuous forward motion also known as Fortspinnung (spinning forth). Italy important for string instruments as it was golden age for violin making and was center of Europe and trade routes. Corelli was first composer to become famous for instrumental music and writing chamber music, known internationally for. Became model for Bach and Handel as Corelli's scores were highly circulated internationally.

Front 18

Antonio Stradella

Back 18

composed some of the earliest cantatas (1677), typically for solo/multiple vocalists, basso continuo and 1+ obbligato instruments.

Front 19

Haut

Back 19

high volume (trumpet, trombone, shawm, buisine…)

Front 20

Bas

Back 20

low volume (viol, lute, bandora, chitarrone, violin)

Front 21

Optional Scoring

Back 21

wider market for printed compositions, Ottaviano de Petrucci one of the firsts, confusing cases exist in manuscript sources, such as 16th C. manuscript prepared for Henry VIII, 24 instrumental consort pieces and 6 puzzle canons are sandwiched among numerous texted part songs, 12 written by Henry, one each from William Cornish and Thomas Farthing, the remaining 10 are unknown; optional scoring is invited by composer/publisher, common until late Baroque era

Front 22

"broken" consort

Back 22

combines instruments of different types (used more often during Renaissance), not standardized

Front 23

"full" consort

Back 23

uses instruments from a single family, limited almost exclusively to stringed instruments (esp. viol)

Front 24

modernity

Back 24

defined by secular, dominance of middle class, democracy, capitalism, after the Renaissance

Front 25

Dances

Back 25

used both full/broken consorts throughout Renaissance, in most countries used them in pairs (1st slow duple, 2nd faster triple/compound meter), Pavane and Galliard popular in France/England, Passamezzo and Saltarello popular in Italy, Tanz and Proportz popular in Germany

Front 26

canzona

Back 26

motif in imitation (free or strict), means “song” but canzonas are instrumental pieces, secular, reproduced the characteristic interplay of voices, lively rhythms, and contrasting sections characterized by French chanson, Claudio Merulo and Florentino Maschera important in history of canzona

Front 27

Ricercar/Capriccio

Back 27

motet-like instrumental pieces (spain was called tiento or fantasia; England was called fancy, fantasia, or fantasy); comes from cercare: to search. first intended to test the tuning of strings and placement of frets on the lute. piece exploring the possibilities of elaborating a subject or series of subjects. subject: abstract in character and well fitted for its function. two types: monothematic based on one motif, polythematic based on multiple subjects. Capriccio is a far more chromatic form of ricercar that employed more dissonance and irregular resolutions.

Front 28

Chanson

Back 28

motivic imitation in some sections but free counterpoint or homophony in others (Josquin des Pres, Pierre de la Rue, Loyset Compere), no predetermined form, freely invented to fit with poetry

Front 29

sonare

Back 29

means “to sound” (from an instrument), used in contrast to “cantare” means “to sing,” thus two terms used to specify instrument/voice, da sonare shortened eventually to “sonata”

Front 30

in nomine

Back 30

masses that went back to cantus firmus technique of plainchant, used in nomine (in the name of) in everything, sacred, instrumental (no voice in chant!) because during that time Catholic Church was very nono in Britain, in order to have sacred music, incorporated it into this

Front 31

apponyi

Back 31

first quartets to be performed in concert hall Haydn, intended for concert hall, named after Count Apponyi (mason, sponsored Haydn)

Front 32

stretto

Back 32

particularly in ricercar when the melodic motions rapidly increase pace to the point of overlap near the end of the piece.

Front 33

dux

Back 33

leading voice in polythematic or monothematic style ricercar. statement of subject was given either "real" or "tonal" answer or inganno (permutation of original subject obtained by using similar rhythm rather than intervallic content).

Front 34

sonata da chiesa

Back 34

three or more movements; contrasting tempos indicated by Italian words such as grave, allegro, vivace etc. often in slow-fast-slow-fast order; contrapuntal texture, closely related keys. Organ was added often as a continuo instrument.

Front 35

sonata da camera

Back 35

Suite of dances, names were sufficient instead of Italian tempos. involved Harpsichord, lute, guitar, or harp in the continuo group. little use of contrapuntal writing. Dances were in binary form (e.g. I-V : V-I: Major ; i-III: III-i: Minor) repeated with ornamentation.
Types of movements in the da camera: allemanda (duple: moderate), corrente (triple, hemiola: fast), sarabanda (triple: slow occasionally fast accent on 2nd beat), Gavotta (duple: moderate to fast), Giga (duple compound or triple, hemiola: fast)

Front 36

concerto da camera

Back 36

based on series of dances; had three types, solo concerto (single soloist accompanied or pitted against orchestral tutti), grosso (several soloists most often the section of a trio sonata), and ripieno (Everyone is a soloist: achieved variety and contrast by juxtaposing various orchestral choirs of strings, woodwinds, and brass instruments)

Front 37

Baroque Sonatas

Back 37

two types of keyboard: continuo sonata where the keyboard is a figured bass (non essential part) and obbligato sonata which involved both written staves for the keyboard with ornamentation (keyboard is equally important). In obbligato, bass and treble are covered by keyboard, another treble to be played by melodic instrument.

Front 38

Cantata

Back 38

Designation specifies for voices. typically secular in the 17th century; vocal soloist and basso continuo plus 1 obbligato instrument. text was often written by aristocratic amateurs or literati (clergy and lawyers). Took place in palaces of ruling families (Corelli's patrons see above). passages with lines of seven or eleven syllables. alternation with strophic, rhymed lines with a consistent syllable count (arias). They are elaborate, with interludes, arias, recitatives, codas etc. often easily written for amateur musicians.

Front 39

Alessandro Scarlatti

Back 39

Roman composer of Cantatas, involved texts about men and women in love but also incorporated history and mythology. used da capo structures in the arias. sometimes experimented with solo instruments (solo trumpet in su le sponde del Tebro). Wrote arguably one of the first influential string quartets (four Sonatas for four, violin, viola, cello, and bass 1715-25).

Front 40

Heinrich Schutz

Back 40

"Few voiced concertato": foundation for German cantatas. studied with Gabrieli and Montiverdi. Wrote the Symphoniae sacrae which were a series of spiritual cantatas (church based) all with latin texts by 1629. contained extensive use of counterpoint; grave and more dire contexts. heavily inspired by Italian Canzona and Madrigal (word-painting). heavier implementation of varied instruments (cornetto, trombone, bassoon, etc.)

Front 41

Dietrich Buxtehude

Back 41

wrote several secular cantatas often using spiritual themes when involving obbligato instruments. Was admired by Bach, who was immediately scolded upon his return from a concert featuring Abendmusiken by his appointer (the Consistory of the Neue Kirche in 1706) for applying "outlandish" and "extravagent" harmonization to traditional Lutheran chorale tunes. In Leipzig, Bach wrote five cycles of cantatas building upon the developed techniques by Schutz and Buxtehude.

Front 42

Gottfried Reiche

Back 42

Leading clarino player in the Leipzig municipal wind players (most likely Bach's main inspiration for his Concertos/Cantatas/Oratorios etc.)

Front 43

Jean-Philippe Rameau

Back 43

Traite de lharmonie 1722. attributed to the expansion of new musical forms due to the establishment of well-tempered tuning for keyboard instruments. Was the first to create an actual trio style sonata involving an obbligato treble instrument, written-out keyboard part, and an independent string bass part. (Harpsichord pieces in ensemble with violin or flute and viol or cello) published in 1741.

Front 44

Bartolomeo Cristofori

Back 44

built some of the first Piano Forte which became prominent in the latter half of the 18th century. music that indicated graduated dynamics involved the Piano Forte.

Front 45

C.P.E. Bach

Back 45

Would write works appealing to the rising Bourgeoise culture in the second half of the 18th century. His work Sonaten fur Kenner und Liebhaber (Sonatas for connoisseurs and amateurs) was written to appeal to both the emerging middle class and aristocrats alike. He also contributed to Magazines and manuals on how to perform which became commonplace amongst society outside of aristocracy. His time period saw the emerging importance of the amateur musician as well as a developing simplicity to the music associated with the start of the Classical era. Empfindsamer style (sensitive style)

Front 46

Johann Adolph Scheibe

Back 46

contemporary theorist of the later 18th century: "The ultimate purpose of the chamber style is above all to delight and enliven the listener. He is thus brought to splendor, to joy, and to laughter. From this can be determined the general character of chamber music. It must above all be lively and penetrating."

Front 47

Jean-Joseph Cassanea de Mondonville

Back 47

published the first sonatas for keyboard and instrument(s); Pieces de clavecin en sonatas (1734).

Front 48

Johann Schobert

Back 48

made his career writing such works (e.g. op. 1 two Sonatas pour le clavecin qui peuvont jouer avec l'accompagnement de violin). the works "allowed" the accompaniment of the violin, however as indicated in the work, the violin was more of an additional color rather than an essential obbligato instrument though his works are considered ensemble keyboard sonatas because they sometimes included obbligato. two movement: most often kept within the same key. contrast of tempo, never standardized. Three movement: involved modulations to subdominant, relative minor, dominant, occasional relative major; commonly fast slow fast. His works were dramatic and expressive which inspired a young Mozart who admired the compositional technique when exposed to Schoberts works.

Front 49

Marie Emmanuelle Bayon and Gotifredo Ferrari

Back 49

Developed ensemble sonatas that involved obbligato instruments and ad libitum instruments. Ferarri employed ad libitum which allowed a varying level of skill from the instrumentalist to expand, improvise, and ornament their individual part.

Front 50

Schlummert ein

Back 50

expansion of the conventional five-section da capo aria whereby two additional reprises of the ritornellor result in a rondo-like form. Expanded on by Handel in his Cantatas

Front 51

Well-tempered tuning

Back 51

allowed for the possibility to expand from simple binary forms, introducing numerous tonalities. tonal freedom was explored with childlike fashion by the mid 18th century due to the newly tempered instrument. "sea of modulations". led to modulatory transitions in the first half, as well as the development section, and retransition section in the second half.

Front 52

Ensemble Keyboard Sonatas

Back 52

most typical fare in late 18th century was sonata repertoire for keyboard (harpsichord, clavichord, piano, or organ) and 1+ instruments. This developed with Marie-Emanuelle Bayon's collection of Six sonatas for keyboard and three with obligatory violin accompaniment where the usual color addition of the accompanying instruments expanded into more essential parts. The varying nature of the instruments role came from the composer, Schobert wrote for the instrument to be accompanimental, Bayon as an obbligato, and Ferrari as ad libitum. These were not as well integrated, nor progressive sonatas like the Concertante sonatas of Mozart, however they existed in tandem with Mozarts time period. There were three types of these sonatas: duo keyboard sonatas (with obbligato parts for melody); accompanied keyboard sonatas (with optional melody); and ensemble keyboard sonatas (a little bit of both).

Front 53

Concertante Sonatas

Back 53

Sonatas which employed the virtuosic use of the melody and the keyboard in accord with one another. First seen in Mozart's compositions for him and his father Leopold between 1763-1766, he would continue to write them until 1788, three years prior to his death. The development of Mozarts ensemble sonatas (particularly due to his virtuosity in both violin and keyboard) also show a clear correlation to the history of the sonata in general. Often they began in duple meter (1/5 were in triple meter; 2 were in compound), mostly major, sometimes slow, sometimes fast movement. No matter the time period his compositions for sonatas formed to his circumstances (who he wrote for) rather than technical or stylistic evolution.

Front 54

Non-keyboard instrumental music late 18th C.

Back 54

Divertimento was the title of preference for every non-orchestral scoring between 1750 to 1780. Partita followed the same function prior to 1760. Other titles were Cassation, Notturno, Serenade, and concertino. Quartet and Quintet became the more popular title around 1770's and 80's with the Divertimento newly being defined as "serious" music.

Front 55

String Trio

Back 55

Haydn wrote a few of these using the same two violin one bass format. The lack of basso continuo caused issue because of the "akward" void between the high violins and bass line. Best example of the type is the Echo Sonata, with two groups playing antiphonally nearly identical parts in separate rooms. Mozart Divertimento in E-flat.

Front 56

String Quartet

Back 56

no single parent source. Allegri & Scarlatti wrote works well in advance of the genre (early 18th century). four part texture was common in baroque orchestral writing and could have been performed one to a part. Symphony, sinfonia, overture, and concerto all contributed to the quartet as well as the non-keyboard ensemble pieces (divertimento, notturno etc.). little counterpoint was used from these though. Principal challenge was to promote equality among voices (quatour concertant). Signifies move from "all-purpose" idea of genre of string ensembles to string quartet as established genre. Homophony/melody and accompaniment through multiple parts but not strictly polyphonic, use of theme and thematic transformation instead of subjects. theme vs. motive, motive shorter could be part of theme. 4 mvt form (sonata, slow, minuet/scherzo/trio, fast)

Front 57

Aloys Senefelder

Back 57

Invented lithography which allowed for mass production of printed material, most notably known for the printing of Haydn's sonatas Hob. XVI/40-42 in 1797. With demand on the rise and a need for reduced production prices, this invention attributed to composers like Haydn and Beethoven finding more mass market appeal in their music.

Front 58

Johann Breitkopf

Back 58

turned meager business into the most progressive music-publishing enterprise in Germany by 1796 before selling it to Christoph Hartel.

Front 59

Domenico Artaria

Back 59

He and his brothers became publishers for Haydn, Mozart, Beethoven, Salieri, and Clementi amongst others.

Front 60

Johann Anton

Back 60

responsible for the purchase of Constanze Mozarts late husbands unpublished manuscripts.

Front 61

Huberty

Back 61

primary publishers for the repertoire of the Mannheim School in 1777.

Front 62

Ignaz Pleyel

Back 62

Operated during the years from 1796 to 1834, issued the first complete edition of Haydn's string quartets in 1802. Haydn was Pleyel's composition teacher; these editions have historical importance due to the nature in which the publisher new the composer.

Front 63

Muzio Clementi

Back 63

owned and operated music-publishing house; created some of the finest pianos of the time period.

Front 64

Franz Anton Hoffmeister

Back 64

The main publisher for some of Mozarts most important works. Quartet in D minor K. 499 was written for him (in reference to their congenial relationship) also known as the Hoffmeister Quartet.

Front 65

Jordi Savall reading

Back 65

Savall is not only a performer of genius but also a conductor, a scholar, a teacher, a concert impresario (he founded the Hespèrion XXI, Le Concert des Nations, and La Capella Reial de Catalunya ensembles, all of which accompanied him to New York), a record-label director (his is called Alia Vox), a minor film personality (he played on the soundtrack of the 1991 movie “Tous les Matins du Monde”), and the patriarch of a formidable musical family. He was born in Barcelona in 1941, and still lives in the area, The ancestry of the viola da gamba, or viol, can be traced to Central Asia, where bowed string instruments were first observed in the tenth century. Viol-like instruments appeared in Moorish Spain not long afterward. (Perhaps this is why Savall placed a naghma piece at the beginning of his series, Savall has recaptured, as far as anyone can tell, not just the technique but also the artistic spirit of the Renaissance musicians who made the viol the center of their world. One of his guiding lights is a treatise published in 1553 by Diego Ortiz, a composer-performer from Toledo, which shows the novice gambist how to embroider a given melody or chord progression with ornaments, variations, and outright inventions. It is an art of controlled improvisation, closer to jazz than to modern classical composition. Richard Taruskin, in his monumental new history of music, describes such instructional treatises as glimpses of a “great submerged iceberg of sound”—everything about the musical past that dots and lines on parchment do not preserve.

Front 66

Taruskin Brandenburg Concertos

Back 66

In 1721 while serving at Cothen, Bach gathered 6 instrumental concertos he composed over last decade, wrote them out in new “fair copy” and sent them off with dedication page to Christian Ludwig, Margrave of Brandenburg, hoping for an appointment to the latter’s court in Berlin. Margrave never acknowledged receipt of manuscript and seems never to have had them performed. Radical scoring, not one uses standard orchestral complement. 1st concerto has 2 horns, 3 oboes, bassoon, and violin piccolo, mixes ritornello mvts and courtly dances. 2nd concerto uses violin, oboe, recorder, and clarion trumpet. 3rd concerto has 3 violins, 3 violas, 3 cellos, continuo bass, harpsichord. 4th concerto uses violin and 2 recorders. 5th concerto uses violin, transverse flute, harpsichord (IN FULLY WRITTEN-OUT SOLOISTIC CAPACITY). 6th concerto has no violin , uses 2 violas, 2 viols, continuo of cello, bass, and harpsichord. 6th concerto shows Bach banishing the normal hierarchy of the time by not having violin period, which was usually the orchestra leader. In the 5th concerto, everyone plays together except for the flute, so flute would assumingly be “protagonist,” however violin and harpsichord continue to play after first tutti cadence. Harpsichord eventually abandons bass line altogether, ends the piece with long cadenza like passage (or capriccio)

Front 67

Taruskin "obbligato" writing and/or arranging (still on Brandenburg concertos)

Back 67

The middle movement is scored for soloists along, although with 3 instruments it is really a quartet since LH and RH of keyboard have differing roles (LH continuo part, RH equal footing with flute and violin). Normally, harpsichord is paired with one other instrument to make a trio sonata with RH being soloist and LH being accompaniment. Trio sonata might be performed with harpsichordist taking two of the parts, even if scored for other things, for a more compact medium. The point is that performance genres and media were much more fluid in Bach’s day, having no definitive form, a piece was always fair game for cannibalization in other pieces, transplantation to other media, etc.

Front 68

Taruskin What does it all mean (Bconcertos)

Back 68

What do all these reversals, mixtures, and transgressions signify? McClary view: Harpsichord behavior compared with political subversion, suggesting the possibility of social overthrow and the violence implied by such overthrow, Bach may have been weighing the pros and cons of “an ideology that wants to encourage freedom of expression while preserving social harmony.” Therefore, harpsichord behavior symbolic “storming of the Bastille”. Many people have issues with this theory (no evidence to support Bach was interested in or knew about Enlightenment). Marissen view: Bach was a Lutheran, therefore social ideas were very little shared. Lutherans entertained conservative social attitudes and placed great value on stability of existing institutions, exactly what Bach’s harpsichordist seemed bent on destroying. If Bach appears to violate or transgress from the musical hierarchies that represent “the God-ordained order of things in this world.” The aim is to suggest that he may be telling or reminding his listeners of the significant Lutheran viewpoint that such figuration have only to do with the present world and therefore are without ultimate significance.

Front 69

Ellen Harris on Handel

Back 69

Cantatas written during period of time of Handel’s departure from German homeland in 1705 and moving in July 1723 to London house. Italy critical period in Handel’s dev. As composer. Cantatas were in continual production1705-23, Handel lived and worked as guest in aristocratic homes, after leaving rarely returning to Italian secular cantata. He never published any of his cantatas, representing the clearest example of private music in the life of Handel (as his cantatas were not poop). Handel passed through the Medici court and palaces of Roman Cardinals Pamphili, Ottoboni, and Colonna, and Marquis Ruspoli where he performed in private salons (or academies) as well as larger Arcadian Academy hosted by Ruspoli. Thread of male love can be found in range of sources from evidence concerning homosexual activities of Medici princes to homosexual undertones of poetry written for Arcadian Academy. Handel’s voices and personae of men and women in cantatas are sharply different. Women are depicted as dangerous, uncontrolled voices heard as threat to male power and artistic creation. Lots of masks in that time, enabling everyone to overstep boundaries of gender, age, and class, as well as normal social and behavioral constraints. Similar masks used when publishing works under pseudonym. Cardinals adopted other names: Cardinal Ottoboni = Crateo Ericino Pastore, Cardinal Pamphili = Fenicio Larisseo. Pastoral names were honorifics, signifying membership in Academy.

Front 70

Stadler, Mozart's Clarinet Muse

Back 70

Mozart wrote Trio in Eb, Quintet in A, and concerto in A for basset clarinet for Stadler. Stadler learned musical training from father, after which chose to play clarinet, developed by Johann Denner in early 18th C. Since clarinet relatively new, only in Vienna and Mannheim were there jobs for clarinetists. Mozart loved sound of clarinet and Stadler was best performer on it, thus friendship. Stadler brothers had to do freelance work until permanent positions of Harmonie and court orchestra. Joseph II was first to extrapolate Harmonie intended primarily for wind instruments, wind band arrangements of operas, often as background music outdoors. Basset horn imitates human voice. Mozart’s clarinet concerto is farewell to instrumental writing. Clarinet Quintet precedes it, written for Stadler’s basset clarinet. 3rd mvt of quintet has 2 trios, first for strings only.

Front 71

Hiles on Haydn

Back 71

Franz was a violinist. Habsburgs at Vienna, Franz and Marie Therese were both known to have participated in private concerts and nameday celebrations Marie Therese organized in honor of her husband. Her concerts usually involved large ensembles, not chamber music. She would try to find really difficult rep for Franz to play. Enjoyed quartets even during military.

Front 72

Taruskin Signs Systems

Back 72

made possible by rise of harmonically governed forms articulated through thematische Arbeit. Conventions through which motives derived from themes now functioned dynamically in conjunction with tonal trajectory opened up new level of musical signification, giving instrumental music double sign system. Old conventions “extroversive semiotics”: music represents sights and sounds of natural world and moods and feelings of human world; onomatopoeia, iconicity, metaphor, metonymy; sounds of other music—hunting horns, courtly dances, quotations of famous pieces, etc. New domain “introversive semiotics”: sign system of sounds pointing to other sounds or musical events within the work itself, such as relationship of dominant and tonic (tension/release). “Farewell” Symphony conveyed meaning to Prince with both kinds of signs: extroversive: musicians dropping out one by one physically leaving performing space as they did. Introversive signs: strangely shaped first movement, which Esterhazy would notice, 2nd theme appears only once in development section, noticed departures or deviations from established norms.

Front 73

trio sonata

Back 73

2 main instruments and basso continuo, mostly 2 violin, explores functional harmony and Major Minor System

Front 74

How does Bach "Germanize" trio sonata?

Back 74

worked for Prince Leopold in Kothen, Prince Leopold was Calvinist, most important secular instrumental music is written. 3 violins, bass viol, cello, 2 flutes, oboe, bassoon, timpani, and organ. Is there religiousness in concertos? Taruskin says yes by putting unusual instruments in foreground. 2nd mvt of Brandeburg 5 is trio sonata with just the 3 solo instruments.

Front 75

Marquis Ruspoli

Back 75

associated with Handel, had a club called "Arcadian Academy", center for artistic activity, secular influence

Front 76

sonata form

Back 76

comes from binary form exploited in dance music, A B |: I-->V:||:V-->I:|, genre of formal type SPECIFIC to instrumental music

Front 77

Domenico Scarlatti

Back 77

expanded binary forms, having contrasting ideas (subjects 1 and 2) that get developed, as well as contrast of keys and then simultaneous return

Front 78

Classical style comes from...

Back 78

italian comic opera

Front 79

Haydn String Quartets Op. 33

Back 79

6, published by Artaria, written in "new manner," which was part marketing strategy and reflected musical changes, less of inside joke and more accessible

Front 80

Haydn Op. 33 No. 2

Back 80

sonata form different from Mozart and Schobert, more approachable with 1 subject, no second theme, "monothematic".

Front 81

Haydn "Emperor Quartet" op. 76 No. 3

Back 81

"public", Haydn wrote Austro-Hungarian national anthem in 2nd mvt. Haydn composed it for Emperor's use only for 2 years and then was published. "Gott erhalte Franz der Kaiser" 2nd mvt using theme, written for Franz II who was last Emperor of Austro-Hungarian Empire, significant in that respect I guess. Theme and variations of 2nd mvt not real as each variation always includes melody

Front 82

Johann Tost

Back 82

was lead 2nd violinist in orchestra of Esterhazy, had disagreements with Haydn, who wrote the Op. 54, 55, and 64 with Tost in mind. Apparently Tost tried to pawn off a symphony as being one of Haydns to some publishers in order to make some money. Haydn also wrote 64/5 "The Lark" for Tost. Tost was an ungrateful biotch.

Front 83

Hanover Square Rooms

Back 83

became music venus for chamber music in 1770s-1870s

Front 84

Johann Peter Salomon

Back 84

German violinist based in London, was concertmaster and had a quartet. He invited Haydn to London in 1790's

Front 85

What makes music more "public"?

Back 85

Use of body and gesture to get attention from audience, more theatrical, use of simpler themes, more memorable and catchy, violin I more prominent, lots of unisons and octave passages, and use of folk-like gestures including violin I

Front 86

FOP

Back 86

far out point (MFRadice)

Front 87

harmoniemusik

Back 87

small wind ensemble genre (2 of: oboes, clarinets, bassoons, horns), 1780s Vienna, Joseph II Mason, known as "enlightened despot," keep revolution at bay by being enlightened, Mozart's operas written in this context

Front 88

Friedrich Romm

Back 88

oboe virtuoso, Mozart writes Quartet for oboe and strings and writes opera Idomeneo with Romm in mind

Front 89

Joseph Ignaz Leutgeb

Back 89

horn virtuoso, Mozart writes quintet for horn and strings as well as 3 concertos

Front 90

Anton Stadler

Back 90

clarinet virtuoso and good friend of Mozart, invented Basset Clarinet

Front 91

Beethoven's "heroic" style

Back 91

use of simple clear gestures, non-theatrical or dramatic, completely public/popular, themes have simplicity, designed to speak to big audience, themes people remember

Front 92

A B Marx

Back 92

theorist who uses terms "masculine" and "feminine" in labeling themes in sonata form (1850's)

Front 93

Hepokoski and Darcy

Back 93

theorists of 2000's who use P and S for subjects

Front 94

Ignaz Schuppanzigh

Back 94

violinist for Beethoven, did poor premiere of Beethoven's Op. 127, so Beethoven hired Joseph Bohm (led professional quartet in Vienna) to do the "official" premiere

Front 95

Allgemeine Musicalische Zeitung

Back 95

general musical times, journal that starts late 18th C., people are starting to write words about music to general public (like ETA Hoffman)

Front 96

Eroica Symphony

Back 96

heroic Beethoven, written for Napoleon Bonaparte, important leader in French Revolution

Front 97

teleology

Back 97

idea that things come from lesser things (winds are rising)

Front 98

Technological determinism

Back 98

things change because of technological developments in machines, determined on change. issues were that no machines would exist without men operating them

Front 99

Why did winds change?

Back 99

creation of public space throughout revolutionary spectacles or fetes revolutiones (french word for revolution), theatre in big spaces, lots of military bands during french revolution (winds, bastille day)

Front 100

French Revolution

Back 100

no more monarchy, aristocracy, God (Church), church replaced with cult of reason and supreme being, no more music making because no more church

Front 101

Beethoven Late style

Back 101

abstract, spiritual, introspective, "Innig" (Inner), "Innigkeit" (Inwardness), old age, recution, meditative