1 / 14

Chapter 13: Other Classical Genres

Chapter 13: Other Classical Genres. The Classical Concerto. Classical concerto Classical concerto movement plan Double-exposition form Orchestra exposition Solo exposition Cadenza. Key Terms. The Classical Concerto. Not identical to the Baroque concerto, but some features were retained

lesa
Download Presentation

Chapter 13: Other Classical Genres

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Chapter 13:Other Classical Genres The Classical Concerto

  2. Classical concerto Classical concerto movement plan Double-exposition form Orchestra exposition Solo exposition Cadenza Key Terms

  3. The Classical Concerto • Not identical to the Baroque concerto, but some features were retained • 3 movements – fast, slow, fast • Solo virtuosity • Contest between soloist & orchestra • Contest heightened in Classical concerto • Soloist’s agility, brilliance, & expressiveness • Large orchestra’s power & variety of color • Soloist & orchestra held in perfect balance

  4. Symphony Movement Plan • I – Moderate to fast tempo; Sonata form • Sometimes with slow Introduction • II – Slow tempo; Various forms used • Sonata form, variations, rondo, or other • III – Moderate tempo; Minuet form • A triple meter dance • IV – Fast tempo; Sonata or rondo form

  5. Concerto Movement Plan • Similar to symphony movement plan • Minuet movement omitted • I – Moderate to fast tempo • Double-exposition sonata form • Long movement with cadenza near the end • II – Slow tempo; Various forms used • Sonata form, variations, rondo, or other • III –Fast tempo; Rondo form favored • At times variation form, but never sonata form

  6. Double-Exposition Form (1) • Extended variant of sonata form • Capitalizes on solo vs. orchestra contest • Two expositions are used in place of the usual repeat of the exposition • Orchestra exposition • Announces the main themes in the tonic key • Solo exposition • Presents the same themes & some new ones • Adds a real bridge, modulates to second key • Often longer than orchestra exposition

  7. Double-Exposition Form (2) • Development serves same dramatic function here as in sonata form • Orchestra vs. soloist contest heightened • Recapitulation a composite of orchestra & solo expositions • Orchestra’s cadence theme given greater prominence • Pause for a solo cadenza just before final statement of cadence theme

  8. Double-Exposition Form (3)

  9. Mozart, Piano Concerto in A • Written during his Vienna years in 1786 • Typical Classical concerto • Three nicely contrasted movements • I – One of his most gentle & songful 1st movements • II – Almost tragic in mood • III – An exuberant & sunny finale

  10. Mozart, Piano Concerto in A, I (1) • No fewer than 4 gentle, songful themes • Theme 1, Theme 2, Cadence theme, & new theme • Small orchestra enhances effect • Keeps clarinets, but no trumpets or timpani

  11. Mozart, Piano Concerto in A, I (2) • Orchestra exposition sets the mood • Presents themes 1 & 2 and cadence theme • Frequent contrasts between gentle theme and agitated answer – e.g., f response

  12. Mozart, Piano Concerto in A, I (3) • Solo exposition features solo piano • Expands on orchestra exposition • Adds modulating bridge & a new theme • Development emphasizes contest • Rapid-fire dialogue • Theme fragments & frequent modulations

  13. Mozart, Piano Concerto in A, I (4) • Recapitulation blends the two expositions • Piano & orchestra share theme 1 • Bridge now returns to tonic key • Beautiful extension of new theme • Varied solo cadenza written out by Mozart • Orchestra answers with f response • Ends with cadence theme from 1st exposition

  14. Conclusions • Derives from symphony movement plan • Double-exposition sonata form; no minuet • Some features of Baroque concerto • Solo vs. orchestra dialogue • Ritornello-like f response • Many unique features • Profusion of themes – “pleasing variety” • Dramatic contest between piano & orchestra • Virtuoso, “operatic” writing for solo piano • Improvisatory nature of cadenza

More Related