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Unit XII: The Classical Symphony

Historical Background. Occupied the central place in instrumental music of the Classical Era. It grew in significance until, with the final works of Mozart and Haydn, it became the most important type of absolute music.. Historical Background. Finds its roots in the Italian opera overture.three sectionsfast-slow-fastThe three sections of the overture eventually expand to become separate movements..

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Unit XII: The Classical Symphony

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    1. Unit XII: The Classical Symphony Chapter 34 - The Nature of the Symphony

    2. Historical Background Occupied the central place in instrumental music of the Classical Era. It grew in significance until, with the final works of Mozart and Haydn, it became the most important type of absolute music.

    3. Historical Background Finds its roots in the Italian opera overture. three sections fast-slow-fast The three sections of the overture eventually expand to become separate movements.

    4. Historical Background Additions by German symphonists Rocket - addition through Mannheim School Mozart, Symphony No. 40 in g, IV (MEB III/3) Drawn-out crescendos Mozart, Sinfonia Concertante for Violin and Viola in E flat, I (MEB III/4)

    5. Historical Background Addition of the minuet and trio (also a Mannheim contribution), making the 4-movement sonata cycle the norm for the symphony as it was in the string quartet.

    6. The Classical Orchestra Established modern orchestra String dominated Woodwinds were solo instruments and provided color Brass sustained harmonies and added to the tone mass. Kettle drums (tympani) are primary percussion.

    7. The Classical Orchestra 30-40 players, still a salon ensemble, quieter than modern orchestra. Thematic treatment tended to be democratic, conversational.

    8. The Classical Orchestra The orchestra brought inventions of crescendo and decrescendo to the fore. Also stressed abrupt dynamic changes, sudden accents, dramatic pauses, and the use of tremolo and pizzicato.

    9. The Movements of the Symphony

    10. First movement - Sonata-allegro form Based on the opposition of two keys personified by the contrast between two themes. Mozart, Symphony No. 40 in g, I Especially in later Haydn, he preferred to use a single theme for both key areas. These symphonies are said to utilize a monothematic sonata form. Haydn, Symphony No. 45 in f sharp

    11. Second movement Slow tempo Contrasting key Forms A-B-A theme and variations Sonatina (a modified sonata-allegro form without a development section)

    12. Second movement Colorful orchestration, emphasizing the woodwinds Mood more lyrical than the first movement, therefore, themes are less developmental in nature

    13. Third movement Minuet and Trio in a graceful triple meter. Replaced by the scherzo in Beethoven's symphonies.

    14. Fourth movement Usually faster and lighter than the first movement Rondo or sonata-allegro form Often a folk-dance character in Haydn Beginning with the finale to Beethoven's Fifth Symphony, this is a triumphal sonata-allegro.

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