Innovation and Progressive Compositions of Classic Period Music - Assignment Example

Task: Part V Trace the emergence of the symphony from Sammartini and Stamitz through the works of Haydn, Mozart, and Beethoven. What changes occurred in the genre? Focus in particular on form and instrumentation. Symphony shares a large history of growth through different artists and periods. The growth also describes in form of instrumentation and voice. In addition, it is essential to consider that the growth was influenced by different ideologies like the enlightenment period (Wright 154). The classical period is typical with the emergence of creativity whereby the methods were simple and open to mutation (Wright 158). A symphony is a method of music that scales large and in its performance at orchestra. Symphony is comparable to concept of the novel in literature. Symphony emerged from the baroque period as sinfonia. In the baroque period, sinfonia referred to brief instrumental pieces that preceded larger works. In certain contexts, it would achieve full identity as an independent piece. A prominent example concerns concert grosso. However, trio sonata, concerto and sinfonia were treated as synonyms. The Italian sinfonia had the structure of fast-slow-fast while the French overture had the structure of slow-fast-slow. These overtures entailed small orchestra, short duration and easy compositions. In the eighteenth century, symphony emerged as a form that entailed performance by several instruments and independent identity. This was dominant, especially, in Italy whereby there were artists such as Giovanni Sammartini. Other early composers of the same include artists such as Johann Stamitz and Bach. Symphony grew in prominence since the baroque period initiated a revolution whereby the popularity of secular music surged beyond gospel music. The concept of the Orchestra, as a musical form, expanded to constitute an average of twenty players. The pieces involved use of different musical families such as woodwinds, keyboard instruments and strings. Orchestral performance became a public rather than the royalties’ affair. The second half of the eighteenth century had Joseph Haydn compose 104 symphonies. They entailed experiments with forms such as six pieces. Mozart had 41 symphonies. It is vital to note that he had his first composition at eight years of age. Haydn provided the transition from the pre-classical age into mature classic symphony. His first fourteen compositions had the elements of the pre-classical period. Mozart and Haydn achieved a significant celebration as the classical symphony’s composers (Wright 162). Haydn and Mozart initiated the definition of current symphony. In the age of reason, classical symphony possessed a balance, intricate design and distinct symmetry. Examples of the same include rondo, minuet, sonata form and trio (Wright 165). The structure of the same was typical of four movements. They occurred in the pattern of fast, slow, moderately fast, and quite fast. The performance did not require the role of a conductor. The choirmaster, who would be the first violinist, performed the role of guiding the performance. The performances of Haydn and Mozart were usually short pieces that would take an average of thirty minutes. Ludwig van Beethoven played an essential role of expanding the concept of symphony (Wright 209). This expansion occurred in terms of density of sound, tempo, rhythm and dynamics. In addition, he initiated the use of additional instruments such as the piccolo, trombone and the contrabassoon (Wright 210). Describe the individual musical styles of Haydn, Mozart, and Beethoven. Support your characterizations with musical examples. It is essential to note that Haydn and Mozart belonged to a slightly earlier age of music growth. Beethoven later sprung as a fundamental artist of the eighteenth century. However, they all belong to the classical period of music growth. To begin with, the article explores the works of Joseph Haydn. Haydn, just as Mozart, sprung from the baroque age of music. He is part of the group that established a new identity of symphony. Haydn interests included musical forms such as the opera, concerto grosso and symphony. Haydn proved a master at the sonata form (Wright 163). This musical structure was part of multi-movements in pieces. It would occur in three mini phases. This would be in the beginning or last movements of a musical rhythm. It would begin with harmony and progress into an elaboration of tones. Thereafter, it lasts in a harmony. These three phases occur logically as exposition, development and recapitulation. Haydn exceptionally grasped the sonata form and developed few liberties as regards the same. Haydn utilized false recapitulation in several of his works. This device gains usage at the end of the development stage of sonata form. This is a concept of fooling the listener that recapitulation has began while it has not. This occurs while the music grows at the harmonically diffused region. It becomes effective when it occurs shortly. In addition, Haydn was a master at sudden twists and turns. These constituted unexpected shifts in harmony, rhythm and phrases. Such a concept involved throwing the listener into different tempo such that one never predicts the outcome of a piece. Haydn could juxtapose keys by moving to distant ones. An example of such complex compositions regards the case of the sun quartets. Mozart is the second artist in this discussion (Wright 165). Mozart, just as Haydn, provided the revolution from the baroque music. He was, as well, an essential figure in the development of symphony. In contrast with Haydn, Mozart was not an experimenter with the articulation of pieces. He was fond of developing on structures and reusing the same. His use of melody set him apart from the classical artists. In contrast with Haydn, he utilized multiple thematic structures. His first and second themes contrasted sharply. His harmonic ranges were comparatively short with multiple transformations of themes. He had rather straightforward recapitulations. An appropriate example concerns the case of the Paris (k.297) symphony. Beethoven was an artist who expanded the concept of symphony. He led to the introduction of new instruments, in orchestra, such as piccolo and the trombone. He attained an influence from Mozart and Haydn. However, influence of Haydn was much greater in the sense of false recapitulation and unexpected pauses (Wright 212). He was fond of utilizing humor in his compositions. He expanded the forms such as the sonata, variation and rondo. His symphony 4 and symphony humor are laden with Haydnesque wit and humor. Part VI Discuss the developments in Italian opera during the course of the nineteenth century. How did the forms and manner of conveying the drama through music change during those years? Cite specific examples by Rossini, Verdi, and Puccini to support your answer. In the early nineteenth century, romantic opera emerged. This kind of opera entailed imaginations and emotions. It had arias and music that defined the theatre of emotions in that age (Wright 267). This kind of performances offered refuge for faults in character depiction and plot lines. Gioacchino Rossini holds the credit for commencing the romantic Italian opera. He was successful at writing thirty-nine operas, piano, instrumental and sacred pieces. His most popular operas entail comedies such as the barber of Seville and epics such as William Tell. Rossini first produced an opera at the age of eighteen years. The opera was known as the marriage contract (Wright 269). This opera concerns servants who are discussing an impending marriage contract of their master. The servants are Norton and Clarina while the master is known as Tobias Mill. Mill informs the household to prepare for the arrival of Slook. Mill intends to marry off the daughter to the foreigner. However, her daughter disappoints by arriving late with her lover. She has not disclosed the case of her lover, Eduardo, since he is poor. Slook receives harsh reception in form of European greetings and threats from the couple. In an aria, Clarina talks of his love experiences. The play ends in three death threats and resolution by the businessperson to let the couple marry. One of his most famous opera concerns the case of the barber of Seville. It entails the case of a count that disguises himself as a poor student. He desires Rosina, the daughter of Dr. Bartolo, to marry him for who he is. Figaro dominates in form of singing and ranges for a calculative meeting with Rosina. Verdi was the prominent successor of Rossini. He achieved edge popularity over his contemporaries. He attained the credit for transforming the nature of writing operas. Nabucco was his first successful opera that possessed great choruses an exceptional vigor. The opera was responsible for the fight for Italy’s independence due to its chorus renditions. He was typical of basing his operas on patriotic and romantic themes. In this sense, he conducted experiments as based on dramatic and musical methodologies. In his opera of Otelo, the piece had duets, arias and choruses achieving integration into the drama and melody. In this age, opera became a tool for professing stories and myths. It provided an integration of arts through drama, music and songs. Puccini provided the transition that was moving from the romantic age. His dominant style was verismo (Wright 269). This kind of opera had depictions of violence and a stronger sense of performance in terms of vigor. His stories were typical of strong roles and tragic ends in war or love. He usually provided a distant set up. Discuss the influence of Nationalism on Western art music during the latter half of the nineteenth century. Nationalism was a belief that people had their nation as the governing factor in their pursuits (Wright 300). This was different from the monarchial system whereby the governing factor was class and power. This idea mutated to include the concept of people as falling under a global village. It emanated from the view that folk music transcended every other type. However, this view had the loophole in the sense that the concept of people referred to the peasants. The upper classes employed folk music to demonstrate their patriotism. The view was that music expressed the value and identity of a group. In this sense, music shared meager entertainment sense to the same. In the nineteenth century, composers had the liberty of expressing themselves and their heritage (Wright 303). In the beginning, they achieved mild use since composers were hesitant to integrate folk music in their pieces. Their usage was dominant in peasant dances such as mazurka. Gradually, folk music attained a surging integration in symphonic works. However, the exuberant orchestrations masked their simplistic foundations. The composers seemed to have been harnessing the courage to integrate the same in their pieces. Folk music was modonic in its characteristics. However, classical compositions had the structure of multiple tonalities. Therefore, it resisted integration in terms of synchronizing harmonies. This experimentation posed a crucial obstacle in the compositions of the Romantic period. Exoticism emerged in the Romantic period. This concept shared an ideological foundation with the nationalism system since it regarded the world as capable of having cultural integration. This system concerned borrowing of idioms, folk concepts and rhythms from other folk traditions. Russian compositions entailed claims that they were independent of the European models. The Russian were confident of this distinction because they borrowed their concepts from the Tsarist conquered Asians. Mikhail Glinka is famous for his nationalistic opera that is referred to as a Life for the Czar. Nationalism made an impact on music from an aesthetic view. The dominant idea at that period was that music had to be authentic and original. In this sense, composers refrained from imitation. Therefore, unfamiliar music gained prominence as rich of value. This gave the scenario of art and originality to an artist. Similarly, it provided the scenario for the audience to consume the same on a patriotic level. Part VII Why were the following three compositions, Salome (Richard Strauss), The Rite of Spring (Igor Stravinsky), and Pierrot lunaire (Arnold Schoenberg), considered as revolutionary works? What separated them from the musical language of late Romanticism? How did they foreshadow what was to come? The rite of springs was a controversial piece that elicited significant scrutiny. This ranged from harsh criticism, riot and negative reviews. The premier occurred in 1913 in Paris whereby it provided unconventional ballets. The audience was accustomed to graceful performances, elegance and graceful pieces. Stravinsky’s piece provided vigor that the audience found bizarre. The opposition to the performance occurred shortly after the same commenced. Stravinsky had employed the bassoon as an opening solo. The audience responded negatively to the bassoon’s inharmonic tunes (Wright 268). The music piece was unconventional and had bizarre choreography. The dancers would conduct by jumping with bent legs and hard falls. The audience got into a flurry of verbal and physical exchanges that saw police officers intervene in the same. Before this piece, ballet had a graceful feel and simple storylines. The rite of springs created an age of disharmony and vigor. In this sense, it also created an age of experimenting with themes. Salome was a piece that was a translation of Oscar Wilde’s play. Salome had the depiction of execution of death of John the Baptist. The work shared a strong visual content and choreography. It provided integration with religion, erotica and murder. This helped introduce opera as capable of multiple themes. Pierrot was a musical composition that built on a twenty-one poems by a German poet. The melodrama was a translation of the same (Wright 280). Melodrama was a combination of instrumentation and spoken text. Pierrot was able to introduce an unconventional style that could explore multiple themes such as religion, sex and love. It also tackled blasphemy, crime and violence. Additionally, this composition provided other paradoxes. For instance, the soloists acted as the orchestra. In addition, Pierrot is interestingly the fool and the hero. The piece is a song, drama, concert and speech. Additionally, a woman sings the role of a man who acts as different persons. Part VIII Consider the effect warfare has had on the musical aesthetic of the twentieth century. The prominent warfare at this period regarded the world wars. Aesthetics refers to revolution in art, music, architecture and literature (Wright 320). This occurred in the periods after 1914. It holds its roots in the enlightenment age. However, it is largely a twenty-first century concept. An example of such revolution refers to the concept of atonality. This bases on the themes of industrialization as it reflects on the societal’ core pillars of politics, economics and social life. The composers of this age are Stravinsky, Schoenberg and Antheil. Their kind if music, atonality, does not utilize keys. This kind of music does not follow the conventional harmonies of the classical age. The atonality created a dissonance that produced various atmospheric scenarios in music. After the Second World War, formulaic pieces gained prominence in the 20th century compositions (Wright 332). It is vital to note that there were criticism of the atonal method that because of its intellectual themes. In this sense, composition of atonal pieces became difficult due to the vagueness of the term. However, Webern proposed a feasible style of twelve-tone composition. This provides pitches that do not utilize tonality. Ambiguous chords and unpredictable harmonies became the prominent styles of the twentieth century. This method eliminated the vitality of guides to composition since artists would come up with distinct styles. Works Cited Wright, Craig. Listening to Music. Boston, MA: Cengage Learning, 2010. Print. Read More