-History of Western Music-

Classical Period

Sachiththa Fernando
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1750 1820

Classical Period: The Beginning

Western art music from
medieval to 20th century
Classical
Music from c. 1750 to c.
1820

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 1750 1820

Classical Period: The Beginning

• Expanded upon the innovations of Baroque period
• Classical masters
I. F. J. Haydn (1732 - 1809)
II. W. A. Mozart (1756 - 1791)
III. L. V. Beethoven (1770 - 1827)
IV. F. Schubert (1797 - 1828)
• Term classical often coupled with “Viennese”; all the above composers were
associated with Vienna
• Often sidelines several other composers, however!
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1750 1820

Classical Period: The Beginning

• Stretches through a period of turmoil, mayhem and uproar
I. American Revolution
II. French Revolution
III. Napoleonic Wars

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 1750 1820

American Revolution
• Colonial revolt from 1765 to 1783
• Uproar against the British rule as
a result of growing tensions
between residents of Britain’s 13
North American colonies and the
colonial government
• Tensions started as a result of various harsh acts passed by the British
yielding several wars
• Came to an end with the signing of Treaty of Paris
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1750 1820

French Revolution
• Revolt from 1789 to 1799
• Considered one of the most important
revolutions; giving the world the idea of
freedom
• Started against the extravagant nature of
then king, King Louis XVI
• Separation of the social classes; clergy,
noble and third estate

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French Revolution
• Third estate had neither birthright nor the basic facilities; suffering
• Heavily regressive taxation schemes to cover the debt
• Initiated with the demolition of Bastille prison; a symbol of the dictatorial
power of King Louis XVI
• After a series of wars, revolution ended with Napoleon Bonaparte rising to
power in 1799

1750 1820

Napoleonic Wars
• Series of 5 wars from 1805 to 1815
led by Napoleon
• Possibly a continuation of wars
started by the French Revolution
• French conquered most of Europe
but rapidly collapsed after a
disastrous invasion of Russia in 1812
• Napoleon’s empire was completely defeated in 1815 at the Battle of
Waterloo
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Effect on Music
Had no direct effect on the style of music

Unlike in the Rennaisance Period

• Music only became bigger and louder
• Didn’t reflect the violence till c. 1800

1750 1820

Moving on…
• Composers started comforting the audiences instead of “improving”
• Servant Freelance
• Lower class to upper class
• Hunt for elegance in music
• Keeping the aristocracy calm instead of joining the revolutionists

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Moving on…

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1750 1820

Neoclassical Architecture
• A movement that began c. 1750 in Italy and France lasting till late 19th
century
• Reaction against Rococo style

Grandeur of scale
Characteristics Doomed roof

Dramatic use of columns Triangular pediment

Simple/Symmetrical form
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Neoclassical Architecture

Grandeur of scale Doomed roof

Dramatic use of columns Triangular pediment

Simple/Symmetrical form
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1750 1820

Neoclassical Architecture
• Similar traits identified in music too

Architecture Music

Grandeur of scale Grandeur of scale

Simple textures
Simple/Symmetrical form Simple harmonic structure
Defined form

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Textures
• Textures became simpler

Melody &
Polyphonic
Accompaniment

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1750 1820

Textures

Polyphonic; multiple (3) voices

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Textures Alberti bass; characteristic classical feature

Melody
Acc.

Melody & accompaniment; simpler

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1750 1820

Harmonies
• Complicated harmonic structures of Baroque period diminished

Simpler!
• Mostly using;
a) Tonic
b) Subdominant Primary Triads
c) Dominant
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Harmonies
Definition I: “Harmonic Rhythm” is the speed at which
harmonies (or chords) change with respect to notes

Baroque Classical
Fast Slower
Harmonic Harmonic
Rhythm Rhythm

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1750 1820

Harmonies Tonic Dominant Subdominant Others

etc.

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Harmonies Tonic Dominant Subdominant Others

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1750 1820

Harmonies Tonic Dominant Subdominant Others

Baroque Classical

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Harmonies Tonic Dominant Subdominant Others

Baroque Classical

Harmonic Harmonic
Rhythm Rhythm

Harmonic Harmonic
Complexity Complexity
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1750 1820

Moving on…
Simple chords
+ Composers lacking
Simple harmonic imagination?
structures

• Composers merely wanted clear form and structure!

• Symmetry was of great importance

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Sonata Form
• Musical form coming into prominence in the classical period
• C. P. E. Bach is generally credited as the most influential composer in early
development
• His contribution
Shorter,
More shaping in
Long Theme Characteristic,
development
Flexible Theme

Groundwork for
Changes in theme Harmonic functions
Sonata form

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1750 1820

Sonata Form
• Also called Compound Binary form
• Basis is key relationships
• Generally the 1st and 3rd (last) movements of a Sonata takes this form, but
not limited only to Sonata
• Has 3 divisions
I. Exposition
II. Development
III. Recapitulation
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Sonata Form
I. Exposition

• Subjects/themes are presented; “exposed”

a) First subject group (one or more themes) in tonic key
b) Transition; modulation to dominant (mediant if minor)
c) Second subject group in dominant key (mediant if minor)
d) Codetta; rounds off the ending of exposition, in same key
• Usually the exp. is repeated as a whole
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1750 1820

Sonata Form
II. Development

• Ideas presented in exposition further developed

• Returns to tonic key at the end

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Sonata Form
III. Recapitulation

• An altered repetition of the exposition

a) First subject group (one or more themes) in tonic key
b) Transition; perhaps new material, a secondary development
c) Second subject group nearly same as in exp. but in tonic key
d) Coda; rounds off the ending of recapitulation, in same key

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1750 1820

Sonata Form
Exposition Development Recapitulation

1st subj. group 2nd subj. group 1st subj. group 2nd subj. group
in tonic in V (or III if in tonic in tonic
minor)

Transition Transition
Codetta Coda
to V (or III if minor) (secondary dev.)

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Sonata Form
Exposition Development Recapitulation

1st subj. group 2nd subj. group 1st subj. group 2nd subj. group
in tonic in V (or III if in tonic in tonic
minor)

Transition Transition
Codetta Coda
to V (or III if minor) (secondary dev.)

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1750 1820

Sonata
• By the end of the baroque period, the sonata as we know it today had been
established

A work for solo keyboard instrument or for any other

instrument accompanied by a keyboard instrument
• By the start of the classical period, harpsichord had been more or less
replaced with the piano
• Thus composers wrote piano sonatas or for other instruments (eg. Violin
sonata) with piano accompaniments
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Sonata
SONATA

Fast Slow Fast

Sonata form In a related key Rondo

(Ternary/Variation) ABACA etc.

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1750 1820

Sonata
• As much as this was invariably the basis of sonata, exceptions are often
found
ØA “Minuet and Trio” may be used in lieu of the slow 2nd movt. (MTM)
Ø3rd movt. could also be in sonata form
ØSome sonatas have 2 and some have 4 movts.
ØIn the 4 movt. structure, a dance movt. appears between the slow
movt. and the last movt.

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Sonata Trio: Central

section of a Minuet
• As much as this was invariably the basis of sonata, exceptions
in gentler contrast. are often
found Formerly written in
3-part
ØA “Minuet and Trio” may be used in lieu of the slowharmony, as (MTM)
2nd movt.
for a trio
Ø3rd movt. could also be in sonata form
ØSome sonatas have 2 and some have 4 movts.
ØIn the 4 movt. structure, a dance movt. appears between the slow
movt. and the last movt.

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1750 1820

Sonata
• Sonata was an imperative part of the piano repertory
• Haydn, Mozart and Beethoven were well known for their sublime piano
sonatas
• Beethoven’s contribution was substantial to the development of the work
• Thus his impeccable piano sonatas unmistakably reserve a foremost place
in piano literature, also due to the emotional intensity contained
• Based on his style of writing, his life is divided into 3 periods; Early,
Middle and Late

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Sonata
• Piano sonatas from his Early period were highly influenced by that of
Haydn’s or Mozart’s and many had 4 movts., quite unusually
• He was, however, opting for a highly personal style towards the end of this
period, as evident in “Pathetique” and “Moonlight” sonatas
• Middle period sonatas possessed a much more bold and individual tone;
“Tempest”, “Waldstein” and “Appassionato” are among significant works
• Late period sonatas are among his most difficult works, implying his
breakthrough from the conventional forms; “Hammerklavier” is a superb
example
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1750 1820

Sonata
• Beethoven’s contribution
ØTook the work from salon to concert hall
ØTransformed into a longer and bigger work
ØExtended codas, perhaps introducing new material
ØDynamic contrasts, explosive accents, opposition of low and high
register, syncopation, powerful crescendos etc. mark his idiom

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Sonata
• Beethoven is responsible for making the piano sonata a much bigger work
with a greater scope
• He treated the piano as an orchestral instrument capable of expressing a
wide range of emotions and musical colours in a most dramatic way
• His 32 piano sonatas are called the “Pianist’s New Testament” (old being
Bach’s Well Tempered Clavier)
• Though piano sonata was the chief type, sonatas for other instruments too
such as Violin sonatas, Cello sonatas, Flute sonatas etc. too were written
during this time
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1750 1820

Symphony
• Classical composers’ hunt for simplicity and a clear-cut form came into
prominence through Symphony
• A large scale orchestral composition, generally in 4 movements
• A sonata for orchestra with an additional “dance” movement

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Symphony
SYMPHONY

Fast Slow Dance Fast

Minuet or
Sonata form Sonata form
Scherzo

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1750 1820

Symphony
SYMPHONY

Fast Slow Dance Fast

(It.) Joke: A lively,
fast and perhaps Minuet or
Sonata form
humorous movt. in Sonata form
orchestral music
Scherzo

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Symphony
Early 4 movt.
symphony composers
C. P. E. Bach Sammartini
(Ger.) (It.)

J. C. Bach Gossec (Fr.)

(Ger.) Stamitz
(Boh.)

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1750 1820

Symphony
• Bohemian composer, Johann Stamitz (1717 - 1757), was an influential
figure in the development of Symphony
• Worked in the Manheim court, that had a unique orchestra; highly skilled
and large
20 violins 2 flutes
4 violas 2 oboes Trumpets
Court orchestra
4 horns and timpani
of Manheim 4 cellos 2 clarinets (occasionally)
2 basses 2 bassoons

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Symphony
• Laid the basic template for the orchestra used by Classical masters
• Stamitz was a pioneer in making use of larger instrumentation and also
contributed to the development of sonata form with efficient handling of
phrases
• But in his symphonies (58, in total), nearly every phrase is repeated; calls
for more sophistication!
Excerpt: Stamitz, Symphony in D, Op. 3, No. 02
• Symphony went from near zero to hero in the hands of Haydn

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1750 1820

Symphony
• Haydn wrote 104 symphonies
Deep emotions Some have 6 Some utilise
aroused movts. music from plays

Haydn’s Symphonies Some themes

Rare keys explored
based on folksongs

Wit and humour

Most have slow
Rondos, variations, Many mono- openings
minuets used thematic movts.
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 1750 1820

Symphony
• Haydn is considered “Father of the Symphony”
• Supportive towards younger composers; Mozart, Beethoven
• Sublime and symmetric phrase balancing, without repeating the same
Excerpt: 2nd movt., Symphony no. 101 in D, Haydn
• Symphony was abstract; no direct parallels in any other art fields
• Haydn’s idea was later taken up by Mozart; starting to write symphonies
since 8!

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1750 1820

Symphony
• Mozart wrote 41 symphonies
Exquisitely Early symphonies reflecting
Refined balance tuneful Haydn’s influence
between movts.
Mozart’s Symphonies Longer slow movts.;
Uniquely personal sonata form
idiom for style
Ignored mono-
Modulations over a wider tonal Narrow harmonic thematic structure
field in developments range; rich melodies
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Symphony
• Owing to the rich thematic content, Mozart’s symphonies are generally
more often performed than that of Haydn’s
Excerpt: 1st movt., Symphony no. 40 in G minor, Mozart
• Beethoven made the symphony into an expression of innermost feeling,
along with several revolutionary contributions

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1750 1820

Symphony
• Beethoven wrote 9 symphonies
Early symphonies reflecting Bold dynamic contrasts;
Haydn’s influence surprises
Grand scale Beethoven’s
Symphonies Extended codas
Much larger
instrumentation
Enormous length
Great harmonic
Joining of movts.
tensions
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Symphony
• Beethoven’s symphony no. 3 in Eb major (Eroica) (1804) established a new
tradition of musical thinking
1st movt. 2nd movt. 3rd movt. 4th movt.

Ø Variation form
Ø Abundance of tunes Ø Based on a theme from
Ø Bound strongly Ø Pathetic funeral
Ø Vigorous scherzo his ballet “Creatures of
Ø Well developed in march Prometheus”
harmonic tension Ø Sublime contrapuntal
Fusion of old traditions with Beethoven’s twist! development

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1750 1820

Symphony
• Eroica means “heroic”
• First sign that Beethoven was breaking away from the system
• Had various surprises; dynamics, harmonies
• Much longer than symphonies of the time; 1st movt. alone being as long as
an average symphony by Haydn/Mozart
• Often compared with Napoleon for revolutionary musical ideas
• Originally dedicated to Napoleon but changed after declaring emperor in
1804
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Symphony
• Despair caused by the unsettling circumstances reflected in 2nd movt.; the
funeral march
• Emotions conveyed unflinchingly; grief as grief, sorrow as sorrow etc.
• Revolutionary at the time!
• After Eroica symphony, Beethoven’s music became serious and intense
supporting his goal of changing the world through music
• He changed what music was for!

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1750 1820

Symphony
• Mankind’s feelings for the love towards nature is expressed in his
Symphony no. 6 in F major, Pastoral
• Yet another revolutionary movement of using nature as a metaphor!

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Symphony A summary of Beethoven’s achievements!

Written between 1822

and 1824 Choral Symphony
4th movt.
Ø Double
exposition
Beethoven’s 9th
Ø Double fugues
Chorus and 4 vocal Ø Strophic
soloists in the 4th movt. variations
Approx. 70 mins!
Complex and large scale

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1750 1820

Concerto
• Style of the modern concerto was established by Mozart, through nearly
50 concertos for various instruments
• A “sonata” for solo instrument and orchestra
• Combined a virtuoso part for the soloist, with resources of the orchestra
• Piano concerto was prominent though other instruments were not
neglected!

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Concerto
CONCERTO

Fast Slow Fast

Sonata form In a related key Rondo
(double (Ternary/Sonata
exposition) form) ABACA etc.

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1750 1820

Concerto
Double Exposition Development Recapitulation
Exposition 1 Exposition 2

Orch.
Orch. only Solo + orch. Solo + orch. Solo + orch. Solo
only

Cadenza
1st subj. group 1st subj. group
Transition Transition 1st subj. group
2nd subj. group (I) 2nd subj. group (V/III) Transition
nd
2 subj. group (I) Coda
Closing Codetta

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Concerto
Double Exposition Development Recapitulation
Exposition 1 Exposition 2

Orch.
Orch. only Solo + orch. Solo + orch. Solo + orch. Solo
only

Cadenza
1st subj. group 1st subj. group
Transition Transition 1st subj. group
2nd subj. group (I) 2nd subj. group (V/III) Transition
2nd subj. group (I) Coda
Closing Codetta

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1750 1820

Concerto
• Earlier on, the cadenza was improvised by the soloists based on the
thematic ideas of the movt., however starting c. 1800, composers began to
write out cadenzas
• Amongst the most notable classical concerto repertory are,
a) Violin concertos no. 3 in G major and no. 5 in A major, Mozart
b) Piano concerto in A major, Mozart
c) Violin concerto in D major, Beethoven
d) Piano concertos no. 3 in C minor and no. 5 in E flat major, Beethoven
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String Quartet
2
violins
An ensemble
1 viola
String 1 cello
Quartet
Music written for the
A genre above ensemble

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1750 1820

String Quartet

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String Quartet
• Symphony’s chamber music counterpart
• First written by A. Scarletti (1660 -1725), G. Tartini (1692 - 1770) etc., but
flourished in the hands of classical masters
• A perfect test of composer’s skills, with only 4 parts to play with

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1750 1820

String Quartet
S. QUARTET

Fast Slow Dance Fast

Minuet and Rondo

Sonata form In a related key ABACA etc.
Trio or Sonata Rondo

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String Quartet
• Sonata rondo form is a combination of Sonata form and Rondo form

(AB/) (AC//) (AB)

E D R
• Single prime is dominant key and double prime is any distant key

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1750 1820

String Quartet
• Haydn’s own discovery of quartet was quite by accident!
• Between 1755 – 1757 Haydn was working for a Baron in Weinzierl (close to
Vienna)
• Baron had commissioned Haydn to write some music to be played in his
place with available musicians; 2 violinists, a violist and a cellist, all
amateurs
• 9 quartets were written
• These had 5 movements
(Fast) -> (Minuet & trio 1) -> (Slow) -> (Minuet & trio II) -> (Fast)
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String Quartet
• After some time between 1769 – 1772, another set of 18 were written
• These were written in the four-movement form that became a standard
afterwards
• Altogether, he wrote 68 string quartets
• Owing to the contributions made towards the development, Haydn is
credited as the “Father of the String Quartet”

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1750 1820

String Quartet

-Excerpt from Haydn’s string quartet in G minor, op. 74, no.3 (4th mvt.)

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Opera
• Opera Seria was diminishing c. 1770 and Opera Buffa gained prominence
• Opera Buffa means “Comic Opera”

Sense of humour
Characteristics Intended for
paying audiences

Musically and scenically Close and believable

simple characters
Less serious, entertaining
plots
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1750 1820

Lied
• German term translates as “Song”
• A short solo vocal composition accompanied by piano
• Though the genre existed c. 1400s, it was brought into prominence by
Schubert; a Romantic movement!
• He too would use nature as a metaphor for feelings, most importantly in
song writing
• Over 600 songs, expressing human emotion
• Demonstrated a sublime appreciation of the possibilities of human voice
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Requiem
• Roman Catholic mass for the dead
• Starts “Requiem aeternam” (Rest, eternal)
• Text set for words by many composers, but the first notable setting by
Mozart though incomplete

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1750 1820

Classical Composers
• Out of many, the following and their works are discussed
I. F. J. Haydn (1732 - 1809)
II. W. A. Mozart (1756 - 1791)
III. L. V. Beethoven (1770 - 1827)
IV. F. Schubert (1797 - 1828)

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Haydn
• Franz Joseph Haydn (1732 - 1809) was an
Austrian-born German composer
• At 8, went to Vienna as a choirboy, but left when
his voice broke at 17
• Became accompanist and servant to Italian
composer and teacher Porpora
• Appointed vice-Kapellmeister at Eisenstadt,
Hungary by Prince Paul Esterházy

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1750 1820

Haydn
• Met and became friends with Mozart in 1781, and afterwards showed
mutual influence
• Visited London in 1791 and stayed till mid. 1792; wrote symphonies 93-98
• Honorary degree of D.Mus. conferred on him by the University of Oxford
• Returned to Vienna and accepted Beethoven as a pupil; an uneasy
relationship
• Visited London again in 1794 and stayed till 1795; wrote 6 symphonies
• Died in 1809 in Vienna
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Haydn
• Considered “Father of the Symphony” and “Father of the String Quartet”
• Works include
• 104 symphonies (92-104 called “London” symphonies)
• 62 piano sonatas
• 68 string quartets
• Some masses and oratorios
• 20 operas
• Some concertos
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1750 1820

Mozart
• Wolfgang Amadeus Mozart (1756 - 1791) was an
Austrian composer, keyboard player, violinist,
violist and conductor
• Child prodigy playing the klavier at 3 and
composing at 5
• Father, who was also a musician, took him and
sister on tour in Europe
• Visited London in 1764, where he studied with J.
C. Bach and wrote his first 3 symphonies
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Mozart
• Finishing the tour, Mozart family returned to Salzburg in 1766
• Toured again, during which he saw the Manheim orchestra and returned
to Salzburg becoming court and cathedral organist
• Owing to growing tension between Mozart and archbishop, he resigned
and moved to Vienna, marrying in 1782
• Had composed a few operas by this time
• Suffered financially for the last 9 years of his life, but contrarily composed
astonishing masterpieces, in almost every genre

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1750 1820

Mozart
• Received commission to write a Requiem for Count F. von Walsegg, who
was willing to pass it as his own
• Mozart died aged 35 before the requiem was completed
• Without a doubt, Mozart was a musical genius of the highest order, who
had an excellent flair for tuneful melodies
• Most of his music from almost all genres are imperative to classical
repertory

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Mozart
• Compositions include
• 41 symphonies
• 18 piano sonatas
• 21 piano concerti
• 5 violin concerti
• Some masses and religious music
• 22 operas

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1750 1820

Beethoven
• Ludwig van Beethoven (1770 - 1827) was a
German composer and pianist who radically
transformed every music genre in which he
worked
• Early music education from father and several
mediocre teachers
• Later on studied with Neefe and served as his
assistant as court organist
• On invitation, moved to Vienna to study with
Haydn
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Beethoven
• After studying for 2 years and being unsatisfactory, he moved to other
teachers
• Settled in Vienna for the rest of his life, composing steadily for 30 years
• 3rd symphony “Eroica” was a revolutionary work extending possibilities of
the symphonic form
• Composed his only opera “Fidelio” in 1805, though it was revised a few
times later on
• After having finished work on the 9th symphony in 1824 and being nearly
deaf, wrote the last 5 of his 17 string quartets till 1826 and died in 1827

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1750 1820

Beethoven
• His 9th symphony set the standard of the “symphony” on an epic scale
• However, set his back on the olympus scale of his 9th symphony and
turned towards something much smaller in the last 2 years of his life;
string quartet
• He was extremely deaf and suffering from illnesses when he wrote his
“Late Quartets” and his emotional plight at the time of writing is well
conveyed
• Though disregarded by contemporaries, they are considered masterpieces
now
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Beethoven
• Beethoven is the pivotal figure that drastically changed the direction of
music at the end of the classical period giving rise to the romanticism by
emancipating and democratising the art
• His focus was on composing out of spiritual inner necessity rather than
providing virtuoso display material
• He expanded coda from a simple conclusion to a climatic splendour and
minuet to a vigorous scherzo
• In very much all the genres he wrote in, he extended the medium to a
vastly increased technical and expressive degree
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1750 1820

Beethoven
• It is fair to say that today, Beethoven is the most widely performed of all
composers
• Based on his music, his life is divided into three periods

Early Forging craft; till c. 1802

Also called heroic, shows individual development from
Middle classical styles, till c. 1812; Suffered from increasing deafness
Late Extending innovations in form and expression
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Beethoven
• Compositions include
• 9 symphonies • 1 violin concerto
• 32 piano sonatas • 1 opera (Fidelio)
• Some string quartets
• 5 piano concerti
• Some masses and religious music

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1750 1820

Schubert
• Franz Schubert (1797 - 1828) was an Austrian
composer of the late classical and early romantic
periods
• Wrote first symphony in 1813 for the school
orchestra
• Left school in 1813 and became assistant school
master to his father, who was the school master
• Frequently attended opera in Vienna and wrote
first opera in 1814
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Schubert
• Set Goethe’s “Gretchen am Spinnrade” to music in 1814; first masterpiece
• Gave birth to “Lied”, inspiring him to write many more
• Toured with baritone Michael Vogl, a well known baritone of his time
• Though most of his compositional strength lied in composing songs, also
wrote operas, symphonies etc.
• Wrote 8th symphony in 1822, completing only 2 movts. and 130 bars of the
scherzo but the “Unfinished” symphony is a complete work of art in itself
as it stands
• Died in 1828, aged only 31
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1750 1820

Schubert
• While Schubert can be considered the last of the classical masters, his
music was subjectively emotional in the romantic discipline
• Most of Schubert’s great works were not performed until after his death
• Tendency to consider as an undisciplined composer for form meant a little
for him; a misjudgement given the sublime handling of form in his
chamber works and piano sonatas
• His greatest contribution was towards Lieder, in which he’s considered the
supreme master

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Schubert
• Compositions include
• Over 600 songs
• Overtures and masses
• String quartets and other chamber works
• 20 piano sonatas
• Seven completed symphonies as well as “Unfinished” symphony

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1750 1820

Classical period; An Overview

• Form, simplicity and symmetry gaining prominence
• Polyphony diminishing and melody dominated textures emerging
• Harpsichord officially being replaced by the piano
• Orchestra growing larger in size and introduction of clarinet
• Rise of Comic opera over Serious opera
• Innovation in genres; Symphony, sonata, string quartet, concerto, lied
• Beethoven breaking away from the conventional system and giving rise to
Romantic period
90

45
 1750 1820

Comparison thus far

Medieval Renaissance
91

1750 1820

Comparison thus far

Baroque
92

46
 1750 1820

Comparison thus far

Classical
93

94

47
 Thank you!

95

48