Haydn and Mozart in the 1780s and 1790s Musical friendship and mutual admiration Haydn Serving Nicholas Esterhazy to 1790 Increasing fame and freedom to publish Two visits to London 17911792 ID: 210420
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Slide1
The End of the Eighteenth CenturySlide2
Haydn and Mozart in the 1780s and 1790s
Musical friendship and mutual admiration
Haydn
Serving Nicholas Esterhazy to 1790Increasing fame and freedom to publishTwo visits to London — 1791–1792, 1794–1795
Mozart
Independent
life in Vienna from 1781 to 1791
Appointed
to Gluck’s position in 1787 but at lower pay
Died
in 1791Slide3
Developments in the string quartet
“Conversational” texture: “One hears four intelligent people conversing among themselves”
(Johann Wolfgang von Goethe)Motivic interplay among parts
— development Application to support unstable areas within sonata form — transition, section 3Examples — Haydn, String Quartets, op. 33 (“Scherzo” or “Russian”)Mozart, “Haydn” QuartetsSlide4
The symphony in
1780–1800Addressed large public audiences, often in subscription concerts
Cultivation of impressive effect
Use of “conversational” or developmental texture allows integration of complete texture and formSlide5
Concerto
Mozart’s genre — entrepreneurial works for “academies” (concerts) for his own benefit
Thorough integration of ritornello form and sonata formSlide6
Mozart’s operatic works
1780–1791Idomeneo — opera seria in fully Enlightenment style
Die Entführung aus dem Serail — singspiel
Collaborations with Lorenzo Da Ponte — opera buffaLe nozze di Figaro — social commentaryDon Giovanni — horror story
Così fan tutte — satirical La clemenza di Tito
—
opera seria
Die Zauberflöte
—
singspiel Slide7
Expression in Enlightenment music
Drama as expressive model — sonata form as plot
Themes identified by characterHarmonic
plan based oninitial stability (tonic key)departure and move to greater tension (dominant)complication (modulatory)crisis and resolution (return to tonic)dénouement (all characters restored to stability)Slide8
Beethoven
1770–1800Born and raised in Bonn
Moved to Vienna in 1792 to “receive the spirit of Mozart from Haydn’s hands”
Period of study, cultivation of Viennese supportersFocused on piano — his performance strength1792–1802 “period of imitation” — Vincent d’IndySlide9
European music in the colonial Americas
Sacred music traditions brought by earliest colonists
Spanish and French Catholic missions — sacred music
Sixteenth-century polyphony Seventeenth-century concerted musicPilgrims — psaltersSecular music imported especially for eastern seaboard cities by the eighteenth centuryconcerts
ballad operadomestic music — songs, etc.Slide10
The Moravian Brethren
Immigrated in mid-eighteenth
century, seeking religious freedomImportant
settlementsBethlehem, PennsylvaniaSalem, North CarolinaSacred music — hymns, anthems, concerted piecesConcert music — for collegia musicaSlide11
The First New England School
Singing masters and singing schools to improve singing in worship
Four-part hymns and anthems in homorhythmic texture
Fuging tunes — passages in imitative polyphonySlide12
Questions for discussion
In what ways might a late eighteenth-century instrumental movement seem to be operatic, and in what ways does the musical structure of the sonata help to dramatize the structure of action in an opera?
How did the practical aspects of musical life shape the activities and compositional style of Haydn, Mozart, and the young Beethoven in the 1780s and 1790s?How did practical aspects of musical life shape the activities and compositional style of American composers in the eighteenth century?