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Library of Congress: LC-USZ62-107147 Mozart in Vienna The Classical Period 69 In spite of these obstacles, Mozart composed an impressive number of compositions during his years in Vienna. Many of these works, including his operas, symphonies, concertos, and chamber works, have since been regarded as the ultimate musical expressions in each form that the Classical period had to offer. In 1788, Mozart did secure a post as a chamber composer to the Emperor, but he never reached a state of financial independence. His love of people and parties, and his penchant for staying out late, playing games and socializing, put strains on his mar- riage, his health, and his pocketbook. His health failing, he began work on a commission for a Requiem mass. As he worked on the piece and his health further deteriorated, Mozart became convinced that he was composing the Requiem for his own death. Sure enough, he died before it was finished; the work was completed by his pupil Franz Xaver Sussmayr. His death, on December 5, 1791, occurred while his wife was out of town. Because he had no money, his funeral was simple and no headstone marked his grave. Because a heavy rainstorm prevented any gathering at the gravesite, its precise location was never exactly determined. Some years later, a monument was erected in the general vicinity of Mozart’s grave, but even today no one knows for sure where this magnificent genius of music rests. <strong>Composer</strong> <strong>Profile</strong> Franz Joseph Haydn Franz Joseph Haydn, known often as “Papa Haydn” and “Father of the Symphony,” was born on March 31, 1732, in Rohrau, Austria. Haydn did not come from a musical family, and his childhood was comparatively normal. He sang in a boys’ choir in Vienna beginning in 1840. When he was older, he assumed duties as an accompanist. He gradually became known to several influential musicians of the time, including Gluck. As a young adult, Haydn worked for several patrons, eventually becoming Vice Kappelmeister for the Esterhazy family in 1761. He became Kappelmeister in 1766 and remained in the service of this very wealthy Library of Congress: LC-D420-2393 and influential family until 1790. After leaving the Haydn Esterhazy palace, Haydn traveled to England on two different occasions for extended visits. His music was extremely popular with the British people, and Haydn’s reputation spread as one of the greatest symphonists of the time. During these later years, Haydn established a reputation as a great teacher and mentor for the next generation of composers. Even Beethoven sought out Haydn in 1792 to study with the old master. His gentle nature and humorous spirit were evident in both his relationships and his music. He died in Vienna on May 31, 1809.
70 Chapter 6 Summary Haydn’s symphonic output was prodigious; he composed no fewer than 104 complete symphonies. His consistent use of the four-movement layout, and his adherence to the standard forms in each movement, helped to galvanize symphonic form and earned him the title of “Father of the Symphony.” Most of the structures and forms that are employed through the nineteenth century were developed during the Classical period, including the symphony, concerto and the string quartet. In addition, the advent of the piano, and ensembles such as the string quartet and the modern symphony orchestra are products of this brief but crucial period in music history. The Classical period was the home of Mozart and Haydn, two of the brightest stars in all of music. Though only 50 years in length, the world of music was changed forever. Key Terms binary period cadenza recapitulation coda rondo concerto rounded binary development sonata double exposition sonata allegro exposition string quartet Mannheim school symphony minuet and trio ternary opera buffa opera seria theme and variations
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Track Title/Composer/Performer Musi
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M usic to Your Ears An Introduction
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Contents Preface vii 1 What Is Musi
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7 Beethoven and the Transition to R
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Preface The purpose of this book is
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2 Chapter 1 that might have puzzled
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4 Chapter 1 Writings from the Greek
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6 Chapter 1 Figure 2 The treble cle
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8 Chapter 1 Often a musician will f
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10 Chapter 1 Key Terms adagio mezzo
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2 Musical Instruments Evidence exis
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saxophone Musical Instruments 15 ho
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Musical Instruments 17 musician to
Page 30 and 31: The Percussion Family timpani Music
Page 32 and 33: The Symphony Orchestra Percussion H
Page 34: Name Date Chapter 2 Review Musical
Page 37 and 38: 26 Chapter 3 Gregorian Chant Gregor
Page 39 and 40: 28 Chapter 3 requirements of the Ch
Page 41 and 42: 30 Chapter 3 Summary residences at
Page 44 and 45: 4 The Renaissance Music History Tim
Page 46 and 47: The Mass The Renaissance 35 Since b
Page 48 and 49: Listen to This The Renaissance 37 P
Page 50 and 51: Listen to This Track 4 Renaissance
Page 52: The Renaissance 41 of the dance ste
Page 56 and 57: 5 Music of the Baroque The name Bar
Page 58 and 59: Music of the Baroque 47 chord progr
Page 60 and 61: Music of the Baroque 49 Astute read
Page 62 and 63: Music of the Baroque 51 special occ
Page 64 and 65: Music of the Baroque 53 sing. Occas
Page 66 and 67: Typical Fugue Exposition (4-part) M
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Page 71 and 72: 60 Chapter 6 The Piano governments
Page 73 and 74: 62 Chapter 6 A. (statement) Twinkle
Page 75 and 76: 64 Chapter 6 The Symphony First Mov
Page 77 and 78: 66 Chapter 6 The Concerto The fourt
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Page 84 and 85: 7 Cultural Overview Beethoven and t
Page 86 and 87: Beethoven’s Music Beethoven and t
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Page 92: Name Date Chapter 7 Review Beethove
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Page 97 and 98: 86 Chapter 8 Likewise, chamber musi
Page 99 and 100: 88 Chapter 8 The Character Piece Fa
Page 101 and 102: 90 Chapter 8 Schumann began showing
Page 103 and 104: 92 Chapter 8 decline rapidly. He wa
Page 105 and 106: 94 Chapter 8 Composer Profile Franz
Page 108: Name Date 1. What is a lied? 2. Who
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Page 113 and 114: 102 Chapter 9 the Nibelung. These o
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Page 117 and 118: 106 Chapter 9 Beethoven’s music s
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Page 121 and 122: 110 Chapter 9 Nationalism cycles he
Page 123 and 124: 112 Chapter 9 Composer Profile Anto
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Page 129 and 130: 118 Chapter 10 Music History Timeli
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120 Chapter 10 The Impressionistic
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122 Chapter 10 2 4 7 9 11 1 3 5 6 8
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124 Chapter 10 Music composed in th
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126 Chapter 10 Spain pivotal works
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128 Chapter 10 American works by or
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130 Chapter 10 that the sounds arou
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132 Chapter 10 Key Terms absolute m
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11 Introduction Beyond Classical Mu
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The Big Band Era Beyond Classical M
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Beyond Classical Music 139 This aca
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Beyond Classical Music 141 was noth
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Glossary a cappella Vocal music tha
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Glossary 147 cadenza Unaccompanied,
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Glossary 149 country western Type o
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Glossary 151 fusion A type of jazz
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inversion Mirror image of a melody
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Glossary 155 Neo-Classical Strictly
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Glossary 157 pure music Music that
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Glossary 159 spiritual Sung by Afri
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Glossary 161 triple meter A metric
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Bibliographic References Apel, Will
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166 Index chant, 25-27 character pi
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168 Index Neo-Romantic, 118, 124 no
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104 Chapter 9 music drama as “a t
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