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| Work- Requiem Mass (incomplete) |
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| Composer- Cristoph Willibald GLUCK |
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1714- 1787 Bohemia
Operatic Composer
Struck a new balance between music and drama (Reform of Opera Seria) |
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| Composer- William BILLINGS |
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1746-1800 Boston
Sacred Music
"New England Psalm Singer"
Plaintunes and fuging tunes |
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German: "Song"
Song with German words, monophonic or polyphonic, or for voice w/accompaniment
used especially for songs for voice and piano in the 18th and 19th centuries |
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| Spoken dialog interspersed with songs, choruses, and instrumental music |
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18th century light French opera, comic
used spoken dialog |
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| Person- Pietro Metastasio |
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1698- 1782 Italian poet
hundreds of his dramas were set to opera
court poet in Vienna in 1729 (until death)
usually two pairs of lovers + others |
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Rit- A1- Rit- A2- Rit- B (repeat all but B)
Middle rit in V, B in vi |
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Solo piece in Italian opera
da capo aria most popular in 18th century |
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| Person- Giovanni Battista PERGOLESI |
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1710- 1736 Italian
Wrote the intermezzo "La Serva Padrona" |
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| 18th century genre of Italian comic opera, performed between acts of a serious opera |
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18th century genre of Italian comic opera, sung throughout
Dialog set in rapidly delivered recitative |
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Principal form of Italian opera from around 1650-1775
Formal da capo arias joined by recitatives
solo singing dominated
domain of castrati
rules of composition were rigid |
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| composer in the early 18th century who was known for a bass line he often used (broken chords) do so mi so |
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| broken chord accompaniment common the 18th century, named about Domenico Alberti |
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comparing and creating music based on oration or speech
periods and phrases were seen like the subject and predicate as in sentences |
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close relative of the galant style
suprising turns of harmony, chormaticism, nervous rhythms, speechlike melodies
originated in Italy, part of the classical style |
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| 18th century musical style that featured songlike melodies, short phrases, frequent cadences, and light accompaniment |
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| being periodic, especially when this is emphasized through frequent resting points and articulations between phrases and periods |
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1730-1815
music in the tradition of the repitoire of musical masterworks of the 19th century
Characterized by its own style, also Galant Style and Empfindsam style |
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| Author "A General History of Music" published 1776-89 in 4 volumes |
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| Term- The public concert in the 18th century |
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money makers or professional and amateur musicians
audiences did not have to sit still/be quiet/listen
program was a mi of difference styles and pieces |
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| Term- Popularization of Learning |
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popular during the Enlightenment
Interesting in education/ culture in all classes |
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movement during the 18th century that promoted naturalness, individuality, and the need for the improvement of human condition.
Leaders: Voltaire, Montesquieu, Rosseau (Philosophers/social reformers) |
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populaer during the Enlightenment
Promoting the welfare of humankind |
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| Date- Mozart's death in Vienna, age 35 |
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| Date- Beginning of French Revolution |
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| Date- Declaration of Independence/ First English Music History started by Charles Burney |
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| Date- Beginning of American Revolution |
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| Date- Gluck's Orfeo revised for performance in Paris in French |
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| Date- Gluck's orfeo premiered in Vienna in Italian, castrato in the title role |
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| Date- Birth of Mozart in Salzburg |
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| Date- Death of Johann Sebastian Bach |
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| Date- Joseph of Hapsburg, Emperor of Austria's rule |
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| Date- Maria Theresia rules as empress of Austria |
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| Date- Invention of the clarinet |
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| Date- Bartolomeo Christofori invents the piano |
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| Person- Jean-Jacques ROUSSEAU |
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| Philosopher during the Enlightenment |
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| Person- Ernest Modeste GRETRY |
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1741-1813
French composer of opera comique |
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| Person- Johann Adolph HASSE |
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1699-1783
Composer of opera seria
"Cleofide" |
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| Term- New England hymnody |
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| Congregations were encouraged to read notes rather than learn by rote |
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| Term- The Song and the German Lied |
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Reflecting the growth of amateur music, songs were composed in many nations.
Lieder tended to be strophic, easy to sing, and supported by a subordinate accompaniment.
The Lied (German song) achieved a special artistic importance. |
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| Term- Gluck's reform of serious opera |
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He did not want singers' wishes or the da capo form to restrict the composer.
# He wanted the overture to be an integral part of the opera.
# He lessened the contrast between recitative and aria.
# His goal was to create music of "a beautiful simplicity." |
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| Term- Querelle des bouffons (Battle of the comic actors |
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| # Querelle des bouffons (Quarrel of the Comic Actors) was a pamphlet war beginning in 1752 that argued the relative merits of French and Italian opera. |
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| Genre of 18th century English comic play featuring songs in which new words are set to borrowed tunes |
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| End of an act, all singers gradually join in the action until all are present at the climax. Development of later comic opera |
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| Work- Die Entfuhrug aus dem Serail (The Abduction from the Harem) |
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| Work- 6 string quartet dedicated to Haydn |
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| Work- Die Schopfung (The Creation) |
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| Work- Versuch einer Anweisung die Flote traversiere (Flute method) |
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| Work- Versuch einer grundlichen violin schule (violin method) |
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| Work- Essay on the true art of playing keyboard instruments (1753) |
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| Work- 555 Keyboard sonatas |
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| Work- Richard the Lion-Hearted |
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| Person- Johann Christian BACH |
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1735-1782
Youngest son of JS Bach, among the first to compose piano concertos. Wrote in the galant syle, great influence on the young Mozart |
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1717- 1757
Bohemian
Director of the Mannhiem orchestra, first to use many of the traditional symphony techniques |
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1714-1788
Wrote mostly for keyboard
He served in the court of Frederick the Great from 1740 to 1768. |
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| Composer- Domenico Scarlatti |
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1685-1757 Italian
mostly keyboard works (wrote 555 sonatas for keyboard) |
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| Term- Rounded binary form |
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| binary form in which the latter part of the first section returns at end of the second section, but in the tonic |
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| Term- Rondo and sonata rondo |
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| joins 2 binary-form minuets , repeating the first after playing the second (ABA) |
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| Large work for orchestra, usually in 4 movements, developed in Italy from the overture |
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Expansion of rounded binary
Exposition, Development, Recapitulation based on themes |
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| Piece in several movements for solo instrument |
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| Term- the 18th century orchestra |
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| Smaller than today's, flute, oboes, bassoons, horns, 12 to 16 strings, harpsichord, sometimes trumpets and timpani |
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| invented around 1710, regular woodwind by 1780s |
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| chamber ensemble consisting of 2 violins, viola, and cello or a multi-movement work for this type of ensemble |
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| Term- The pianoforte and fortepiano |
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The piano replaced the harpsichord and clavichord.
invented in 1700 |
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1732-1809 Austrian
Served the Esterhazy family in Hungary
wrote 104 symphonies, 20 concertos, 68 string quartets, etc
Wrote many works for baryton (Nick. Esterhazy played it)
Style: The galant style, The expressiveness of the empfindsam style, Baroque counterpoint, Generic clichés |
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1756- 1791 Austrian
Influenced by CPE Bach
Freelance musician
Basically the best ever. |
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| Person- Esterhazy patrons/ Prince Nicholas von Esterhazy |
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| Most powerful family in Hungary, Nicholas played the baryton. Hired Haydn to compose for them at their estate, Eszerhaza Palace |
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| Father of Wolfgang, violinist and composer |
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| Person- Marianne "Nannerl" Mozart |
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| Mozart's sister, keyboard player |
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| Person: Ludwig Von Kochel |
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Austrian scholar
Organized Mozart's works |
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| Person- Emanuel Schikanader |
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| Mozart's Librettist for The Magic Flute, the first Papageno |
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| Composed mostly operas (comic/serious) Court Composer in Vienna, wrote from the Vienna choir boys |
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| Person- Emperor Joseph II of Austria |
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| Music supporter , lots of music in court. |
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| Librettist for Mozart's Don Giovanni, Marriage of Figaro, and Cosi Fan Tutti |
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| arranged by Pepusch, text complied by Gay |
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| occur at the end of the recap. before the coda. Sometimes improvised, sometimes written out |
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| Term- Concerto sonata form |
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| 2 expositions: 1 for orchestra alone (does not modulate to the dominant), 1 for soloist and orchestra (mod. to V). In a keyboard concerto, the soloist is always playing, either as continuo or as a soloist |
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