THE VIENNESE

CLASSIC PERIOD
Chapter 20
The Viennese Classic Period
Haydn, Mozart, Beethoven composers who
dominated the music of the Viennese Classic Period
Rococo a new musical style that represented a
transition from the Baroque to the Classical era,
occuring between 1725 and 1770; Also called
preclassical style
In painting, Rococo style is characterized by delicate
colors, many decorative details, and a graceful and
intimate mood. Similarly, in music, this is
homophonic and light in texture, melodic, and
elaborately ornamented.
Le style galant gallant style; the advent of rococo is
signalled by the gallant style of which Jean Philippe
Rameau (1683-1764) was the leading exponent
 Le style galant Rococo in french;
empfindsamer stil (sensitive style) in
German
Francis Couperin, J.S. Bach, C.P.E Bach
and Johann Christian Bach were
important composers of music in Rococo
style
Classicism is defined as conformity to
classic principles of lucidity, simplicity,
dignity, symmetry, restraint, refinement,
and objectivity.
 In music, these objectives were achieved by:
Clarification of formal structures with emphasis on
sectional homophonic forms, sonata form preeminent
Preference for compact, vocally inspired melodies
possessing the quality of direct simplicity typical of
folk songs
Elevation of homophonic texture to a position of
dominance with extensive use of patterned harmonic
motivation in broken-chord accompaniment figures
Employing imitative counterpoint essentially as a
developmental device, abandoning contrapuntal forms
Giving harmonic clarity and simplicity precedence over
complexity and ingenuity,
Consistently casting ideas in well-defined, regular
phrases of four and eight measures
 Greater standardization of mediums also was
accomplished during this time.
Toward the middle of the 18th century fairly
uniform orchestras consisting of first and
second violins, violas, cellos, basses, flutes,
oboes, bassoons, trumpets, horns, and timpani
began to take shape.
The art of orchestration became an
essential adjunct of composition.
Basso continuo was discarded, and all the parts
in a composition were written out completely.
 Dynamic shading became an essential feature of
musical expression during this time. The terraced
dynamics of the baroque typified by the alternating
loud and soft passages of the concerto grosso were
augmented by gradual changes from soft to loud
(crescendo), and loud to soft (decrescendo), by
sudden outbursts, and by moments of silence.
These features were first cultivated by a series of
composers attached to the court in Mannheim who
wrote in the gallant style.
The Mannheimers were direct forerunners of the
Viennese classic masters.
 The names Franz Joseph Haydn (1732-
1809) and Wolfgang Amadeus Mozart
(1756-1791) are frequently uttered in
the same breath and with the same
degree of reverence; Influence between
them is strong and mutual, but their
personal fortunes were different.
FRANZ JOSEPH HAYDN
Age of five: he had elementary
instruction and soon was furthering his
musical training while singing as a boy
soprano in a church choir.
When a teacher was negligent in his
duty to provide instruction in theory and
composition, Haydn purchased textbooks
and pursued the study on his own
initiative.
He was already in his late twenties when
he obtained his first appointment
FRANZ JOSEPH HAYDN
He joined the entourage of the
Hungarian Esterhazy princes shortly
later on. His status was essentially that
of a servant, but the position provided
security and not only the incentive but
the necessity for composing.
By the time his last patron, Prince
Nikolaus, died and his orchestra
dissolved in 1790, Haydn had a pension
from the estate and an international
reputation
FRANZ JOSEPH HAYDN
In 1790, he accepted an urgent invitation from
the impresario Johann Salomon to perform in
London; he remained there until 1792 and
returned in 1794-95, scoring spectacular
successes both times.
The age of the public concert featuring
celebrities to attract paying audiences had
arrived, but Mozart had not lived to see it.
The Surprise Symphony is one of the twelve
symphonies Haydn composed for the Salomon
concerts in London.
Joseph Haydn: SYMPHONY NO. 94,
Surprise (1792)
WOLFGANG AMADEUS
MOZART
W.A. Mozart certainly ranks as the most
precocious musical prodigy of all time.
His father Leopold Mozart, was a violinist
author of a method for violin, and a
recognized composer.
He started his musical training at the
age of four in response to eager and
intelligent interest.
At six, he has composed little minuets
and had appeared in his first public
concert playing the harpsichord.
WOLFGANG AMADEUS
MOZART
At seven, he made the first of his many
foreign journeys, this one to Paris. His
appearances now included giving exhibitions
of improvisation in addition to playing
concertos on the harpsichord and the violin.
At eight, his first published compositions,
four sonatas for harpsichord with violin ad
libitum, were issued in Paris in 1764, same
year the Mozarts were cordially received in
England where Wolfgangs first symphonies
were written and repeatedly performed.
WOLFGANG AMADEUS
MOZART
He astounded the King with his ability go read
at sight the music of contemporary
composers such as Johann Christian Bach
(1735-1782), son of J.S Bach, who then, was a
leading musician in London.
Mozart visited the music capitals of Europe in
rapid succession, met most of the prominent
musicians of the day, absorbed the latest
styles and techniques like a sponge, turned
out an uninterrupted torrent of compositions,
and dazzled audiences with his performing
feats.
WOLFGANG AMADEUS
MOZART
In 1768 he was on the road again, visiting
Vienna where he wrote his first opera and
conducted a performance of his Solemn
Mass before a large audience.
His concerts were jammed, his
compositions praised, his genius
applauded, and honors were bestowed on
him
In Rome, Mozart wrote from memory the
entire score of the nine-part Miserere by
Gregorio Allegri after hearing it only twice
WOLFGANG AMADEUS
MOZART
When the Archbishop of Salzburg was
succeeded, Mozart obtained a leave of
absence to seek another appointment,
but was unsuccessful, and went back to
his unhappy position in Salzburg. The
situation became unbearable, and in
1781 he resigned and settled in Vienna.
At thirty-five, he was buried in a paupers
grave without an inkling of the untold
fortunes that would be made and spent
on his efforts.
WOLFGANG AMADEUS
MOZART
He is one composer whose operas,
symphonies, chamber music, and solo
works are of equal monumental
significance.
The last seven of Mozarts forty-one
symphonies were composed between 1782
and 1788.
Collectively, they stand as incontrovertible
evidence of the depth and strength of
Mozarts genius and mark a high point in
the Viennese classic period.
W.A. Mozart: Symphony no. 35 (1782)

This work was hastily composed as a

serenade to be played on the occasion of
Siegmund Haffners elevation to the
nobility.
LUDWIG VAN BEETHOVEN (1770-1827)

The towering giant of music and third of the

triumvirate of Viennese classic composers, lived
in a period of political turmoil, and the dramatic
social changes of the times are reflected in his
music.
Began his musical training at an early age under
the strict and stern tutelage of his father, who
had pretensions of producing another
wonderchild of the Mozartean cast.
In his early teens, he was assistant organist in
the church, harpsichordist in the court
orchestra, and violinist in the theatre orchestra.
LUDWIG VAN BEETHOVEN (1770-1827)

He attended the public schools in Bonn and

continued his studies with the local
musicians.
He met and elicited praise from Mozart
during a short visit to Vienna in 1787.
Haydn, on his way back to Vienna in 1792
after his first engagement in England,
stopped over in Bonn and warmly praised a
cantata by Beethoven.
He left his provincial birthplace and moved
to Vienna
LUDWIG VAN BEETHOVEN (1770-1827)

Beethoven studied with Haydn for a time, but,

being dissatisfied with him as a teacher,
switched to others.
Beethovens teachers were not impressed with
his scholarship. He was however, welcomed in
the palaces of music-loving aristocrats of Vienna
and fraternized as an equal with the social elite
of the city.
Beyond his youth Beethoven never held any of
the positions which till then had supported
composers and had elicited from them routine
quotas of music for immediate consumption.
LUDWIG VAN BEETHOVEN (1770-1827)

His income was from the sales of his works

and allowances granted him by the wealthy
without exacting tribute.
Beethoven started with germ motives in the
rough which he inscribed in a series of
sketchbooks. Motives and themes often
were transformed, polished, perfected and
left to season before they found their way
into finished works.
Creative imagination is ever at work in
Beethovens music.
LUDWIG VAN BEETHOVEN (1770-1827)

One has a feeling that every time he

took his pen in hand it was a deliberate
attempt to create a masterpiece. With
goal so high, his percentage of success
is astounding.
Beethoven was, the end of the Viennese
Classic period and also the beginning of
the romantic age.
L. Van Beethoven: Symphony no. 3
Eroica (1804)