A Brief History of Classical Music: Part II

Continuing from last week’s blog, this installment continues to explain the history of classical music with a hope that students may retain a deeper understanding and appreciation of this genre. Remember, studying classical music enables minds to easily explore other genres of music, but with better analytical thought. The desired result is a musician who is capable of executing the hardest pieces for their level while being able to express themselves (without the aid of their instructor) through other, less difficult genres. The next era we have reached is:

Classical Era c. 1750 - c. 1827. Due to the Baroque era’s complexities, especially with polyphony, the Classical era’s sound resulted in a more simple and elegant texture. The modern-day symphony was arguably created and championed by Franz Joseph Haydn, a key composer and influential teacher of the time. Here is his 94th Symphony in G major. (He composed 109!) Listen to the simplicity of the melody line and how the other instruments bolster it with a homophonic texture. The second movement (II. Andante) is the reason this symphony is titled the “Surprise Symphony”. It starts around 9:35; crank your stereo up and have a good listen!

Because the harmonic rules we adhere to as musicians were analyzed and codified in the Baroque era, composers were free to manipulate these rules into more interesting forms, or structures of music. The discussion of these forms is another article in itself, but some ones you will definitely want to explore: sonata-allegro form, minuet-trio form, rondo form. Many students perform sonatas, or multi-movement works which follow a specific formal structure depending on the movement. This famous first movement from Mozart’s Piano Sonata No. 16 in C Major, K. 545 features the sonata-allegro form. Again, listen for clarity and elegance in the melodic lines.

Composers weren’t only expanding their horizons when it came to form, they also branched out emotionally. Through the use of particularly the sonata-allegro form composers were able to create two themes, each with contrasting emotional quality, if so desired. Beethoven was considered a bridge between the Classical era and the upcoming one, the Romantic era. While the fifth or ninth symphonies of Beethoven are certainly more famous, listen to the dramatic and heart-wrenching melody and orchestration of movement II. Allegretto of his Seventh Symphony, op. 90.

Other important composers to listen to: C.P.E. Bach, C.W. Gluck, Muzio Clementi

Romantic Era c. 1815 - 1910. This commonly mistaken title was a result of composers, artists, and writers bursting out with a plethora of never-before-seen/heard emotionally charged works. Works could be romantic in nature, but the title simply implies an overwhelming expression of emotion. Composers pushed the edge of drama and musicianship; the idea of a virtuoso, or a master performer of a musical instrument, was born. Artists began composing music for students that served both as study guides and as a virtuosic performance pieces. These pieces were known as Etudes. Frédéric Chopin’s Etude No. 1, op. 10 no. 1 is an intense and physically demanding piece. Listen to the sheer speed and clarity in which the performer plays with.

Just as the etude is a sub-genre with a specific purpose, composers created other genres to satisfy the formal and emotional needs. A commonly used genre was the tone-poem, a single movement work conveying the story of a poem, novel, painting, idea, etc. Franz Liszt, perhaps one of the greatest pianists ever, was a big proponent of the tone-poem. While these were usually orchestral works, he, and other composers, would arrange these compositions for other instruments, especially the piano. Listen to his Transcendental Etude No. 4, “Mazeppa”, again focusing on the sheer virtuosity. Also listen to the chromaticism, or use of notes not belonging to the key of the piece.

Not all composers shared in the ‘sub-genre’/over-emotional sentiment and preferred to adhere to Classical era forms with a Romantic sound. Another fantastic symphonic writer, Johannes Brahms, chose to write music that didn’t necessarily have a story or imagery to go with the notes, as heard in his Fourth Symphony. Notice the lushness of the orchestral scoring. Also notice how each movement follows Classical era forms (sonata-allegro for the first movement).

As we approach the 20th century, music became more complex (there is always a push and pull between simplicity and complexity in each era, look back and compare!). The impressionist movement was sparked in France and became a dominant force in the sound of Romantic music in the late 19th century. Listen to how Claude Debussy’s Prelude to the Afternoon of a Faun reflects on the imagery presented by the poem of the same name. (Hint: Read the poem!) Also pay attention to how Debussy blurs the key center; it’s very hard to guess what key he’s in almost all the time.

Other important composers to listen to: Franz Schubert, Robert Schumann, Felix Medelssohn, Niccolò Paganini, Gioachino Rossini, Giuseppe Verdi, Richard Wagner, Peter Iiyich Tchaikovsky, Gustav Mahler
There are significantly more influential composers during the Romantic Era due to public demands for more concerts, and music in general. Slowly, but surely, music was evolving into the pop idioms we encounter today. Listen to your favorite pieces of each era and play them! Challenge yourself enough and perhaps you will even be able to play an etude (at perhaps the expense of your insanity...they’ll make your head spin!) Have fun and keep exploring, remember, this is barely the tip of the iceberg.

Have a favorite piece from the Classical or Romantic eras? Any composers you want to share that haven’t been discussed? Like us on Facebook and comment!