DEVELOPMENT OF SYMPHONY
-Definition: an extended composition usually for orchestra and usually comprising four movements
-Characteristics of 18th century classical symphony:
-4 movements
-instrumental, played by orchestra moderate size
-Origin:
-The word symphony= “sounding together”
-comes from Ancient/ Biblical Greek word= consonance/ harmonious
-17th century Italian word “sinfonia” applied to number of works: overtures, instrumental ritornello sections of arias, and works later known as concertos or sonatas
-History
-17th century (Baroque) symphony and sinfonia used to describe range of different works (instrumental pieces in operas, sonatas, concertos)
-Usually part of a larger work
-Direct forerunner of symphony considered to be opera sinfonia or Italian operatic overture
-Standardized by Alessandro Scarlatti at end of 17th century with 3 sections (movements) quick-slow-quick
-Little musical connection with opera preceded (could be played alone in concert)
-Customary in 18th century to write independent orchestral pieces in same style (the 1st symphonies)
-Another forerunner of symphony was ripieno concerto (relatively little explored form resembling concerto for strings and continuo, using ritornello form, no solo instruments)
-The 18th Century Symphony
-Early symphonies (as well as Italian overtures and concertos) were 3 movements: quick-slow-quick.
-First movement often binary.
-Distinguished from Italian overtures (they were written for concert performance, rather than introducing stage work).
-Term symphony used for separate works and overtures.
-Symphonies at this time, whether concert, opera, or church not considered major works on a program: often, as with concerti, they were divided up between other works, or drawn from suites or overtures
-Vocal music: heart of the musical experience
-Symphonies: supposed to provide preludes, interludes, and postludes
-At the time, symphonies were relatively short (10-20 minutes max)
-The “Italian” style of symphony, often used as overture and entr’acte in opera houses, became standard 3 movement form (fast “allegro”, slow, fast) Mozart’s early symphonies are in this format
-Early 3 movement form eventually replaced by 4-movement layout, was dominant in latter of 18th century and most of 19th century
-This symphonic form influenced by Germanic practice, and would come to be associated with “classical style” of Haydn and Mozart
-The normal four movement form became:
-1: Quick, binary (later sonata form)
-2: Slow
-3: Minuet and Trio (later scherzo and trio), ternary
-4: Quick, sometimes sonata. Other possibilities rondo or sonata-rondo
-Even in the mid-18th century, variations on this layout was not uncommon (middle 2 movements sometimes switched or slow intro was added, sometimes becoming slow-quick-slow quick form)
-Most important symphonists in the latter of 18th century are Haydn (104 symphonies!!) and Mozart (40+ symphonies adding contrasting keys and themes)
-The early 19th Century Symphony:
-Late 18th century, vocal music (particularly cantatas and operas) were major form of concert music, with concerti next –With rise of standing orchestras, symphony assumed a larger place in concerts
-Peak of symphonic performance was ~1790-1820 when professional orchestras became central to music life of larger cities
-Symphonic composition and practice was centered in Mannheim (Ger.) and Vienna (Aus.)
-Mannheim innovations include:
-Role of professional conductor
-Crescendo (dramatically done by full orchestra)
-Rocket theme
-Grand pause
-Etc.
-Beethoven took the symphony into new territory by expanding, often dramatically, each of its parts
-His nine symphonies set standard for symphonic writing for generations
-After 2 symphonies in the style of Haydn, his Symphony no. 3 (Eroica) has a scale and emotional range which sets it apart from earlier works (often cited as ushering in the Romantic Era)
-Symphony no. 5 demonstrated ability to write an entire large-scale, multi-movement work on 1 rhythmic motif
-Symphony no. 9 takes unprecedented step of including parts for vocal soloists and choir in last movement
-Beethoven, with Schubert was responsible for replacing gentle minuet with livelier scherzo as inner movement (usually 3 of 4)
-The Scherzo, with greater scope for emotional expression, was more suited to Romantic style
-Characteristics of 18th century classical symphony:
-4 movements
-instrumental, played by orchestra moderate size
-Origin:
-The word symphony= “sounding together”
-comes from Ancient/ Biblical Greek word= consonance/ harmonious
-17th century Italian word “sinfonia” applied to number of works: overtures, instrumental ritornello sections of arias, and works later known as concertos or sonatas
-History
-17th century (Baroque) symphony and sinfonia used to describe range of different works (instrumental pieces in operas, sonatas, concertos)
-Usually part of a larger work
-Direct forerunner of symphony considered to be opera sinfonia or Italian operatic overture
-Standardized by Alessandro Scarlatti at end of 17th century with 3 sections (movements) quick-slow-quick
-Little musical connection with opera preceded (could be played alone in concert)
-Customary in 18th century to write independent orchestral pieces in same style (the 1st symphonies)
-Another forerunner of symphony was ripieno concerto (relatively little explored form resembling concerto for strings and continuo, using ritornello form, no solo instruments)
-The 18th Century Symphony
-Early symphonies (as well as Italian overtures and concertos) were 3 movements: quick-slow-quick.
-First movement often binary.
-Distinguished from Italian overtures (they were written for concert performance, rather than introducing stage work).
-Term symphony used for separate works and overtures.
-Symphonies at this time, whether concert, opera, or church not considered major works on a program: often, as with concerti, they were divided up between other works, or drawn from suites or overtures
-Vocal music: heart of the musical experience
-Symphonies: supposed to provide preludes, interludes, and postludes
-At the time, symphonies were relatively short (10-20 minutes max)
-The “Italian” style of symphony, often used as overture and entr’acte in opera houses, became standard 3 movement form (fast “allegro”, slow, fast) Mozart’s early symphonies are in this format
-Early 3 movement form eventually replaced by 4-movement layout, was dominant in latter of 18th century and most of 19th century
-This symphonic form influenced by Germanic practice, and would come to be associated with “classical style” of Haydn and Mozart
-The normal four movement form became:
-1: Quick, binary (later sonata form)
-2: Slow
-3: Minuet and Trio (later scherzo and trio), ternary
-4: Quick, sometimes sonata. Other possibilities rondo or sonata-rondo
-Even in the mid-18th century, variations on this layout was not uncommon (middle 2 movements sometimes switched or slow intro was added, sometimes becoming slow-quick-slow quick form)
-Most important symphonists in the latter of 18th century are Haydn (104 symphonies!!) and Mozart (40+ symphonies adding contrasting keys and themes)
-The early 19th Century Symphony:
-Late 18th century, vocal music (particularly cantatas and operas) were major form of concert music, with concerti next –With rise of standing orchestras, symphony assumed a larger place in concerts
-Peak of symphonic performance was ~1790-1820 when professional orchestras became central to music life of larger cities
-Symphonic composition and practice was centered in Mannheim (Ger.) and Vienna (Aus.)
-Mannheim innovations include:
-Role of professional conductor
-Crescendo (dramatically done by full orchestra)
-Rocket theme
-Grand pause
-Etc.
-Beethoven took the symphony into new territory by expanding, often dramatically, each of its parts
-His nine symphonies set standard for symphonic writing for generations
-After 2 symphonies in the style of Haydn, his Symphony no. 3 (Eroica) has a scale and emotional range which sets it apart from earlier works (often cited as ushering in the Romantic Era)
-Symphony no. 5 demonstrated ability to write an entire large-scale, multi-movement work on 1 rhythmic motif
-Symphony no. 9 takes unprecedented step of including parts for vocal soloists and choir in last movement
-Beethoven, with Schubert was responsible for replacing gentle minuet with livelier scherzo as inner movement (usually 3 of 4)
-The Scherzo, with greater scope for emotional expression, was more suited to Romantic style