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symphonies evolution.docx

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Patricia Debly

qwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghj klzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopa sdfghjklzxcvbnmqwertThe evolution of symphonies uiopasdfghjklzxcvbnmqwertyMusi 3p98hjklzxcvbnmq 12/9/2011 wertyuiopasdfghjklzxcvbnmqwJOY LIUpasdfghjklzxcv bnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjk lzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopas dfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwerty uiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmrt yuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxc SYMPHONY FORM AND HOW IT EVOLVES THROUGH THE CLASSICAL PERIOD ANTHOLOGY Symphony originated from Sinfonia, and was played with Opera overature, later it was played by itself. Early 1740’s: Symphony for strings in D major by Sammartini. - An example of early classical style - Influenced by Vivaldi, his style evolved from baroque to classical - 3 movements, Fast-Slow-Fast - Very short compared to Mozart’s or Haydn’s - Instrumentation: violins 1 and 2, violin and a Basso Continuo:2 instruments, to play the sustain note, usually a cello and a harpsichord. First Movement(allegro): a) Well defined key areas: binary A/B form. b) Plays I and V in a key many times to let listener know what key it’s in. c) Uses parallel + and - keys d) Has two contrasting themes, themes are repeated, varied in diff keys, rhythm and etc. e) The texture is usually homophony (one tone). nd 2 movement (largo): a) is in relative minor key: B- b) Lyrical c) Violin II with basso continuo d) Have thinner texture e) Imitative entries 3 movement ( Presto): a) Rounded binary form: ABA - 1 mvmt in “parallel –binary”: Second half corresponds to first half except in key signature HADYN’S 1750’s SYMPHONIES: - Melodies divided between 2 violin parts, viola and cello has the harmony - Baroque style in lower parts, there is a continuous repetition of notes - Oboe and flute were played interchangeable. The Oboe doubled the 1 violin st - Occasional French horn, - Fanfare section played traids - 3 mvmt typically - Haydn’s 1760’s symphonies Mozart’s 1765 symphonies - New structure: 4 mvmts: 1)Fast 2) - Represents the Italian sinfonia of mid- Adagio 3) Minuet +trio 4)fast century, the mood is opera buffa - Goes back into a baroque style, like an - 3 mvmts opera overture - Most important mvmvt was 1 st - Several aspects of the sonata da - 2 mvmt was always an andante or chiesa (church sonata form) are reflected in the symphony. Most of the andantino grazaioso, usually a early symphonies of Haydn are in this serenade form and start with a slow movement - Finale has a quick tempo and maybe a (or introduction) minuet, like a happy farewell or a - Sonata da Chiesa : slow – fast – slow – graceful dance fast , all mvmts are in the same key. - ‘ Themes are like ‘character but little - Egs of this symphonies in church tension exists between theme and sonata form are : #6 le Matin, #7 le therefore the recap is light and playful midi, #8 le soir, Mozart’s 1767 symphonies - Richer treatment of strings, used 2 viola parts, added minuet mvmts HAYDN’S 1768- 1774: “Strum and Drang” - Melodies are longer and more continuous - Tension is created by: 1) Cadence waiting for longer drawn out melody creates tension 2) FORTSPINNING: unsymmetrical phrase: when 2 phrases are not the same # of bars, eg 1 phrase 4 bars, 2 phrase 8 nd bars. Long phrases, stretches out resolution th 3) Disjunctive melody: a) jumps around, with lots of leaps in different direction b)has dissonances like dim 7 or triton 4) Emphasis on unexpected change: a) change in key sig b) unexpected change in registar, range c) abrupt modulation d) deceptive cadence e) strongly emphasis on downbeat - Repetitive rhythmic figures( short rhythms) and syncopation - Sequence repeated; up by step - Every voice has a melody, unlike before when it was just the 2 violins - There’s a unity within each movement; a single theme is used in whole theme - A COMBINATION OF - NEW TECHNIQUES: OLD TECHNIQUES: a) Unison passages, a) cadential figures: long drawn out repeated chords b) alternate tonic to dominant, c) simple melodic motives: lots of room for development characteristics pieces Notable pieces - passionate: full of joy, - of all his symphonies, Symphony #44: the anger only 10% are in minor farewell key, 6 are from this - increases his period techniques to create the tension and - #26 in D- (1770) Symphony #49 (anthology expression #8) - #39 in G- - #44 in e- - #45 in f#-
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