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Learning Objectives

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  • Explain how the Classical period (1750-1825) characteristics of order, objectivity, and harmonious proportion relate to the music characteristics of the period.
  • Summarize how the American Revolution (1775-83) and the French Revolution (1789-99) profoundly changed political systems and social order.
  • Classify the large-scale musical forms in which the Classical masters composed.
  • Explain music making in the context of the royal court and the patronage system.
  • Define form and absolute music, and relate these concepts to one another.
  • Differentiate between the main musical forms of the Clasical-era by summarizing the development of the symphony, sonata, string quartet, and the concerto.
  • Define and analyze the symphony, sonata, string quartet, and concerto forms in the context of the Classical period.
  • Describe the impact of the major Classical composers Haydn, Mozart, and Beethoven.
  • Discuss the impact of Beethoven's thirty-two piano sonatas.
  • Compare and contrast the two types of Italian opera: opera buffa and opera seria.

Classical Period (1750-1825)

Classical Music Characteristics

The term classical generally refers to something that has a wide and long lasting appeal. In music, classical indicates music written from about 1750 to 1825. Balance and order were two of the most important qualities of the music of this period. Simplicity, diversity, and elegance prevailed in contrast to what was seen as the excessive, complex characteristics of Baroque music.

A minor period of transition generally known as Pre-Classical period lasted from around 1730 to 1770. Music of this transitional period was known as rococo or galante, a style characterized by symmetry and balance—even though an element of superficiality and lightness was never completely absent—as a reaction to the overwrought, overly dramatic tendencies of late Baroque. These elements of symmetry and balance came to dominate the music of the latter half of the 18th century through three composers of extraordinary significance: Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven.

Music from the Classical period is characterized by balance, simplicity, and logic, which made it easy to understand for the general public. Audiences related to simple, shorter melodic phrases and uncomplicated accompaniments. The following points describe general characteristics of classical music.

  • Melody: Balanced and symmetrical patterns formed well-defined and (usually) short musical phrases, giving listeners a sense of regularity in melody. Listen, for example, to the famous  opening of W. A. Mozart's Eine Kleine Nachtmusik.

Composer: Wolfgang Amadeus Mozart

  • "Serenade No. 13 for Strings in G Major, K. 525, Eine Kleine Nachtmusik: Menuetto: Allegretto"

  • Harmony: Classical music used  mostly straightforward progressions that kept harmony simple, logical, and yet elegant.

Composer: Franz Joseph Haydn

  • "Symphony No. 94 in G Major, Hob.I:94, "

  • Rhythm: Composers used regular and dance-likerhythms

Composer: Wolfgang Amadeus Mozart

  • "Horn Concerto No. 2 in E flat major, K. 417: III. Rondo (Allegro)"

  • Texture: Mostly homophonic textures moved further away from the polyphonic textures of late Baroque music

Composer: Johann Sebastian Bach

  • "Brandenburg Concerto No. 3, BWV 1048: I. Allegro"

The Concept of Form

Poise, beauty, elegance, grace, and organization characterized Classical music. These features reflected a desire to create works that were balanced and well-constructed. For this reason, musical form was particularly important during the Classical era.

You may recall that earlier we defined form as the overall construction of a piece of music. Among others, we looked at three basic forms that illustrate the concepts of unity and variety, namely

As an example, let's go back to the second movement from Beethoven's Pathétique piano sonata. Here it is in its entirety, followed by each of the sections separately:

Composer: Ludwig van Beethoven

  • "Piano Sonata No. 8 in C Minor, Op. 13, "

Guide
0:00—0:02
A section
1:02—1:49
B section
1:49—2:19
A section returns
2:19—3:08
C section
3:08—4:49
A section returns

Composer: Ludwig van Beethoven

  • "Piano Sonata No. 8 in C Minor, Op. 13, " [ 00:00-00:02 ]00:02

Composer: Ludwig van Beethoven

  • "Piano Sonata No. 8 in C Minor, Op. 13, " [ 01:02-01:49 ]00:47

Composer: Ludwig van Beethoven

  • "Piano Sonata No. 8 in C Minor, Op. 13, " [ 01:49-02:19 ]00:30

Composer: Ludwig van Beethoven

  • "Piano Sonata No. 8 in C Minor, Op. 13, " [ 02:19-03:08 ]00:49

Composer: Ludwig van Beethoven

  • "Piano Sonata No. 8 in C Minor, Op. 13, " [ 03:08-04:49 ]01:41

Notice that Beethoven achieves unity by repeating the A theme several times. Meanwhile, contrasting episodes B and C introduce variety through different harmonic and rhythmic structures. It's very interesting to hear the subtle rhythmic difference between the melody in the first two A sections and the final A section. In the final section, Beethoven was able to use unity (repetition of the theme) and variety (rhythmic differences) simultaneously.