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 Instrumental Forms

Sonata-Allegro Form

In the Classical period, sonata-allegro form took shape and became the basis for most instrumental music. It is called “sonata-allegro” because it was the form taken most commonly by a sonata’s first movement, which was often marked “allegro” (fast). The first movement of most symphonies and string quartets (also usually allegro) used this form as well. The concerto for solo instrument and orchestra used a modified version of it.

Sonata form consists of three sections: exposition, development, and recapitulation. If you are familiar with literary classic story form, you already know a lot about sonata-allegro form, since both forms parallel one another in makeup and purpose. The exposition section (the same word is used in story form) sets the scene. In literature, this is the section where the main characters and the relationships between them are introduced. In music, this section presents the musical themes, sets the mood, and establishes the key, main rhythmic patterns, and harmonies of the piece. The second section, the development, is like the heart of the story. Here, the composer further elaborates on the themes, rhythms, and harmonies, explores other keys, and weaves the material into something new and interesting. As in a well-told story, the development section should ideally increase the emotional tension, sustain your interest, and make you wonder what is going to happen next. In the final section, the recapitulation, the opening material returns, but this time everything is resolved and finalized—similar to wrapping up the loose ends in the story.

The first movement of Mozart's Symphony No. 25 in G Minor, K. 183—famously used in the opening scene of Milos Forman’s movie Amadeus—will help us illustrate these concepts.

Composer: 0

"Symphony No. 25 in G minor, K183: I. Allegro con brio"

Guide

0:00—4:09

Exposition

Main theme is presented in the tonic key. Through a bridge passage, Mozart introduces a second theme in a different but related key.

4:49—5:06

Development

Themes are presented in a different order, taken to distantly related keys, fragmented, and put together in new ways.

5:06—7:43

Recapitulation

The exposition is restated entirely in the tonic key of G Minor—including the second theme, which, as noted above, appeared initially in a different key. This may not be something you can hear immediately (though with practice you could), but it contributes to the sense of resolution and finality at the end.

Now, let’s delve more deeply into sonata-allegro form using Mozart's famous Symphony No. 40 in G Minor. The links in the table below direct you to each section; first, though, follow along with the Listening Guide for an even more thorough description of musical events.

The movement opens with an intensely dramatic theme presented by the strings, leading to a gentler secondary theme shared with the woodwinds. A sonata-allegro movement usually contains two contrasting themes, in separate keys, and at least two secondary themes. Often, as in this movement, the exposition is repeated once. The development then traces the opening figure through various keys and introduces a strong contrapuntal element. Reached through a descending woodwind sequence, the recapitulation completes the movement, with the second theme now assuming particular poignancy in the minor key. Compare these two listening files back-to-back: the second theme as it appears in the exposition, and the second theme as it appears in the recapitulation. All themes in the recapitulation appear in the tonic key, even if they appeared in different keys in the exposition.