| Contents |
The musical language of the late eighteenth century. Period style and group style ; Tonality ; Tonic-dominant polarity ; Modulation ; Equal temperament ; Weakening of linear form -- Theories of form. Nineteenth-century conception of sonata form ; Twentieth-century revisions ; Schenker ; Motivic analysis ; Vulgar errors -- The origins of the style. Dramatic character of the classical style ; Range of styles 1755-1775 ; Public and private music ; Mannerist period ; Proto-classical symmetries and patterns ; Determinants of form -- The classical style. The coherence of the musical language. Periodic phrase ; Symmetry and rhythmic transition ; Homogeneous (Baroque) vs. heterogeneous (Classical) rhythmic systems ; Dynamics and ornamentation ; Rhythmic and dynamic transition (Haydn quartet op. 33 no. 3) ; Harmonic transition (modulation) ; Decorative vs. dramatic styles ; Conventional material ; Tonal stability and resolution ; Recapitulation and articulation of tension ; Reinterpretation and secondary tonalities ; Subdominants ; Contrast of themes ; Reconciliation of contrasts, symmetrical resolution ; Relation of large form to phrase, expansion technique (Haydn piano trio, H.19) ; Correspondence of note, chord, and modulation ; Articulation of rhythm, weight of individual beat ; Sonata style and eccentric material: fantasy form (Mozart, fantasy K. 475) ; Audible vs. inaudible form ; Extra-musical influence ; Wit in music -- Structure and ornament. Sonata forms generalized ; Structure vs. ornament ; Ornamentation in the late eighteenth century ; Radical change in function of decoration -- Haydn from 1770 to the death of Mozart. String quartet. Haydn and Carl Philipp Emanuel Bach ; Beginning in a false key ; Innovations of the scherzi quartets, thematic accompaniment ; Energy latent in musical material ; Dissonance as principal source of energy ; Directional power of material ; Sequence as a source of energy ; Reinterpretation by transposition ; Relation of string quartet to classical tonal system ; Further development of Haydn's string quartets ; String quartet and the art of conversation -- Symphony. Development of teh orchestra and symphonic style ; Stylistic progress ; Sturm und drang style ; Symphony no. 46 ; Weakness of rhythmic organization in early Haydn ; Symphony no. 47 ; Influence of opera ; Symphony no. 75 ; New clarity and sobriety ; Symphony no. 81 ; With and symphonic grandeur ; Oxford symphony ; Haydn and pastoral -- Serious opera. Problematic status of opera seria ; Conventions of opera seria and buffa ; Eighteenth-century tragedy ; High baroque style ; Dramatic and elegiac modes ; Gluck ; Neo-classical doctrine ; Music and the aesthetic of expression ; Words and music ; Gluck and rhythm ; Mozart and Idomeneo ; Recitative and complex forms ; Fusion of seria and buffa, Marriage of Fiagro ; Fidelio -- Mozart. The concerto. Mozart and dramatic form ; Tonal stability ; Symmetry and the flow of time ; Continuo playing in the late eighteenth century ; Musical significance of the continuo ; Concerto as drama ; Opening ritornello ; Concerto in E flat K. 271 ; Piano exposition as dramatization of orchestral exposition ; Symmetry of climax ; Secondary development within recapitulation ; Slow movement of K. 271 as an expansion of opening phrase ; Mirror symmetry ; Concerto finale ; Sinfonia concertante K. 364 ; Thematic relationships ; K. 412, K. 413, K. 415 ; K. 449 ; K. 456, modulating second theme ; Dramatic range of slow movement ; Variation-finales ; K. 459 and fugal finales ; K. 466, art of rhythmic acceleration ; Thematic unity ; K. 467 and symphonic style ; Slow movement, improvisation, and symmetry ; K. 482, orchestral color ; K. 488, articulation of close exposition ; Slow movement and melodic structure ; K. 503, technique of repetition ; Major and minor ; Sense of mass ; K. 537, proto-romantic style an dloose melodic structure ; Clarinet concerto, continuity of overlapping phrases ; K. 595, resolution of chromatic dissonance -- String quintet. Concertante style ; K. 174, expanded sonority and expanded form ; K. 515, irregular proportions ; Expansion of form ; K. 516, problem of classical finale ; Major ending to a work in the minor ; Expressive limits of the style ; Place of minuet in the order of movements ; Virtuosity and chamber music ; K. 593 ; Slow introductions ; Harmonic structure and sequences ; K. 614, influence of Haydn -- Comic opera. Music and spoken dialogue ; Classical style and action ; Ensembles, sextet from the marriage of Figaro, and sonata form ; Sextet from Don Giovanni and sonata proportions ; Tonal relations in opera ; Recapitulation and dramatic exigency ; Operatic finales ; Arias ; 'Se vuol ballare' from the marriage of Figaro ; Coincidence of musical and dramatic events: graveyard scene from Don Giovanni ; Comedy of intrigue ; Eighteenth-century concept of personality ; Comety of experimental psychology and Marivaux, Cosi fan tutte ; Virtuosity of tone ; Die zauberflote, Carlo Gozzi and the dramatic fable ; Music and moral truth ; Don Giovanni and the mixed genre ; Scandal and politics ; Mozart as subversive -- Haydn after the death of mozart. The popular style. Haydn and folk music ; Fusion of high art and popular style ; Integration of popular elements ; Suprise return of the theme in finales ; Minuets and popular cycle ; Orchestration ; Introduction as dramatic gesture -- Piano trio. Reactionary form ; Chamber music and pianistic virtuosity ; Instruments in Haydn's day ; Doubling of the bass line by cello ; H. 14 ; H. 22, expansion of the phrase ; H. 28, Haydn's early style transformed ; H. 26, acceleration of motivic elements within a phrase ; H. 31, luxuriant variation and technique ; H. 30, Haydn's chromaticism -- Church music. Expressive vs. celebrative aesthetic ; Opera buffa style and religious music ; Mozart's parodies of baroque style ; Haydn and religious music ; Oratorios and pastoral style ; 'Chaos' and sonata form ; Beethoven's mass in C major, problems of pacing ; D major mass -- Beethoven. Beethoven and post-classical style ; Beethoven and the romantics ; Substitutes for dominant-tonic relationship ; Harmonic innovations of the romantics ; Beethoven and his contemporaries ; G major piano concerto, creation of tension by tonic chord ; Return to classical principles ; Eroica, proportions, codas, and repeats ; Waldstein, unity of texture and theme ; Appassionata and unity of work ; Romantic experiments in Beethoven C minor variations ; Program music ; An die ferne Geliebte ; Years 1813-1817 ; Hammerklavier, intimate relation between large form and material ; Role of descending thirds in the construction of sequence ; Sequential structure of development of the hammerklavier ; Relation to large key-sequence ; Relation to thematic structure ; A [sharp] vs. A [natural] ; Metronome and tempo ; Change in style since op. 22 ; Scherzo ; Slow movement ; Introduction to finale ; Fugue ; Place of hammerklavier in Beethoven's work ; Transformation of the variation form into classical form ; Op. 111 ; Beethoven and the weight of musical proportions -- Epilogue. Schumann's monument to Beethoven (C major fantasy) ; Return to Baroque ; Change in tonal language ; Schubert ; His relation to classical style ; Use of middle-period Beethoven as a model ; Classical principles in late Schubert ; Classical style as archaism. |
