| Contents |
The transition from Baroque: music to 1760. The background to eighteenth-century thought. Art and the philosopher ; The musician as philosopher ; The importance of "taste" in the eighteenth century -- The musician in society. The system of patronage ; Printing and publishing ; The beginnings of the public concert ; Instructional literature -- Music for private performance. The style galant ; Solo sonata with basso continuo ; The trio sonata ; The solo keyboard sonata ; The Empfindsamer Stil ; Other keyboard forms ; The song -- Music for public performance. The symphony ; The concerto -- Words and music on the stage. The theater as a social center ; The singers ; The dramatic conventions ; Italian opera seria ; Recitative and aria ; Pastiche ; Italian opera buffa ; French opera ; Opera in Italy ; Opera in German-speaking countries ; Opera in London ; Opera in Paris -- Embracing the new style: music 1760-80. The social and philosophical milieu. The beautiful and the sublime ; Literary antiquarianism ; Sturm und Drang ; The concept of "classical" and its opposites -- The musician's livelihood. Concert organizations ; Music publishing ; Writings about music -- Music in the home. Further evolution of the sonata with continuo ; The keyboard sonata ; The keyboard sonata with optional accompaniment ; The string trio ; The string quartet ; The string quintet ; Vocal music -- Concert and church music. The emergence of the "classical" symphony ; The symphonie concertante ; The solo concerto ; Music in the service of God ; Religious music in Roman Catholic Europe ; Church music in non-Catholic Europe -- Opera. Serious opera in Italy ; The changing Italian opera buffa ; Serious opera outside Italy ; Comic opera in France ; Comic opera in London ; Comic opera in Germany -- Haydn, the developing master. The early years: 1732-60. Early life ; Compositions -- The first Esterházy years: to 1770. The beginnings of recognition ; Compositions -- The great stylistic break: 1770-79. Haydn's duties at Esterháza ; Compositions -- Mozart, genius apparent. The wunderkind years: 1756-73. The first tours ; Back home: Salzburg and Vienna ; The Italian tours -- Early style. The first keyboard works ; String quartets ; Symphonies ; Concertos ; Operatic works ; Church music -- The "Colloredo" years: 1773-81. The patron ; The products of patronage ; Broadening expressivity ; The second journey to Paris ; The Salzburg "employee" once again -- The high Salzburg style. Keyboard works ; Accompanied sonatas ; Chamber music without keyboard ; Symphonies ; Serenades and divertimentos ; Operatic works ; Religious music -- The classical style at its apogee: 1780-1800. Years of revolution and change. Science and industry ; The French Revolution ; Changing philosophies -- The changing status of the musician. Concert societies ; Music publishing: the beginning of an industry ; The virtuoso ; The musician as author -- Solo and chamber music. The decline of the concerto ; From the harpsichord to the fortepiano ; The accompanied keyboard sonata ; Chamber music for strings ; Music for voice and piano -- The preeminence of the symphony and the concerto. The symphony in Vienna ; The concerto -- The various faces of musical theater. The opera seria ; The flourishing opera buffa ; The tragédie lyrique ; The effect of the Revolution on the opéra comique ; The Singspiel ; Operatic entertainment in London -- Haydn, the acknowledged master. The last years at Esterházy: 1780-90. Daily life and responsibilities ; The solo keyboard sonatas ; The accompanied keyboard sonata ; The string quartet ; Songs ; Symphonies ; Concertos ; The operas ; Church music -- Freedom at last. Haydn in London ; Return to Vienna ; Back to London ; The final return ; The last compositions -- Mozart, genius achieved. The last ten years: 1781-91. Breaking with Colloredo ; Mozart's marriage ; An ideal realized: Die Entfuhrung ; Life in Vienna ; Mozart and Da Ponte ; Financial problems -- The great works of the final decade. The late piano works ; Sonatas for violin and piano ; The piano trios ; The piano quartets ; The piano quintet ; Chamber music for strings alone ; The song ; The symphony ; The concertos ; Serenades, divertimentos, and dances ; Operas ; Church music -- Beethoven: 1770-1827. The giant astride the centuries. The beginnings in Bonn ; The early years in Vienna ; Recognition and success ; Enlightened patronage and other sources of income ; The last years -- The entire oeuvre. The first style period to 1802 ; Sonatas for piano alone ; The sonatas for piano with one instrument ; The trios and larger works with piano ; The string quartet ; Music for larger chamber ensembles ; The concertos ; The symphonies and orchestral music ; The second style period: 1803-14 ; Piano sonatas ; Sonatas for piano and one other instrument ; Piano trios ; String quartets ; The symphonies ; Concertos ; Fidelio ; The third style period: 1816-27 ; Solo piano works ; Cello sonatas and songs ; The string quartet ; The Ninth Symphony ; The Missa solemnis -- The eighteenth-century heritage at work in the early nineteenth century. Post-revolutionary changes in society and the arts. Napoleonic power and its consequences ; Eclecticism in the arts ; Philosophic commentary on the arts -- The business and the institution of music. Concert organizations ; Music publishing ; Musical writings ; The Paris Conservatory -- Chamber music in the concert hall. The transformation of the sonata ; The changing role of the piano ; The piano in large chamber ensembles ; String music and virtuosity ; Large chamber ensembles -- The loss of intimacy: performance triumphant. Haydn's legacy ; The virtuoso concerto ; The persistence of the operatic tradition in Italy ; Choral music at the start of a new tradition ; Epilogue. |
| Abstract |
The latest volume in the Norton Introduction to Music History series focuses on the rise and decline of the Classical style, which flourished from the middle of the eighteenth century to the second decade of the nineteenth. The author demonstrates the enormous diversity and constant change that characterized music and musical life during this period. He eschews the usual stylistic labels, such as Rococo and High Classic, and instead organizes the text into short time spans. Within each, he looks to the social conditions and daily life of the musician, the aesthetics and audience preference in structures, performing combinations, and performing styles. The minor composers, or kleinmeister, are carefully observed, since they most accurately mirror their times. On the other hand, the giants, who left their mark on music for all time, receive full biographical scrutiny at each stage of their development. The book begins with the transition from the Baroque up to 1760 and the burgeoning new style that developed in the next two decades. The author then focuses on the early years of Haydn and Mozart before giving full treatment to the last twenty years of the eighteenth century, which saw the Classical style reach its apogee. He returns to the mature Haydn and deals with the last decade of Mozart's life, and finally considers Beethoven's musical origins and accomplishments. He concludes by documenting the eighteenth-century heritage at work in the early nineteenth century. |
