The Classic Period in Music :: essays research papers

Getting its name from art history, the uncorrupted period in music extends from 1740 to 1810 and includes the music of Haydn, Mozart, the first period of Beethoven, and Bachs sons. The neo absoluteal period of music coordinated harmony, melody, rhythm, and orchestration more effectively then earlier periods of music. During the classical era the social function of music began to change from earlier spicy and religious connections toward more man and secular activities associated with the middle class. The rise of public concerts, the spread of commercial opera houses, the growth of music publishing, the increased reckon of musical pieces composed and played were all direct effects of the changing musical times. Among the many musical types of the period, the classical period is best cognize for the symphony, a form of a large orchestral ensemble. The symphonic pieces broadly speaking had three movements, the sonata, the minuet, and the finale. Building of the achievements o f earlier composers, Haydn, and Mozart brought the symphony to its peak in the wear 20 years of the 18th century. Haydn excelled in rhythmic drive and phylogeny of theme-based music. Mozart also added to the symphony by contrasting memorable lyric themes in very full sounding orchestral settings. To satisfy the middle-class amateur, classic composers supplied a ton of new chamber music for all imaginable combinations. The piano sonata became a very important form of chamber music, in particular after being refined by Haydn, Mozart, and Beethoven. After 1765, the string quad began to increasingly dominate the chamber music field. Unlike the concertos of the baroque period, the classic era mainly emphasized the solo concerto. The choice of solo instrument, however, was fair broader then in the baroque era. There was more of a tendency during the classical period towards keyboard concertos. This style was originated in North Germany, by C.P.E. Bach, and piecemeal spread to othe r areas. Mozart took the concerto to its greatest heights. His incomparable ability to weave the confused strands of the concerto fabric without entangling or obscuring either soloist or orchestra has never been surpassed.