Implications of the Classical Symphony free essay sample

Among these elements is he classical symphony, which was established by Joseph Haydn. Though many other genres existed at the time, it was the symphony that stood out and clearly represented the substance Of the Classical period. The classical period can be best described as an evolutionary offshoot of the Baroque era. Whereas the Baroque era focused on the exaggeration of melodic expression, the Classical period boasted clearer texture and much greater simplicity.One can note this difference when we compare the textures of both eras, Baroque music sported imitative polyphony, with a plethora of melodies playing altogether simultaneously in a convolution of USIA (State 20). However, the Classical period provides a much concise sound with homophony. This allowed composers to create a single, all powerful theme that is supported by various sounds that do compliment this theme. Although some may think that this background music detracts from the content of a musical piece, it instead supports it and brings about a consistent contrast which amplifies the main theme of th e musical piece. We will write a custom essay sample on Implications of the Classical Symphony or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Homophony allowed for easy listening for the audience to enjoy, which at the same time brought about a pleasing attitude during performances. Among there things, Classical music is very forgiving when it comes to rhythm. Rhythm in the Baroque era could be best described as unvarying. Although composers may very well add various melodies in their compositions, classical composers, especially Haydn, worked around with rhythm to produce different tempos in their music (Whitfield 140).In order to compliment this waving rhythm, composers were also very forgiving when it came to repetition. It was during this period that repetition led the way for many musical works. Many of these repetitions, or themes, till this day are widely known. Take for example Beethovens Symphony No. In C minor, where the four note theme is constantly modified throughout the piece in different variations, yet never changes completely (Virtual Media Reserves). These are some of the elements that characterize the classical symphony.The classical symphony is one of the many instrumental genres that complimented the classical period. First and foremost, the classical symphony is the epitome of systemic organization till this point of time. This highly organized genre can only be rivaled by the religious Mass in terms of organization and complication. Created by Joseph Haydn, the classical homophony is the general template which many composers during and after the classical era have followed (Knights 137). Composers such as Joseph Haydn himself, as well as Wolfgang Amadeus Mozart and Ludwig van Beethoven, exploited the structured design of this genre to compose a variety of well organized pieces vital to the development of western music. Heydays involvement in the development of the classical symphony is as remarkable as his use of it. During his lifetime, he composed a total of 104 symphonies, of which the last twelve were written specifically for performances done in London, dubbed the London Symphonies. Musicologist James Webster commends Haydn for his work, stating He excelled in every musical genreHe is familiarly known as the father of the symphony and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres which holds much merit (Webster 220). Such was his influence that, just as Webster said, Haydn plays a crucial role in the development of Western music. The father Of the symphony is a title not given easily. Heydays symphony follows a strict organizational pattern. For the most part, the symphony is composed of four distinct movements.These movements can be effectively separated by differing tempos, form, and rhythm. The classical symphony is an instrumental genre that takes advantage of a large orchestra, unlike the previous genres of the Baroque era (State 55). It was not common to see a complete orchestra for a symphony, unlike a concerto which takes advantage of fewer instruments. The first movement of a symphony must comprise of a fast or moderate tempo. Furthermore, this opening movement takes advantage of the sonata form to provide a before moving on to the next movement. Thematic contrast is the key when it comes to sonata form.This form employs four sections titled exposition, development, recapitulation, and coda. Exposition lays the foundation of base material for the movement. Under most circumstances, this stage of the sonata form establishes the main theme from which the movement is mainly composed of (State 70). Any tune or musical phrase may become a theme, and one obvious example Heydays Symphony No. 88 in G. Although it contains an introduction, the exposition of Symphony No. 88 lays out the theme that carries on throughout the first movement, though a hanger in key is present (Virtual Media Reserves).This modulation, or bridge, can be precisely described as a transition that allows the listener to note the contrasting aspect of this piece. This forward movement of tension gives way to the development of the musical piece, never allowing it to remain stagnant with the same sound over and over again (State 80). To end the exposition, Haydn creates a cadence theme to bring a feeling of closure to the exposition, allowing the development stage to begin. In the development section of the first movement, themes are in constant transformation. Counterpoint may be employed to further easy the illusion of contrast, chaos, and tension, but in reality, the theme remains substantially the same. The combination of both theme and background sound is a popular technique, allowing the composer to manipulate the theme in such a simple way that it remains identical in its core, yet distinct enough to carry on the progressive change established by the first movement (State 80). This progressive change eventually forgoes a change back into the first theme again, bringing about the resolution.In the resolution stage, all the manipulation and change started by the exposition, and led partly by the development, comes to a sense of closure. In essence, everything comes back to its original order, with the occasional manipulation here and there brought to an end with a coda, which is the schematic wrapping up of the first movement (State 103). The first movement of a symphony goes through a variety of transformations and manipulations of th e same theme over a period of time, only to come back to its original form.For the most part, these series Of contrasts amaze the listener in many ways. Among such examples is Mozart Symphony No. 40 in G. Minor, 4. 550 (Whitfield 78). In it, the main theme is repeated twice in the exposition, but with the second theme modified in key. Upon reaching the development stage, modulation occurs, and counterpoint is used. In the recapitulation stage, the main theme returns with great power (State 103). The main characteristic of the second movement of the symphony is its contrast to the first movement.For the most part, it embraces a slow tempo and quiet mood. In most cases, the second movement is somber and solemn, unlike the fast paced first movement. Variation form takes precedence in cost cases, which is similar to Sonata form but not as structured. Modifications of the main theme follow each other, only to end with a coda (Knights 56). Unlike sonata form, Variation form does not contain any sort of a resolution stage. The third movement of the symphony undergoes a dramatic shift. It instantly becomes a minuet, with three beats per minute. The minuet takes a moderate tempo, and once again adopts a new form. The ternary form starts with a main theme, or section. It is immediately followed by a second section, only to come back to the first section with little to no contrast in between (Knights 60). This secret transition sometimes takes the listener by surprise, as the piece slowly but surely starts again with the first section in such a way that the listener cannot notice it. The fourth movement acts much like a finale.It assumes a fast tempo and rondo form to exemplify the repetition Of the main theme followed by a different tune. This tune is then followed by the main theme again, only to be followed by another tune. This ABACAS form can best be described as a violent confrontation of themes. Accompanied by the relatively fast tempo, this clash of themes brings about an epic end to the symphony, leaving the audience in awe (Knights 66). Though structured in such a systematic way, the classical symphony as a genre is a success.The various elements that encompass the genre all work together to create a piece of substance. Though composers such as Haydn digressed from the imitative polyphony of the Baroque era, the classical symphony is a perfect example of how western music can employ new techniques and move forward in the development of music. The incorporation of various tempos, forms, and textures all define the classical symphony as a definitive work of art. Works Cited State, Will. The Classical Symphony. Bloomington: Indiana University Press, 1990. Knights, Tamari.