Classical period

The tradition & historical record

The Classical period was an era of classical music between roughly 1750 and 1820. The classical period falls between the Baroque and Romantic periods. It is mainly homophonic, using a clear melody line over a subordinate chordal accompaniment, but counterpoint was by no means forgotten, especially in liturgical vocal music and, later in the period, secular instrumental music. It also makes use of style galant which emphasizes light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Variety and contrast within a piece became more pronounced than before, and the orchestra increased in size, range, and power. The harpsichord declined as the main keyboard instrument and was superseded by the piano (or fortepiano). Unlike the harpsichord, which plucks strings with quills, pianos strike the strings with leather-covered hammers when the keys are pressed, which enables the performer to play louder or softer (hence the original name "fortepiano", literally "loud soft") and play with more expression; in contrast, the force with which a performer plays the harpsichord keys does not change the sound. Instrumental music was considered important by Classical period composers. The main kinds of instrumental music were the sonata, trio, string quartet, quintet, symphony (performed by an orchestra), and the solo concerto, which featured a virtuoso solo performer playing a solo work for violin, piano, flute, or another instrument, accompanied by an orchestra. ¹

In the middle of the 18th century, Europe began to move toward a new style in architecture, literature, and the arts, generally known as Neoclassicism. This style sought to emulate the ideals of Classical antiquity, especially those of Classical Greece. Classical music used formality and emphasis on order and hierarchy and a "clearer", "cleaner" style that used divisions between parts (notably a clear, single melody accompanied by chords), brighter contrasts, and "timbre" (achieved by the use of dynamic changes and modulations to more keys). In contrast with the richly layered music of the Baroque era, Classical music moved towards simplicity rather than complexity. In addition, the typical size of orchestras began to increase, giving orchestras a more powerful sound. The remarkable development of ideas in "natural philosophy" had already established itself in the public consciousness. In particular, Newton's physics was taken as a paradigm: structures should be well-founded in axioms and be both well-articulated and orderly. This taste for structural clarity began to affect music, which moved away from the layered polyphony of the Baroque period toward a style known as homophony, in which the melody is played over a subordinate harmony. This move meant that chords became a much more prevalent feature of music, even if they interrupted the melodic smoothness of a single part. As a result, the tonal structure of a piece of music became more audible. The new style was also encouraged by changes in the economic order and social structure. As the 18th century progressed well, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred lighter, funny comic operas. ¹

In the classical period, the theme consists of phrases with contrasting melodic figures and rhythms. These phrases are relatively brief, typically four bars in length, and can occasionally seem sparse or terse. The texture is mainly homophonic, with a clear melody above a subordinate chordal accompaniment, for instance an Alberti bass. This contrasts with the practice in Baroque music, where a piece or movement would typically have only one musical subject, which would then be worked out in a number of voices according to the principles of counterpoint, while maintaining a consistent rhythm or metre throughout. As a result, Classical music tends to have a lighter, clearer texture than the Baroque. The classical style draws on the style galant, a musical style which emphasized light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Structurally, Classical music generally has a clear musical form, with a well-defined contrast between tonic and dominant, introduced by clear cadences. Dynamics are used to highlight the structural characteristics of the piece. In particular, sonata form and its variants were developed during the early classical period and was frequently used. The Classical approach to structure again contrasts with the Baroque, where a composition would normally move between tonic and dominant and back again, but through a continual progress of chord changes and without a sense of "arrival" at the new key. ¹

In his book The Classical Style, author and pianist Charles Rosen claims that from 1755 to 1775, composers groped for a new style that was more effectively dramatic. In the High Baroque period, dramatic expression was limited to the representation of individual affects (the "doctrine of affections", or what Rosen terms "dramatic sentiment"). For example, in Handel's oratorio Jephtha, the composer renders four emotions separately, one for each character, in the quartet "O, spare your daughter". Eventually this depiction of individual emotions came to be seen as simplistic and unrealistic; composers sought to portray multiple emotions, simultaneously or progressively, within a single character or movement ("dramatic action"). Thus in the finale of act 2 of Mozart's Die Entführung aus dem Serail, the lovers move "from joy through suspicion and outrage to final reconciliation." Musically speaking, this "dramatic action" required more musical variety. Whereas Baroque music was characterized by seamless flow within individual movements and largely uniform textures, composers after the High Baroque sought to interrupt this flow with abrupt changes in texture, dynamic, harmony, or tempo. Among the stylistic developments which followed the High Baroque, the most dramatic came to be called Empfindsamkeit, (roughly "sensitive style"), and its best-known practitioner was Carl Philipp Emanuel Bach. Composers of this style employed the above-discussed interruptions in the most abrupt manner, and the music can sound illogical at times. The Italian composer Domenico Scarlatti took these developments further. ¹

By the late 1750s there were flourishing centers of the new style in Italy, Vienna, Mannheim, and Paris; dozens of symphonies were composed and there were bands of players associated with musical theatres. Opera or other vocal music accompanied by orchestra was the feature of most musical events, with concertos and symphonies (arising from the overture) serving as instrumental interludes and introductions for operas and church services. ¹

Haydn, having worked for over a decade as the music director for a prince, had far more resources and scope for composing than most other composers. ¹

The text above is adapted from the Wikipedia article “Classical period (music)”, available under the Creative Commons Attribution-ShareAlike 4.0 licence. ¹

Classical period is genre of Western music (c. 1730–1820), according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition. ²

The source record links this tradition to 16 external registers, which can be verified through the citation. ²