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The Classical period in Western music occurred from about 1750 to 1830, despite considerable overlap at both ends with preceding and following periods, as is true for all musical eras. Although the term classical music is used as a blanket term meaning all kinds of music in this era, it can also occasionally mean this particular era within that tradition. Image File history File links Question_book-3. ... This article is about Western art music from 1000 AD to the present. ... Early music is commonly defined as European classical music from the Middle Ages, the Renaissance and the Baroque. ... This article does not cite any references or sources. ... Renaissance music is European music written during the Renaissance, approximately 1400 to 1600. ... In music the common practice period is a long period in western musical history spanning from before the classical era proper to today, dated, on the outside, as 1600-1900. ... Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. ... The expression romantic music and the homophone phrase Romantic music have two essentially different meanings. ... 20th century classical music, the classical music of the 20th century, was extremely diverse, beginning with the late Romantic style of Sergei Rachmaninoff, Impressionism of Claude Debussy and Maurice Ravel, and continuing through the Neoclassicism of middle-period Igor Stravinsky, and ranging to such distant sound-worlds as the complete... In the broadest sense, contemporary music is any music being written in the present day. ... Western music is the genres of music originating in the Western world (Europe and its former colonies) including Western classical music, American Jazz, Country and Western, pop music and rock and roll. ... This article is about Western art music from 1000 AD to the present. ...

The Classical period falls between the Baroque and the Romantic periods. The best known composers from this period are Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven; other notable names include Luigi Boccherini, Muzio Clementi, Johann Ladislaus Dussek, Carl Philipp Emanuel Bach, and Christoph Willibald Gluck. Beethoven is also sometimes regarded either as a Romantic composer or a composer who was part of the transition to the Romantic; Franz Schubert is also something of a transitional figure, as are Johann Nepomuk Hummel, Luigi Cherubini and Carl Maria von Weber. The period is sometimes referred to as the era of Viennese Classic or Classicism (German: Wiener Klassik), since Wolfgang Amadeus Mozart, Joseph Haydn, Ludwig van Beethoven, and Franz Schubert all worked at some time in Vienna, comprising the First Viennese School. Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. ... Romantic music is defined as the period of European classical music that runs roughly from the early 1800s to the first decade of the 20th century, as well as music written according to the norms and styles of that period. ... A composer is a person who writes music. ... Haydn redirects here. ... “Mozart” redirects here. ... “Beethoven” redirects here. ... Luigi Boccherini Luigi Rodolfo Boccherini (February 19, 1743 – May 28, 1805) was a classical era composer and cellist from Italy, whose music retained a courtly and galante style while he matured somewhat apart from the major European musical centers. ... Muzio Clementi (January 24, 1752 – March 10, 1832) was a classical composer, and acknowledged as the first to write specifically for the piano. ... Johann Ladislaus Dussek (Jan Ladislav Dusík) was a Czech composer and pianist. ... Carl Philipp Emanuel Bach (March 8, 1714 – December 14, 1788) was a German musician and composer, the second of five sons of Johann Sebastian Bach and Maria Barbara Bach. ... Gluck redirects here. ... Schubert redirects here. ... Johann Nepomuk Hummel Johann Nepomuk Hummel or Jan Nepomuk Hummel (14 November 1778 – 17 October 1837) was a composer and virtuoso pianist of Austrian origin who was born in Pressburg (present-day Bratislava, Slovakia). ... Portrait of Luigi Cherubini. ... Carl Maria von Weber Carl Maria Friedrich Ernst, Freiherr von Weber (November 18, 1786 in Eutin, Holstein – June 5, 1826 in London, England) was a German composer, conductor, pianist and critic, one of the first significant composers of the Romantic school. ... “Mozart” redirects here. ... Haydn redirects here. ... “Beethoven” redirects here. ... Schubert redirects here. ... For other uses, see Vienna (disambiguation). ... The First Viennese School is a name sometimes given to a collection of classical music composers who wrote in the classical music era in the late eighteenth century in Vienna. ...

Classicism

In the middle of the 18th century, Europe began to move to a new style in architecture, literature, and the arts generally, known as Classicism. While still tightly linked to the court culture and absolutism, with its formality and emphasis on order and hierarchy, the new style was also a cleaner style, one that favored clearer divisions between parts, brighter contrasts and colors, and simplicity rather than complexity. The remarkable development of ideas in "natural philosophy" had established itself in the public consciousness, with Newton's physics taken as a paradigm: structures should be well-founded in axioms, and articulated and orderly. This taste for structural clarity worked its way into the world of music as well, moving away from the layered polyphony of the Baroque period, and towards a style where a melody over a subordinate harmony — a combination called homophony — was preferred. This meant that the playing of chords, even if they interrupted the melodic smoothness of a single part, became a much more prevalent feature of music, and this in turn made the tonal structure of works more audible. This article is about building architecture. ... Classicism door in Olomouc, The Czech Republic Teatr Wielki in Warsaw Church La Madeleine in Paris Classicism, in the arts, refers generally to a high regard for classical antiquity, as setting standards for taste which the classicist seeks to emulate. ... Sir Isaac Newton FRS (4 January 1643 – 31 March 1727) [ OS: 25 December 1642 – 20 March 1727][1] was an English physicist, mathematician, astronomer, natural philosopher, and alchemist. ... Polyphony is a musical texture consisting of two or more independent melodic voices, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (homophony). ... Look up melody in Wiktionary, the free dictionary. ... Harmony is the use and study of pitch simultaneity, and therefore chords, actual or implied, in music. ... Homophony is a musical term that describes the texture of two or more instruments or parts moving together and using the same rhythm. ... Typical fingering for a second inversion C major chord on a guitar. ... Tonality is a system of writing music according to certain hierarchical pitch relationships around a key center or tonic. ... For other uses, see Counterpoint (disambiguation). ...

The new style was also pushed forward by changes in the economic order and in social structure. As the 18th century progressed, the nobility became the primary patrons of instrumental music, and there was a rise in the public taste for comic opera. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the continuo – the harmonic fill beneath the music, often played by several instruments. One way to trace this decline of the continuo and its figured chords is to examine the decline of the term obbligato, meaning a mandatory instrumental part in a work of chamber music. In the Baroque world, additional instruments could be optionally added to the continuo; in the Classical world, all parts were noted specifically, though not always notated, as a matter of course, so the word "obbligato" became redundant. By 1800, the term was virtually extinct, as was the practice of conducting a work from the keyboard. For other uses, see Opera (disambiguation). ... Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervallic content (the intervals which make up a sonority), later chords, in relation to a bass note. ... Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and nonchord tones, in relation to a bass note. ... This article or section is in need of attention from an expert on the subject. ... Chamber music is a form of classical music, written for a small group of instruments which traditionally could be accommodated in a palace chamber. ...

The changes in economic situation also had the effect of altering the balance of availability and quality of musicians. While in the late Baroque a major composer would have the entire musical resources of a town to draw on, the forces available at a hunting lodge were smaller and more fixed in their level of ability. This was a spur to having primarily simple parts to play, and in the case of a resident virtuoso group, a spur to writing spectacular, idiomatic parts for certain instruments, as in the case of the Mannheim orchestra. In addition, the appetite for a continual supply of new music, carried over from the Baroque, meant that works had to be performable with, at best, one rehearsal. Indeed, even after 1790 Mozart writes about "the rehearsal", with the implication that his concerts would have only one. Classicism door in Olomouc, The Czech Republic Teatr Wielki in Warsaw Church La Madeleine in Paris Classicism, in the arts, refers generally to a high regard for classical antiquity, as setting standards for taste which the classicist seeks to emulate. ... Classical antiquity is a broad term for a long period of cultural history centered on the Mediterranean Sea, which begins roughly with the earliest-recorded Greek poetry of Homer (7th century BC), and continues through the rise of Christianity and the fall of the Western Roman Empire (5th century AD... The Age of Enlightenment (French: ; Italian: ; German: ; Spanish: ; Swedish: ; Polish: ) was an eighteenth-century movement in Western philosophy. ... Late Baroque classicizing: G. P. Pannini assembles the canon of Roman ruins and Roman sculpture into one vast imaginary gallery (1756) Neoclassicism (sometimes rendered as Neo-Classicism or Neo-classicism) is the name given to quite distinct movements in the decorative and visual arts, literature, theatre, music, and architecture that... The Classical period in Western music occurred from about 1730 through 1820, despite considerable overlap at both ends with preceding and following periods, as is true for all musical eras. ... Classical economics is widely regarded as the first modern school of economic thought. ... Classical Physics refers to the ideas and laws developed before Relativity and Quantum Theory. ... Late Baroque classicizing: G. P. Pannini assembles the canon of Roman ruins and Roman sculpture into one vast imaginary gallery (1756) Neoclassicism (sometimes rendered as Neo-Classicism or Neo-classicism) is the name given to quite distinct movements in the decorative and visual arts, literature, theatre, music, and architecture that... For the subgenre of darkwave, see Neoclassical (Dark Wave). ... Great Books refers to a curriculum and a book list. ... Neoclassical ballet is a term describing the ballet style which uses traditional ballet vocabulary, but is generally more expansive than the classical structure allowed. ... Neoclassical economics refers to a general approach (a metatheory) to economics based on supply and demand which depends on individuals (or any economic agent) operating rationally, each seeking to maximize their individual utility or profit by making choices based on available information. ... Mannheim is a city in Germany. ...

Since polyphonic texture was no longer the focus of music but rather a single melodic line with accompaniment, there was greater emphasis on notating that line for dynamics and phrasing. The simplification of texture made such instrumental detail more important, and also made the use of characteristic rhythms, such as attention-getting opening fanfares, the funeral march rhythm, or the minuet genre, more important in establishing and unifying the tone of a single movement. “Fortissimo” redirects here. ...

This led to the Classical style's gradual breaking with the Baroque habit of making each movement of music devoted to a single affect (emotion or mood). Instead, it became the style to establish contrasts between sections within movements, giving each its own emotional coloring, using a range of techniques: opposition of major and minor; strident rhythmic themes in opposition to longer, more song-like themes; and especially, making movement between different harmonic areas the principal means of creating dramatic contrast and unity. Transitional episodes became more and more important, as occasions of surprise and delight. Consequently composers and musicians began to pay more attention to these, highlighting their arrival, and making the signs that pointed to them both more audible and more the subject of "play" and subversion. That is, composers more and more created false expectations, only to have the music skitter off in a different direction. The doctrine of the affections, also known as the doctrine of affects, or by the German term Affektenlehre (after the German Affekt; plural Affekten) was a theory in musical aesthetics popular in the Baroque era (1600–1750). ...

Main characteristics

Classical music has a lighter, clearer texture than Baroque music and is less complicated. It is mainly homophonic – melody above chordal accompaniment (but counterpoint is by no means forgotten, especially later in the period). There is an emphasis on grace and beauty of melody and form, proportion and balance, moderation and control; it is polished and elegant in character, with expressiveness and formal structure held in perfect balance. For other uses, see Baroque (disambiguation). ... For other uses, see Counterpoint (disambiguation). ...

Variety and contrast within a piece became more pronounced than before. Variety of keys, melodies, rhythms and dynamics (using crescendo, diminuendo and sforzando), along with frequent changes of mood and timbre were more commonplace in the Classical period than they had been in the Baroque. Melodies tended to be shorter than those of Baroque music, with clear-cut phrases and clearly marked cadences. The Orchestra increased in size and range; the harpsichord continuo fell out of use, and the woodwind became a self-contained section. As a solo instrument, the harpsichord was replaced by the piano (or fortepiano). Early piano music was light in texture, often with Alberti bass accompaniment, but it later became richer, more sonorous and more powerful. The word dynamics can refer to: in physics, a branch of mechanics; see dynamics (mechanics). ... Crescendo may mean: In musical notation, crescendo refers to a passage of music during which the volume gradually increases. ... In music, dynamics refers to the volume or loudness of the sound or note, in particular to the range from soft (quiet) to loud. ... In Western musical theory a cadence (Latin cadentia, a falling) is a particular series of intervals or chords that ends a phrase, section, or piece of music. ... For other uses, see Orchestra (disambiguation). ... Harpsichord in the Flemish style A harpsichord is a musical instrument played by means of a keyboard. ... A woodwind instrument is a musical instrument in which sound is produced by blowing through a mouthpiece against an edge or by a vibrating reed, and in which the pitch is varied by opening or closing holes in the body of the instrument. ... Harpsichord in the Flemish style A harpsichord is a musical instrument played by means of a keyboard. ... A short grand piano, with the lid up. ... Fortepiano by Paul McNulty after Walter & Sohn, ca. ... Alberti bass is a particular kind of accompaniment in music, often used in the classical music era. ...

Importance was given to instrumental music – the main kinds were sonata, trio, string quartet, symphony, concerto, serenade and divertimento. Sonata form developed and became the most important design. It was used to build up the first movement of most large-scale works, but also other movements and single pieces (such as overtures). Sonata (From Latin and Italian sonare, to sound), in music, literally means a piece played as opposed to cantata (Latin and Italian cantare, to sing), a piece sung. ... The resident string quartet of the Library of Congress in 1963 A string quartet is a musical ensemble of four string instruments—usually two violins, a viola and cello—or a piece written to be performed by such a group. ... This article does not cite any references or sources. ... The term Concerto (plural concertos or concerti) usually refers to a musical work in which one solo instrument is accompanied by an orchestra. ... Serenade by Judith Leyster. ... Divertimento is a music genre, with most of its examples stemming from the 18th century. ... This article includes a list of works cited or a list of external links, but its sources remain unclear because it lacks in-text citations. ...

History

Beginnings (1730-1760)

See also: History of sonata form

At first the new style took over Baroque forms — the ternary da capo aria and the sinfonia and concerto — but composed with simpler parts, more notated ornamentation and more emphatic division into sections. However, over time, the new aesthetic caused radical changes in how pieces were put together, and the basic layouts changed. Composers from this period sought dramatic effects, striking melodies, and clearer textures. The Italian composer Domenico Scarlatti was an important figure in the transition from Baroque to Classical. His unique compositional style is strongly related to that of the early Classical period. He is best known for composing more than five hundred one-movement keyboard sonatas. Another important break with the past was the radical overhaul of opera by Christoph Willibald Gluck, who cut away a great deal of the layering and improvisational ornament and focused on the points of modulation and transition. By making these moments where the harmony changes more focal, he enabled powerful dramatic shifts in the emotional color of the music. To highlight these episodes he used changes in instrumentation, melody, and mode. Among the most successful composers of his time, Gluck spawned many emulators, one of whom was Antonio Salieri. Their emphasis on accessibility brought huge successes in opera, and in vocal music more widely: songs, oratorios, and choruses. These were considered the most important kinds of music for performance and hence enjoyed greatest success in the public estimation. This article treats the history of sonata form through the Baroque, Classical, Romantic, and Modern eras. ... The da capo aria was a musical form prevalent in the Baroque era. ... In music, a sinfonia can be one of three things: 1) In the very late Renaissance and early Baroque, a sinfonia was an alternate name for a canzona, fantasia or ricercar. ... The term Concerto (plural concertos or concerti) usually refers to a musical work in which one solo instrument is accompanied by an orchestra. ... Giuseppe Domenico Scarlatti (October 26, 1685 – July 23, 1757) was an Italian composer who spent much of his life in Spain and Portugal. ... Gluck redirects here. ... In music, modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. ... This article is about modes as used in music. ... Antonio Salieri Antonio Salieri (August 18, 1750 – May 7, 1825), was an Italian composer and conductor. ...

The phase between the Baroque and the rise of the Classical, with its broad mixture of competing ideas and attempts to unify the different demands of taste, economics and "worldview", goes by many names. It is sometimes called Galant, Rococo, or pre-Classical, or at other times early Classical. It is a period where some composers still working in the Baroque style flourish, though sometimes thought of as being more of the past than the present — Bach, Handel, and Telemann all composed well beyond the point at which the homophonic style is clearly in the ascendant. Musical culture was caught at a crossroads: the masters of the older style had the technique, but the public hungered for the new. This is one of the reasons C.P.E. Bach was held in such high regard: he understood the older forms quite well and knew how to present them in new garb, with an enhanced variety of form. In music, Galant was a term referring to a style, principally occurring in the third quarter of the 18th century, which featured a return to classical simplicity after the complexity of the late Baroque era. ... A style of 18th century French art and interior design, Rococo style rooms were designed as total works of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings. ... Carl Philipp Emanuel Bach (Weimar, March 8, 1714 – December 14, 1788) was a German musician and composer, the second son of Johann Sebastian Bach. ...

Early Classical (1760-1775)

See also: Symphony

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 theatres. Opera or other vocal music was the feature of most musical events, with concertos and "symphonies" (arising from the overture), which over the course of the Classical developed and became independent instrumental works, serving as instrumental interludes and introductions, for operas, and for even church services. The norms of a body of strings supplemented by winds, and of movements of particular rhythmic character, were established by the late 1750s in Vienna. But the length and weight of pieces was still set with some Baroque characteristics: individual movements still focused on one affect or had only one sharply contrasting middle section, and their length was not significantly greater than Baroque movements. There was not yet a clearly enunciated theory of how to compose in the new style. It was a moment ripe for a breakthrough. This article does not cite any references or sources. ... Overture (French ouverture, meaning opening) in music is the instrumental introduction to a dramatic, choral or, occasionally, instrumental composition. ...

Many consider this breakthrough to have been made by C.P.E. Bach, Gluck, and several others. Indeed, C.P.E. Bach and Gluck are often considered to be founders of the Classical style.

The first great master of the style was the composer Joseph Haydn. In the late 1750s he began composing symphonies, and by 1761 he had composed a triptych (Morning, Noon, and Evening) solidly in the "contemporary" mode. As a vice-Kapellmeister and later Kapellmeister, his output expanded: he composed over forty symphonies in the 1760s alone. And while his fame grew, as his orchestra was expanded and his compositions were copied and disseminated, his voice was only one among many. Haydn redirects here. ...

While some suggest that he was overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and therefore to the future of Western art music as a whole. At the time, before the pre-eminence of Mozart or Beethoven, and with Johann Sebastian Bach known primarily to connoisseurs of keyboard music, Haydn reached a place in music that set him above all other composers except perhaps George Friedrich Handel. He took existing ideas, and radically altered how they functioned — earning him the titles "father of the symphony," and "father of the string quartet." One of the forces that worked as an impetus for his pressing forward was the first stirring of what would later be called Romanticism — the Sturm und Drang, or "storm and stress" phase in the arts, a short period where obvious emotionalism was a stylistic preference. Haydn accordingly wanted more dramatic contrast and more emotionally appealing melodies, with sharpened character and individuality. This period faded away in music and literature: however, it influenced what came afterward and eventually be a component of aesthetic taste in later decades. This article does not cite any references or sources. ... The resident string quartet of the Library of Congress in 1963 A string quartet is a musical ensemble of four string instruments—usually two violins, a viola and cello—or a piece written to be performed by such a group. ... Romantics redirects here. ... Sturm und Drang (literally: storm and stress) was a Germany literary movement that developed during the latter half of the 18th century. ...

The "Farewell" Symphony, No. 45 in F# Minor, exemplifies Haydn's integration of the differing demands of the new style, with surprising sharp turns and a long adagio to end the work. In 1772, Haydn completed his Opus 20 set of six string quartets, in which he deployed the polyphonic techniques he had gathered from the previous era to provide structural coherence capable of holding together his melodic ideas. For some this marks the beginning of the "mature" Classical style, where the period of reaction against the complexity of the late Baroque began to be replaced with a period of integration of elements of both Baroque and Classical styles. Symphony No. ...

Middle Classical (1775-1790)

See also: Musical development

Haydn, having worked for over a decade as the music director for a prince, had far more resources and scope for composing than most and also the ability to shape the forces that would play his music. This opportunity was not wasted, as Haydn, beginning quite early on his career, sought to press forward the technique of building ideas in music. His next important breakthrough was in the Opus 33 string quartets (1781), where the melodic and the harmonic roles segue among the instruments: it is often momentarily unclear what is melody and what is harmony. This changes the way the ensemble works its way between dramatic moments of transition and climactic sections: the music flows smoothly and without obvious interruption. He then took this integrated style and began applying it to orchestral and vocal music. Musical development is the transformation and restatement of initial material, often contrasted with musical variation, with which it may be difficult to distinguish as a general process. ...

Haydn's gift to music was a way of composing, a way of structuring works, which was at the same time in accord with the governing aesthetic of the new style. However, a younger contemporary, Wolfgang Amadeus Mozart, brought his genius to Haydn's ideas and applied them to two of the major genres of the day: opera, and the virtuoso concerto. Whereas Haydn spent much of his working life as a court composer, Mozart wanted public success in the concert life of cities. This meant opera, and it meant performing as a virtuoso. Haydn was not a virtuoso at the international touring level; nor was he seeking to create operatic works that could play for many nights in front of a large audience. Mozart wanted both. Moreover, Mozart also had a taste for more chromatic chords (and greater contrasts in harmonic language generally), a greater love for creating a welter of melodies in a single work, and a more Italianate sensibility in music as a whole. He found, in Haydn's music and later in his study of the polyphony of Bach, the means to discipline and enrich his gifts. “Mozart” redirects here. ...

Mozart rapidly came to the attention of Haydn, who hailed the new composer, studied his works, and considered the younger man his only true peer in music. In Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource; the learning relationship moved in two directions.

Mozart's arrival in Vienna in 1780 brought an acceleration in the development of the Classical style. There Mozart absorbed the fusion of Italianate brilliance and Germanic cohesiveness which had been brewing for the previous 20 years. His own taste for brilliances, rhythmically complex melodies and figures, long cantilena melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness. It is at this point that war and inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theatre orchestras. This pressed the Classical style inwards: towards seeking greater ensemble and technical challenge — for example, scattering the melody across woodwinds, or using thirds to highlight the melody taken by them. This process placed a premium on chamber music for more public performance, giving a further boost to the string quartet and other small ensemble groupings.

It was during this decade that public taste began, increasingly, to recognize that Haydn and Mozart had reached a higher standard of composition. By the time Mozart arrived at age 25, in 1781, the dominant styles of Vienna were recognizably connected to the emergence in the 1750s of the early Classical style. By the end of the 1780s, changes in performance practice, the relative standing of instrumental and vocal music, technical demands on musicians, and stylistic unity had become established in the composers who imitated Mozart and Haydn. During this decade Mozart composed his most famous operas, his six late symphonies which helped to redefine the genre, and a string of piano concerti which still stand at the pinnacle of these forms.

One composer who was influential in spreading the more serious style that Mozart and Haydn had formed is Muzio Clementi, a gifted virtuoso pianist who dueled Mozart to a draw before the emperor, when they exhibited their compositions in performance. His own sonatas for the piano circulated widely, and he became the most successful composer in London during the 1780s. Also in London at this time was Johann Ladislaus Dussek, who, like Clementi, encouraged piano makers to extend the range and other features of their instruments, and then fully exploited the newly opened possibilities. The importance of London in the Classical period is often overlooked, but it served as the home to the Broadwood's factory for piano manufacturing and as the base for composers who, while less famous than the "Vienna School", had a decisive influence on what came later. They were composers of many fine works, notable in their own right. London's taste for virtuosity may well have encouraged the complex passage work and extended statements on tonic and dominant. Muzio Clementi (January 24, 1752 – March 10, 1832) was a classical composer, and acknowledged as the first to write specifically for the piano. ... This article is about the capital of England and the United Kingdom. ... Johann Ladislaus Dussek (Jan Ladislav Dusík) was a Czech composer and pianist. ... Broadwood and Sons is the oldest and one of the most prestigious piano companies in the world, named after its founder John Broadwood. ...

Late Classical (1790-1825)

When Haydn and Mozart began composing, symphonies were played as single movements—before, between, or as interludes within other works—and many of them lasted only ten or twelve minutes; instrumental groups had varying standards of playing, and the continuo was a central part of music-making. In the intervening years, the social world of music had seen dramatic changes: international publication and touring had grown explosively, concert societies were beginning to be formed, notation had been made more specific, more descriptive, and schematics for works had been simplified (yet became more varied in their exact working out). In 1790, just before Mozart's death, with his reputation spreading rapidly, Haydn was poised for a series of successes, notably his late oratorios and "London" symphonies. Composers in Paris, Rome, and all over Germany turned to Haydn and Mozart for their ideas on form. Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervallic content (the intervals which make up a sonority), later chords, in relation to a bass note. ... This article is about the capital of France. ... For other uses, see Rome (disambiguation). ...

The moment was again ripe for a dramatic shift. During the 1790s, there emerged of a new generation of composers, born around 1770, who, while they had grown up with the earlier styles, found in the recent works of Haydn and Mozart a vehicle for greater expression. In 1788 Luigi Cherubini settled in Paris and in 1791 composed Lodoiska, an opera that rose him to fame. Its style is clearly reflective of the mature Haydn and Mozart, and its instrumentation gave it a weight that had not yet been felt in the grand opera. His contemporary Étienne Méhul extended instrumental effects with his 1790 opera Euphrosine et Coradin, from which followed a series of successes. Portrait of Luigi Cherubini. ... Etienne Henri (or Nicolas) Méhul (June 24, 1763 - October 18, 1817), was a French composer. ...

The most fateful of the new generation was Ludwig van Beethoven, who launched his numbered works in 1794 with a set of three piano trios, which remain in the repertoire. Somewhat younger than the others, though equally accomplished because of his youthful study under Mozart and his native virtuosity, was Johann Nepomuk Hummel. Hummel studied under Haydn as well; he was a friend to Beethoven and Schubert and a teacher to Franz Liszt. He concentrated more on the piano than any other instrument, and his time in London in 1791 and 1792 generated the composition and publication in 1793 of three piano sonatas, opus 2, which idiomatically used Mozart's techniques of avoiding the expected cadence, and Clementi's sometimes modally uncertain virtuoso figuration. Taken together, these composers can be seen as the vanguard of a broad change in style and the center of music. They studied one another's works, copied one another's gestures in music, and on occasion behaved like quarrelsome rivals. “Beethoven” redirects here. ... Johann Nepomuk Hummel Johann Nepomuk Hummel or Jan Nepomuk Hummel (14 November 1778 – 17 October 1837) was a composer and virtuoso pianist of Austrian origin who was born in Pressburg (present-day Bratislava, Slovakia). ... Ludwig van Beethoven Ludwig van Beethoven (baptized December 17, 1770 – March 26, 1827) was a German composer of Classical music, the predominant musical figure in the transitional period between the Classical and Romantic eras. ... For the crater on the moon, see Schubert (crater) Franz Schubert Franz Peter Schubert (January 31, 1797 – November 19, 1828), was an Austrian composer. ... Liszt redirects here. ...

The crucial differences with the previous wave can be seen in the downward shift in melodies, increasing durations of movements, the acceptance of Mozart and Haydn as paradigmatic, the greater use of keyboard resources, the shift from "vocal" writing to "pianistic" writing, the growing pull of the minor and of modal ambiguity, and the increasing importance of varying accompanying figures to bring "texture" forward as an element in music. In short, the late Classical was seeking a music that was internally more complex. The growth of concert societies and amateur orchestras, marking the importance of music as part of middle-class life, contributed to a booming market for pianos, piano music, and virtuosi to serve as examplars. Hummel, Beethoven, and Clementi were all renowned for their improvising.

Direct influence of the Baroque continued to fade: the figured bass grew less prominent as a means of holding performance together, the performance practices of the mid 18th century continued to die out. However, at the same time, complete editions of Baroque masters began to become available, and the influence of Baroque style continued to grow, particularly in the ever more expansive use of brass. Another feature of the period is the growing number of performances where the composer was not present. This led to increased detail and specificity in notation; for example, there were fewer "optional" parts that stood separately from the main score. Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and nonchord tones, in relation to a bass note. ...

The force of these shifts became apparent with Beethoven's 3rd Symphony, given the name Eroica, which is Italian for "heroic", by the composer. As with Stravinsky's Rite of Spring, it may not have been the first in all of its innovations, but its aggressive use of every part of the Classical style set it apart from its contemporary works: in length, ambition, and harmonic resources. The Rite of Spring is a ballet with music by the Russian composer Igor Stravinsky. ...

Classical influence on later composers

See also: Tonality

Musical eras seldom disappear at once; instead, features are replaced over time, until the old is simply felt as "old-fashioned". The Classical style did not "die" so much as transform under the weight of changes. Tonality is a system of writing music according to certain hierarchical pitch relationships around a key center or tonic. ...

One crucial change was the shift towards harmonies centering around "flatward" keys: shifts in the subdominant direction. In the Classical style, major key was far more common than minor, chromaticism being moderated through the use of "sharpward" modulation, and sections in the minor mode were often merely for contrast. Beginning with Mozart and Clementi, there began a creeping colonization of the subdominant region. With Schubert, subdominant moves flourished after being introduced in contexts in which earlier composers would have confined themselves to dominant shifts. This introduced darker colors to music, strengthened the minor mode, and made structure harder to maintain. Beethoven contributed to this by his increasing use of the fourth as a consonance, and modal ambiguity — for example, the opening of the D Minor Symphony. In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. ... In music theory, the term interval describes the difference in pitch between two notes. ...

Franz Schubert, Carl Maria von Weber, and John Field are among the most prominent in this generation of "Classical Romantics", along with the young Felix Mendelssohn. Their sense of form was strongly influenced by the Classical style, and they were not yet "learned" (imitating rules which were codified by others), but they directly responded to works by Beethoven, Mozart, Clementi, and others, as they encountered them. The instrumental forces at their disposal were also quite "Classical" in number and variety, permitting similarity with Classical works. Schubert redirects here. ... Carl Maria von Weber Carl Maria Friedrich Ernst, Freiherr von Weber (November 18, 1786 in Eutin, Holstein – June 5, 1826 in London, England) was a German composer, conductor, pianist and critic, one of the first significant composers of the Romantic school. ... John Field John Field (July 26, 1782 – January 23, 1837) was an Irish composer and pianist. ... Portrait of Mendelssohn by the English miniaturist James Warren Childe (1778-1862), 1839 Jakob Ludwig Felix Mendelssohn Bartholdy, born and generally known as Felix Mendelssohn (February 3, 1809 – November 4, 1847) is a German composer, pianist and conductor of the early Romantic period. ...

However, the forces destined to end the hold of the Classical style gathered strength in the works of each of these composers. The most commonly cited one is harmonic innovation. However, also important is the increasing focus on having a continuous and rhythmically uniform accompanying figuration: Beethoven's Moonlight Sonata was the model for hundreds of later pieces — where the shifting movement of a rhythmic figure provides much of the drama and interest of the work, while a melody drifts above it. Greater knowledge of works, greater instrumental expertise, increasing variety of instruments, the growth of concert societies, and the unstoppable domination of the piano — which created a huge audience for sophisticated music — all contributed to the shift to the "Romantic" style. “Piano Sonata No. ...

Drawing the line exactly is impossible: there are sections of Mozart's works which, taken alone, are indistinguishable in harmony and orchestration from music written 80 years later, and composers continue to write in normative Classical styles into the 20th century. Even before Beethoven's death, composers such as Louis Spohr were self-described Romantics, incorporating, for example, more extravagant chromaticism in their works. However, generally the fall of Vienna as the most important musical center for orchestral composition is felt to be the occasion of the Classical style's final eclipse, along with its continuous organic development of one composer learning in close proximity to others. Franz Liszt and Frédéric Chopin visited Vienna when young, but they then moved on to other vistas. Composers such as Carl Czerny, while deeply influenced by Beethoven, also searched for new ideas and new forms to contain the larger world of musical expression and performance in which they lived. Self-portrait of Spohr as a young man. ... In music, chromatic indicates the inclusion of notes not in the prevailing scale and is also used for those notes themselves (Shir-Cliff et al 1965, p. ... Liszt redirects here. ... Chopin redirects here. ... Carl Czerny, lithograph by Joseph Kriehuber, 1833 Carl Czerny (sometimes Karl; February 21, 1791 – July 15, 1857) was an Austrian pianist, composer and teacher. ...

Renewed interest in the formal balance and restraint of 18th century classical music led in the early 20th century to the development of so-called Neoclassical style, which numbered Stravinsky and Prokofiev among its proponents. For the subgenre of darkwave, see Neoclassical (Dark Wave). ... Igor Stravinsky. ... Sergei Sergeyevich Prokofiev (Russian: , Sergej Sergejevič Prokofijev; April 27 (April 151 O.S.), 1891–March 5, 1953) was a Russian and Soviet composer who mastered numerous musical genres and came to be admired as one of the greatest composers of the 20th century. ...

See also

• List of Classical composers
• Category:Classical era composers
• Music of the Enlightenment

This is a list of composers, mostly European, of the Classical music era, roughly from 1740 to 1820. ...

Further reading

• Roger Kamien Sixth Brief Edition "Music: An Appreciation" ISBN 978-0-07-340134-8
• Charles Rosen, The Classical Style. New York: W.W. Norton, 1972.

External links

• Classical Net - Classical Music Reference Site
• Free music downloads from classical music era
• Classical Music mp3s - pianist Michael Sayers
• Directories of composers and performers of classical.music
• A daily glance at this day in classical music history
• Classical Forums - Classical Music Forums and Information
• Classical Music Forums
• Classic Cat - A free classical catalogue.
• NMA (Neue Mozart-Ausgabe) Online - Mozart's scores