LEADER 09325cam 22004338a 4500001 ocm25317243 003 OCoLC 005 20141212093630.0 008 920131s1992 nyu b 001 0ceng 010 92005037 020 039395191X 035 (Sirsi) o25317243 035 (OCoLC)25317243 040 DLC |cDLC |dCUY |dERE |dUtOrBLW 049 EREM 050 00 ML195 |b.D68 1992 082 00 780/.9/033 |220 100 1 Downs, Philip G. |=^A301544 245 10 Classical music : |bthe era of Haydn, Mozart, and Beethoven / |cPhilip G Downs. 260 New York : |bW.W. Norton, |c1992. 300 xvi, 697 pages : |billustrations ; |c25 cm. 336 text |2rdacontent 337 unmediated |2rdamedia 338 volume |2rdacarrier 490 1 Norton introduction to music history 504 Includes bibliographical references and index. 505 00 |tThe transition from Baroque: music to 1760. |tThe background to eighteenth-century thought. |gArt and the philosopher ; |gThe musician as philosopher ; |gThe importance of "taste" in the eighteenth century -- |tThe musician in society. |tThe system of patronage ; |tPrinting and publishing ; |tThe beginnings of the public concert ; |tInstructional literature -- |tMusic for private performance. |tThe style galant ; |tSolo sonata with basso continuo ; |tThe trio sonata ; |tThe solo keyboard sonata ; |tThe Empfindsamer Stil ; |tOther keyboard forms ; |tThe song -- |tMusic for public performance. |tThe symphony ; |tThe concerto -- |tWords and music on the stage. |tThe theater as a social center ; |tThe singers ; |gThe dramatic conventions ; |tItalian opera seria ; |tRecitative and aria ; |tPastiche ; |tItalian opera buffa ; |tFrench opera ; |tOpera in Italy ; |tOpera in German-speaking countries ; |tOpera in London ; |tOpera in Paris -- |tEmbracing the new style: music 1760-80. |tThe social and philosophical milieu. |gThe beautiful and the sublime ; |gLiterary antiquarianism ; |tSturm und Drang ; |tThe concept of "classical" and its opposites -- |tThe musician's livelihood. |tConcert organizations ; |tMusic publishing ; |tWritings about music -- |tMusic in the home. |tFurther evolution of the sonata with continuo ; |tThe keyboard sonata ; |tThe keyboard sonata with optional accompaniment ; |tThe string trio ; |tThe string quartet ; |tThe string quintet ; |tVocal music -- |tConcert and church music. |tThe emergence of the "classical" symphony ; |tThe symphonie concertante ; |tThe solo concerto ; |tMusic in the service of God ; |tReligious music in Roman Catholic Europe ; |tChurch music in non-Catholic Europe -- |tOpera. |tSerious opera in Italy ; |tThe changing Italian opera buffa ; |tSerious opera outside Italy ; |tComic opera in France ; |tComic opera in London ; |tComic opera in Germany -- |tHaydn, the developing master. |tThe early years: 1732-60. |gEarly life ; |tCompositions -- |tThe first Esterházy years: to 1770. |gThe beginnings of recognition ; |tCompositions -- |tThe great stylistic break: 1770-79. |tHaydn's duties at Esterháza ; |tCompositions -- |tMozart, genius apparent. |tThe wunderkind years: 1756-73. |tThe first tours ; |tBack home: Salzburg and Vienna ; |tThe Italian tours -- |tEarly style. |tThe first keyboard works ; |tString quartets ; |tSymphonies ; |tConcertos ; |tOperatic works ; |tChurch music -- |tThe "Colloredo" years: 1773-81. |tThe patron ; |tThe products of patronage ; |tBroadening expressivity ; |gThe second journey to Paris ; |tThe Salzburg "employee" once again -- |tThe high Salzburg style. |tKeyboard works ; |tAccompanied sonatas ; |tChamber music without keyboard ; |tSymphonies ; |tSerenades and divertimentos ; |tOperatic works ; |tReligious music -- |tThe classical style at its apogee: 1780-1800. |tYears of revolution and change. |gScience and industry ; |tThe French Revolution ; |gChanging philosophies -- |tThe changing status of the musician. |tConcert societies ; |tMusic publishing: the beginning of an industry ; |tThe virtuoso ; |tThe musician as author -- |tSolo and chamber music. |tThe decline of the concerto ; |tFrom the harpsichord to the fortepiano ; |tThe accompanied keyboard sonata ; |tChamber music for strings ; |tMusic for voice and piano -- |tThe preeminence of the symphony and the concerto. |tThe symphony in Vienna ; |tThe concerto -- |tThe various faces of musical theater. |tThe opera seria ; |tThe flourishing opera buffa ; |tThe tragédie lyrique ; |tThe effect of the Revolution on the opéra comique ; |tThe Singspiel ; |tOperatic entertainment in London -- |tHaydn, the acknowledged master. |tThe last years at Esterházy: 1780-90. |gDaily life and responsibilities ; |tThe solo keyboard sonatas ; |tThe accompanied keyboard sonata ; |tThe string quartet ; |tSongs ; |tSymphonies ; |tConcertos ; |tThe operas ; |tChurch music -- |tFreedom at last. |gHaydn in London ; |gReturn to Vienna ; |gBack to London ; |gThe final return ; |tThe last compositions -- |tMozart, genius achieved. |tThe last ten years: 1781-91. |gBreaking with Colloredo ; |gMozart's marriage ; |tAn ideal realized: Die Entfuhrung ; |gLife in Vienna ; |tMozart and Da Ponte ; |gFinancial problems -- |tThe great works of the final decade. |tThe late piano works ; |tSonatas for violin and piano ; |tThe piano trios ; |tThe piano quartets ; |tThe piano quintet ; |tChamber music for strings alone ; |tThe song ; |tThe symphony ; |tThe concertos ; |tSerenades, divertimentos, and dances ; |tOperas ; |tChurch music -- |tBeethoven: 1770-1827. |tThe giant astride the centuries. |gThe beginnings in Bonn ; |gThe early years in Vienna ; |gRecognition and success ; |tEnlightened patronage and other sources of income ; |gThe last years -- |tThe entire oeuvre. |tThe first style period to 1802 ; |tSonatas for piano alone ; |tThe sonatas for piano with one instrument ; |tThe trios and larger works with piano ; |tThe string quartet ; |tMusic for larger chamber ensembles ; |tThe concertos ; |tThe symphonies and orchestral music ; |tThe second style period: 1803-14 ; |tPiano sonatas ; |tSonatas for piano and one other instrument ; |tPiano trios ; |tString quartets ; |tThe symphonies ; |tConcertos ; |tFidelio ; |tThe third style period: 1816-27 ; |tSolo piano works ; |tCello sonatas and songs ; |tThe string quartet ; |tThe Ninth Symphony ; |tThe Missa solemnis -- |tThe eighteenth-century heritage at work in the early nineteenth century. |tPost-revolutionary changes in society and the arts. |gNapoleonic power and its consequences ; |tEclecticism in the arts ; |tPhilosophic commentary on the arts -- |tThe business and the institution of music. |tConcert organizations ; |tMusic publishing ; |tMusical writings ; |tThe Paris Conservatory -- |tChamber music in the concert hall. |tThe transformation of the sonata ; |tThe changing role of the piano ; |tThe piano in large chamber ensembles ; |tString music and virtuosity ; |tLarge chamber ensembles -- |tThe loss of intimacy: performance triumphant. |tHaydn's legacy ; |tThe virtuoso concerto ; |tThe persistence of the operatic tradition in Italy ; |tChoral music at the start of a new tradition ; |gEpilogue. 520 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. 600 10 Haydn, Joseph, |d1732-1809. |=^A22368 600 10 Mozart, Wolfgang Amadeus, |d1756-1791. |=^A31894 600 10 Beethoven, Ludwig van, |d1770-1827. |=^A18609 650 0 Music |y18th century |xHistory and criticism. |=^A142436 650 0 Music |y19th century |xHistory and criticism. |=^A145272 830 0 Norton introduction to music history. |=^A638229 919 BOOK 596 3 998 447587