THE VIENNESE CLASSICAL CONCERTO The Enlightenment in Tone When the talent-mind of the artist exists and has the conditions to express itself, it seems to develop with great speed and daunting ease. — Clive James CULTIVATING A GARDEN

The arts flourish when the environment encourages them to grow.

If a life in the arts promises advancement and fulfillment — even if it poses challenges and difficulties — the artists will arise. Bill Atkinson, 1970s

Andy Herzfeld

Maria Theresa Joseph II Voltaire (1694–1778)

Rousseau (1712–1778) Holywell Music Room Oxford Built 1748

Leopold Hofmann Samuel Wesley William Boyce Jiri Benda Josef Myslivecek Johann Baptist Vanhal Carlos Baguer Antonio Rosetti Ignace Joseph Pleyel Joseph Martin Kraus Vacslav Pichl Leopold Kozeluch Karl von Ordoñez Karel Kohout Franz Xavier Richter William Herschel Pieter van Maldere François-Joseph Gossec Franz Krommer Karl Ditters von Dittersdorf THE EARLY STYLE

The Viennese Classical style required time to grow and develop: it did not spring directly into full maturity.

The earlier are not well remembered today, but they laid the foundations for Haydn, Mozart, and Beethoven to come:

Georg Matthias Monn

Christoph Wagenseil

Ignaz Holzbauer

Johann Fux Fux: 1660 - 1741

Holzbauer: 1711 - 1783

Wagenseil: 1715 - 1777

Monn: 1717 - 1750

Haydn: 1732 - 1809

Mozart: 1756 - 1791 GEORG CHRISTOPH WAGENSEIL

Harp Concerto in G Minor: I WAGENSEIL

1715–1777

From 1749 to his death he was the court to the Hapsburgs in .

Among his students were Marie Antoinette, Franz Xavier Dussek, and Leopold Hoffman.

Mozart & Haydn knew his music well. THE CONCERTO

It’s in double-exposition form.

However, the themes are not as clearly delineated as they might be in a later concerto. Exposition #1: Exposition #2: Solo

Primary Transition Secondary Primary Transition Secondary

G Major G Major D Major Development

Secondary Primary Free Secondary Retransition

D Major E Minor Recapitulation

Primary Transition Secondary Coda

G Major

HAYDN’S CONCERTOS

Many date from his earlier years in Esterházy employ—the early to mid 1760s.

Haydn was never as enthusiastic of a concerto writer as his younger colleague Mozart.

However, he left posterity with a number of superb examples of the Viennese Classical concerto at its fullest maturity. CONCERTOS

Strings: and

Winds: Flute, Flute & Oboe, Oboe, Horn

Piano (Clavier) and Organ

Lira organizzata, an oddball string-wind hurdy-gurdy hybrid, a favorite instrument of the King of , for whom Haydn wrote the concertos and other works. CELLO CONCERTO IN D, H VIIB:2: II (1783)

Jean-Guihen Queyras / Petra Mullejans / Freiburg Baroque Orchestra CLASSICAL FORM

Classical form is reduplicative: smaller structures are then used to build larger structures.

Two primary building blocks:

The period (two parts)

The three-part form (three parts) A Classical Period

Antecedent , Consequent . 4 measures 4 measures The Antecedent

1

œ™ œ œ œ # œ œ™ œ œ œ œ œ œ œ ?## 2 J ‰ J ‰ œ ‰ 4 3 J The Antecedent

1 1

œ™ œ œ œ # œ œ™ œ œ œ œ œ œ œ ?## 2 J ‰ J ‰ œ ‰ 4 3 J The Antecedent

1 1 2

œ™ œ œ œ # œ œ™ œ œ œ œ œ œ œ ?## 2 J ‰ J ‰ œ ‰ 4 3 J The Antecedent

1 1 2

œ™ œ œ œ # œ œ™ œ œ œ œ œ œ œ ?## 2 J ‰ J ‰ œ ‰ 4 3 J The Consequent

1 1 2

r œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œnœ œ œ ?###2 œ Œ 4 3 3 Three-Part Song Form

Part 1: Period Antecedent , Consequent

Part 2: Two Phrases ,

Part 3 = Part 1 Repeated Antecedent , Consequent First Rondo, a.k.a. Slow-Movement Ternary Reprise: Three-Part Song Form

Part 1 Part 2 Part 3

Excursion: Period or other phrase structure

Reprise: Three-Part Song Form

Part 1 Part 2 Part 3 D MAJOR CELLO CONCERTO

Haydn’s use of slow-movement ternary form is absolutely Classical.

However, he will use extended phrases—i.e., longer than expected—in order to avoid a static structure, and also to point up the most important points in the movement.

Phrases that lead into an important return are often extended, sometimes just a little, and sometimes a lot. Reprise Ant Cons Ant Cons Ant Cons

Excursion 1 2

Reprise Ant Cons

Cadenza Close

TRUMPET CONCERTO IN E-FLAT, H. VIIE:1

Wynton Marsalis / Raymond Leppard / National Philharmonic Orchestra THE CONCERTO

A late Haydn concerto, written in 1796 for his friend, the virtuoso Anton Weidinger.

The original instrument was a “keyed” trumpet, although nowadays the piece is usually played in a modern valved trumpet and in E-flat major instead of the original E Major.

The last movement is in classical Rondo form—albeit with some sonata-form aspects—and displays Haydn’s late art in full flower, as he extracts maximum effectiveness out of a few basic ideas. Orchestral Exposition Primary Primary+Trans Secondary

Reprise Primary Primary Transition

Excursion 1 Secondary Closing

Reprise Primary Primary+Trans

Excursion 2 Primary

Transition

Reprise Primary Secondary

Coda 1: Primary 2: Closing

MOZART’S CONCERTOS

27 Piano Concertos

5 Violin Concertos

4-ish Horn Concertos

Misc: Bassoon, 2 Flute, Clarinet, Flute & Harp

2 Sinfonias Concertante DOUBLE-EXPOSITION FORM

In Mozart’s mature concertos, the double-exposition form is heard at its peak of development. Exposition 1 (Orchestra) Exposition 2 (Solo)

P S1 Closing T1P S2 Closing

Tonic Key Secondary Key

Development

Secondary Key Recapitulation

P S1 & 2 Cadenza Closing

Tonic Key IN A MAJOR, K. 488

Murray Perahia / English Chamber Orchestra THEMATIC MATERIALS

T1 Theme 1, “Primary” theme of THEMATIC MATERIALS

Rs Orchestral “response” theme THEMATIC MATERIALS

T2 Theme 2, “Secondary” theme of sonata form THEMATIC MATERIALS

Dp “Deflection passage”, moves to minor mode THEMATIC MATERIALS

Tn New Theme, acts like another secondary theme THEMATIC MATERIALS

Cd Cadential theme, just as in sonata form T1 Rs T2 Dp Cd T1 Rs Br T2 Dp Solo Rs Tn Tn

T S T S T S

Tn Rtr Cz

T S T S T S T S T S

T1 T1 Rs Br T2 Dp Tn Rs Tn Cz Rs Cd Ed

T S T S T S T

SYMPHONIC CONCEPTION

As Mozart’s conception of the solo concerto evolved, increasingly he came to think of the genre as being a with a soloist.

The elevated nature of the symphony began finding its way into the relatively lighter-weight environment of the concerto.

The opening orchestral exposition became something truly remarkable, worth hearing just for its own sake, no matter that a soloist was waiting to enter. PIANO CONCERTO IN D MINOR, K. 466

Not only is the orchestral exposition rich and varied, but the piano solo makes and entrance as part of the orchestra, rather than establishing itself as the “star.” PIANO CONCERTO IN D MINOR, K. 466: I

Clifford Curzon / Benajmin Britten / English Chamber Orchestra

CLARINET CONCERTO IN A, K. 622

Karl Leister / Neville Marriner / Academy of St. Martins in the Fields THE CONCERTO

Written in 1791 for Mozart’s friend Anton Stadler.

Mozart’s last completed instrumental composition.

The second movement is in First Rondo (Slow Movement Ternary) form.