Baroque Final Flashcards
(10 cards)
Symphony no. 6 in D Major (“Le Matin”): 1st mvt.
Who: Haydn
What: “Le Matin”, sonata form
Where: Vienna
When: 1761, first written after Haydn joined the Esterhazy court
Why: Symphony no. 6 in D Major (“Le Matin”): 1st mvt. is a significant early example of the Classical symphony, showcasing both the transition from the Baroque era and the innovations that would define Haydn’s lasting influence on the genre. The first movement begins with a striking, sunrise-like introduction that exemplifies Haydn’s use of musical imagery—a hallmark of his early symphonic writing. He paints a vivid tonal picture of dawn through rising scalar passages and a luminous orchestral texture, leading into an Allegro in sonata form. While this sonata structure was still in its formative stages, Haydn’s treatment already displays hallmarks of the form: an exposition with two contrasting themes (one bright and fanfare-like in D major, the other more lyrical), a development section that explores and modulates the thematic material, and a recapitulation that restates the original themes in the tonic key.
Importantly, Symphony No. 6 exemplifies the emergence of the four-movement symphonic cycle that would become standard in the Classical period. Though not all fully codified yet, Haydn’s use of structure, motivic development, and contrast between instrumental timbres reflect a new approach to compositional organization. The first movement, in particular, demonstrates Haydn’s attention to orchestral color and soloistic writing—traits that connect to the Baroque concerto grosso tradition—while simultaneously advancing the Classical ideal of thematic unity and balanced form. Thus, “Le Matin” not only marks Haydn’s early symphonic style but also foreshadows the mature Classical symphony’s structural and expressive possibilities.
String Quartet, op. 33, no. 2 (The Joke), 4th mvt.
Who: Haydn
What: The Joke Quartet, rondo form
Where:
When: 1781
Why: The fourth movement of Haydn’s String Quartet in E-flat Major, Op. 33, No. 2—nicknamed “The Joke”—is a masterful example of Classical-era wit and innovation, encapsulated within a lively rondo form. A rondo typically features a recurring principal theme (A) alternating with contrasting episodes (B, C, etc.), and in this case, Haydn adheres to the structure while using it as a vehicle for comedic surprise. The movement follows an ABACA structure, with the cheerful and dance-like A section reappearing in familiar intervals to anchor the listener’s expectations.
What sets this movement apart and earns it the nickname “The Joke” is Haydn’s clever manipulation of form and listener expectation in the coda. Just when the audience expects a final cadence, Haydn inserts strategic pauses and fragmented phrases, leading listeners to falsely believe the piece has ended—multiple times. This use of silence as a compositional tool, along with abrupt and unexpected stops, reflects Haydn’s signature sense of humor and showcases his forward-thinking approach to musical form. The quartet exemplifies Classical clarity and balance while simultaneously poking fun at those very conventions, making it both representative of the era and uniquely subversive within it.
The Creation: “Representation of Chaos”
Who: Haydn
What: Oratorio, sonata form w/o development
Where: Vienna
When: 1796-98
Why: “Representation of Chaos” is the orchestral introduction to The Creation, an oratorio written in 1797 and 1798 by Haydn. The oratorio depicts and celebrates the creation of the world as narrated in the Book of Genesis. The libretto was written by Gottfried van Swieten. The work is structured in three parts and scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra.
In the “Representation of Chaos,” Haydn achieves a remarkable musical depiction of pre-creation disorder through innovative formal and harmonic choices that depart from Classical conventions. Rather than employing a clearly defined key or conventional sonata form, Haydn destabilizes the listener’s expectations with a sequence of ambiguous harmonies, unpredictable modulations, and the near-complete absence of cadences. This lack of tonal grounding mirrors the theological and philosophical concept of chaos as a formless void, resisting order and structure. The resulting musical atmosphere is strikingly modern for its time, even evoking comparisons to later works like Wagner’s Tristan und Isolde—especially in the use of unresolved dissonances and a harmonic moment that closely resembles the famous “Tristan chord.” This connection underscores the forward-looking nature of Haydn’s writing and highlights how this passage pushes the expressive boundaries of Classical style.
Stylistically, the “Representation of Chaos” exemplifies Haydn’s mastery of orchestral color and his willingness to subvert formal expectations in service of programmatic storytelling. The absence of cadential closure, the deliberate blurring of key centers, and the subdued dynamic contrasts all contribute to a sense of suspended time and space. While the broader oratorio follows more traditional structures, this introduction stands apart as an experimental tone painting, foreshadowing the eventual arrival of divine order with the first choral entrance. Through these compositional choices, Haydn not only illustrates the chaos before creation but also expands the expressive possibilities of the Classical idiom, setting a precedent for later composers’ use of harmonic ambiguity and musical representation.
The Creation: “Creation of Light”
Who: Haydn
What: “Creation of Light”
Where: Vienna
When: 1796-98
Why: In The Creation, Haydn’s depiction of “The Creation of Light” stands as one of the most dramatically powerful moments in Classical-era sacred music, exemplifying his mature style and mastery of musical imagery. This movement occurs early in the oratorio, marking the moment in the Genesis narrative when God commands, “Let there be light.” Haydn dramatizes this moment through a stark contrast in musical texture and dynamics: after a hushed, mysterious orchestral introduction evoking primordial darkness, the sudden burst of bright C major at the word “Licht” is overwhelming in its brilliance. The effect is achieved through full orchestral and choral forces, brass fanfares, and a blazing major tonality, creating a vivid musical representation of divine intervention and illumination. This technique reflects Haydn’s deep understanding of text painting and his ability to use compositional tools—dynamics, harmonic contrast, orchestration—to translate spiritual experience into sound.
Formally, “The Creation of Light” functions within a recitative-aria-chorus framework typical of the oratorio genre, but Haydn’s treatment pushes boundaries by embedding a highly theatrical moment within what could otherwise be expected as a restrained, sacred context. His treatment of the text emphasizes both the awe-inspiring nature of creation and the Classical era’s Enlightenment-inflected view of divine order and reason. The harmonic language is rooted in Classical clarity, yet the dramatic timing—delaying the resolution until the very instant of “Licht”—demonstrates a sophisticated compositional organization that heightens expressive impact. This moment not only showcases Haydn’s innovative use of contrast and texture but also reflects broader shifts in late 18th-century sacred music, where theatricality and religious narrative increasingly intersected in public performance spaces.
The Creation: “Creation of the Sun and Moon”
Who: Haydn
What: “Creation of the Sun and Moon”
Where: Vienna
When: 1796-98
Why: In “The Creation of the Sun and Moon” from The Creation, Haydn masterfully blends stylistic and structural elements to convey the grandeur of the Biblical creation narrative while reflecting Enlightenment ideals. This movement showcases a variety of vocal forms, including simple recitative, accompanied recitative, and choral passages, which Haydn uses to delineate shifts in tone, drama, and theological emphasis. The absence of da capo arias—a hallmark of earlier Baroque opera—demonstrates Haydn’s departure from rigid formal repetition in favor of more fluid, text-sensitive settings, aligning with Classical ideals of clarity and dramatic progression. Instead of ornamental vocal displays, the music focuses on vividly painting the scene and enhancing the meaning of the text.
Stylistically, Haydn’s treatment of text and music in this section is highly illustrative and rooted in the Classical emphasis on reason and human dignity. The harmonic language and orchestration reflect the majesty and order of the cosmos; for instance, the use of brilliant orchestral color and luminous harmonies to depict the rising sun reinforces both the literal and symbolic significance of light. Through these means, Haydn communicates not only the power of divine creation but also an optimistic vision of the natural world and humanity’s place within it. This portrayal of human nature as inherently good, rational, and harmonious mirrors Enlightenment humanism and positions The Creation as both a religious and philosophical statement.
Symphony no. 41 (“Jupiter”): 4th mvt.
Who: Mozart
What: Jupiter, sonata form with contrapuntal coda.
Where:
When: 1788
Why: The fourth movement of Mozart’s Symphony No. 41 in C Major (nicknamed the “Jupiter” symphony) is one of the crowning achievements of Classical-era orchestral writing, particularly notable for its intricate compositional organization and sophisticated use of counterpoint within a Classical framework. The movement is cast in a clear rounded binary form, with explicitly marked repeats in the exposition and a return of initial material after a central development, aligning it with the broader sonata-allegro structure typical of the Classical symphony. This formal clarity made the work appealing to both connoisseurs and educated amateurs, especially in contexts such as public concerts or casino performances. The exposition alone reveals Mozart’s mastery of thematic construction, moving seamlessly from triumphant fanfares to sections of lyrical contrast defined by antecedent–consequent phrasing and a harmonic landscape rich in cadences and dominant preparation. Notably, the bridge passage utilizes downward-sequencing modulations and bass motion along the circle of fifths—an homage to Baroque procedures that Mozart reinvents with Classical clarity and energy.
What sets this movement apart is Mozart’s deft synthesis of fugal and contrapuntal writing within a dramatic symphonic form. While the exposition introduces four primary thematic motives, it is the coda where their true significance is revealed. In a virtuosic display of quintuple invertible counterpoint, Mozart layers all the themes atop one another with mathematical precision and expressive intensity, excluding only the horns from the polyphonic melee. This remarkable finale, culminating in a grand stretta-like conclusion, demonstrates both technical prowess and emotional sublimity, embodying Enlightenment ideals of order, balance, and transcendence. The treatment of motivic fragmentation, modulation through distant keys (often with abrupt shifts rather than gradual transitions), and chromatic bass movement in the development section adds dramatic tension and surprise before the tonal resolution of the recapitulation. Ultimately, the movement’s synthesis of fugue and sonata form not only pays homage to earlier Baroque traditions but also propels symphonic writing into new expressive realms, making it a powerful exemplar of late-Classical style and Mozart’s compositional genius.
Piano Concerto in A Major: 1st mvt.
Who: Mozart
What: Piano concerto, “double exposition” sonata form
Where:
When: 1786
Why: Mozart’s Piano Concerto in A Major, K. 488 (1st movement) stands as a seminal example of Classical concerto form and a model for what later became known as “double exposition” or “concerto sonata form.” This structure blends elements of ritornello and sonata forms, with the orchestra presenting the initial thematic material in the first exposition, followed by a second exposition in which the soloist enters and reinterprets this material—often with added embellishment and harmonic flexibility. In this concerto, the soloist not only reintroduces themes but plays a crucial role in initiating modulation, guiding the tonal direction in a way that underscores the increasingly dialogic relationship between soloist and ensemble. This move toward a more active soloist laid the groundwork for Romantic concerto form, making the piece historically significant.
Mozart’s approach to thematic development in this movement is particularly innovative. He introduces a new theme at the beginning of the development section—an unusual move that breaks from the traditional reuse and transformation of earlier material. Harmonic progression, too, is handled creatively; instead of predictable modulation through the circle of fifths, Mozart often shifts by descending thirds, lending the movement a gentle but distinctive harmonic coloration. Furthermore, the orchestration highlights an evolving interplay between the piano and winds. At one point, the piano engages in a call-and-response with the winds—an almost rhetorical “argument”—before ultimately yielding to the winds’ theme, suggesting a subtle narrative of negotiation or surrender. These techniques exemplify Mozart’s mastery in balancing formal clarity with expressive nuance, making this movement both representative of Classical ideals and rich with individual ingenuity.
Don Giovanni, banquet scene
Who: Mozart
What: Don Giovanni banquet scene ensembles, featuring Leporello, Don Giovanni, Donna Elvira, and Statue of the Commendatore.
Where: Prague
When: 1787
Why: The banquet scene in Mozart’s Don Giovanni is a striking culmination of the opera’s dramatic and musical complexity, blending comedic and serious elements in a quintessential example of dramma giocoso. Structurally, it forms part of a large-scale multi-sectional ensemble finale, typical of late 18th-century opera. Each section—beginning with light banquet music and comic interplay, moving through Donna Elvira’s emotional interruption, and culminating in the supernatural arrival of the Commendatore—features distinct keys, tempi, and textures, allowing dramatic momentum to build organically. This form enables Mozart to seamlessly shift between humor and terror, culminating in Don Giovanni’s damnation through a through-composed trio and orchestral ritornello-like statements. The onstage ensemble plays snippets of three well-known tunes, including one from Mozart’s own The Marriage of Figaro, creating a humorous moment of self-reference and commentary on the operatic world.
Stylistically, the banquet scene highlights Mozart’s layered use of musical social codes. The upper-class characters sing in a formal, opera seria style, while lower-class characters exhibit simpler, more folk-like idioms. Don Giovanni adapts his style to match his company, a technique that underscores his manipulative charisma. Much of the dramatic dialogue unfolds in secco and accompanied recitative, which allows for fluid narrative pacing and rapid emotional shifts. The orchestra functions as a vivid commentator, using tone painting to reflect and heighten the drama—most notably when the D minor theme from the overture returns, signaling Giovanni’s impending doom and uniting the opera in a kind of cyclical formal arc. This scene, then, not only showcases Mozart’s command of ensemble writing and formal design, but also his ability to use musical structure as a narrative and psychological tool.
Symphony no. 3 in E-flat Major (“Eroica”): 1st mvt.
Who: Beethoven
What: Eroica, sonata form
Where:
When: 1802-1805
Why: The first movement of Beethoven’s Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”), stands as a monumental redefinition of the Classical symphonic tradition. Written in sonata form, this movement not only adheres to but radically expands the formal and expressive boundaries of the genre. Beethoven begins with two bold E-flat major chords, immediately asserting the heroic tone and grabbing the listener’s attention. The primary theme that follows is driven, rhythmically vital, and already reveals Beethoven’s signature use of syncopation—a technique he uses throughout the movement to create tension, disrupt metric expectations, and enhance the feeling of struggle or conflict. The sonata form is preserved in its broad strokes—exposition, development, recapitulation, and coda—but Beethoven extends each section significantly, particularly the development, which becomes a dramatic battlefield of motives and harmonic experimentation.
One of the most striking features of this movement is Beethoven’s use of motivic development and thematic transformation. Instead of simply contrasting two themes, Beethoven deconstructs and reassembles motivic fragments across different tonal centers, building a sense of psychological and narrative depth. Syncopation acts here as an “antagonist,” undercutting the regularity of rhythm and emphasizing the instability of the thematic material. The coda, unusually long for symphonic writing up to that point, functions almost like a second development, reaffirming the E-flat major key and dramatically resolving the earlier tension. This movement exemplifies Beethoven’s departure from the balanced elegance of Haydn and Mozart toward a more personal, expressive, and revolutionary idiom—making the Eroica Symphony not just a cornerstone of his output, but a pivotal work in the transition from the Classical to the Romantic era.
Essay Prompt 3:
The works of Haydn and Mozart, along with the early efforts of Beethoven, provide a body of music that epitomizes the so-called Viennese “Classical” period. Presumably, this means that these artists and their works partake of certain shared characteristics. Even so, each of these composers was able to cut a distinctive path, both in the types of music they are best known for today as well as in their personal lives. Evaluate these statements with material drawn from class.
The music of Haydn, Mozart, and Beethoven defines the Viennese Classical period through shared traits such as balance, formal clarity, and motivic development. However, each composer forged a distinct path—reflected not just in their personal styles, but in how they treated form, genre, and expression. This individuality becomes especially apparent in works like Haydn’s Le Matin and The Creation, Mozart’s Jupiter Symphony (4th movement) and Piano Concerto in A Major (1st movement), and Beethoven’s Eroica Symphony (1st movement).
Haydn’s Le Matin (Symphony No. 6) demonstrates Classical ideals emerging from Baroque precedent. The opening depicts sunrise using ascending scales and radiant orchestration—a clear instance of musical imagery. The movement that follows adopts sonata form with an exposition of two contrasting themes, a development that modulates and transforms them, and a recapitulation in the tonic. At the same time, Haydn retains Baroque elements like concerto grosso-inspired instrumental textures. The work’s combination of vivid tone-painting, formal structure, and motivic unity exemplifies the early Classical symphony’s expressive and organizational possibilities.
In The Creation, Haydn expands the expressive range of the Classical style. “The Representation of Chaos” uses ambiguous harmonies, delayed cadences, and unclear key centers to musically depict pre-creation disorder. Haydn subverts Classical conventions to express theological and philosophical ideas—anticipating Romantic harmonic experimentation. By contrast, “The Creation of the Sun and Moon” shows Classical form at its most illustrative: brilliant orchestration, Enlightenment optimism, and flexible vocal forms (recitative, choral passages) replace rigid da capo arias. These stylistic choices allow Haydn to reflect both divine grandeur and human reason, aligning with contemporary humanist ideals.
Mozart’s works demonstrate Classical balance while elevating formal and contrapuntal complexity. The 1st movement of the Piano Concerto in A Major is a model of double exposition form: the orchestra presents themes first, and the piano reintroduces and transforms them. Mozart innovates further by introducing a new theme in the development and using descending third modulations rather than typical circle-of-fifths progressions. The call-and-response between piano and winds offers a musical dialogue, with the soloist yielding to the orchestra in moments of rhetorical negotiation.
The finale of Mozart’s Jupiter Symphony is a tour de force of contrapuntal and structural synthesis. While its form aligns with sonata principles—exposition, development, and recapitulation—Mozart incorporates five distinct themes, which are eventually combined in an astonishing fugal coda. Using invertible counterpoint and layering all themes simultaneously, Mozart draws on Baroque techniques while upholding Classical clarity. The result is a masterclass in motivic development, form, and expressive grandeur, embodying Enlightenment ideals of order and rational beauty.
Beethoven’s Eroica Symphony redefines Classical sonata form with scale, intensity, and narrative depth. The first movement begins with two bold E-flat major chords, followed by a primary theme marked by rhythmic drive and syncopation. Beethoven uses this syncopation throughout to destabilize the meter, adding tension and urgency. The development becomes a dramatic conflict zone where motives are broken down, modulated, and transformed. The recapitulation restores stability, but Beethoven then extends the coda into a second development, deepening the resolution. The movement’s expanded proportions and expressive force make it a watershed moment, marking a turn toward the Romantic conception of the symphony as personal and heroic.
In sum, Haydn, Mozart, and Beethoven shared Classical principles but pushed them in distinct directions: Haydn explored structure and tone-painting, Mozart refined form and counterpoint, and Beethoven expanded emotional and structural boundaries. Together, their works not only define the Classical period but also chart its evolution toward greater expressive power and formal innovation.
