Chapter 13:Other Classical Genres

The Classical Concerto

Key Terms

Classical concerto

Classical concerto movement plan

Double-exposition form

Orchestra exposition

Solo exposition

Cadenza

The Classical Concerto

Not identical to the Baroque concerto, but some features were retained

• 3 movements – fast, slow, fast• Solo virtuosity• Contest between soloist & orchestra

Contest heightened in Classical concerto• Soloist’s agility, brilliance, & expressiveness• Large orchestra’s power & variety of color• Soloist & orchestra held in perfect balance

Symphony Movement Plan

I – Moderate to fast tempo; Sonata form• Sometimes with slow Introduction

II – Slow tempo; Various forms used• Sonata form, variations, rondo, or other

III – Moderate tempo; Minuet form• A triple meter dance

IV – Fast tempo; Sonata or rondo form

Concerto Movement Plan

Similar to symphony movement plan• Minuet movement omitted

I – Moderate to fast tempo• Double-exposition sonata form• Long movement with cadenza near the end

II – Slow tempo; Various forms used• Sonata form, variations, rondo, or other

III –Fast tempo; Rondo form favored• At times variation form, but never sonata form

Double-Exposition Form (1)

Extended variant of sonata form• Capitalizes on solo vs. orchestra contest

Two expositions are used in place of the usual repeat of the expositionOrchestra exposition

• Announces the main themes in the tonic key

Solo exposition• Presents the same themes & some new ones• Adds a real bridge, modulates to second key• Often longer than orchestra exposition

Double-Exposition Form (2)

Development serves same dramatic function here as in sonata form

• Orchestra vs. soloist contest heightened

Recapitulation a composite of orchestra & solo expositions

• Orchestra’s cadence theme given greater prominence

• Pause for a solo cadenza just before final statement of cadence theme

Double-Exposition Form (3)

Mozart, Piano Concerto in A

Written during his Vienna years in 1786

Typical Classical concerto

Three nicely contrasted movements• I – One of his most gentle & songful 1st

movements• II – Almost tragic in mood• III – An exuberant & sunny finale

Mozart, Piano Concerto in A, I (1)

No fewer than 4 gentle, songful themes

• Theme 1, Theme 2, Cadence theme, & new theme

Small orchestra enhances effect

• Keeps clarinets, but no trumpets or timpani

Mozart, Piano Concerto in A, I (2)

Orchestra exposition sets the mood• Presents themes 1 & 2 and cadence theme

• Frequent contrasts between gentle theme and agitated answer – e.g., f response

Mozart, Piano Concerto in A, I (3)

Solo exposition features solo piano• Expands on orchestra exposition• Adds modulating bridge & a new theme

Development emphasizes contest• Rapid-fire dialogue• Theme fragments & frequent modulations

Mozart, Piano Concerto in A, I (4)

Recapitulation blends the two expositions• Piano & orchestra share theme 1• Bridge now returns to tonic key• Beautiful extension of new theme• Varied solo cadenza written out by Mozart• Orchestra answers with f response• Ends with cadence theme from 1st exposition

Conclusions

Derives from symphony movement plan• Double-exposition sonata form; no minuet

Some features of Baroque concerto• Solo vs. orchestra dialogue• Ritornello-like f response

Many unique features• Profusion of themes – “pleasing variety”• Dramatic contest between piano & orchestra• Virtuoso, “operatic” writing for solo piano• Improvisatory nature of cadenza