Performing Forces

The Classical period saw new performing forces such as the piano and the string quartet and an expansion of the orchestra.

Initially called the fortepiano, then the pianoforte, and now the piano, this new keyboard instrument was capable of dynamics from soft to loud; the player needed only to adjust the weight applied when depressing a key. This feature was not available in the Baroque harpsichord. Although the first pianos were developed in the first half of the eighteenth century, most of the technological advancements that led the piano to overtake all other keyboard instruments in popularity occurred in the late eighteenth century.

Besides the keyboard instruments, the string quartet was the most popular new chamber music ensemble of the Classical period and comprised two violins, a viola, and a cello. In addition to string quartets, composers wrote duets, trios, quintets, and even sextets, septets, and octets. Whether performed in a palace or a more modest middle-class home, chamber music, as the name implies, was generally performed in a chamber or smaller room.

In the Classical period, the orchestra expanded into an ensemble that might include as many as thirty to sixty musicians distributed into four sections. The sections include the strings, woodwinds, brass, and percussion. Classical composers explored the individual unique tone colors of the instruments and they did not treat the instrumental sections interchangeably. A classical orchestral piece utilizes a much larger tonal palette and more rapid changes in the ensemble’s timbre through a variety of orchestration techniques. Each section in the classical orchestra has a unique musical purpose as penned by the composer. The string section still holds its prominence as the centerpiece of the orchestra. Composers continue to predominantly assign the first violins the melody and the accompaniment to the lower strings. The woodwinds are orchestrated to provide diverse tone colors and are often assigned melodic solo passages. By the beginning of the nineteenth century, clarinets were added to the flutes and oboes to complete the woodwind section. To add volume and to emphasize louder dynamics, the brass section (horns and trumpets) was used. The horns and trumpets also filled out the harmonies. The brass usually were not assigned the melody or solos. Percussion (kettle drums or timpani) was used for volume highlights and for a rhythmic pulse. Overall, the Classical orchestra matured into a multifaceted tone color ensemble that composers could utilize to produce their most demanding musical thoughts acoustically through an extensive tonal palette. General differences between the Baroque and Classical (1750-1815) orchestras are summarized in the following chart.

Emergence of New Musical Venues

The Classical period saw performing ensembles such as the orchestra appearing at an increasing number of concerts. These concerts were typically held in theaters or in the large halls of palaces and attended by anyone who could afford the ticket price, which was reasonable for a substantial portion of the growing middle class. For this reason, the birth of the public concert is often traced to the late eighteenth century. At the same time, more music was incorporated into a growing number of middle-class households.

The redistribution of wealth and power of this era affected the performing forces and musical venues in two ways. First, although the aristocracy still employed musicians, professional composers were no longer exclusively employed by the wealthy. This meant that not all musicians were bound to a particular person or family as their patron/sponsor. Therefore, public concerts shifted from performances in the homes and halls of the rich to performances for the masses which evolved the symphony into a genre for the public concert, as they were eventually written for larger and larger ensembles. Second, middle-class families incorporated more music into their households for personal entertainment. For example, middle-class households would have their children take music lessons and participate in chamber music or small musical ensembles. Musicians could now support themselves through teaching lessons, composing and publishing music, and performing in public venues in public concerts. Other opportunities included the public opera house, which was the center for vocal music experimentation during the Classical era. Composers also continued to write music for the church.

Genres

We normally classify musical compositions into genres by considering their performing forces, function, the presence and quality of any text, and their musical style and form. Changes in any of these factors can lead to changes in genres. The two most important new genres of the Classical period were the symphony and the string quartet; instrumental genres that continued from the Baroque period include the concerto.

Although one might trace its origins to the opera overture, the symphony developed as an orchestral composition for the public concert. By the end of the Classical period, it typically had four movements. The first movement was generally fast in tempo and in sonata form. The final movement was normally fast in tempo and used sonata, rondo, or theme and variations form. The interior movements consisted of a slow and lyrical movement and a moderate-tempo dance-like movement generally using the style of the minuet, a popular eighteenth-century dance.

The concerto is a genre we’ve already encountered, though it continues to evolve as we move into the Classical period. The concerto grosso falls out of fashion and is rarely composed after the Baroque. From this point forward in history, the term concerto refers to a solo concerto. Though the basic principle of contrasting a soloist with a full orchestra remains, changes are made to the form of the movements and the most commonly used solo instruments. While violin concertos remain popular, the advent of the piano and its rise in popularity make it the dominant solo instrument in concerto compositions.

The string quartet became one of the most popular genres of Classical chamber music. Its overall structure and form were exactly like the symphony. However, it was always performed by two violins, one viola, and one cello (thus its name) and was commonly used as entertainment in the home, although on occasion string quartets were performed in public concerts.

Also popular for personal diversion was the piano sonata, which normally had only three movements (generally lacking the minuet movement found in the string quartet and the symphony). In the Classical era, a sonata is a piece for a solo instrument, almost always a solo piano, or a duet between piano and solo instrument, usually a violin or cello.

The most pronounced change in the Classical period vocal music was the growing popularity of opera buffa, or comic opera, over the more serious plot and aristocratic characters of Baroque opera seria. Opera buffa portrayed the lives of middle-class characters and often mixed tragedy with comedy; as we will see, Mozart produced some of the most famous opera buffas of all time. (As a side note, Mozart also transformed the opera overture into a preview of the musical themes to follow in the opera proper.) Composers Haydn and Beethoven also continued to write oratorios.

Opera

OpenAI. (2023). ChatGPT (August 3 version)

Edited by Jennifer Bill

Opera is a dramatic story told through song. It is considered by many to be the most complete art form, combining all of the elements of art, words, music, drama, and dance. The Classical period ushered in a renewed sense of clarity, balance, and artistic refinement. Central to this era’s musical landscape was the opera, a genre that encapsulated the ideals of the time while offering a captivating synthesis of music, drama, and visual spectacle. Opera during the Classical period emerged as a potent form of entertainment and artistic expression, reflecting the intellectual and social currents of the age.

Rooted in the lavish courts of Europe and drawing inspiration from the dramatic traditions of Ancient Greece, opera flourished as an amalgamation of vocal prowess, instrumental virtuosity, and theatrical storytelling. Composers such as Wolfgang Amadeus Mozart, Christoph Willibald Gluck, and Christoph Martin Wieland redefined opera, moving away from the ornate excesses of the Baroque era and embracing a more naturalistic approach. This shift was characterized by a focus on clear vocal lines, balanced orchestration, and an emphasis on conveying genuine human emotions.

At the heart of Classical opera was the idea of “opera seria” and “opera buffa.” Opera seria, or serious opera, was characterized by its noble subjects, often drawn from mythological or historical sources. It featured elaborate arias showcasing the vocal prowess of the soloists. In contrast, opera buffa, or comic opera, explored relatable, everyday scenarios with a touch of humor and wit. This lighter form allowed for a more direct connection with the audience, often featuring ensembles and duets that captured the nuances of human interaction.

The librettos, or texts, of Classical operas, played a crucial role in conveying the ideals of the Enlightenment. Themes of reason, virtue, and humanism were interwoven with dramatic narratives, highlighting the power of music and drama to provoke thought and emotion. The rise of public opera houses democratized the genre, making it accessible to a broader audience beyond the aristocracy, and fostering a sense of shared cultural experience.

Adapted from The Atlanta Opera: Opera101

Elements of Opera

Music

Music moves the action of a story, expresses emotions and moods, and deepens our understanding of the characters.

Orchestra: In most cases, operas are accompanied by a group of musicians. Led by a conductor, an orchestra is an ensemble that is comprised of string, woodwind, brass, and percussion instruments.

Score: Musicians read from a score which is a notated piece of music showing each voice or instrumental part on its own staff.

Overture: An overture is an orchestral piece that may be played at the very beginning of the opera before any action takes place on stage (not all operas have overtures).

Musical themes (motives): Musical themes are complete ideas that are crafted to be memorable to the listener. They are heard throughout operas and are associated with a particular character or characters, a situation, an idea, an object, or an emotion.

Vocal Forms

Below are four types of musical forms composers use to help them describe how characters are feeling during the course of an opera.

Recitative: Composed to sound like natural patterns of speech, a recitative is singing that has the rhythm of talking. It is used for conversation between characters or to move the plot of the story.

Aria: A vocal solo expressing personal emotion or reflection.

Ensemble: A piece that is sung by two or more characters at the same time (duet for two characters, trio for three characters, quartet for four characters, etc.). Different melodies are sung simultaneously by each character involved in the ensemble.

Chorus: Often providing background music for the above, a chorus is a group of people singing together in parts or in unison.

Each scene is further divided into numbers, each representing a different musical form (i.e. aria, recitative, chorus number, or ensemble). In contrast to plays, the text is written with the intention of being accompanied by music.

Libretto: The text of an opera.

Librettist: The artist who arranges the text of a story to fit the accompanying music.

Visual

The spectacle of an opera encompasses sets, costumes, special effects, props, and staging. These elements are combined to tell the story in a multi-dimensional manner.

Set: The place where the action will occur on stage. Operas often have large, spectacular sets that reflect the time and place of the story being told.

Costumes: The outfits worn by each actor to reflect the time and place of an opera as well as the personality of each character.

Props: Items that may be carried onstage in an actor’s hands or that “dress” the set (such as furniture or decorative accessories).

Mozart, a towering figure of the Classical era, left an indelible mark on opera with works like The Marriage of Figaro, Don Giovanni, and The Magic Flute. His compositions exemplified the Classical principles of balance, elegance, and emotional depth, showcasing the potential of opera as a vehicle for exploring the complexities of the human psyche. Mozart’s operas, spanning a range of styles and themes, epitomize the quintessence of his creative brilliance and emotional depth. With a unique ability to blend exquisite melodies, intricate vocal writing, and profound human insight, Mozart’s operatic works stand as timeless gems within the classical music canon.

Mozart’s operas are marked by their intricate ensembles, breathtaking arias, and duets that capture the myriad nuances of human interaction. Through these compositions, he wove tales of love, deception, morality, and the eternal struggle between good and evil. Perhaps it is the universality of Mozart’s operatic themes – his exploration of human desires, flaws, aspirations, and triumphs – that keeps his works relevant across centuries and cultures.

English National Opera: Discover Don Giovanni

English National Opera: The Magic Flute (Synopsis)

English National Opera: The Marriage of Figaro (Synopsis)