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The Classical Period was an era of classical music between roughly 1750 and 1820.
Carl Philipp Emanuel Bach, also formerly spelled Karl Philipp Emmanuel Bach, and commonly abbreviated C. P. E. Bach, was a German Classical period composer and musician, the fifth child and second surviving son of Johann Sebastian Bach and Maria Barbara Bach.
Johann Joachim Quantz was a German composer, flutist and flute maker of the late Baroque period. Much of his professional career was spent in the court of Frederick the Great. Quantz composed hundreds of flute sonatas and concertos, and wrote On Playing the Flute, an influential treatise on flute performance. His works were known and appreciated by Bach, Haydn and Mozart.
The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.
José António Carlos de Seixas was a pre-eminent Portuguese composer of the 18th century. An accomplished virtuoso of both the organ and the harpsichord, Seixas succeeded his father as the organist for Coimbra Cathedral at the age of fourteen. In 1720, he departed for the capital, Lisbon, where he was to serve as the organist for the royal chapel, one of the highest offices for a musician in Portugal, a position which earned him a knighthood. Much of Seixas' music rests in an ambiguous transitional period from the learned style of the 17th century to the galant style of the 18th century.
In music, galant refers to the style which was fashionable in the upper-class societies of Western Europe from the 1720s to the 1770s. On the other hand, the term found a narrowing in musicology in the 19th and 20th centuries: the focus is on compositions that can be seen as moving away from the Baroque in its more rhetorical formal language, but which at the same time only display qualities that can be attributed to the pre-classical period to a limited extent. At this point, the galant style can be seen as a step towards the formally freer, sensitive style, Empfindsamkeit, that prepared the early classical period.
Johann Wilhelm Hertel was a German composer, harpsichord and violin player.
Johann Gottlieb Graun was a German Baroque/Classical era composer and violinist, born in Wahrenbrück. His brother Carl Heinrich was a singer and also a composer, and is the better known of the two.
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Johann Sebastian Bach was a German composer and musician of the late Baroque period. He is known for his prolific authorship of music across a variety of instruments and forms, including orchestral music such as the Brandenburg Concertos; solo instrumental works such as the cello suites and sonatas and partitas for solo violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor; and choral works such as the St Matthew Passion and the Mass in B minor. Since the 19th century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music.
As a literary mode, sentimentalism, the practice of being sentimental, and thus tending towards making emotions and feelings the basis of a person's actions and reactions, as opposed to reason, has been a recurring aspect of world literature. Sentimentalism includes a variety of aspects in literature, such as sentimental poetry, the sentimental novel, and the German sentimentalist music movement, Empfindsamkeit. European literary sentimentalism arose during the Age of Enlightenment, partly as a response to sentimentalism in philosophy. In eighteenth-century England, the sentimental novel was a major literary genre. The genre developed in England between 1730 and 1780 at the time of high enlightenment from where it spread to other European literatures. Its philosophical basis primarily came from Anthony Ashley Cooper, 3rd Earl of Shaftesbury, a pupil of John Locke.
Johann Gottlieb Janitsch was a German Baroque composer who wrote in the galant style, transitional between the Baroque and Classical periods.
The Sonata in E♭ major for flute and harpsichord, probably by J. S. Bach, is a sonata in 3 movements:
The Sonata in E major for flute and basso continuo is a sonata for transverse flute and figured bass composed by J. S. Bach in the 1740s. It was written as the result of a visit in 1741 to the court of Frederick the Great in Potsdam, where Bach's son Carl Philipp Emanuel had been appointed principal harpsichordist to the king the previous year. It was dedicated to Michael Gabriel Fredersdorf, the king's valet and private secretary, who, like the king, was an amateur flautist.
The slide is a musical ornament often found in baroque musical works, but used during many different periods. It instructs the performer to begin two or three scale steps below the marked note and "slide" upward—that is, move stepwise diatonically between the initial and final notes. Though less frequently found, the slide can also be performed in a descending fashion.
Baroque music refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition. The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". The works of George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Alessandro Stradella, Tomaso Albinoni, Johann Pachelbel, Henry Purcell, Antonio Vivaldi, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Johann Hermann Schein, Heinrich Schütz, Samuel Scheidt, Dieterich Buxtehude, Gaspar Sanz, José de Nebra, Antonio Soler, Carlos Seixas and others.
The Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769, are a set of five variations in canon for organ with two manuals and pedals by Johann Sebastian Bach on the Christmas hymn by Martin Luther of the same name. The variations were prepared as a showpiece for Bach's entry as fourteenth member of Mizler's Music Society in Leipzig in 1747. The original printed edition of 1747, in which only one line of the canon was marked in the first three variations, was published by Balthasar Schmid in Nuremberg. Another version BWV 769a appears in the later autograph manuscript P 271, which also contains the six trio sonatas for organ BWV 525–530 and the Great Eighteen Chorale Preludes BWV 651–668. In this later version Bach modified the order of the variations, moving the fifth variation into a central position, and wrote out all the parts in full, with some minor revisions to the score.
These [variations] are full of passionate vitality and poetical feeling. The heavenly hosts soar up and down, their lovely song sounding out over the cradle of the Infant Christ, while the multitude of the redeemed "join the sweet song with joyful hearts." But the experiences of a fruitful life of sixty years have interwoven themselves with the emotions which possessed him in earlier years ... The work has an element of solemn thankfulness, like the gaze of an old man who watches his grandchildren standing round their Christmas tree, and is reminded of his own childhood.
The brilliant scale passages not only represent the ascending and descending angels, but sound joyous peals from many belfries ringing in the Saviour's birth.
The six sonatas for violin and obbligato harpsichord BWV 1014–1019 by Johann Sebastian Bach are works in trio sonata form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional viola da gamba. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the figured bass was left to the discretion of the performer, the keyboard part in the sonatas was almost entirely specified by Bach. They were probably mostly composed during Bach's final years in Cöthen between 1720 and 1723, before he moved to Leipzig. The extant sources for the collection span the whole of Bach's period in Leipzig, during which time he continued to make changes to the score.
The Sonata for Solo Flute in A minor, Wq.132, H 562, is a sonata for flute, without Basso Continuo or accompanying instruments, composed by Carl Philipp Emanuel Bach. The sonata is considered, along with Telemann's Fantasias for Solo Flute and J. S. Bach's A minor partita, one of the most significant works for unaccompanied flute before the 20th century. It is the sole flute work by Bach that was printed and published during his lifetime. No manuscript of it has been discovered.
Fantasia and Fugue in C minor, BWV 906, is a keyboard piece, likely unfinished, composed by Johann Sebastian Bach sometime during his tenure in Leipzig (1723–1750). The work survives in two autograph scores, one with the fantasia alone, and the other, believed to have been penned around 1738 in which the fugue is incomplete. The piece is notable for being one of Bach's latest compositions in the prelude and fugue format, and for being a showcase of Bach trying his hand at the emerging galant and empfindsam styles of music that his sons were known to compose.
References
- 1 2 Heartz and Brown 2001.
- ↑ O'Loghlin 2008, 46.
- 1 2 Palmer 2001, xvii.
- 1 2 Wolf 2003.
- ↑ Irving 2013, 903.
- ↑ O'Loghlin 2008, 46–47.
Sources
- Heartz, Daniel, and Bruce Alan Brown. 2001a. "Empfindsamkeit". The New Grove Dictionary of Music and Musicians , second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
- Irving, John. 2013. "Pre-Romanticism in Music". Encyclopedia of the Romantic Era, 1760–1850, 2 vols., edited by Christopher John Murray, 903–904. New York: Routledge. ISBN 978-1-135-45579-8.
- O'Loghlin, Michael. 2008. Frederick the Great and His Musicians: The Viola da Gamba Music of the Berlin School. Aldershot, Ashgate Publishing; Burlington, Vermont: Ashgate Publishing. ISBN 978-0-7546-5885-6.
- Palmer, Kris. 2001. Ornamentation According to C. P. E. Bach and J. J. Quantz. Bloomington: 1stBooks Library. ISBN 9780759609358.
- Wolf, Eugene K. 2003. "Empfindsam style". The Harvard Dictionary of Music, fourth edition, edited by Don Michael Randel. Harvard University Press Reference Library 16. Cambridge: Harvard University Press. ISBN 978-0-674-01163-2.
