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Classical Keyboard Composers

Classical Keyboard Composers. 1750-1825. Franz Joseph Haydn. 1732-1809 Austrian Spent much of his life employed by the Esterhazy family Haydn’s works were closely influenced by late- Baroque music He often was inspired by fugue writing, and cleverly integrated it into classical style

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Classical Keyboard Composers

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  1. Classical Keyboard Composers 1750-1825

  2. Franz Joseph Haydn • 1732-1809 • Austrian • Spent much of his life employed by the Esterhazy family • Haydn’s works were closely influenced by late- Baroque music • He often was inspired by fugue writing, and cleverly integrated it into classical style • Haydn was also crucial in developing different forms of keyboard music • Fantasy • Sonata Form (Sonata Rondo Form) • Themes and Variations

  3. Wolfgang Amadeus Mozart • 1756-1791 • Austrian • Child prodigy • Began composing at age 5 • He composed over 600 works • Style • Combination of Galant Style and Baroque complexity • Galant Style= simpler music, homophonic, less ornamentation • His style mirrored the progression of the Classical Period • Demonstrated clarity, balance, transparency, and often delicacy

  4. Ludwig van Beethoven • 1770-1827 • Born in Germany/ Died in Austria • 5 Piano Concertos and 32 Piano Sonatas • 16 string quartets and 9 symphonies • Studied with Haydn • You can see the influence of Haydn and the transition from Baroque music in Beethoven’s early works • Counterpoint • Clean, clear, and repetitive themes • Crucial to the transition between Classical and Romantic music • Known as the Father of Romanticism

  5. Periods of Beethoven • First Period (1792-1800) • Concluding with Sonata Op. 24 • Clearly influenced by Haydn, Mozart, and Clementi • Not much experimentation with form and harmonic progression, at least in regards to Beethoven’s style • Typically four movements • Second Period (1800-1815) • Includes Moonlight Sonata (Op. 27 No.2) the Waldstein (Op. 53), and the Appassionata (Op. 57) • Much experimentation • Vast range of style and form • 3 Movements • Fast-Slow-Fast • Sonata-Allegro Form

  6. Third Period (1816-death) • Started to lose his hearing • Thirty-three Variations on a Waltz by Diabelli(Op. 120) • Hammerklavier(Op.106) • Started blurring the “lines” of movements • Structure and form were obscured • Gigantic pieces • Much experimentation with thematic development

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