As you can see, we've got the genre of the symphony.
It's played by a symphony orchestra.
Actually, that's why we call it a symphony orchestra, because this thing,
this performing group, the orchestra, most frequently played a thing called, a genre,
called a symphony.
So we call it a symphony orchestra.
The performing group of a string quartet, well,
it played this thing called a string quartet, a genre called a string quartet.
Of course, a concerto is played by an orchestra, and
usually a soloist fronting that orchestra.
Sonata?
Well, sonata could be writing for piano, or for
another instrument such as the cello or violin accompanied by a piano.
Now, the four previous genres that we've looked at here, of course,
are all instrumental.
There was a fifth, opera, and we'll discuss that as we proceed.
So let's move on now.
We're going to look at how this works, starting with the classical symphony and
the string quartet, beginning with, well, let's get down to the bottom.
We'll start with tempo.
Notice that we have, with the symphony and the string quartet,
four movements, fast, slow, lively, and then fast at the end.
As to mood, well, the first movement's serious, substantive,
yet also at a fast tempo.
Second is a contrasting movement.
It is oftentimes lyrical and tender.
Third is a bit lighter,
more elegant, sometimes spirited if it's a case of a scherzo.
But more normally dense like in the spirit of a minuet.
And then, finally, a bright lighthearted, sometimes humorous farewell.
A finale, the last movement.
As to form, we see that the first movement is almost always written in a form that
we'll spend a great deal of time on, the sonata-allegro form.
Second movement can be in ternary form, sometimes in theme and variation form,
sometimes in rondo form.
Third movement, a minuet or a scherzo, is almost always in ternary form.
And the finale can be sonata-allegro, theme and
variations, rondo, occasionally even in fugal form.
So those are our form, mood and tempos for the symphony and the string quartet.
Let's go on now to look at the concerto and the sonata.
Here, as you can see, that sort of middle-ish
dance movement has been removed leaving us with tempos of fast, slow, fast.
The moods, however, remain the same.
Sort of serious for the first movement.
Lyrical and tender for the second.
Bright, uplifting, happy for the third and final movement.
As to form, we're keeping our same forms here.
First movement sonata allegro form.
Second movement can be any one of several.
You can read those there.
Same thing with the third movement, the finale.
Any one of several.
All right. Let's look now at a couple of real
examples here, and we're going to turn to a slide
that foregrounds Mozart's famous Eine kleine Nachtmuzik and
Haydn's Symphony Number 94, written in 1791 but premiered in 1792.
The surprise symphony.
And again, you can see the tempos of the four movements for
the Eine kleine Nachtmusik, the four surviving movements for this.
Sonata-allegro, always the first here.
Then rondo happens to be the form,
slow rondo happens to be the form of the second movement.
Ternary form for the third movement.
And rondo, but this time a fast rondo for the finale.
The surprise symphony, again, sonata-allegro in primary position there.
Theme and variations.
We'll hear that in just a moment.
The famous slow movement of the surprise symphony.
We have a minuet and trio in ternary form.
And, finally, the finale.
This time, also in sonata-allegro form.
And now, for a review of terms.
High art music.