The Classical Music Book

121

See also: Great Service 52–53 ■ Water Music 84–89 ■ Musique de table 106 ■ Hippolyte et Aricie 107 ■

The Art of Fugue 10 8 –111 ■ Beethoven’s String Quartet No. 14 in C-sharp minor 156–161

CL ASSICAL 1750 –1820

Grand Prince

Ferdinando de’ Medici

(1663–1713)

Invites

Domenico

Scarlatti to

his court in

Florence in

1702

Commissions

Handel ’s

opera Rodrigo

(170 7)

Employs

Haydn

for life from

1761

Commissions

Beethoven’s

Opus 1 Piano

t r io s (179 5)

Helps Salieri

become

director of

the Italian

opera in 1774

Sponsors

Mozart’s Die

Entführung

aus dem Serail

(178 8)

Employs

Mozart on

various

musical

projects

(1782 –179 0)

Commissions

C.P.E. Bach’s

six symphonies

for string

orchestra (1773)

Patronage during the 18th century

A small circle of noble patrons supported composers in

the 1700s. As music became more popular, musicians gained

a greater independence, but patronage still played a crucial role.

instrument and transcribed them

for the flute—like others, the A

major concerto began life as a

harpsichord concerto.

Although Emanuel Bach studied

composition with his father, Johann

Sebastian, their styles are very

different. The father’s music was

based on counterpoint, while his

son was interested in conveying

emotion. In this he was following a

fashion known as Empfindsamkeit

(sensibility) that was a reaction

against the rationalism of

Enlightenment philosophy. In his

bid to create expressive music,

Emanuel developed a distinctive

style that featured sudden, dramatic

changes in harmony, dynamics,

and rhythm, giving his works

(especially in the fast movements)

a spontaneous quality; he also

created affecting, melodic slow

movements. Some strong rhythmic

and dynamic contrasts appear in

the outer movements of the A major

Flute Concerto, and Emanuel would

no doubt have heightened the

drama had he not had to consider

what Frederick would want to play.

Seeking independence

The king did not like Emanuel’s

more dramatic, unpredictable

pieces; he preferred simpler works.

In 1768, Emanuel left to become

music director of Hamburg’s five

principal churches. He still had to

write to order, but he had time

to compose the music he wanted to

write, either to perform himself or

for patrons who were willing to give

full rein to his emotional style. Later

composers such as Mozart and

Beethoven worked increasingly

in this freelance way, carving out

a role that was less like that of

servant and creating music that

was more personal. ■

The Esterházy

family of Hungary

(from 1761)

Habsburg ruler

Emperor Joseph II

(1741–1790)

Diplomat Baron

Gottfried van Swieten

(1733–1803)

A musician ... must feel all

the emotions that he hopes

to arouse in his audience.

C. P. E. B ac h

Keyboardists whose chief

asset is mere technique ...

overwhelm our hearing

without satisfying it and stun

the mind without moving it.

C. P. E. B ac h

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