The Classical Style Haydn Mozart Beethoven

Presents a detailed analysis of the musical styles and forms developed by Mozart, Haydn, and Beethoven.

In this remarkable study, now an established classic which has remained in print since its first publication in 1971, Charles Rosen surveys the language of the music of the classical period. He concentrates on the three major figures of the time - Haydn, Mozart and Beethoven - because 'it is in terms of their achievements that the musical vernacular can best be defined'. He follows the development of each composer's best-known genres: for Haydn, the symphony and string quartet; for Mozart, the concerto, string quintet and comic opera; for Beethoven, the piano sonata. In addition, the author ranges widely through material which falls outside these categories.

He demonstrates the enormous diversity and constant change that characterized every aspect of music during this period. By dividing his text into twenty-year spans, Downs is able to trace the development of musical style. Within each span he looks at the social conditions and daily life of the musician, and the aesthetics and audience preferences in structures, performing combinations and styles. The lesser composers, or Kleinmeister, are observed, since they are the most accurate mirrors of their times. Haydn, Mozart and Beethoven receive full biographical scrutiny at each stage of their development. Copious music examples and abundant illustrations are also provided.

Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical form, from individual ideas, phrases, and themes to the large-scale organization of complete movements. It emphasizes the notion of formal function, that is, the specific role a given formal unit plays in the structural organization of a classical work.

A vivid portrait of Mozart and Haydn's greatest achievements and young Beethoven's works under their influence. Completing the trilogy begun with Haydn, Mozart and the Viennese School, 1740-1780 and continued in Music in European Capitals: The Galant Style, 1720-1780, Daniel Heartz concludes his extensive chronicle of the Classical Era with this much-anticipated third volume. By the early years of the nineteenth century, "Haydn, Mozart and Beethoven" had become a catchphrase—a commonplace expression signifying musical excellence. Indeed, even in his early career, Beethoven was hailed as the only musician worthy to stand beside Haydn and Mozart. In this volume, Heartz winds up the careers of Haydn and Mozart (who during the 1780s produced their most famous and greatest works) and describes Beethoven's first decade in Vienna, during which he began composing by patterning his works on the two masters. The tumult and instability of the French Revolution serves as a vivid historical backdrop for the tale.