Haydn's "Farewell" Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music

Notes ◽  
1993 ◽  
Vol 49 (3) ◽  
pp. 994
Author(s):  
Stephen C. Fisher ◽  
James Webster
Keyword(s):  
Instrumental Music ◽  
Classical Style

Topics and Opera Buffa

2014 ◽  
Author(s):  
Mary Hunter
Keyword(s):  
Instrumental Music ◽  
Visual Cues ◽  
Opera Buffa ◽  
Classical Style

Opera buffa is cited as the source for the topical variety of classical style instrumental music. It is also cited as a topic within instrumental music. This essay argues, with examples from works by Haydn, Mozart, Galuppi, Cimarosa, and Martín y Soler, that musical devices of opera buffa were not on the whole exported to instrumental music but rather were translated to the subtler and more refined instrumental idiom. When opera buffa is identified as a topic in instrumental music, it is more often the presumed gestural world of the comic stage that is evoked than the actual musical devices most characteristic of the genre. And when we study topics in opera—either buffa or seria—it is worth taking into account that they have the capacity not only redundantly to confirm verbal and visual cues, but also to complicate them by suggesting irony or parody, among other things.

Johann Christian Bach

Music ◽  
2021 ◽  
Author(s):  
Paul Corneilson
Keyword(s):  
Instrumental Music ◽  
Musical Training ◽  
Church Music ◽  
Johann Sebastian Bach ◽  
Roman Catholic ◽  
Catholic Faith ◽  
Extensive Collection ◽  
Classical Style ◽  
Latin Church ◽  
Carl Philipp Emanuel Bach

Johann Christian Bach, the youngest son of Johann Sebastian Bach (b. 1685–d. 1750), was one of the originators of the Classical style, an important composer and concert organizer in London. Born in Leipzig on 5 September 1735, J. C. Bach began his musical training under his father and mother, Anna Magdalena (b. 1701– d. 1760), and continued his studies in Berlin with his half-brother, Carl Philipp Emanuel Bach (b. 1714–d. 1788), after his father died in July 1750. In 1755, J. C. Bach went to Italy, studied with Padre Martini in Bologna, converted to the Roman Catholic faith, and eventually was appointed organist at the Milan Cathedral, where he composed much Latin church music. After receiving commissions for an opera in Turin (Artaserse in 1760) and two operas for the Teatro San Carlo in Naples (Catone in Utica and Alessandro nell’Indie in 1761–1762), J. C. Bach was called to London, where he served as music director at the King’s Theater in 1762–1763 (writing two operas that season, Orione and Zanaida), and he became Music Master to Queen Charlotte. With Carl Friedrich Abel, Bach organized a series of concerts at various locations in London. He continued to write operas and one oratorio for London, plus two operas for Mannheim (Temistocle in 1772 and Lucio Silla in 1775) and one for Paris (Amadis de Gaule in 1779). His keyboard and instrumental music was widely published, and he was admired by the young Mozart, who met him during his visit to London in 1764. J. C. Bach was the most cosmopolitan composer of his family; he maintained a long correspondence with Martini, and his portrait was painted by Thomas Gainsborough for Martini’s extensive collection.

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