Page 123 - (DK) The Classical Music Book - Big Ideas Simply Explained

CLASSICAL 1750–1820 121

See also: Great Service 52–53 ■ Water Music 84–89 ■ Musique de table 106 ■ Hippolyte et Aricie 107 ■
The Art of Fugue 108–111 ■ Beethoven’s String Quartet No. 14 in C-sharp minor 156–161

Patronage during the 18th century

Grand Prince The Esterházy Habsburg ruler Diplomat Baron
Ferdinando de’ Medici family of Hungary Emperor Joseph II Gottfried van Swieten
(1663–1713) (from 1761) (1741–1790) (1733–1803)

Invites Employs
Domenico Helps Salieri Sponsors Commissions Mozart on
Scarlatti to Commissions Employs Commissions become Mozart’s Die C.P.E. Bach’s various
his court in Handel ’s Haydn Beethoven’s director of Entführung six symphonies musical
Florence in opera Rodrigo for life from Opus 1 Piano the Italian aus dem Serail for string projects
1702 (1707) 1761 trios (1795) opera in 1774 (1788) orchestra (1773) (1782–1790)
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 emotion. In this he was following a principal churches. He still had to
for the flute—like others, the A fashion known as Empfindsamkeit write to order, but he had time
major concerto began life as a (sensibility) that was a reaction to compose the music he wanted to
harpsichord concerto. against the rationalism of write, either to perform himself or
Although Emanuel Bach studied Enlightenment philosophy. In his for patrons who were willing to give
composition with his father, Johann bid to create expressive music, full rein to his emotional style. Later
Sebastian, their styles are very Emanuel developed a distinctive composers such as Mozart and
different. The father’s music was style that featured sudden, dramatic Beethoven worked increasingly
based on counterpoint, while his changes in harmony, dynamics, in this freelance way, carving out
son was interested in conveying and rhythm, giving his works a role that was less like that of
(especially in the fast movements) servant and creating music that
a spontaneous quality; he also was more personal. ■
created affecting, melodic slow
movements. Some strong rhythmic
and dynamic contrasts appear in
the outer movements of the A major
Keyboardists whose chief Flute Concerto, and Emanuel would
asset is mere technique … no doubt have heightened the
overwhelm our hearing drama had he not had to consider A musician … must feel all
without satisfying it and stun what Frederick would want to play. the emotions that he hopes
the mind without moving it. to arouse in his audience.
C.P.E. Bach Seeking independence C.P.E. Bach
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

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