Introduction to Unit III, The Eighteenth Century

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The eighteenth century begins with the music of Bach, Handel, and Vivaldi and ends with that of Haydn and Mozart. The change involves many things, but it is in part one from music of intricate complexity to music of accessible, tuneful simplicity. In The Music Lesson, from late in the century, the French painter Jean-Honoré Fragonard captures a young amateur being trained in this new music. Louvre, Paris, France/Giraudon/The Bridgeman Art Library.

The century of Bach and Handel and Mozart and Haydn spans two very different styles, those of the late Baroque era and of Viennese Classicism. In the following pages we will define these styles and identify their differences.

You may ask why in spite of these differences we treat the eighteenth century as a unit. The reason is that the eighteenth century as a whole contrasts in one basic criterion from the nineteenth century, covered in Unit IV. This criterion is not musical style, at least not directly, but rather the quality of musical expression. There is a certain objectivity in the feelings that eighteenth-century music seems to express or depict. It keeps some distance from the listener, even when it is powerful and moving. Music of the nineteenth century comes on as more demonstrative, more personal, more obviously intense; it is not accidental that this music is called “Romantic.”

This broad distinction in expressive quality sprang in part from the differing social and economic conditions under which composers worked. In our “Prelude” chapters, Chapters 9 and 12, we look at the cultural background and the social setting of eighteenth-century music and suggest how these factors influenced musical style and expression. The other chapters in this unit look into specific works by leading late Baroque and Classical composers.

Chronology

1707 Bach, Cantata No. 4, “Christ lag in Todesbanden” p. 147
1712–1713 Vivaldi, Violin Concerto in G p. 120
c. 1720 Bach, Cello Suite No. 2 in D Minor p. 134
before 1721 Bach, Brandenburg Concerto No. 5 p. 123
1722 Bach, The Well-Tempered Clavier p. 129
1724 Handel, Julius Caesar p. 138
before 1725 Vivaldi, Violin Concerto in E, Spring p. 122
1742 Handel, Messiah p. 142
1749 Handel, Royal Fireworks Music p. 133
1786 Mozart, Piano Concerto No. 23 in A p. 184
1787 Mozart, Don Giovanni p. 190
1788 Mozart, Symphony No. 40 in G Minor p. 165
1791 Haydn, Symphony No. 94 in G (“The Surprise”) p. 171
1793 Haydn, Symphony No. 99 in E-flat p. 175
1793–1794 Haydn, Symphony No. 101 in D (“The Clock”) p. 178