Musical Styles of Mozart and Beethoven
STYLE OF MOZART
Mozart exemplified the Viennese Classical styles of elegance, balance, and sophistication. Through this he exemplified and expanded all Classical styles, such as the sonata form and the double-exposition sonata (which gave the solo-ist new material). He was able to be counterpuntal yet homorhythmic at the same time. He frequently used symmetry in his phrasing, like four-measure phrases, for example. He composed both diatonically and chromatically. He expanded the use of wind instruments in the orchestra. He was also the opera man, and contributed to the following three types: opera seria (serious), opera buffa (Italian comedies), and Singspiels (German comedies). He not only focused on the music, but used it to create lifelike characters. To give more power to the plot, recitativo secco was used to keep the plot rolling. His arias often had multiple moods through sectional forms, and vocal lyricism was included in instrumental writing.
STYLE OF BEETHOVEN
Beethoven was the first person to cherish cyclical structure. His compelling themes are still memorable today, such as the short-short-short-long theme from Symphony N.5, and Ode to Joy, in Symphony N.9. It took him lots of time to compose his music as he was constantly revising his music. His dynamics were very wide ranged. He influenced many people by starting new trends. He added new instruments to the orchestra, like the piccolo, trombone and contrabassoon. Whenever new advances to the piano came out, he used them, like expanded range and new pedals. He developed many classical forms, such as the sonata form, string quartet, concerto, and so on. He replaced the Minuet and Trio with the new vibrant Scherzo and Trio. He included programmatic elements, as shown in Symphony N.6. Finally he included a chorus to the orchestra, like in Symphony
Mozart exemplified the Viennese Classical styles of elegance, balance, and sophistication. Through this he exemplified and expanded all Classical styles, such as the sonata form and the double-exposition sonata (which gave the solo-ist new material). He was able to be counterpuntal yet homorhythmic at the same time. He frequently used symmetry in his phrasing, like four-measure phrases, for example. He composed both diatonically and chromatically. He expanded the use of wind instruments in the orchestra. He was also the opera man, and contributed to the following three types: opera seria (serious), opera buffa (Italian comedies), and Singspiels (German comedies). He not only focused on the music, but used it to create lifelike characters. To give more power to the plot, recitativo secco was used to keep the plot rolling. His arias often had multiple moods through sectional forms, and vocal lyricism was included in instrumental writing.
STYLE OF BEETHOVEN
Beethoven was the first person to cherish cyclical structure. His compelling themes are still memorable today, such as the short-short-short-long theme from Symphony N.5, and Ode to Joy, in Symphony N.9. It took him lots of time to compose his music as he was constantly revising his music. His dynamics were very wide ranged. He influenced many people by starting new trends. He added new instruments to the orchestra, like the piccolo, trombone and contrabassoon. Whenever new advances to the piano came out, he used them, like expanded range and new pedals. He developed many classical forms, such as the sonata form, string quartet, concerto, and so on. He replaced the Minuet and Trio with the new vibrant Scherzo and Trio. He included programmatic elements, as shown in Symphony N.6. Finally he included a chorus to the orchestra, like in Symphony