Sensitive style
The term sensitive style is understood to mean a musical style that replaced baroque music from around the 1720s and 1730s (in northern Germany between 1740 and 1765). The sensitive style reached its peak in the 1770s (connections with the Sturm und Drang ), when the classic was already established.
description
The "sensitive style" is also referred to as "sensitivity". This style, which appeared in North German instrumental music in the middle of the 18th century, was characterized by the emphasis on expression and characterized by a multitude of deeply felt emotions within a musical work. The aesthetics are typical of a contemporary taste in which moving feelings were expressed not only in art, but also in everyday life. With this "sensitivity" came the desire to wrap a composition in an aura of simplicity and naturalness. These were qualities that were highly valued in the philosophical view of the Enlightenment. The composers wanted to enhance the impact of their music by giving each theme a clearly defined, even exaggeratedly expressive character. Since the effect was significantly increased by rapid changes in mood, opposing moods were placed side by side.
The tonal language of the sensitive style is subjectively emotional, the melody phrases should touch the listener directly and directly. Typical features are Lombard rhythms , lead formations and melodies of sighs . The composition technique becomes easier, the figured bass (continuo) loses its importance, and the harmonic rhythm is slowed down.
The most important representatives of the Sensitive Style were Carl Philipp Emanuel Bach , Wilhelm Friedemann Bach , Georg Anton Benda , Johann Joachim Quantz and Johann Abraham Peter Schulz .
Influences of the sense of time
Similar to architecture ( Rococo around 1720–1760), there was a rejection of the strict regularity of the older music-making practice, which was influenced by Johann Sebastian Bach, and a change in style to more emotion - but unlike in Rococo, also with simpler means. These changes took place simultaneously in the countries of Western Europe .
The musical instruments also had an influence (trend towards flute , strings and harpsichord ). At the beginning of the 18th century, Domenico Scarlatti made the harpsichord sonata one of the main genres of the era.
Comparison of gallant style - sensitive style
The sensitive style can be seen as an intensification of the gallant style .
The gallant style emerged in the late baroque as a departure from the strict polyphonic style. Main features:
- Proximity to the ideal of bel canto (cantability, naturalness, comprehensibility)
- dominant melody voice, largely dispensing with counterpoint
- simple but effective harmonious processes
- short, simple melody phrases that are repeated often
- elegant melodies and ornamentation
The sensitive style:
- Allowing emotion and sensation
- frequent alternation of affects
- some parallels in musical drama ( Franz Benda , Gluck's reform operas , parts of Mozart's opera Idomeneo )
Composers
- Georg Philipp Telemann (1681–1767)
- Domenico Scarlatti (1685–1757): Although of the same age as Bach and Telemann, he represents a bridge to the pre-classical period - especially with the harpsichord and preliminary stages to the later piano sonata . Barbara Zuber calls his love of experimentation “wild flowers on the fence of classical music”. Spanish dance forms and folk music also appeared in “feudal” sonatas.
- Giuseppe Tartini (1692-1770)
- Jean-Marie Leclair (1697–1764)
- Johann Joachim Quantz (1697–1773, wrote the textbook Attempting an Instruction to Traverse the Flute in 1752 )
- Johann Adolph Hasse (1699–1783)
- Giovanni Battista Sammartini (1700 / 01–1775)
- Giovanni Battista Pergolesi (1710-1736)
- Carl Philipp Emanuel Bach (1714–1788): A striking example is his Sonata No. 6 (in C minor / E flat major), which he included in his textbook Experiment on the True Art of Playing the Clavier (1753)
- Georg Christoph Wagenseil (1715–1777)
- Johann Stamitz (1717–1757)
- Leopold Mozart (1719–1787), published a thorough violin school (1756)
- Johann Christian Bach (1735–1782), influenced the young Mozart ( London 1764)
- Carl Ditters von Dittersdorf (1739–1799)
See also
literature
- Jeffrey Leighton Snedeker: Sensitive Style and the music of Carl Philipp Emanuel Bach. An examination of the solo keyboard sonatas . Ohio State University, January 1, 1985, OCLC 13724964 (English, etd.ohiolink.edu ).
- Douglass Seaton: The Sensitive Style . In: Ideas and styles in the Western musical tradition . Mayfield Pub. Co., Mountain View, Calif. 1991, ISBN 0-87484-956-X .
Web links
- Martin's composer timeline (baroque / classical). Kulturserver-swh.de, accessed on November 10, 2016 .
- Klaus Mayer: Sensitivity. 18th century charm offensive. Bayerischer Rundfunk - BR-Klassik, March 22, 2016, accessed on November 10, 2016 .
Individual evidence
- ↑ a b Sensitive style - musical movement . In: Encyclopædia Britannica . (English, britannica.com ).
- ^ Western music - The tonal era and after. 1600 to the present . In: Encyclopædia Britannica . Here section: Precursors of the Classical style (English, britannica.com ).
- ↑ Domenico Scarlatti. The 555 harpsichord sonatas (34 CDs) - jpc. jpc.de, accessed on November 10, 2016 .
- ^ Karl Heinrich Wörner: Sensitive style . In: History of Music. a study and reference book . Vandenhoeck & Ruprecht, 1993, ISBN 978-3-525-27811-6 , pp. 279 ( books.google.de ).
- ↑ Barbara Zuber: Wild flowers on the fence of the classic . In: Heinrich Schenker, Peter Böttinger (ed.): Domenico Scarlatti. (= Music Concepts . Issue 47). Edition Text + Critique, Munich 1986, ISBN 3-88377-229-1 , p. 3 ff .
- ^ Johann Joachim Quantz: Attempting an instruction to play the flute traversière. Ed .: Hans-Peter Schmitz. Bärenreiter, Kassel 1953, OCLC 15387304 (first edition: 1752, facsimile reprint of the 3rd edition Berlin, 1789).
- ^ Leopold Mozart: Leopold Mozart's thorough violin school with four copper plates and a table. Johann Jakob Lotter & Sohn, Augsburg 1787, OCLC 852497608 ( books.google.de ).