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A detailed analysis of the musical styles and forms developed by Mozart, Haydn, and Beethoven

Winner of the 1972 National Book Award. A reissue of a masterpiece by a world-class pianist and top-rank thinkernow expanded and with a compact disc. This outstanding book focusing on the three most-beloved composers of the Vienna School is considered basic to any study of the music from their era. Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in language that is clear, persuasive, and nontechnical. For this reissue of The Classical Style, Rosen provides a comprehensive new introduction that incorporates ideas he has formulated in the past twenty-five years and responds to the reactions of others writers to the book during that time. Readers are also treated to a compact disc, recorded by Rosen in 1996 and produced especially to accompany this new version of the book. The CD offers complete performances of two late sonatas of Beethoven that are discussed extensively in the text: the Opus 106 in Bb major (the Hammerklavier) and the Opus 110 in C minor.

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CONTENTS
Preface to the First Edition = xi
A New Preface = xiii
Acknowledgments = xxvii
Bibliographical Note = xxix
Note on the Music Examples = xxxi
Ⅰ INTRODUCTION
 1. THE MUSICAL LANGUAGE OF THE LATE EIGHTEENTH CENTURY = 19
  Period style and group style = 20
  Tonality = 23
  Tonic-dominant polarity = 25
  Modulation = 26
  Equal temperament = 27
  Weakening of linear form = 28
 2. THEORIES OF FORM = 30
  Nineteenth-century conception of sonata form = 30
  Twentieth-century revisions = 32
  Schenker = 33
  Motivic analysis = 36
  Vulgar errors = 40
 3. THE ORIGINS OF THE STYLE = 43
  Dramatic character of the classical style = 43
  Range of styles 1755-1775 = 44
  Public and private music = 45
  Mannerist period = 47
  Proto-classical symmetries and patterns = 49
  Determinants of form = 51
Ⅱ THE CLASSICAL STYLE
 1. THE COHERENCE OF THE MUSICAL LANGUAGE = 57
  Periodic phrase = 57
  Symmetry and rhythmic transition = 58
  Homogeneous(Baroque) vs. heterogeneous(classical) rhythmic systems = 60
  Dynamics and ornamentation = 62
  Rhythmic and dynamic transition(Haydn Quartet op. 33 no. 3) = 64
  Harmonic transition(modulation) = 68
  Decorative vs. dramatic styles = 70
  Conventional material = 71
  Tonal stability and resolution = 72
  Recapitulation and articulation of tension = 74
  Reinterpretation and secondary tonalities = 78
  Subdominants = 79
  Contrast of themes = 80
  Reconciliation of contrasts, symmetrical resolution = 82
  Relation of large form to phrase, expansion technique(Haydn Piano Trio, H.19) = 83
  Correspondence of note, chord, and modulation = 89
  Articulation of rhythm, weight of individual beat = 90
  Sonata style and eccentric material : fantasy form(Mozart, Fantasy K. 475) = 91
  Audible vs. inaudible form = 93
  Extra-musical influence = 94
  Wit in music = 95
 2. STRUCTURE AND ORNAMENT = 99
  Sonata forms generalized = 99
  Structure vs. ornament = 100
  Ornamentation in the late eighteenth century = 101
  Radical change in function of decoration = 107
Ⅲ HAYDN FROM 1770 TO THE DEATH OF MOZART
 1. STRING QUARTET = 111
  Haydn and Carl Philipp Emanuel Bach = 111
  Beginning in a false key = 112
  Innovations of the Scherzi quartets, thematic accompaniment = 115
  Energy latent in musical material = 120
  Dissonance as principal source of energy = 120
  Directional power of material = 129
  Sequence as source of energy = 134
  Reinterpretation by transposition = 135
  Relation of string quartet to classical tonal system = 137
  Further development of Haydn's string quartets = 138
  String quartet and the art of conversation = 141
 2. SYMPHONY = 143
  Development of the orchestra and symphonic style = 143
  stylistic progress = 146
  Sturm und Drang style = 147
  Symphony no. 46 = 147
  Weakness of rhythmic organization of early Haydn = 149
  Symphony no. 47 = 151
  Influence of opera = 153
  Symphony no. 75 = 155
  New clarity and sobriety = 157
  Symphony no. 81 = 157
  Wit and symphonic grandeur = 159
  Oxford Symphony = 159
  Haydn and pastoral = 162
Ⅳ SERIOUS OPERA = 164
 Problematic status of opera seria = 166
 Conventions of opera seria and buffa = 167
 Eighteenth-century tragedy = 168
 High Baroque style = 169
 Dramatic and elegiac modes = 170
 Gluck = 170
 Neo-classical doctrine = 171
 Music and the aesthetic of expression = 173
 Words and music = 173
 Gluck and rhythm = 174
 Mozart and Idomeneo = 177
 Recitative and complex forms = 178
 Fusion of seria and buffa, Marriage of Figaro = 181
 Fidelio = 183
Ⅴ MOZART
 1. THE CONCERTO = 185
  Mozart and dramatic form = 185
  Tonal stability = 186
  Symmetry and the flow of time = 187
  Continue playing in the late eighteenth century = 191
  Musical significance of the continue = 194
  Concerto as drama = 196
  Opening ritornello = 197
  Concerto in E flat K.271 = 198
  Piano exposition as dramatization of orchestral exposition = 205
  Symmetry of climax = 207
  Secondary development within recapitulation = 211
  Slow movement of K.271 as expansion of opening phrase = 211
  Mirror symmetry = 212
  Concerto finale = 213
  Sinfonia Concertante K. 364 = 214
  Thematic relationships = 215
  K.412, K.413, K.415 = 218
  K.449 = 219
  K.456, modulating second theme = 221
  Dramatic range of slow movement = 223
  Variation-finales = 225
  K.459 and fugal finales = 226
  K.466, art of rhythmic acceleration = 227
  Thematic unity = 233
  K.467 and symphonic style = 235
  Slow movement, improvisation, and symmetry = 238
  K.482, orchestral color = 240
  K.488, articulation of close of exposition = 241
  Slow movement and melodic structure = 243
  K.503, technique of repetition = 251
  Major and minor = 254
  Sense of mass = 256
  K.537, proto-Romantic style and loose melodic structure = 258
  Clarinet Concerto, continuity of overlapping phrases = 260
  K.595, resolution of chromatic dissonance = 263
 2. STRING QUINTET = 264
  Concertante style = 264
  K.174, expanded sonority and expanded form = 265
  K.515, irregular proportions = 267
  Expansion of form = 273
  K-516, problem of classical finale = 274
  Major ending to a work in the minor = 276
  Expressive limits of the style = 277
  Place of minuet in the order of movements = 280
  Virtuosity and chamber music = 281
  K.593 = 281
  Slow introductions = 282
  Harmonic structure and sequences = 283
  K.614, influence of Haydn = 286
 3. COMIC OPERA = 288
  Music and spoken dialogue = 288
  Classical style and action = 289
  Ensembles, sextet from The Marriage of Figaro, and sonata form = 290
  Sextet from Don Giovanni and sonata proportions = 296
  Tonal relations in opera = 298
  Recapitulation and dramatic exigency = 301
  Operatic finales = 302
  Arias = 306
  'Se vuol ballare' from The Marriage of Figaro = 308
  Coincidence of musical and dramatic events : graveyard scene from Dow Giovanni = 309
  Comedy of intrigue = 312
  Eighteenth-century concept of personality = 313
  Comedy of experimental psychology and Marivaux, Cos$$\grave i$$ fan tutte = 314
  Virtuosity of tone = 316
  Die Zauberfl$$\ddot o$$te, Carlo Gozzi and the dramatic fable = 317
  Music and moral truth = 319
  Don Giovanni and the mixed genre = 321
  Scandal and politics = 322
  Mozart as subversive = 324
Ⅵ HAYDN AFTER THE DEATH OF MOZART
 1. THE POPULAR STYLE = 329
  Haydn and folk music = 329
  Fusion of high art and popular style = 332
  Integration of popular elements = 333
  Surprise return of theme in finales = 337
  Minuets and popular style = 340
  Orchestration = 342
  Introduction as dramatic gesture = 345
 2. PIANO TRIO = 351
  Reactionary form = 351
  Chamber music and pianistic virtuosity = 352
  Instruments in Haydn's day = 353
  Doubling of bass line by cello = 354
  H.14 = 355
  H.22 and expansion of the phrase = 356
  H.28 Haydn's early style transformed = 359
  H.26 acceleration of motivic elements within a phrase = 361
  H.31 luxuriant variation technique = 362
  H.30 Haydn's chromaticism = 363
 3. CHURCH Music = 366
  Expressive vs. celebrative aesthetic = 366
  Opera buffa style and religious music = 367
  Mozart's parodies of Baroque style = 367
  Haydn and religious music = 368
  Oratorios and pastoral style = 370
  'Chaos' and sonata form = 370
  Beethoven's Mass in C Major problems of pacing = 373
  D Major Mass = 375
Ⅶ BEETHOVEN
 1. BEETHOVEN = 379
  Beethoven and post-classical style = 381
  Beethoven and the Romantics = 381
  Substitutes for dominant-tonic relationship = 382
  harmonic innovations of the Romantics = 383
  Beethoven and his contemporaries = 386
  G Major Piano Concerto, creation of tension by tonic chord = 387
  Return to classical principles = 389
  Eroica, proportions, codas, and repeats = 392
  Waldstein, unity of texture and theme = 396
  Appassionato and unity of work = 399
  Romantic experiments in Beethoven C Minor Variations = 400
  Program music = 401
  An die feme Geliebte = 402
  Years 1813-1817 = 403
  Hammerklavier, intimate relation between large form and material = 404
  Role of descending thirds in construction of sequence = 407
  Sequential structure of development of the Hammerklavier = 409
  Relation to large key-sequence = 413
  Relation to thematic structure = 415
  A# vs. A○ = 420
  Metronome and tempo = 421
  Change in style since op.22 = 422
  Scherzo = 423
  Slow movement = 424
  Introduction to finale = 427
  Fugue = 429
  Place of Hammerklavier in Beethoven's work = 434
  Transformation of variation form into classical form = 440
  Op.111 = 441
  Beethoven and the weight of musical proportions = 445
 2. BEETHOVEN'S LATER YEARS AND THE CONVENTIONS OF His CHILDHOOD = 449
  Beethoven's originality and the style of the 1770s = 449
  The cadential trill in op.111 = 449
  The traditional final trill in concerto cadenzas = 450
  The suspended afterbeat : Sonata op.101 = 457
  Conventional concerto figuration transferred to piano sonata = 458
  Two stereotypes of the 1770s : Subdominant in the recapitulation, relative minor in the development = 460
  Subdominant transferred to coda = 463
  Convention and innovation : Relative minor in Mozart's K.575 and Coronation Concerto = 467
  Haydn's consistent use of the stereotype = 471
  Beethoven's naked display of the convention = 474
  Stereotype and inspiration in op.106 = 484
  The two conventions in op.110 = 488
  Integration and motivic alternation in op.110 = 494
  Integration of tempi = 499
  Espressivo and rubato = 499
  Radical key relations and dramatic structure = 501
  Dramatization of the academic elements of fugue = 502
  Unity of tempo and the rhythmic notation of the finale = 506
  Beethoven's amiability = 507
  Pushing back the limits of contemporary style = 508
  Synthesis of 18th-century conventions of the variation set = 509
  Late Beethoven, 18th-century sociability, and the language of music = 510
EPILOGUE = 513
 Schumann's monument to Beethoven(C Major Fantasy) = 451
 Return to Baroque = 453
 Change in tonal language = 453
 Schubert = 454
 His relation to classical style = 455
 Use of middle-period Beethoven as model = 456
 Classical principles in late Schubert = 459
 Classical style as archaism = 460
INDEX OF NAMES AND WORKS = 523