The Classical period (c. 1750–1820)
History of music · The piano through history · Level 3 · 14 min
After the complexity of Baroque counterpoint, composers sought clarity, balance and naturalness. This is the age of Haydn, Mozart and the young Beethoven, centred on Vienna — and the time when the fortepiano replaced the harpsichord.
Characteristics
- Accompanied melody: a clear right-hand melody over a discreet left-hand accompaniment (Alberti bass, repeated chords).
- Regular phrases: 4 + 4 bars, questions and answers (see the lesson on the period).
- Forms: sonata, rondo, theme and variations, minuet and trio.
- Internal contrast: several characters within a single movement (opposing themes).
- New dynamics: p, f, sf, crescendos, made possible by the fortepiano.
Composers and works to hear
| Composer | Works |
|---|---|
| Carl Philipp Emanuel Bach (1714-1788) | Sonatas, Fantasias; an essay on the art of keyboard playing (1753) |
| Joseph Haydn (1732-1809) | 62 sonatas, including the Sonata in C major Hob. XVI:35 |
| Wolfgang Amadeus Mozart (1756-1791) | Sonatas K. 545 (“facile”) and K. 331 (Rondo alla turca), Fantasia in D minor K. 397 |
| Muzio Clementi (1752-1832) | Sonatinas Op. 36, Gradus ad Parnassum |
| Ludwig van Beethoven (1770-1827) | “Pathétique” Sonata Op. 13 and “Moonlight” Op. 27 No. 2, Sonatas Op. 49, “Für Elise” |
The Alberti bass
Named after Domenico Alberti, it is the quintessential Classical accompaniment: a broken chord in the pattern low – high – middle – high.
M:4/4
L:1/8
%%staves {RH LH}
V:RH clef=treble
V:LH clef=bass
K:C
[V:RH] "C"e4 g2 e2 | "G7"d4 f2 d2 | "C"c2 e2 "G7"d2 B2 | "C"c8 |]
[V:LH] C,G,E,G, C,G,E,G, | B,,G,F,G, B,,G,F,G, | C,G,E,G, B,,G,F,G, | C,G,E,G, C,4 |]
Playing in style
- A light, even left hand: the Alberti bass should murmur, not pound. Keep the thumb (the repeated note) very light.
- Slurs = articulation: a Classical slur ends with a slight lightening of the last note.
- Appoggiaturas on the beat, leaned on, resolving gently.
- Pedal: sparing, to colour or connect a few chords, never to cover up.
- Tempo: steady; rubato is discreet, serving the melody.
Think opera and orchestra: Mozart writes for the piano as if for singers and instruments. Ask yourself: “is this passage a soprano, violins, horns?” Your touch will change.
Common mistake: confusing clarity with dryness. Classical music needs a singing, rounded tone — just without excess.
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