The classical era, with the progress of the classical music, at times was, irregular. The final result, however, was a logical order which made sense. Once the... ... middle of paper ... ...ury, where the music had become a series of clear events and not merely a cumulative flow, a powerful emotion or dramatic intensity could no longer rely on High Baroque (Rosen 154). Haydn learned from opera a style that could concentrate that force as he had never been able to do in the 1760’s. Mozart brought up in the more comfortable style and already the composer of music whose prettiness along amounted to his genius, arrived at the same point form the opposite direction (Rosen 154).
Other forms include The ripieno concerto and the solo concerto.Symphony form develops from baroque concerto forms and becomes the new form. Shorter movements than classical form.Concerto longer than baroque from. Fairly strict structure and prerequisites, e.g. Traditional ritornello form, virtuostic displays etc.More freedom and experimentation with traditional form. First movement has solo passages extending into long sections; alternated between four or five ritornello sections.
Haydn wrote the six sonatas for Prince Nicklaus Esterházy and they strictly follow the court-style. Sonata in F has three movements: Allegro moderato, Adagio (Larghetto) and Presto. The contrasting tempo and the fast motion between the fingers allow the player to give a virtuoso impression without acquiring over-demanding technique. In the opening movement, demanding 32nd-note passages create an improvisatory flavor. Haydn intentionally inserted a sequence of diminished 7th chords to make an unusual tonal appearance.
In the 18th century, the concerto was transformed into a viable instrumental genre to both demonstrate virtuosity as well as a cohesive character that embodied the natural. Though the series of changes from the Baroque concerto grosso to the Classical concerto were gradual and cannot be attributed to a single composer, the Piano Concerto No. 20 in D minor K. 466 by Wolfgang Amadeus Mozart is a skillful representation of the genre in that era. Of particular interest in this concerto is the treatment of sonata form in the first movement. When compared to other instrumental genres of that era, there is a tangible divide between the sonata form of the concerto and that of other instrumental genres such as the symphony.
Though the term originated with Listz, illustrative music has existed for as long as music itself. "(Kennedy p. 579) The form is more like a multi-movement tone poem that tells a story though music. The symphonies of Haydn, and Mozart were pieces written with music that was not influenced by non-musical ideas. Other symphonies that have been written that are programmatic are Symphonie Fantastique by Berlioz, Symphony no. 3 "Pastoral" by Vaughan Williams, and Metropolis Symphony by Michael Daugherty.