#classical orchestra

Beethoven's most powerful piano sonata may be the "Appassionata", Sonata #23, Opus 57. It has a couple of interesting stories attached to it (though the "Appassionata" name was given by the publisher and not Beethoven himself).

Ferdinand Ries on a walk with Beethoven:

Beethoven took a pleasure in wandering along lonely, often pathless ways through the forests, valleys and mountains. (One day) we set out happily together and soon found ourselves in a lonely woods on the beautiful mountain slopes of Baden. I observed that Beethoven was much absorbed in private meditation and that he was humming to himself; I knew from experience that at such moments he was in the most powerful throes of creation and so I took good care not to disturb him, but walked along with him in silence...After having walked for about an hour, we sat down to rest in the grass.

Suddenly, from the slope on the other side of the valley, the sound of a shawm (medieval oboe) was heard, whose unexpected melody under the clear blue sky, in the deep solitude of the woods, made a remarkable impression on me. Since Beethoven was sitting next to me I could not refrain from calling his attention to it: sunk deep in thought he had heard nothing. He listened, but I observed from his expression that he did not hear the sounds, although they continued. It was then that for the first time I was convinced his hearing was impaired...In order not to sadden him, I made believe that I too could not hear anything anymore.

After awhile we set out again, the tones accompanying us for a long time on our solitary way through the woods, without Beethoven's taking the least notice of them. The sweet fascination which these tones had exercised on me at first now turned into profound sadness. Almost without realizing it, I walked along silently, sunk in sad thoughts, at the side of my great master who, as before, occupied with his own inner meditations, continued to hum indistinguishable phrases and tones, and to sing aloud. When after several hours we returned home, he sat down impatiently at the piano and exclaimed: "Now I shall play something for you." With irresistible fire and force he played the Allegro of the great F Minor Sonata (Appassionata). The day will forever remain unforgettable to me. (Kerst, HC Landon).

Beethoven's last piece of handwriting. The codicil to his will written on 23 March 1827..

Beethoven's last will :

-----------------------------------

AUSTRIA - JANUARY 01: Ludwig Van Beethoven's last will. Vienna, 23rd of March, 1827. [Ludwig van Beethoven's last will: My nephew Karl shall be the sole heir, but my estate shall be inherited by his natural or testamentary heirs. Vienna, 23 March 1827.]

Differences of composing style between Mozart and Beethoven

The core difference in the composing styles of Mozart and Beethoven is that Mozart perfected the balanced, elegant forms of the Classical era, while Beethoven was an artistic revolutionary who pushed the boundaries of form and infused his music with intense emotional power, leading into the Romantic era. Mozart focused on beauty, clarity, and structural perfection within established conventions, whereas Beethoven sought to express profound personal feeling and push the limits of musical expression. 

Key Differences in Musical Style

Feature Mozart: Classical Style Beethoven: Transition to Romanticism

Overall Aesthetic Elegant, balanced, clear, and charming.

Overall Aesthetic: Intense, dramatic, powerful, and emotionally charged.

Structure & Form: Masterfully used and refined traditional forms (e.g., sonata form) with regular phrase structures.

Structure & Form: Stretched and expanded classical forms (e.g., longer development sections in sonatas and symphonies); his phrases were often lopsided for dramatic effect.

Harmony: Generally simpler harmony, remaining firmly grounded in the home key for long stretches.

Harmony: Employed more complex and daring harmonic shifts, including "weird notes" or sudden modulations to minor keys, which created tension and surprise.

Dynamics & Rhythm: Clear, measured dynamics, with a more consistent texture and a focus on flowing melody.

Dynamics & Rhythm: Known for extreme and sudden dynamic shifts (e.g., subito piano, going from loud to soft instantly) and greater rhythmic variety to create drama.

Orchestration: Used the orchestra in a more conventional way, typically with strings as the main body and winds for color.

Orchestration: Expanded the orchestra (e.g., adding a third horn, trombones, piccolo) and used instruments in more demanding, varied roles, giving more prominence to the winds.

Compositional Process: Often composed quickly, with ideas flowing naturally and requiring few revisions.

Compositional Process: A laborious process of sketching and relentless revision, agonising over ideas to make them as focused and expressive as possible

The Shift in Composer's Role

Mozart, although a genius, was primarily a composer within the existing social structure, writing for aristocratic patrons and the public with an expectation of delivering a polished, beautiful product. Beethoven, a generation later, was one of the first composers to pursue an independent career and viewed music as a monumental art form for self-expression and communication of deep, personal emotion. This change in attitude is reflected in his music, where the composer's inner struggle and triumph became central themes, a stark contrast to the more objective beauty of the Classical era. 

Why It Matters

Understanding these differences helps one appreciate how music evolved (what happened to music?) from an intellectual and structural pursuit to an emotional and personal journey. Mozart's work is an unparalleled pinnacle of the Classical period, a model of perfection and grace. Beethoven, while building upon Mozart's foundation, used that language to ask new questions and explore the human condition with unprecedented force, essentially inventing the path for all the Romantic composers who followed. 

Wolfgang Amadeus Mozart, born in 1756 in Salzburg, Austria, was a child prodigy. His musical genius emerged at an early age, composing symphonies, operas, and chamber music that showcased his remarkable talent. Mozart’s compositions are characterized by their elegance, clarity, and emotional depth. His works often blend intricate melodies with brilliant harmonies, creating a sense of balance and grace.

Key Works by Mozart:

* Symphony №40 in G Minor: A masterpiece known for its dramatic intensity and emotional expressiveness.

* Piano Concerto №21 in C Major (“Elvira Madigan”): A lyrical and enchanting concerto.

* “The Marriage of Figaro”: A witty and lively opera that explores love, jealousy, and class dynamics.

* Symphony №41 in C major: Mozart’s final great symphony, with dazzling heroic beauty.

Beethoven: The Revolutionary

Ludwig van Beethoven, born in 1770 in Bonn, Germany, revolutionized classical music. Unlike Mozart, Beethoven’s life was marked by personal struggles, including hearing loss. His compositions reflect his inner turmoil, passion, and determination. Beethoven pushed the boundaries of musical form, introducing innovative structures and emotional intensity.

Key Works by Beethoven:

* Symphony №9 in D Minor (“Choral”): A monumental work that includes the famous “Ode to Joy.”

* Piano Sonata №14 in C-sharp Minor (“Moonlight Sonata”): A hauntingly beautiful piece.

* “Fidelio”: Beethoven’s only opera, emphasizing themes of freedom and heroism.

* “Groß Fugue”: Once a movement of a string quartet, Beethoven recognized this remarkable work to be a work of its own.

The Battle: Style and Impact

Style:

* Mozart: His compositions are elegant, balanced, and often exude a sense of joy. His melodies flow effortlessly, and his music is accessible.

* Beethoven: His works are intense, dramatic, and emotionally charged. He pushed harmonic boundaries, experimented with form, and introduced powerful motifs.

Impact:

* Mozart: His influence extended across Europe during the Classical era. His music epitomizes the elegance and refinement of the time.

* Beethoven: A bridge between the Classical and Romantic periods, Beethoven’s impact was profound. His innovations paved the way for future composers.

NOTE:

A public interpretation:

First, it should be mentioned that the fortepiano itself was evolving a lot during those times, so the fortepiano Beethoven composed for was already different compared to Mozart's, which gave him new possibilities of sound for composition, like more bass and a richer sound.

Second, Beethoven was much more ambitious and creative with his piano sonatas than Mozart (it doesn't seem to be a genre Mozart put that much effort into). Beethoven's have more character, more development, more rhythmic variety, more dynamics, more craft, more ideas in general, not to mention emotional intensity. Much of it was still in classical style (especially in form), but aesthetically not so trope-y and rather romantic, full of little inovations.

(I don't mean to bash Mozart. His piano concertos and chamber music with piano is great.)

Third, the later the sonata, the more counterpoint and liberties in classical form you will find, including the addition of fugues.

REALITY: Johann Sebastian Bach wrote the most significant and numerous influential fugues, earning him the title "King of Fugues," with famous collections like The Well-Tempered Clavier (48 preludes & fugues) and The Art of Fugue showcasing his mastery, though other composers like Handel, Mozart, and Shostakovich, also contributed extensively to the form.

Key Composers of Fugues

J.S. Bach: The undisputed master, he wrote hundreds of fugues for organ, harpsichord, and voice, exploring every possibility of the form.

George Frideric Handel: Bach's contemporary, known for his powerful fugues, including the famous "Amen" fugue in Messiah.

Wolfgang Amadeus Mozart: Incorporated fugal writing, notably in his Jupiter Symphony finale.

Dmitri Shostakovich: A 20th-century composer who wrote his own significant cycle of preludes and fugues, similar to Bach's.

Why Bach is the "King"

Breadth & Depth: He explored the fugue's potential for depth and complexity like no one else.

Famous Works: His 48 preludes and fugues in The Well-Tempered Clavier are foundational, as is The Art of Fugue, which explores one theme through 14 fugues and 4 canons.

Technical Mastery: He perfected the use of double, triple, and multiple-voice fugues.

While many composers wrote fugues, Bach's sheer volume, technical brilliance, and lasting influence make him the composer most associated with the form.

Sources:

https://medium.com/@aditalva/mozart-vs-beethoven-the-ultimate-classical-music-battle-a138b45ca777

https://www.reddit.com/r/classicalmusic/comments/r0e2ue/

what_is_the_difference_between_mozarts_style_of/

Personal Commentary

W. A. MOZART " Symphony No. 14 A Major (1771)

In 1771, Mozart was 15 years old, having been born in January 1756. He was 15 for the entire year of 1771, during which he composed several works, including his opera Ascanio in Alba and Symphony No. 14.

Birthdate: Mozart was born on January 27, 1756.

Age in 1771: He turned 15 in January 1771 and would not turn 16 until January 1772.

Ascanio in Alba Premiere: His opera Ascanio in Alba premiered in Milan in October 1771 when he was 15 years old.

Symphony No. 14 Composition: He composed his Symphony No. 14 in A major in December 1771, also at age 15.

W. A. MOZART " Symphony No. 14 A Major (1771)