Outlines:

1. The Keyboard Sonatas of Domenico Scarlatti (1685–1757)
   
   
   1. Biographical background
      1. Born in 1685, the same year as Bach and Handel
      2. Left Italy in 1720 or 1721 to work for the king of Portugal
      3. Moved to Madrid in 1729 and served the Spanish court the rest of his life
      4. Wrote 555 keyboard sonatas, few of which were published in his lifetime
         
         
   2. Scarlatti's sonatas
      1. Example: NAWM 89
         1. Single movement with two repeated sections (binary form)
         2. The sonata opens with several musical ideas; the last is the central idea.
         3. The central idea imitates the sound of the Spanish guitar.
         4. The second section develops the central idea, arriving at a climax that uses all but one of the notes of the key simultaneously.
      2. Most of his sonatas from after 1745 appeared as pairs in manuscripts.
         1. The result is a two-movement sonata.
         2. Both sonatas have the same keynote, although one may be major and the other minor.
      3. Scarlatti's style was imitated by a few Iberian composers, notably Antonio Soler (1729–1783), but it was not influential in other parts of Europe.
         
         
2. Early Symphonies
   
   
   1. Evolved from the Italian opera overture (sinfonia).
      
      
   2. Opera overtures assumed a three-movement structure around 1700.
      1. The first movement was Allegro.
      2. The second movement was a short lyrical Andante.
      3. The finale used dance rhythms, such as minuet or gigue.
         
         
   3. The earliest concert symphonies date from around 1730.
      
      
   4. Example: Sammartini's Symphony in F Major (1744), NAWM 90.
      1. The first movement is a Presto.
      2. The first movement is in binary form.
      3. Similar to Scarlatti's Sonatas.
      4. Fits the scheme of a sonata form first movement (see III below).
         
         
3. The Sonata Form
   
   
   1. Most instrumental music of the Classic era followed a three- or four-movement form with a first movement in sonata form, which expands on binary form.
      
      
   2. Sonata form by the 1830s
      1. Exposition, usually repeated, incorporates groups of themes: (see CHWM, p. 316)
         1. The first theme group is in the tonic (P).
         2. A bridge passage leads to a second theme-group (T).
         3. A second theme group is in the dominant or relative major, with a more lyrical character (S).
         4. A closing theme is in the dominant or relative major (K).
      2. Development presents motives or themes from the Exposition in new aspects or combinations and modulates to new and sometimes remote keys.
      3. Recapitulation restates material from the Exposition in the original order, but with all now in the tonic.
      4. A coda sometimes follows the recapitulation.
         
         
4. The Empfindsam Style
   
   
   1. Wilhelm Friedemann Bach (1710–1784), the eldest son of J. S. Bach, sometimes composed with sudden contrasts of mood and intensely personal emotions.
      
      
   2. Carl Philipp Emanuel Bach was more influential than his brother.
      1. He served at the court of Frederick the Great in Berlin and in churches in Hamburg.
      2. He composed more for keyboard than for any other medium.
      3. Most of his keyboard sonatas were written for the clavichord, which was capable of delicate dynamic shadings.
      4. Later he composed for the "fortepiano" (the ancestor of the modern piano).
      5. His keyboard works were in the empfindsam style (e.g., NAWM 91).
         1. Constantly changing rhythmic patterns give the music a restless quality.
         2. Abrupt shifts of harmony and strange modulations provided surprise.
         3. Ornaments serve expressive purposes.
            
            
   3. This style climaxed in the 1760s and 1770s.
      
      
   4. Sturm und Drang (Storm and Stress) was the parallel movement in German literature.
      
      
5. German Symphonic Composers
   
   
   1. The Mannheim orchestra
      1. Johann Stamitz (1717–1757) led the Mannheim orchestra.
      2. Renowned for its virtuosity
      3. Known for its dynamic range, from pianissimo to fortissimo, adapted from the Italian opera overture
      4. Known for the effective use of crescendo
      5. Example: NAWM 92, Sinfonia in E-flat, published in the mid-1750s
         
         
   2. Vienna was home to several symphony composers:
      1. Georg Matthias Monn (1717–1750)
      2. Georg Christoph Wagenseil (1715–1777)
      3. The Viennese style was good-natured lyricism.
      4. Sonata-form movements used contrasting theme groups.
         
         
   3. Berlin was home to a north German school clustered around Frederick the Great
      1. Included C. P. E. Bach
      2. Three-movement symphonies
         
         
6. Johann Christian Bach (1735–1782)
   
   
   1. Youngest son of J. S. Bach
      
      
   2. An important composer of symphonies and concertos for the pianoforte
      
      
   3. Studied in Italy and produced two operas in Naples
      
      
   4. Moved to London and worked as a composer, performer, teacher, and impresario
      
      
   5. Composed forty keyboard concertos between 1763 and 1777
      
      
   6. Most of his concertos were for the pianoforte (e.g., NAWM 93).
      1. An orchestral exposition puts all themes in the tonic
      2. A second exposition for the soloist puts the secondary and closing themes in a contrasting key.
      3. A modulatory developmental section
      4. Recapitulation in the tonic
      5. The orchestra plays transitional passages and reinforces cadences, in the tradition of the ritornello structure of the Baroque (CHWM, p. 322).