BACKUP Classical Period Counterpoint
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Classical Period Polyphony
The highly polyphonic style of the Baroque gave way to predominantly homophonic textures with the melody on the top in the middle of the 18th century. Sectional forms, with contrasting themes, keys, and textures replaced the practice of spinning out melodic lines. Harmonic rhythm slowed, and symmetrical phrases forming periods became the preferred format for presenting melodies.
Regardless of stylistic trends, representative composers from the period were well versed in the methods of counterpoint. They had studied the Gradus ad Parnassum by Fux, along with all the music that went before. They judiciously used polyphony to provide contrast and relief from primarily homophonic textures. Polyphonic excerpts by Haydn, Mozart, and Beethoven are discussed below.
Josef Haydn (1732-1809) wrote fugal movements for a number of string quartets. The Finale from Opus 20, No.5 is included in the Materials linked below. Also included is the Final Chorus from his oratorio The Creation, “Singt dem Herren.”
W.A. Mozart (1756-1791) flexes his contrapuntal skills in the Serenade in C minor, K. 388. He indicates that this Menuetto is in Canone. The Trio section is the most polyphonic in nature, a double canon at the inversion. The Adagio of Mozart’s “Dissonant” String Quartet, K. 465, begins with brooding imitation between the upper three parts over repeated notes in the violoncello. The following Allegro vaults immediately into a rich fabric of lines with rapidly varied textures. His four-voice Fugue in G Minor, K. 401 for piano is an emulation of Bach’s keyboard fugues with Mozart’s unique melodic sense.
Ludvig van Beethoven (1770-1827) wrote the first movement of his String Quartet No. 14 in C# Minor, Opus 131, in the style of a Baroque fugue. The music does, however, have Classical features, such as the 4-bar symmetrical phrases and the strongly defined tonal areas. Romantic traits are also apparent, with dense sonorities, chromaticism, and constant use of syncopation and suspensions. In his Fugue in D, Opus 137, for String Quintet, Beethoven treats the fugal form more freely, with development techniques found in many of his works.
Listen to, and analyze these compositions to understand the evolution of polyphonic music as musical styles evolved.
Materials (Classical Period)
Josef Haydn (1732-1809) Opus 20, No.5, Finale (PDF)
Josef Haydn (1732-1809) The Creation, Final Chorus “Singt dem Herren”
W. A. Mozart (1756-1791) Serenade in C minor K. 388, Menuetto in Canone (PDF)
W. A. Mozart (1756-1791) String Quartet K. 465, Adagio-Allegro (PDF)
W. A. Mozart (1756-1791) Fugue in G Minor K. 401 (PDF)
Ludvig van Beethoven (1770-1827) Fugue in D, Opus 137 (PDF)
Beethoven: String Quartet No. 14 in C# Minor, Opus 131 (PDF)
Romantic Period Polyphony
The musical style in the Classical period was restrained, exhibiting balance and symmetry. As the Romantic ethos pervaded music, the focus turned to emotions and individualism. Drama filled the music, and chromatic harmony with expressive tone colors were the norm. Program music, nationalism, and spirituality were driving forces. Composers created virtuosic piano music and dramatic operas. Beethoven was a transitional figure, and his music embodied the evolution from Classical to Romantic styles.
Expansion was seen in every element, from the range of dynamics to the size and scope of musical forces, partly owing to the development of valved brass instruments and their capabilities. Harmonically, the music grew much more dissonant in general, with a wider variety of root movements and more frequent distant modulations. Rhythmically there was increasing complexity, with asymmetric meters and polyrhythms. The structural forms continued show increasing contrast between sections.
Polyphony did enjoy a revival in the early 19th century, sparked by Felix Mendelssohn (1809-1847). However, it was used by most composers to provide contrast to the more pervasive homophonic texture. Examples of 19th century polyphon are discussed below.
Mendelssohn wrote music that perpetuated the Classical style, by later 19th century standards. The fugue from his Prelude and Fugue in G major, Op. 37, No. 2 for organ is not harmonically adventurous. Much of the fugue moves in a homorhythmic fashion. However, the fugue from Opus 37, No. 3, Prelude and Fugue in D minor, is much more chromatic and dissonant. These compositions are in the style of J. S. Bach.
Clara Schumann (1819-1896) was a very talented and creative composer, as well as a world-class pianist. While she subjugated her music career to her family and husband Robert, she did produce a catalog of well-written original music. Her Prelude and Fugue No. III, Op. 16 for Piano demonstrates her command of chromatic harmony and contrapuntal technique. It uses Bach’s framework for counterpoint, as do most Romantic period pieces in this style.
Johannes Brahms (1833-1897) was a true master of contrapuntal technique, particularly the canon. His Geistliches Lied, Op. 30, “Lass dich nur nichts nicht dauren” is an example of a choral double canon with organ accompaniment.
Brahms also wrote a collection of 11 chorale preludes for organ. The one included in the Materials below is based on a chorale harmonized by Michael Praetorius in 1609. The title is Es ist ein Ros’ entsprungen, Opus 122, written in 1896 for organ.
Nicolas Rimsky-Korsakov (1844-1908) was a transitional figure. A Russian nationalist who taught Igor Stravinsky how to orchestrate, he demonstrated a firm grasp of counterpoint. Written in 1878, the Finale of his String Quartet in F, Opus 12, is a good example.
Gabriel Fauré (1845-1924) was director of the Paris Conservatory for 15 years, and influenced many who followed him. You can see the evolution in his style by comparing the Finale of the C Minor Piano Quartet, written in 1880, with No. 6 from his 8 Pièces brèves, Op. 84, Fugue in E minor for piano completed in 1902.
Camille Saint Saëns (1835-1921) wrote two collections of fugues for piano, Op. 52 and Op. 111 (1887 and 1899). These are well-crafted examples of later 19th Century works in the polyphonic genre. The Op. 111 pieces become increasingly chromatic.
As you listen to and analyze these works, consider how the parameters of harmony, melody, and rhythm evolved over generations. It is interesting to study the habits and traits of each major composer, comparing their individual styles.
Materials (Romantic Period)
Felix Mendelssohn (1809-1847) Prelude and Fugue in G major, Op. 37, No. 2 (PDF)
Felix Mendelssohn (1809-1847) Prelude and Fugue in D minor, Op. 37, No. 3 (PDF)
Clara Schumann (1819-1896) Prelude and Fugue No. III, Op. 16 (PDF)
Johannes Brahms (1833-1897) Es ist ein Ros entsprungen, Opus 122 (1896) (PDF)
(Based on anonymous chorale harmonized by Michael Praetorius in 1609) (PDF)
Johannes Brahms (1833-1897) Geistliches Lied, Op. 30, “Lass dich nur nichts nicht dauren” (PDF)
Rimsky-Korsakov (1844-1908) String Quartet in F, Op. 12, IV (written in 1878) (PDF)
Gabriel Fauré (1869-1902) C Minor Piano Quartet, Finale (1880) (PDF)
Gabriel Fauré (1869-1902) 8 Pièces brèves, Op. 84, No. 6 Fugue in E minor (PDF)
Camille Saint Saëns (1835-1921) Fugue Opus 111, No. 3 in E-flat minor (PDF)