'The Classical Style' reading group, week sixteen

3. Church Music 

By ERIC WAGNER
Special guest blogger

Like many people my age, I used to love hanging out in record stores. Occasionally an album cover would catch my eye, and I would contemplate buying it. This didn't happen too often with classical albums, but it did with Jame Levine's 1991 album of Haydn The Creation. After years of reading Robert Anton Wilson, the eye in the pyramid design jumped out at me. I thought about buying it for decades, but I never did. Spotify doesn't seem to have that recording. Instead I put on one conducted by Kurt Moll. That album's cover uses a close-up of God and Adam's hands from the ceiling of the Sistine Chapel. Oh well. I do plan to listen to it this week.  

My friend Father Tim Lamm once gave a talk focused on Beethoven's Missa Solemnis for Catholic school teachers which I really enjoyed. Father Tim lent me Beethoven: His Spiritual Development, and I lent him Kerman's The Beethoven Quartets. I enjoyed Sullivan's book, and my copy of the Kerman still has a few softly penciled notes by Father Tim.  

'The Classical Style' reading group, week fifteen

 

Haydn After the Death of Mozart

2. Piano Trio 

By ERIC WAGNER
Special guest blogger

I once asked the Yeats scholar Ian Fletcher why some younger Irish poets hated Yeats. He said, "Sometimes you have to go back to the day before yesterday." On page 360 of The Classical Style Rosen writes, "elements may remain dormant ready to reappear at any moment as an artist goes back to the day before yesterday to find something newer and more progressive." 

Can we save these wonderful trios from the dustbin of history? Perhaps Avengers: Doomsday will feature some of this music and it will start to trend on social media. Perhaps statements like "ERIC WAGNER, OUTER HEAD OF THE ORDO TEMPLI ORIENTIS, SAYS LISTENING TO HAYDN'S PIANO TRIOS WILL HELP YOU UNDERSTAND ALEISTER CROWLEY" will flood the internet. Perhaps when I reach my goal weight I will write a best seller called The Haydn Piano Trio Diet. They will become more popular than tai chi walking. 

I remember in the 1990's I wanted to get at least one CD of Haydn piano trios. A one CD recording on original instruments had gotten a rosette (their highest rating) in the most recent Penguin guide to classical recordings. For just a little more, I could have gotten the complete piano trios played on modern instruments by the Beaux Arts Trio. I opted for the original instruments CD, but I feel like if I had bought the complete set thirty odd years ago, I would know this music much better. I have really enjoyed listening to the Beaux Arts Trio recordings this week. 

'The Classical Style' reading group, week fourteen

Morzin Palace in the Czech Republic, where Haydn worked early in his career (see the Wikipedia bio). Public domain photo. 

Part VI  HAYDN AFTER THE DEATH OF MOZART 

                   1.        The Popular Style 

By ERIC WAGNER
Special guest blogger

On page 334 Rosen gives an example from Mozart's Symphony #39, K. 543. The example labels the first measure as 1, but the example starts with the 26th measure of the first movement of the symphony. Mozart wrote the slow adagio introduction to this movement in cut time (2/4). It switches to ¾ when the allegro starts. I puzzled over this excerpt yesterday, but today I figured it out. The same passage reappears on pg. 349 with four introductory measures in full score with the correct measure number at the beginning of the excerpt. 

On page 332 Rosen mentions "Czechoslovakian folk songs." I don't know if these exist. Czech folk songs exist, and Slovak folk songs exist. Rosen, like many of us, grew up in a world with a country called Czechoslovakia. This shaped his world view (as it did mine). I love Rosen's writing, but I do disagree with a few small things in it. As I've mentioned before that he uses male pronouns to refer the generic human being. I know English (and many other languages) used this tradition for centuries, but I prefer gender neutral language.  

Next week we come to the chapter on Haydn's piano trios. On page 354 Rosen writes, "In any case, the Haydn trios are doomed." I look forward to studying this chapter and these trios. Perhaps we can save this music, this world. 

'The Classical Style' reading group, Week 13

A performance of Don Giovanni in Vienna

3.Comic Opera 

By ERIC WAGNER
Special guest blogger          

 On page 296 Rosen writes that the listener "must have an educated ear to know what to listen for, educated in the stylistic language and not just in the superficial formalities." I hope this study group helps us all develop educated ears.  

One might see Don Giovanni, which deals with a man who sleeps with over a thousand women, as a meditation on the Manosphere. Joseph Kerman discusses dealing with problems of this opera in an essay in "Write All These Down".  

I like the discussion of Mozart as subversive and dangerous on page 325. 

I came to Don Giovanni backwards. I didn't know the opera at all when I read Rosen's The Romantic Generation when it came out in 1995. In that book he discussed Franz Liszt's Reminiscences of Don Juan, a piano fantasy based on Don Giovanni. In 1995 a CD by Rosen came out also called The Romantic Generation which included that piano piece. Rosen had quoted with approval George Bernard Shaw who said that the best way to appreciate the Liszt piece was to memorize the opera and then to forget it. Instead I fell in love with the piano version, and over the past 31 years I have slowly gotten to know the opera. One might see Liszt as the first rock star. He travelled around Europe performing piano recitals. Women would make bracelets out of his broken piano strings. He had a reputation as a Don Juan, so he plays with his own myth in his piano fantasy. https://www.youtube.com/watch?v=jlBYflI8dLM&list=RDjlBYflI8dLM&start_radio=1 

'The Classical Style' reading group, week twelve

A 1789 miniature of Mozart (public domain). 

2. String Quintet 

By ERIC WAGNER
Special guest blogger

One Christmas in the 1990's my grandmother asked what I would like for Christmas. Inspired by this book, I asked for a CD of Mozart string quintets. The record store didn't have one, so she got me a terrific CD of Mozart string quartets instead. In the 2010's Rafi recommended the recordings of the Mozart quintets by the Griller Quartet with William Primrose playing the extra viola part. I bought that two CD set and loved it, but I haven't listened to these works for as many years as I have some of the other works discussed in this book. Media and economics help shape the music we listen to and appreciate.  

Joseph Kerman wrote: 

Years ago I floated an idea about Western music history, that it might be  viewed as falling into millennium-long phases: initially an oral tradition, with people performing music from memory; then a period of literacy (a term Leo Treitler was using at the time), predicated on scores and partbooks to sing and play from; and now a new model determined by sound recording and the activity (or passivity) of listening.  - Opera and the Morbidity of Music, pg. 85 

As a musician in the 1980's I felt guilty about reading about music. Pianist Gary Graffman called his memoir I Really Should Be Practicing. Musicians sometimes looked down their noses at reading about music. Most of my professional musician friends have next to no interest in writers like Rosen and Kerman.  

When I started taking ballet classes in 1990, my teachers explicitly told us not to practice ballet at home so that we would not practice wrong, since we really knew next to nothing about ballet at the time. Ballet class did reawaken my interest in classical music, so I reread Erich Leinsdorf's The Composer's Advocate in which he recommended Kerman's The Beethoven Quartets. I read that book and loved it and proceeded to read all of Kerman. Kerman raved about The Classical Style, so I read that, loved it, and read all of Rosen's books and listened to a bunch of Rosen's CD's.  

 

'The Classical Style' reading group, week eleven

 

Fortepiano by Johann Andreas Stein (Augsburg, 1775) – Berlin Musical Instrument Museum.
Creative Commons photo by Gérard Janot. Source. 

V  MOZART 

 1. The Concerto 

By ERIC WAGNER
Special guest blogger

On page 251 Rosen begins discussing K. 503, Concerto No. 25, my favorite. Joseph Kerman edited the Norton critical score of this concerto. I saw that book in a Tower Records in the 1990's, but I couldn't afford it. I later got the book from the library and loved it, and I have a special affection for that concerto.  

The footnote on page 255 deals with changes in pianos over time. When Mozart composed this concerto the piano had fewer keys than the standard 88 key piano of the last two hundred years. Pianists sometimes ask what they think Mozart would have wanted to hear on the longer keyboard. Would he have wanted to hear notes not possible to play on the keyboard for which he originally conceived the piece? 

These last eleven piano concertos, number 17 to 27, seem to me among the greatest creations of humanity. If you find yourself struggling with Rosen's analysis in this book, I recommend just putting the book aside and listening to the music. I think this marks my sixth time reading this book. It covers so much music, I get lost sometimes, but I feel grateful that I get to return to the music, and I feel grateful that you have chosen to join me on this voyage. 

In 1985 I went to London for the first time. Most nights I went to a play, but the theaters closed on Sundays, so I went to hear a concert with Andre Previn playing and conducting a Mozart concerto (I don't remember which one) and conducting the Brahms Requiem. I had read articles condemning pianists conducting from the keyboard, so I found myself most looking forward to the Brahms, but the Mozart performance ended up blowing me away. A few weeks later I found myself in Ingolstadt, Bavaria, on July 23 where I heard the original German version of Falco's song "Amadeus" in a nightclub called Wonderland. The next night in Munich I saw Berman's film of The Magic Flute. 

'The Classical Style' reading group, week ten

Ludwig van Beethoven, about the time the Hammerklavier was written. (Source). 

Part IV  SERIOUS OPERA 

By ERIC WAGNER
Special guest blogger

On page 180 Rosen writes, “Tovey has remarked that Beethoven was not insufficiently dramatic but rather too dramatic for the stage: his music compresses into ten minutes the complexity of a three-act opera." This reminds of the equation Pound quotes “Dictung = condensare”, which Basil Bunting found in a German/Italian dictionary, poetry = condensation. Pound thought a short poem could compress the action of a novel. One can see this in something like Robert Browning’s “Fra Lippo Lippi”.  

I find it interesting that The Marriage of Figaro, Don Giovanni, and The Magic Flute have remained in the repertoire continuously since their premieres, never needed to get revived. Some of Shakespeare’s contemporaries criticized his blending of genres: his comedies contained serious depths and his tragedies contained farcical humor. I found it odd that the 2006 Will Ferrell film Stranger than Fiction insisted on a rather narrow separation of tragedy from comedy. I like how Rosen shows how Mozart took elements of opera seria and incorporated them into the opera buffa traditions to create his masterpieces.  

This chapter serves as a transition from the world of Haydn to the world of Mozart, with a preview of the world of Beethoven. Rosen sees them all working within the world of the classical style, with Beethoven stretching that style into undreamt of territories. In some ways I see this study group as part of our upcoming Schroedinger’s Cat study group. A character in that novel invites a number of concert pianists to a party so she can talk with them about Beethoven’s Hammerklavier Sonata. I like to think of Charles Rosen attending that party and sharing some of the ideas in this book with the host and the other guests, listening the other pianists' notions about the Hammerklavier and having spirited discussions with them.

'The Classical Style' reading group, week eight

 

Joseph Haydn around 1770 (source). 

Part III 

HAYDN FROM 1770 TO THE DEATH OF MOZART 

1  String Quartet 

By ERIC WAGNER
Special guest blogger

Mozart died December 5, 1791, age 35. 

On pg. 118, Rosen says of Haydn’s Op. 33 string quartets, “Transitional figures and phrases are almost completely eliminated.” I find this interesting because when Ezra Pound edited T. S. Eliot’s The Waste Land, he mostly eliminated transitional material, seeing it as unnecessary. Before Pound and Eliot, the notion of the three unities of time, place, and action played a big role in Western literature even though writers like Shakespeare rarely followed the unities. Shakespeare’s The Tempest provides a rare exception: the play takes place in one location on one afternoon. Robert Anton Wilson noticed that films prepared audiences for radical jumps in space and time. D. W. Griffith influenced both Pound and Joyce. Later films like 2001: A Space Odyssey and The Fifth Element would jump thousands of years from one scene to the next. James Bond films would jump all over the world from scene to scene.  

Literature before Pound and Eliot tended to have transitional material. Pound used radical jump cuts across space and time in The Cantos, and he encouraged Eliot to abandon transitional material in The Waste Land. Rosen illustrates a similar process in Haydn.  

I love Rosen’s writing, but one sentence on page 140 bothers me: “Op. 64 no. 3 in B flat major is one of the great comic masterpieces: the listener who can hear the last movement without laughing aloud knows nothing of Haydn.” I don’t like how he puts the reader on the spot here. The first time I listened to this movement in response to this passage, I did laugh aloud, but I wondered if I found myself nervously laughing because of my fear Rosen would think I knew “nothing of Haydn.” I just listened to it again, and I had a similar experience, laughing insecurely but enjoying the music nonetheless. Cannabis users might experiment with this movement and the quartet as a whole.

'The Classical Style' reading group, week seven

 

II  THE CLASSICAL STYLE 

2.  Structure and Ornament 

By ERIC WAGNER
Special guest blogger

The references to Rossini on page 101 makes me think of the popularity of his “The Barber of Seville” in the mid-twentieth century from Bugs Bunny in “The Rabbit of Seville” to Alfalfa of the Little Rascals singing “Figaro, Figaro, Figaro”. Joseph Kerman has written about how people have complained about the “death” of classical music for over a hundred years. Kerman notes that classical music survives, but often not in the way some people wish it would. In his wonderful (non-technical) book  Opera and the Morbidity of Music Kerman notes the surprising revival of the popularity of opera in the 1990’s and the popularity of the Three Tenors and the CD Chant. 

The discussion of ornamentation in this chapter makes me think about popular music in the last forty years, especially post-Mariah Carey, post-Whitney Houston singing, where singers typically add more ornamentation than in the music of the seventies and eighties. Watching American Idol in the 2000’s I noticed how young singers tended to add way more ornamentation than I tended to like. I think about changing performance styles of “The Star-Spangled Banner”.  

I love the Heisenbergian tone of pg. 104, with Rosen’s uncertainty about how to find an accurate interpretation of music especially when it comes to knowing what kind of ornamentation Mozart would have liked in the slow movements of his piano concerti. 

The first 108 pages of this book have laid the groundwork for appreciating the classical style. We have  reached the top of the roller coaster. Enjoy the ride!  

'The Classical Style' reading group, week six

Joseph Haydn in England in 1791 (John Hoppner painting)

The Classical Style: Part II – THE CLASSICAL STYLE 

1.The Coherence of the Musical Language 

By ERIC WAGNER
Special guest blogger

This chapter title makes think of how Aristotle and Aquinas’s ideas of coherence influenced Stephen Dedalus in A Portrait of the Artist as a Young Man. 

Foreshadowing: In the last chapter of this book Rosen discusses a piece by Schumann that alludes to the final song in Beethoven’s “An Die Ferne Geliebte”, “Nimm sie hin denn, diese Lieder”. I plan to listen to his song a few times a week for the next hundred days so that I can hopefully recognize the allusion when we reach the final chapter. https://www.youtube.com/watch?v=RsgS3I1NORY&list=RDRsgS3I1NORY&start_radio=1 

For anyone struggling a bit with this text, I suspect it will get easier when we get to the Haydn chapters. In these early chapters, Rosen deals with a wide variety of music from the seventeenth, eighteenth, and nineteenth centuries discussing topics like ”The Coherence of the Style”. When he focuses on one set of pieces by one composer, I think things will make more sense. I think books like this reward rereading because they cover such large topics, and I think Rosen covers them very well.  

Pg. 68: Rosen says of the classical style that “a single movement longer than twenty minutes is beyond its reach,” but the fourth movement of Beethoven’s Ninth Symphony tends to run over 24 minutes. 

July 4, 2026, marks the 250th anniversary of the Declaration of Independence. Pg. 94 mentions “the ferment that followed the American Revolution.” I feel this book suits the troubled times of 2026, I feel grateful for the people reading along with us. 

'The Classical Style' reading group, Week Five

 Domenico Scarlatti

 3. The Origins of the Style 

By ERIC WAGNER
Special guest blogger

Pg. 47 –  Johann Sebastian Bach: born March 31, 1685, died July 28, 1750.  

George Frideric Handel: born March 5, 1685, died April 13, 1759.  

Giuseppe Domenico Scarlatti: born October 26, 1685, died July 23, 1757. 

Haydn composed his Op. 33 String Quartets in 1781.  

This chapter outlines the musical world of Robert Anton Wilson’s The Earth Will Shake and The Widow’s Son: continuing influence of Scarlatti, Bach, and Handel; a very young Mozart; and Haydn toiling away in relative obscurity in Esterhazy in the Austro-Hungarian Empire.  

Rosen writes: 

The idea of a Form striving to define itself, to become flesh in all these different ways, is attractive, but even as a metaphor it sets a trap. It leads one to assume that there was such a thing as ‘sonata form’ in the late eighteenth century, and that the composers knew what it was, whereas  nothing we know about the situation would lead us to suppose anything of the kind. The feeling for any form, even the minuet, was much more fluid. 

                                                - pg. 52 

This passage helps to address Oz Fritz’s comment, “I don't know why Rosen calls the sonata a texture and not a form. Perhaps he will explain that as we move along.” 

(It does bother me that Rosen always uses male pronouns when refering to generic composers or artists.) 

    In Sonata Forms Rosen writes: 

    In the eighteenth century, consequently, there was no notion of an isolated  sonata form as such: all that existed was a gradually evolving conception of     the composition of instrumental music – a pure instrumental style untroubled  by the exigencies of concerto, dance music, or opera overture, unhampered  by the old-fashioned procedures of fugue and variations. It is significant that     eighteenth-century accounts of sonata form are all description of     instrumental compostion in general. 

- pg. 14-15 

'The Classical Style' reading group, week four

 Frédéric Chopin

2. Theories of Form 

By ERIC WAGNER
Special guest blogger

This parenthetical passage on page 34 really intrigued me when I first read The Classical Style in 1991:  

 (The greater the composer, the larger the terms of his control over the significance of his ideas, even when the range of his conception is deliberately narrowed: that is why Chopin must be considered in the company of the greatest in spite of the limitations of genre and medium that he imposed upon  himself.) 

I started playing string bass in fourth grade, and I tended to value composers who composed orchestral music since I got to play their music in orchestras. I started playing piano in third grade, but bass quickly became my main instrument, and I never played any Chopin on piano. 

In 1995 Charles Rosen’s The Romantic Generation came out, and it floored me. I remember that one sentence from The Classical Style, and roughly one third of Rosen’s large new book made clear why he considered Chopin “in the company of the greatest.” Since 1995 I have learned to love Chopin’s music, and I have come to completely agree with Mr. Rosen. 

Rosen frequently mentions Donald Francis Tovey (1875-1940) and Heinrich Schenker (1868-1935). I had heard music major friends mention Schenker in the 1980’s, but I don’t think I heard of Tovey until I read Kerman’s The Beethoven Quartets. Kerman and Rosen both had a ton of respect for Tovey’s writings on music. Kerman wrote a wonderful tribute “Tovey’s Beethoven” available in Kerman’s Write All These Down. Tovey has become less popular with younger musicologists. As Rosen mentions in this chapter, the arguments can get very nasty. Ethan Iverson quoted Sayre’s Law that “"Academic politics is the most vicious and bitter form of politics, because the stakes are so low." Despite Kerman’s love of Tovey’s writing, he included a famous nasty attack on Tovey in his Norton Critical Score of Mozart’s Piano Concerto in C major, K. 503 (#25) along with a famous Tovey essay on that concerto. 

I enjoyed Jan Swafford biography of Beethoven, but something seemed missing to me. About halfway through I noticed that, although he frequently mentioned Kerman and Rosen, Tovey did not appear in the bibliography or the index. Swafford only mentions Tovey once in a dismissive footnote. The decline in Tovey’s reputation seems to have happened because post-Rosen musicologists tend to overemphasize the similarities between different motives in a piece of music (in my opinion). Tovey emphasized caution in this regard (as do Rosen and Kerman). In Tovey’s long analysis of the Hammerklavier Piano Sonata, he writes: 

The movements of this Sonata, and of Op. 110, show a subtle and elusive relation in their main themes. Such subtleties ought not to be imputed to classical sonatas without very cogent evidence; when people see more than is there they will be very unlikely to see all that is there. But the evidence, both         internal and external, is quite adequate here. 

                    - A Companion to Beethoven’s Pianoforte Sonatas, pg. 221 

'The Classical Style' reading group, week three

Portrait of Haydn by Ludwig Guttenbrunn

[If you tuned in late, this continues the new reading group for The Classical Style: Haydn, Mozart, Beethoven by Charles Rosen. Previous posts one week ago and two weeks ago. Feel free to participate in the comments. -- The Management] 

I  INTRODUCTION 

 1. The Musical Language of the Late Eighteenth Century 

By ERIC WAGNER
Special guest villain blogger

When Tom Jackson lists me as “Special Guest Blogger,” it makes me think of the 1960’s Batman credit “Special Guest Villain,” especially since last week’s post mentioned the opera Die Fledermaus (“The Bat”). I remember a Batman episode where a German man called Batman “Der Fledermausman!” 

The medium seems part of the massage. I remember around 1981 reading an article by a guy who said his dad had spent his life traveling around Germany so he could hear all nine Beethoven symphonies. With the arrival of long-playing (LP) vinyl records, one could purchase all nine symphonies relatively inexpensively and listen to them repeatedly. With internet, one can listen to multiple versions of all nine symphonies for free on YouTube. In elementary school I had LP’s of about five Haydn symphonies and the Trumpet Concerto, so I got to know those pieces. In the CD era I got a two-CD set of six late Haydn symphonies which included one of the ones I had on LP (the Surprise Symphony). Now I have Spotify and I can pull up any Haydn symphony without the annoying ads on YouTube. 

This week I have listened to a bunch of the Op. 17, Op. 20, and Op. 33 string quartets by Haydn, six quartets in each opus. I had never heard the Op. 17 quartets before, so far as I recall. I had an LP of two of the Op. 20 quartets my roommate Jai had given me around 1980 or 1981, and a CD of the same LP on CD which my mom bought me around 1999. I have a CD of three of the Op. 33 quartets which my wife gave me in 1997. I found it interesting to listen to the four Op. 20 quartets and three Op. 33 quartets this week which I had never heard before as well as the quartets I had listened to for decades. 

Pg. 26 – In the key of C Major, C (I) serves as the tonic; F (IV) the subdominant; and G (V) the dominant, so G7 serves as the dominant seventh. A plagal cadence goes from IV to I, F to C in C Major. Some call this the “Amen Cadence” due its popularity in older Christian church music. In the eighteenth century the plagal cadence became less popular in favor of the dominant cadence, G to C in C Major. If you can play guitar or a keyboard instrument, you might play these cadences to hear the difference: F-C (“A-men”) and G-C. A ton of rock, jazz, blues, and country songs have dominant cadences. 

See you next Monday, same Bat-Time, same Bat-Channel! 

'The Classical Style' reading group, Week Two

 

Week 2: Preface to the First Edition, A New Preface, Acknowledgments, Bibliographic Note, Note on the Music Examples. 

By ERIC WAGNER
Special guest blogger

Welcome back my friends to the show that never ends. I laughed out loud on pg. xviii when Rosen wrote, “But we know that performers of weak moral principles did not observe all written repeats.”  

Some of you have expressed concerns about not understanding this text. I hope you will enjoy the book anyway. I don’t understand everything that Rosen writes, but I think I understand some of it, and I enjoy it immensely. It seems to me that playing the music provides the greatest tool for understanding it. I don’t play piano much anymore, and I never played that well. I feel lucky that I got to play Haydn, Mozart, and Beethoven works while playing bass in student orchestras. However, I disagree with Rosen sometimes, and with other musicians who can actually play this music. We all experience the music in our own way.  

Listening to the music provides the second best way to experience and learn about this music. Hearing it live seems a wonderful tool, but listening to records or watching recordings also help us understand the music. Reading about it also helps. I remember hearing Andre Previn talk about the privilege of conducting music “that is greater than we are”. Now, spiritually, I don’t know if I fully agree with this, but I love the line from the Upanishads Bob Wilson quoted in Masks of the Illuminati, ”Remove infinity from it and infinity still remains.” I keep coming back to late Beethoven, week after week, year after year, decade after decade, and it keeps bringing new delights. 

This brings up the question of opera. Some people go to the opera regularly. James Joyce, Charles Rosen, and Stendhal went to opera regularly, and this experience seems central to understanding their works. I have not attended an opera in person since hearing Die Fledermaus in Vienna in 1985 from the highest, cheapest seats. (Or did I stand? I think I sat. Memory fails me.) Mozart’s great operas play a significant role in this book. I highly recommend Bergman’s film of The Magic Flute. Because of watching that film over and over again over the past 41 years, as well as listening to various recordings and getting to teach that film in various classes, I know that opera pretty well. In the mid-1980s I expressed my yearning to own more opera cd’s to a friend who kindly said they would pay for half of a three cd opera recording for me if I would pay the balance, so I got Solti’s recording of The Marriage of Figaro which I have listened to a ton over the decades. I feel familiar with the music of that opera, but I don’t understand the plot very well. I have started watching a YouTube recording of the opera, but I don’t have much appetite for watching opera on TV, alas.