Sensitive style
The term sensitive style refers to a musical style that starting around the 1720s and 1730s, the Baroque music replaced ( in northern Germany 1740-1765 ). The climax experienced the sensitive style in the 1770s ( correlations with the Sturm und Drang ) when the classics was already established.
The musical language of emotional style is emotional subjective, the melodic phrases should touch the listener immediately and directly. Typical features include Lombard rhythms, derivative formation and Seufzermelodik. The compositional technique is simple, the basso continuo ( Continuo ) becomes less important, and the harmonic rhythm is slowed down.
Influences of sense of time
Similar to the architecture ( Rococo around 1720-1760 ) performed a rejection of the strict regularity of the older, mitgeprägten by Johann Sebastian Bach performance practice and a change of style to more emotion - but unlike in the Rococo with simpler means. These changes took place in the countries of Western Europe at the same time.
Influence also had the musical instruments ( trend flute, strings and harpsichord). At the beginning of the 18th century by Domenico Scarlatti harpsichord sonata to a major genre of the era.
Comparison gallant style - sensitive style
The sentimental style can be seen as intensifying the galant style (see also gallant and gallantry ).
The gallant style emerged already in the late Baroque in departure from the strict polyphonic style. Main features:
- Close to the ideal of bel canto ( cantabile, naturalness, intelligibility )
- Transparent Little coherence, dominant melody
- Simple, but effective harmonic progressions
- Short, simple melodic phrases that are often repeated
- Elegant melody and ornamentation
The sentimental style:
- Allowing emotion and sensation
- Frequent alternation of emotions
Composers
- Georg Philipp Telemann (1681-1767)
- Domenico Scarlatti (1685-1757): Although the same age as Bach and Telemann, he represents a bridge to the early classical period - in particular by harpsichord and precursors for later piano sonata. His experimentation called Barbara Zuber " Wild flowers at the fence of classical music ." Spanish dance forms and folk music also appeared in " feudal " sonatas.
- Giuseppe Tartini (1692-1770)
- Jean -Marie Leclair (1697-1764)
- Johann Joachim Quantz (1697-1773, authored the 1752 textbook attempt at a statement, the flute traversiere to play )
- Johann Adolf Hasse (1699-1783)
- Giovanni Battista Sammartini ( 1700/01-1775 )
- Giovanni Battista Pergolesi (1710-1736)
- Carl Philipp Emanuel Bach (1714-1788) One striking example is his Sonata No. 6 ( in c-Moll/Es-Dur ), which he took to play in his textbook Essay on the True Art of the piano (1753 )
- Georg Christoph Wagenseil (1715-1777)
- Johann Stamitz (1717-1757)
- Leopold Mozart (1719-1787), published a violin-playing (1756 )
- Johann Christian Bach (1735-1782), had influence on the young Mozart ( London 1764)
- Carl Ditter von Dittersdorf (1739-1799)