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How important was individuality to the composers of the Clas

In order to assess how important individuality was to composers of the Classical period the question of what exactly individuality is must first be tackled. It can be defined as “the aggregate of qualities and characteristics that distinguish one person or thing from others” and in a musical context I believe this would refer most specifically to style and overall effect. It is perhaps easiest to detect individuality by simply listening to a piece of music, (although conductor’s and performer’s interpretations must be acknowledged), and it is then possible to analyse the music in detail in order to locate the specific devices, harmonies and textures which give it this unique sound and effect. During the Baroque period a great deal of music was composed explicitly for a particular means or setting such as the church. It is therefore not entirely surprising that the word “individuality” has come to be associated less with this period and more with that of the Classical and composers such as Haydn, Beethoven and Mozart.

The Classical period and the emergence of the galant style, brought with them a much greater interest in public displays of music than had previously been prevalent. It is therefore likely that this was one reas

. . .
Less complicated (more homophonic) textures than in the Baroque period also allowed more scope for composers of the time to experiment with style and so take a more individual approach. This use of wit is again an individual aspect of his compositions. on behind composers striving for a more individual style. Monothematicism (based on a single theme) is the underlying base of these pieces, an example of this is having the tonic note follow the dominant so enforcing the perfect cadence (such as in Op. It began with one of Haydn’s early patrons, Baron von Fürnberg (a cellist), commissioning music for his three friends two of who played the violin and one the viola, and from this:

“Haydn's earliest divertimento-like works (violin-dominated, the other instruments providing simple accompaniment) soon circulated around the continent, forging his early reputation”

Haydn also established the string quartet’s four-movement form. There was more focus on melody, sharp contrasts, contrasting phrasing within movements, and antecedent and consequent phrases. Bach’s writing, and so in this sense cannot be seen as truly individual. The fact that many of his techniques can be found in the works of Mozart and other composers shows that his writing was indeed original and important. The first movement usually in sonata form played fast, the second slow, the third would have been a minuet and evolved into the scherzo, and the fourth would be rapid and concluding. There is a definite sense of compositional progression from the Op. 50 quartets were the first set he had published in five years, since the Op.

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