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5

I can't answer specifically for Mozart and Beethoven, but Handel's operas were the great public sensation of their day; this article from the London Victoria & Albert Museum gives a little flavour of the 'opera fever' of the 1720s. 18th Century Opera


3

Opus is just the musical term for a work. There is no further meaning in the word. It is just the word for a composers work. A song cycle on the other hand has a lot more of stylistic elements to the word. A song cycle like wikipedia mentions "defies definition" to a great deal, but there is still some stylistic characteristics. A song cycle not like a ...


3

All song cycles might have an opus (Latin for "work") number, but not all pieces with opus numbes are song cycles. Symphonies, concerti, sonatas, tone poems, etc., might all have opus numbers, but none of those are song cycles. A song cycle is a collection of songs intended to be performed together. Often the songs will have a common theme or they might ...


3

To add on to the already helpful answers, correctly classifying Opus translating simply to "work" but a song cycle being a type of work. Taking that further classifying a work as a song cycle the song cycle would include that the work is 2 or more songs and that songs are a combination of a melody sung by a person, that may or may not be accompanied by ...


2

The current configuration is historically based. Early singing was based on what are now the "white keys" on the piano. Also, in early time, a Bb was added so that the F-B interval (which was considered difficult to sing in tune, compared to other intervals) could be avoided a bit. The early organization (which contemporary music theorists called modes or ...


2

"Opus" is purely a catalogue number, assigned by the composer or by someone else. Opus 1 may be a piano solo. Opus 2 a string quartet, Opus 3 a song cycle. Maybe the individual songs in a cycle will be labelled Op.3a, Op.3b, Op.3c... Or we sometimes see Op.3 No.1, Op.3 No.2 etc. It's all down to whoever does the cataloguing.


2

Way back. Do you need sources earlier than Bach? I suggest you are cautious about considering music as "evolving". The Blues uses dominant 7th shape chords in a non-functional way. I don't think it's particularly illuminating to trace them back to a Bach chorale harmonisation.


2

If you Google dominant seventh and ninth chords wikipedia gives a good overview of the early usage of those, i.e., they did appear in classical music. This wasn't obvious perhaps, since the classical composers used those chords as harmonic devices among many others, where their use in blues is pretty insistent. As far as harmonic forms, I believe harmonic ...


1

Some data points: Die Zauberflote filled a public theatre six nights a week for weeks on end in 1790 or 1791. Verdi used to collect his entire fee in gold on or before the opening night, and had the right to withdraw his score at any time before that. Madama Butterfly played Melbourne, Australia, six nights a week for over a month in about 1906. No ...


1

Hearing lectures from prof. Robert Greenberg from Berkeley. He explained in the time J.S. Bach it was the clergy or the nobility that the financial means to hold musicians on their payroll. In the later years of Bach he made some works (profane) that were for the coffee houses and that was the begin of bringing music to the masses. I listened to the great ...


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He began studies at Paris Conservatory when he was 10 years old (1872) where he studied for 11 years. He then won a composition competition (Prix de Rome) for his cantata L'Enfant Prodigal (The Prodigal Child) which financed 3 more years of study in Rome, but he only studied in Rome for 2 years before returning to Paris.


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The bass waltzes composed by Dragonetti have a lot of paired notes that go from 1st to 4th finger across strings to minimize shifting. The same can be said for the 6 Vivaldi sonatas and Benedetto Marcello sonatas. It seems that composers in that period took into account the tuning in 4ths and made pieces that fascilitated the playing to bassists. (I'm aware ...



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