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811:
409:" manifestations, because of their emphasis on features such as extreme expressive contrasts with disruptive incursions, instability of key, sudden changes of register, dynamic contrast, and exciting orchestral effects, all of which are atypical of
433:. Traits characteristic for composers of this school are a particular fondness for Adagio movements and precise attention to ornaments and dynamics, as well as the liberal use of
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is sometimes rendered as "sentimental" or "ultrasensitive". "Empfindsamkeit" is also sometimes translated, and may even be derived from the
English word
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The German noun "Empfindsamkeit" is usually translated as "sensibility" (in the sense used by
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405:(storm and stress) that emerged around 1770. These two trends are together regarded as "pre-
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796:. A History of the Sonata Idea 2. Chapel Hill: The University of North Carolina Press.
736:. Harvard University Press Reference Library 16. Cambridge: Harvard University Press.
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Frederick the Great and His
Musicians: The Viola da Gamba Music of the Berlin School
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681:, 2 vols., edited by Christopher John Murray, 903–904. New York: Routledge.
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698:. Aldershot, Ashgate Publishing; Burlington, Vermont: Ashgate Publishing.
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Style of musical composition and poetry developed in 18th-century
Germany
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as a slightly earlier parallel to the showier and stormier phase called
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textures (a single, clear melody, supported by subordinate chordal
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is similar to and often considered a dialect of the international
343:, since it is related to the then-contemporary English literature
437:("sigh" figures) and frequent melodic and harmonic chromaticism.
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is especially associated with the so-called Berlin School at the
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313:), in which a composition (or movement) would have the same
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as practiced in the second half of the eighteenth century.
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Ornamentation
According to C. P. E. Bach and J. J. Quantz
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781:. New York: W. W. Norton, pp. 585ff. Reprinted 1997,
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658:, and Bruce Alan Brown. 2001a. "Empfindsamkeit".
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677:Irving, John. 2013. "Pre-Romanticism in Music".
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661:The New Grove Dictionary of Music and Musicians
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395:has encouraged historians to view mid-century
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391:The dramatic fluidity that was a goal of the
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317:(e.g., emotion or musical mood) throughout.
679:Encyclopedia of the Romantic Era, 1760–1850
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728:Wolf, Eugene K. 2003. "Empfindsam style".
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298:and poetry developed in 18th-century
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440:Composers in this style include:
365:style, which is marked by simple
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730:The Harvard Dictionary of Music
461:, the eldest son of J. S. Bach
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535:Poets in this style include:
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761:Harvard Dictionary of Music
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452:, the second eldest son of
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515:Johann Friedrich Reichardt
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311:doctrine of the affections
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59:Transition to Renaissance
902:Classical period (music)
505:Johann Gottlieb Janitsch
490:Giovanni Alberto Ristori
892:18th-century literature
459:Wilhelm Friedemann Bach
335:), while the adjective
178:Transition to Modernism
126:Transition to Classical
25:Western classical music
152:Transition to Romantic
99:Common practice period
897:18th century in music
834:This article about a
573:Heartz and Brown 2001
510:Johann Joachim Quantz
332:Sense and Sensibility
85:Transition to Baroque
711:Palmer, Kris. 2001.
672:. London: Macmillan.
520:Christoph Schaffrath
500:Johann Adolph Hasse
475:Carl Heinrich Graun
445:Carl Friedrich Abel
431:Frederick the Great
347:literary movement.
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411:musical classicism
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465:Georg Benda
327:Jane Austen
228: 1945
212: 1890
69:Renaissance
32:Early music
886:Categories
558:References
470:Anton Fils
454:J. S. Bach
367:homophonic
337:empfindsam
286:(English:
836:classical
615:Wolf 2003
321:Etymology
203:Modernism
192:New music
136:Classical
777:. 1941.
759:. 1969.
641:, 46–47.
546:See also
417:In music
407:Romantic
162:Romantic
43:Medieval
648:Sources
602:, xvii.
351:History
304:Baroque
300:Germany
110:Baroque
802:Portal
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629:, 903.
380:galant
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382:style
290:) or
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