10 Revolution, Change and Beethoven.ppt
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Transcript of 10 Revolution, Change and Beethoven.ppt
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Revolution and Change
Revolution, War & Music 1789-
1815;Ludwig van Beethoven
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Key Terms & Concepts
The French RevolutionParis Conservatory
The Industrial Revolution
Early Period, Middle (―Heroic‖)Period, Late Period
Sonata-rondo form
Heiligenstadt TestamentFugue
Exposition
Episode
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The French Revolution
• The storming of theBastille (right), 14 July1789
• 1792: King Louis XVIand Queen Marie Antoinette executed
• 1799: General
Napoléon as FirstConsul of theRepublic
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The French Revolution
• Napoléon Bonaparte,Emperor: 1804-1814
• The FrenchRevolution led towidespread changesin social conditions
throughout Europe
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The French Revolution and Music
• Music became part of the French State‘s
unifying festivities
• The Republican government underwrotethe Opéra and Opéra-Comique, as the
King had done
• The government instituted the first modern
Conservatory in Paris in 1795, which
became a model for many others
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The Industrial Revolution
• British textile industry began the trend tomechanizing work
• Mass-production led to change in jobs
(think layoffs of hand-powered labor) andhiring of men, women & children to work infactories; massive economic change
• The middle class grew in Europe at theexpense of the lower and aristocraticclasses; massive social change
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Ludwig van
Beethoven
(1770-1827)
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Ludwig van Beethoven
(1770-1827)
• Influenced by the music of Haydn & Mozart
• Began as a piano prodigy and composer
• Became increasingly deaf from 1802 until
death
• His life spanned the French Revolution and
Empire, and the beginning of the Industrial
Revolution
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Beethoven
• Musical work divided into three periods:
– Early style: 1770 to 1802, Beethoven masters
composition and begins to find his own style
– Middle style: 1802 to 1815, many works said
to sound ―Heroic;‖ very expressive & dramatic
– Late style: 1815 to 1827, experimentation and
increasingly difficult music to play and to listen
to
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Beethoven‘s First Period • Born in Bonn, Germany in 1770; worked
for the Elector of Cologne as a pianist andimproviser
• Moved five hundred miles to Vienna in1792 to study with Mozart, at Haydn‘sencouragement
• Mozart‘s death meant Beethoven endedup studying with Haydn until 1794. Thetwo had a ―distant‖ personal relationship
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Beethoven‘s First Period 2
• Beethoven studied with Albrechtsberger in
1795
• He became soon well-known as a
composer and pianist in Vienna, receiving
support from nobility (including Prince
Lichnowsky)
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Beethoven‘s First Period 3
• Beethoven‘s composition began with works for
the piano, his own main instrument
• Op. 2 Piano Sonatas dedicated to Haydn
(3 works)
• Sonate pathétique, Op. 13 in C minor (c.1799)
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Sonate pathétique, Op. 13
• First movement in C minor; sonata form
• Second movement in A-flat major (contrasting
key)
• Third, last movement in C minor; sonata-rondo
form. What is sonata-rondo form????
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Sonata-Rondo Form
Expos. Dev. Recap. Coda
P tr S (P) P S (P) Coda
R E1 R E2 R E3 R Coda A tr B A C A B A coda
i III i (bVI) i I i i
(R= refrain, E=Episode)
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Sonata Rondo in Op. 13 finale(score and recording on Blackboard)
Sonata form: Expos. Dev.
Sonata form: P tr S1 S2 (P)
Rondo form: R E1 R E2…
Rondo form: A trans B1 B2 A C…
key: cm EbM cm AbM…
mm.#: 1 18 25 43 61 78…
Sonata form: Recap. Coda
Sonata form: P tr S1 S2 (P) Coda
Rondo form: R E3 R Coda
Rondo form: A trans B1 B2 A coda
key: cm CM cm cm
mm.#: 120 128 134 153 171 182
Oth i t t k f
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Other important works of
Beethoven‘s First Period
• Non-piano works composed after
Beethoven was well-established and
confident
– Six String Quartets, Op. 18 (1800)
– First Symphony in C Major (1800)
• Tradition both respected and altered
• Opposing styles and emotions juxtaposed
(these became characteristics of his style)
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Beethoven in 1802
• Beginning of deafness;
famous Heiligenstadt
Testament (found after
his death) describes hisreaction to the
unstoppable, growing
hearing trouble
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The Middle Period (1802-15) 1
• Beethoven was freer to compose as he
pleased:
– Ironically, his deafness was freeing in this way
– Job offers from other nobles in 1808 led
Viennese nobility to pool money to keep
Beethoven in Vienna, giving him financial
freedom• He was more able to compose what he
wished than any previous composer
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The Middle Period (1802-15) 2
• Publishers competed for Beethoven‘s
music; he bargained, and sold rights to
publish his music in many countries at
once, which he learned from Haydn
• He sketched his compositions over and
over again, leaving behind one of the most
complete views ever of how a composer
worked (see p. 380)
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A B eethoven Sketch
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The Middle Period (1802-15) 3• His music sounded more like a drama
• Near the same time, many audiencemembers changed from thinking of music as
a conversation of instruments to music asan abstract drama, involving struggle andresolution
• His works became longer than any before
• 1814 was the height of his popularity
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Major Works of the Middle Period
(1802-15)• The Eroica Symphony in E-flat Major (1804)
• The Fifth Symphony in C minor (1808)
• The Sixth Symphony (Pastoral) in F Major(1808)
• Piano and Violin Concerti, 5 string quartets, 2
violin sonatas, the ‗Archduke‘ Piano Trio Op.97
• Fidelio (opera)
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The ‗Eroica‘ Symphony in E-flat
Major (1804)
• Longer than any previous symphony
• Originally dedicated to Napoléon, until
Beethoven heard of his tyranny; then hescratched out the dedication, even tearinga hole in the page
• Mvt. I: Heroic; sonata form, Mvt. II: funeralmarch, Mvt. III: fast scherzo with militaryhorn calls, Mvt. IV: variation-form
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Title page of the ‗Eroica‘
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The ‗Eroica‘ Symphony in E-flat Major
(1804), I (Anthology, p. 282-321; CD 8:46)
• Sonata form with unusual proportions: – Exposition: mm. 1-153 (153 mm.)
– Development: mm. 154-397 (244 mm.)
– Recapitulation: mm. 398-551 (153 mm.)
– Coda: mm. 552-691 (141 mm.)
• There are some powerful dissonances in thework (see the C-sharp in mm. 7-8, and esp. theDevelopment, mm. 272-283)
• Beethoven uncharacteristically uses a NewTheme (NT) in the Development (mm. 284-299)
• The horn seems to prematurely begin therecapitulation (!?)
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The Late Period (1815-27) 1
• Increasing isolation
– 1818: Beethoven was almost completely deaf
– Family problems and bad health
– Europe-wide economic depression after 1815
meant less money for musical performances
– Austrian government became repressive in
1815, fearing revolution
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The Late Period (1815-27) 2
• Only two large works
– Missa Solemnis
– Ninth Symphony (Choral symphony)
• Focus on music for ‗private‘ performance:
5 string quartets, 5 piano sonatas, Diabelli
variations
• Increasing use of variation technique,
continuity between movements, mixes of
historical and popular styles, fugue
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String Quartet in C-Sharp Minor,
Op. 131• Unusual quartet: 7 movements, without
pause; the 4 traditional movements are
present, but jumbled & added to
• I: fugue; II: sonata-rondo (both sometimes
used as finales, if at all…)
• Unusual key structure across the 7
movements:
C#m, DM, Bm, AM, EM, G#m, G#m
String Qt in C # Minor Op 131 I
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String Qt in C-# Minor, Op.131, I Anthology, pp. 322-325; CD 8:62)
• Movement I: SLOW fugue (instead of fast sonata
form or fugal finale)
– Exposition (mm. 1-21) uses the full subject in all 4
voices (fugal answer on IV not V!)
– Episode I (mm. 21-47) uses motivic fragments from
the subject, mixed with free counterpoint
– Later Entries (mm. 48 ff, mm. 91 ff) do not always use
the full subject., esp. 48 ff.
– Extreme expression mixed with unusual harmonies
(Augmented: mm. 14, 27, etc.)
– Key areas (EM, G#min, BM, AM, DM) appear in the
other movements as well
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Final cadence:German diminished 3rd — I
(B#-F#-A-D) – (C#-E-G#)
Exposition1-21
Episode 121-47
Partial Entry48-54
Episode 255-90
Final Entries91-121
I vln (1)
II vln (5)
vla (9)
vcl (13)
II vln (48)
vla (49)
vcl (50)
I vln (54)
vla (93) vla (108)
II vln (94) II vln (110)
I vln (99) vcl (111)
vcl (100, aug) II vln (112)C-sharp minor
->
F-sharp minor
G-# minor,
F-# major...
E-flat minor A major
->
C-# minor
C-sharp minor
String Qt in C-# Minor, Op.131, I(Anthology, pp. 322-325; CD 8:62)
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Beethoven‘s Centrality
• Beethoven became a mythical culturalhero, immediately after his death (and stilltoday)
• Late works were initially disliked, but cameto be seen as masterpieces for theconnoisseur
• The idea that Beethoven was expressinghimself in his works made him an idealcomposer to Romantic composers