Beethoven: The Heroic Period. [across the top] Nb: 1 Cues for the other instruments are to be...
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Transcript of Beethoven: The Heroic Period. [across the top] Nb: 1 Cues for the other instruments are to be...
Beethoven:The Heroic Period
[across the top]Nb: 1 Cues for the other instruments are to be written
into the first violin part
Sinfonia GrandeIntitulata Bonaparte
[1]804 im Augustdel Sigr.
Louis van BeethovenGeschrieben
auf BonaparteSinfonia 3 Op. 55
[at the bottom]Nb: 2. The third horn [part] is so written that it
can be played by a primario as well as a secundario
[across the top]Nb: 1 Cues for the other instruments are to be written into the first violin part
Sinfonia Grande [written by copyist]
Intitulata Bonaparte [scratched out violently, made a hole] [1]804 im August
del Sigr. [written by copyist]
Louis van Beethoven [written by copyist]Geschrieben [in pencil, in Beethoven’s own hand]auf Bonaparte [in pencil, in Beethoven’s own hand] Sinfonia 3 Op. 55[at the bottom]Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario
Beethoven’s expansion of sonata formin the Third Symphony
Opening two chordsDeceptively simple theme for four measures
Repeat of opening theme, ffThree-note transition figure in woodwinds (oboe, clarinet, flute)
Second theme, alternating between woodwinds and strings
Extended crescendo, from pp to ff, coupled with increasing note values and expansion of range
Rhythmic energy, typical of Beethoven’s “heroic” works
New theme introduced in the development section
Horn entrance at “wrong” time, creating unexpected dissonance, immediately before recapitulation
“Apparent” ending of the movement, but then Beethoven slides down three notes to begin a greatly expanded coda, a “second development”
The real end of the first movement
Second movement: Marcia funebreC minor again—Beethoven’s “key of tragedy”
Third movement: Scherzo, beginning
Trio – begun by the horns
Acceleration, drive to the end
Finale [begins with prolonged dominant harmony]Introduction and theme
Fugal treatment of theme. Counterpoint becomes important in Beethoven’s middle period, and even more so in his late works.
Closing chords, similar to opening chords of first movement, and chords that end each of the movements.