Beethoven's_Violin_Concerto(1).pptx

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The Man…The Music…The Genius!

TASK: Familiarise yourself with the score forBeethoven’s Violin Concerto in D major ( st movement! " #et rea$y to follow this throu#h withthe music%

Beethoven



A fery character – violent mood swings.

Suered rom various illnesses – mostrominent was deaness.

"ever married so never had any children.A meticulous comoser – a erectionist.

#ailed as the $second Mo%art&.

'an o #aydn&s wor(.

)udwig van Beethoven *+,,-+/0,1



Tonicdominant alternation

Balanced hrases *2uestion 3 answer4our 5ar hrases1

6ntroduction o the iano

Gradual hasing out o the 5asso continuo and the esta5lishment o

a conductor

A more varied orchestra including clarinets *B51

7rominence o melody and accomaniment

Symhony8 sonata8 string 2uartet 8 concerto

Al5erti 5ass

Graded dynamics

Sonata orm

'ewer ornaments than Baro2ue music

9uic( change o mood

The :lassical 7eriod



:oncerto in ; ma<or or =iolin 3 >rchestra8 o. ?+

@ritten 3 erormed in +/-?

:omosed or violinist 'ran% :lement – a 5eneft concert to raise moneyor :lement. Musicians oten did this to sulement their income when

they were not wellaid.>rchestral musicians would oer their services or ree to hel out their

ellow musicians.

7erormed in the Theater an der @ien in =ienna *0rd ;ecem5er +/-?1

'irst erormance was not a success – the iece 5ecame neglected orseveral decades aterwards.

The wor( was suosedly fnished so late that there wasn&t any time orany roer rehearsals.

Beethoven later arranged it or iano *his own instrument1 5ut again8 itwas not really a success.

The iece was comosed or 'ran% :lement to lay 5ut was dedicated to

Stehan von Breuning.Beethoven only wrote one =iolin :oncerto in his lietime.

The Bac(ground



+,0 – Beethoven arrives in =ienna to have lessons with #aydn.

Beethoven was identifed as $a second Mo%art&.

#aydn was suosed to ta(e Beethoven to )ondon 5ut this didn&t

haen and he assed on his teaching duties.

=ienna was ruled 5y the #as5urg amily – imerial 5ureaucrats

*aristocracy1.>ortunities in =ienna attracted many musicians rom all over

Curoe.

The imerial court romoted church8 oera8 dance and instrumental

music – musicians earned wages through atronage rom the no5ility.

Many o Beethoven&s erormances 3 comositions were or rivate

aristocratic society – he also gave lessons to mem5ers o the no5ility.

:omosed more slowly than =ivaldi or #aydn – symhonies 3 ,

concertos is small comared to #aydn&s +-- symhonies 3 =ivaldi&s

D-- concertos.

Beethoven comosed using s(etch5oo(s o ideas8 drating 3 re

drating melodies.

'urther Bac(ground – thecircumstances



Franz Clement – an Austrian violinist8 ianist8 comoser – active in=ienna.

Enown or his virtuosic laying – a5le to 5rieFy loo( at a comleiece o music and lay it rom memory.

Enown or his antics – laying his violin uside down8 only using one

string.Stephan von Breuning – close riend to Beethoven rom childhood.

Beethoven taught the younger Breuning children the iano in the+,/-s.

)ived together in =ienna or a short time in +/-H.

#e ut u with Beethoven&s fery out5ursts andmistreatment.

Iemained riends until the end – dying <ust 0 months

aart rom each other.

Associated namesJ :lement 3Breuning



Movement 6 – very etended *0- minutes1

Movements 66 3 666 are lin(ed *see score1 – <ointduration 5roadly 5alances movement 6.

;escri5ed as $serene& 5y more than one writer– aroriate or the frst movement.

Technically challenging iece or the soloviolinist.

A concerto is a movement iece thathas a solo instrument accomanied 5y a

ull orchestra.

=iolin :oncerto in ; ma<or8 o.?+



Strings – violins 6 3 668 violas –

cellos 3 dou5le 5asses normally dou5le in octaves

@oodwind – dou5le woodwind orchestra *o5oes8clarinets in A8 5assoons1. >nly >"C Fute.

The woodwind is unusual – clarinets in B5 werecommonly used at this oint as were 0 Futes. >neossi5le reason is that Beethoven&s hearing aectedwhat he wrote or – he couldn&t hear higher itchedsounds as well as lower itches.

Brass – 0 horns 3 0 trumets in ; *valveless 3 croo(ed1.

0 Timani in ; 3 A *tonic4dominant1

S>)> =iolinist!

6nstruments



"o valves K Lnatural 5rass – can only laynotes rom the harmonic series.

6 a Lnatural 5rass instrument is in :8 they

can only lay the ollowing notesJ

:roo(s – etra ieces o tu5ing added5etween the mouthiece 3 the 5ody o theinstrument – changing the instrument intodierent (eys.

Brass – valves 3 croo(s



Cnters at 5ar / – ater the oening orchestral section.

:ontinues to lay or most o the time ater this – someassages are orchestral only or variety 3 to give the soloist arest.

There is evidence that soloists did lay in the $orchestraonly&sections o concertos during Beethoven&s time – including thisone!

Soloist sometimes lays without accomaniment8 usuallysuorted 5y some *i not all1 o the orchestra.

#as music which is considera5ly more diNcult technically thanthe orchestral strings arts – goes etremely high *5ars +--+-+1 – no dou5le stoing though until near the end.

Beethoven li(ed dou5le stoing – listen to his &omance in '(o% )*! 3 Violin Sonata no% + in A major (o% ),!%

The Soloist



6n the :lassical eriodJ

Showy assage imrovised 5y the soloist *alone1.

Soloists in the +/th century were eected to 5e a5le to imrovise – it had to sound li(e it wasmade u on the sot.

:ame near the end o the frst movement – sometimes in other movements.

"ormally rovided an etended rolonging o the = in an imortant 6c=6 *erect1 cadence –ollowed 5y an orchestral tutti.

:omleted 5y a long trill – signal to the orchestra to reare to lay again.

;raws on the themes rom the movement 8 com5ined with the soloist&s own ela5orations andideas.

6n ractice8 or saety8 many soloists wrote out their caden%as 5eorehand.

Osually a sot ending meaning the coda 5eings 2uietly 5eore an etravagant ending.

6n this set wor(J

6ndicated in the score 5y a minim C with trill and ause signs *5ar D+-H1.

'ollowed 5y a mostly 2uiet 3 light second closing assage in which the soloist continues to lay –more astoral in character.

"ot normally imrovised in resent day erormances – caden%as comosed 5y Poseh Poachim*+/++-,1 and 'rit% Ereisler *+/,D+?01 are oten used.

Beethoven hadn&t fnished the wor( until moments 5eore the frst erormance – a caden%a

couldn&t 5e rearranged.

Beethoven wrote caden%as or the iano version o this wor( – some violinists adat these or the

violin.

The :aden%a



The violin was modifed at this time in the late+,-s – made a more owerul sound.

The nec( was lengthened8 increasing the

length o the strings – slightly more room5etween notes8 laying in the higher registers5ecame more ractical.

The modern 5ow was develoed in 7aris 5y

'rancois Tourte – this curved inwards85alanced well8 used more 5ow hair and washeavier at the 5ottom.

Advances in string technology



Fritz Kreisler – Austrian violinist.

Enown or his sweet tone and eressive hrasing –his caden%as are used most oten.

Joseph Joachim – #ungarian violinist.

@or(ed closely with Brahms.

These fgures 5oth wrote caden%as to go withBeethoven&s =iolin :oncerto.

Felix Mendelssohn – revived this iece

in +/HH and it was a hit with the Iomantic

audience. Mendelssohn conducted it and

Poachim erormed the soloist&s art.

>ther Associated "amesJ Ereisler8 Poachim 3 Mendelssohn



+. @hat is a caden%aQ

0. @hen was the violin concerto writtenQ

. @here was it frst erormedQ

H. @ho was the concerto written orQ

D. @hat was a $5eneft concert&Q

?. At which 5ar num5er does the soloist enterQ

,. @ho develoed the modern 5ow techni2ueQ

/.@hich two names heled the revival o the iece in+/HHQ

. @hat is $natural 5rass&Q

+-. #ow many Futes were used in this ieceQ

Ieca



)oo( at the (ey eatures o the :lassical eriod and

relate this to Beethoven&s =iolin :oncerto in ; ma<or.#ow is this iece tyical o the :lassical eriodQ

A #oo$ wor$ count is aroun$ -** wor$s%

Iesearch the (ey eatures o the Iomantic eriod –how does this relate to Beethoven&s =iolin :oncerto in; ma<orQ @hy do you thin( this iece was moreacceted in the Iomantic era than in the :lassical

eraQ A #oo$ wor$ count is aroun$ *** wor$s%

7lease 5ring evidence o your fndings to 5e su5mitted

in our net lesson.

;irected Study



)ast lesson8 you were instructed to relate theeatures o the :lassical eriod to Beethoven&s=iolin :oncerto.

Rou were also as(ed to research the (eyeatures o the Iomantic eriod and relate thisto the wor( – why do you thin( the iece was

more acceted in the Iomantic eriodcomared to the :lassical eriodQ

@hat did you discoverQ



Sonata orm was a oular comositional structure in the:lassical eriod.

The 5asics o sonata orm is as ollowsJ

6ntroduction – usually short

Cosition – slit into 0 sections

*Su5<ect A in the tonic 3 Su5<ect B in the dominant1

;eveloment – ideas rom the eosition are develoed.

Iecaitulation – reeat o the eosition 5ut 5oth su5<ects

aear in the tonic. :aden%a – solo section8 virtuosic

:oda – usually starts 2uiet 3 5uilds to an elosive tuttiending.

The Sonata orm rincile



The use o sonata orm is not as simle as this inthe =iolin :oncerto.

There are two eositions *orchestral 3 solo1 – thesame material is used in 5oth 5ut the soloist acts

as a melodic decorator in the solo eosition. The iece is also in a tye o ritornello orm – this is

a simle orm8 commonly used in the Baro2ue era.

Iitornello literally means to return – this uses

alternating sections 5etween solid material andsections called $eisodes& that are less sta5le –orchestral *ritornello1 and solo sections *eisodes1.

Sonata orm in the =iolin:oncerto



TASEJ Ma out the sonata orm structure onyour Beethoven score. Be careul to mar( outsections neatly and recisely.

S(etching out the Structure

A l i > h t C iti



Analysis o >rchestra Cosition



What is a theme?

A theme is a larger overall idea within a iece o music.

"ormally a recognisa5le melody.

What is a motif?A moti is a ragment that reresents an overall theme.

Iecurring fgure.

A smaller ragment o a theme.

What is a su!ect?

An overall idea that holds 5oth motis and themes.

Much larger section o a comosition.

Su5<ects8 Motis 3 Themes



TASEJ 'ind the ollowing terms in your Beethoven score andtranslate them.

Sweetly

Cressively

7i%%icato8 luc(ed

A little crescendo8 very gradually getting louder

Trill8 raidly alternate two neigh5ouring itches

Always sot

Suddenly loud8 then 2uiet7lay on the ; and G strings

Sor%ando8 a strong accent

6talian Terms



+. @hat is the signifcance o Beethoven writing

Lsul ; e GQ

0. @hat is ritornello ormQ

. @hat is the imortance o the eositionQ

H. @hat is an $eisode&QD. @hat is the dierence in tonality 5etween the eositionand the recaitulationQ

?. #ow many themes are in the eositionQ

,. @ho invented the new violin 5ow technologyQ/. @hat signals the end o a caden%aQ

. @hich 5ar does the soloist enter the ieceQ

+-. @hen was the =iolin :oncerto frst comosed anderormedQ

Ieca



@rite a resonse to the ollowing titleJLClain the circumstances in which Beethovencreated his =iolin :oncerto in ; ma<or8 o. ?+.

Rou might want to reer to asects such asJ

Associated names

=iolin technology

:roo(ed4valveless 5rass

Ose o wind instruments

Beneft concerts

A #oo$ wor$ count is aroun$ *** wor$s%

7lease 5ring evidence o your fndings to our net lesson.

;irected Study



The Analysis.

TASK: As a class3 e4lain the circumstances in whichBeethoven create$ his Violin Concert in D major% 5oucan only use one wor$ each 6 sentences must ma/e

sense7

Beethoven



)ast lesson8 you were instructed to write aresonse to the ollowing titleJ

LClain the circumstances in which Beethovencreated his =iolin :oncerto in ; ma<or8 o. ?+.

@hat did you discoverQ



Beethoven lays out the main material or the wholemovement in the eosition.

Made u o 0 su5<ects – each su5<ect has multile themes –each theme has multile motis.

T#CIC 6S "> M>;O)AT6>" BCT@CC" SOBPC:TS 6" T#C>I:#CSTIA C7>S6T6>".

TASEJ Mar( the ollowing into your Beethoven score…

AnalysisJ Cosition + – Tutti orchestra

First su!ect group

+a Bar + Timani moti and oening woodwind theme

+5 Bar+-

Strings ta(e u timani moti8 5eginning on ;

+c Bar+/

@oodwind ascending scales idea8 with reeatedsemi2uavers in the strings.

+d Bar0/

'ull orchestra moti *fortissimo1 5ased on reeatedsemi2uaver rhythm8 uneected B5 ma<or chord

+e Bar

D

'ivenote semi2uaver fgure8 accents on second and

ourth 5eats.



Second su!ect group

0a BarH

@oodwind theme in two5ar hrasesJ ascendingrds8 answered 5y descending rds8 i%%icato cellosand dou5le 5asses.

LTimani moti in the frst violins8 notated as2uavers.

05 BarD+

Minor (ey version o 0a in violins *in octaves18 trilet2uavers throughout in violas and cellos. Moti inhorns8 trumets and timani.

+5 Bar?D

:hromatic ; moti rom the frst su5<ect grou85uilding rom pp to f. The moti is in ull strings* ianissimo18 harmonised as a diminished ,th chord.

0c Bar,,

Tutti closing theme8 alternating two5ar hrases orviolins *chord 61 and cellos and dou5le 5asses *chord=1.



6nstead o closing the orchestral eosition with a

erect cadence *5ar //18 Beethoven uses theunresolved dominant ,th chord *A,1 as the 5ac(groundor the entrance o the soloist – 5ac(s u the A ma<ortonality – tonic to dominant.

Bowing – dierent techni2ues indicated 5y slurs – long

5ows or trilets8 2uic(er changes or semi2uavers8etc.

:ontrol o the 5ow is imortant to the soloist – easierto ro<ect the sound. Beethoven&s 5owing mar(s arenot always clear – longer hrase mar(s loo( li(e aninstruction to use long 5ows.

Bar +00 – the role o the orchestra 5ecomes reduced

and the solo violin is a5le to dominate more.

AnalysisJ Solo eosition



Ielationshi 5etween the soloist andthe orchestra

Bars "hematicmaterial

#rchestra $iolin Solo

+0? + +c; minor

Strings Cla5oration o ascending scale theme8 mar(ed$olceJ in raid semi2uaver octave leas8 then inaoggiaturas8 then ascending scales with $turn&ornamentsU diNcult to lay in a very highregister.

+H +H +eModulating tothe dominant(ey

Antihony5etweenwoodwind andstring

:ontinuous semi2uaver movement *variation ofvenote semi2uaver fgure rom 5ar D1. Cndson fguration around the C *dominant note o thenew dominant (ey18 augmentation o rhythmicvalues8 leading to trill.

+HH+D+ 0aA ma<or

:larinets and5assoons in rdsUi%%icato cellos

5asses

Trill on C8 then lays the second hrase anoctave higher.

+D0 +?D 05;ominant minor8A minor

Melody in frstviolins and violas8with i%%icatochords

Trilet fgures8 octave leas8 wider leas8descending countermelody against ascendinghrases in the melody. :overs a wide range.

+??+,, +5 Sustained stringsUdominant edal

in o5oes andclarinets.

Cla5oration o $timani moti& with chromatictrilets on fnal note. =irtuosic areggios 5egin

at 5ar +,0 – ascending slurred *in one 5ow18then detached with turns8 then detached



Begins with the dramatic entrance o the tuttiorchestra – interruted cadence8 5ar 00H.

'orceul – semre f *always very loud1 – 5ar 0D?.

:onstant movement o semi2uavers in 0nd violins 3

violas hels to retain the intensity.)ong eressive melodic lines in the violin8 with

sighing susensions at the end o hrases.

Sustained strings and the roc(ing movement o the

2uavers in the +st

violins rovide the erectaccomaniment or the lyrical solo against the sotreetition o the moti in the wind instruments andtimani.

AnalysisJ ;eveloment



The recaitulation ends with a rerise o thelong trills and scales which ended theeosition8 ollowed again 5y the ull orchestrawith its sudden B5 chord – 5ar H,.

7ause on a 6c chord at 5ar D+- – this halt onan inconclusive chord is 5y convention thesignal or the soloist&s caden%a.

AnalysisJ Iecaitulation



At 5ar D++ – the violin solo continues with thesecond su5<ect theme8 layed on the ; 3 Gstrings.

6t would 5e easier to lay most o these noteson the ; and A strings8 5ut Beethoveninstructs the soloist to lay the notes higheru the fnger5oard in order to eloit thericher8 dar(er tone o the lower strings.

AnalysisJ :oda



TASEJ 'ind some eamles in the score or the ollowing oints –

%xample& The 5assoon is used or eressive eect in dialogue with the solo violinin the develoment and in the coda – 5ars -D0,8 5oth 5assoons in rds.

The Futes8 o5oes8 clarinets and 5assoons contrast in tim5re

with the sound o the solo violin and with the string section.6mortant themes are introduced 5y the woodwind section.

The woodwind can either lay themes as a ull section o laymelodic lines in unison8 octaves8 rds8 ?ths accomanied 5ystrings.

@oodwind instruments are used as a section in homohonicwriting8 reinorcing the rhythm in the ull orchestra or holding achord while the strings lay a more energetic rhythmic fgure.

The woodwind can 5e used to strengthen melodic lines 5ydou5ling the strings.

The Iole o the >rchestra



TASEJ :omlete the ollowing ta5le concerning

the 0nd su5<ect – the su5<ect theme is stated Dtimes.

Statements o the 0nd su5<ect



Beethoven relied heavily on chords 6 and =*,1to esta5lish and maintain ma<or and minor(eys.

There is much greater harmonic variety thanthis in the =iolin :oncerto.

Bars +

Beethoven&s use o harmony



:reates a lacid astoral mood – calm 3serene.

The unaccomanied ;s that ollow aremysterious8 strangely intrusive and u%%ling5oth harmonically and sychologically – ithese weren&t here could it 5e almost toosereneQ

;istur5ing – dissonant ' natural in 5ar 0-,and B5 in 5ar H/+.

Bar 0/ – tutti orchestra enter in B5 ma<or –creates a surrising and dramatic eect –

distant (ey to the tonic ; ma<or.

#armony continued



:omlete the deeer analysis ta5le orBeethoven&s =iolin :oncerto in ; ma<or8 o. ?+– movement +.

Rou will need to use your score to analyse themovement and comlete emty 5oes or fnisho sentences.

Ievise your analysis notes and reareyoursel or an end o unit assessment.

7lease 5ring evidence o your fndings to our

net lesson.

;irected Study

Bars #rch'(Solo )itor*nello

Section Su!ect("heme and comment Ke+



++, >rch. C. 6 +st su5<ectJ• 5.+J reeate$"note motif *ti1 – Moti +• 0J theme *wdwd8 without F.1• +-+,J includes descending stewise melody in str. and new version o Moti

+.

;

+/0, Bridge assageJ• +/0D+J theme 8 *ascending stewise melody in cl.8 5n8 o5.1• 0H0DJ fallin# 9r$s motif

;

0/H+ >rch.*mostly ull1

+st Bridge assage continues *reaches ;m via 1=6 in ; in 0/1. ;m

H0// >rch. *ull

towardsend1

0nd su5<ectJ•

H?HJ theme 9 *wdwd without F.J lyrical melody 5egins with ascendingstewise movement18 and develoment thereo.• ,,//J theme ) *closing theme or codetta8 5eginning with rising triad shae1.

;U

;m8 '*D+?H1

/+-++ Solo )in( :aden%ali(e assage lin(ing C. 6 to C. 66 ; =6

+-+++, C. 66 +st su5<ectJ rescored reeat o ++,. ;

++/+0D >rch. •

+st

su5<ect continues *++/+0+ K +/0+8 rescored1• +00+0D 5ased on theme 8*see str. – all in semi2uavers1. ;

+0?+H0 Solo Bridge assageJ reers at frst to theme 8% ;m8 '8Am8 A

+H+D+

• 0nd su5<ectJ rescored reeat o H0/H.• Ctension 5ased on theme )3 cadencing uneectedly 5ac( in ;.

A8 Am8 :8ending in;

+D00 • Ieesta5lishment o A *rom +?1•

:aden%ali(e material8 including moments o tonal am5iguity *esecially 0-,1and chromaticism *chieFy +0--8 0++0+01

• 7assage reares or start o develoment.

A

Bars #rch'(Solo

)itor*nello

Section Su!ect("heme and comment Ke+



olo nello

00H0,

>rch. 0nd ;evel. K 0/H+8 transosed and varied.Ieaches Am via 1=6 in A.

Am

0/0?0

K H0??8 transosed and slightly varied *e.g. reeatedsemi2uavers in vln 66 and vla1. :omare also 0nd su5<ect rom 5ar+H.

A8 Am8 :

0?0

0/

>rch. • 0?00?J musical un – A 5ecomes B18 and thus we eit A

ma<or without cadencing8 leading through ' to :.• Theme ) *in :1 at 0,0. This $closing theme& seems to signal

the end o the ;eveloment8 5ut Beethoven (ees thelisteners in susense888

A8 :8 '

0/H?H

Solo • 0/H0- K /D transosed rom ; *=1 to : *=1• Then rewor(ing o ?+--• At -- G and ' *: =,1 5ehave as ?th chord in Bm *note the

almost secretive pp dynamic1. The 5eginning o the mostdistur5ed assage tonally is atly laced <ust 5eore thetriumhant reassertion o the tonic at ?D.

• Then a long circle o Dths *rom BC right round to : at +,1Jassagewor( in solo art against elements rom theme 9in5n.

• Gm *+D?1 is dwelt on as i an imortant structural goal*resuma5ly deli5erate decetion1

• -D,J reeatednote moti *see section on $Melody& 5elow1• ;ominant edal *A1 rom H? – the susense continues.

: – ;*Qm18 Bm8Cm8 Am8;8 Gm8 C1

?D/+

>rch.*ull atfrst1

Ieca. • +st su5<ectJ K ++, much more ully orchestrated (theme !% ;

/0/D

Bridge assageJ:omare +/0+8 reorchestrated *theme 81.

;

/?H+,

Solo Bridge assageJ• 6nitially 5ased on +/0+• Some new develoment o theme 8• Cnds with caden%ali(e assage on ; =.

;. G. Cm

H+/H?

0nd su5<ectJ transosition o +H008 with dierences8 nota5ly insolo fguration.

;

H,D+- >rch. rd Ieeat o 0/H+8 with dierences at 5eginning and end. ;m8 ends; 6c



'urther Analysis 3 Cnd o unit Assessment

TASK: Continue to rea$ throu#h your notes in rearation for the en$ of unit assessment%

Beethoven



TASEJ @or( through the eercises 5ased onBeethoven&s =iolin :oncerto. They are designedto hel you to loo( a little 5it deeer at thescore – a s(ill that you will need in the Summer

eamination.

'urther Analysis



7lease ut all notes away and reare or theend o unit assessment.

This will consist o some general (nowledge2uestions on Beethoven’s Violin Concerto andalso some deeer analysis 2uestions8 ocusingon secifc areas o the iece8 which willinvolve listening and score analysis.

Ieca end o unit assessment



:ontinue to wor( through the Beethovenscore eercises until the 5oo(let is comleted.

7lease reare this or su5mission in our netlesson.

;irected Study



An imortant art o Alevel studying is readingaround your su5<ect and allowing yoursel thetime to research and investigate away romwhat is covered in lessons at college.

Beethoven: Violin Concerto 5y Io5in Stowell –elores the 5ac(ground and the inFuences othis wor(.

'urther Ieading



Croica Symhony in C5 ma<or8 no. *+/-H17astoral Symhony in ' ma<or8 no. ? *+/-/1

7iano :oncerto in ; ma<or *o. ?+a1

Symhony "o. D in : minor8 +st

movement*+/-H+/-/1

Symhony "o. , in A ma<or8 0nd movement*+/++1

Moonlight Sonata *+/-+1'ur Clise *+/+-1

'idelio – oera *+/-D1

'urther )isteningJ Beethoven

Beethoven's_Violin_Concerto(1).pptx

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