Chapter 29 and 30 Personalizing the Conversation: Beethoven and the Classical Sonata and Disrupting...
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THE ENJOYMENT OF MUSIC
ESSENTIAL LISTENING
EDITION
by
Kristine Forney
Andrew Dell’Antonio
Joseph Machlis
THIRD EDITION
Lecture Slides
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Ludwig Van Beethoven
(1770-1827)
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Beethoven
• Represents turning point from Classicism to Romanticism
• Burst bonds of formalism and control of Classicism
• Most controversial-Classicist or Romanticist?
• Music very emotional, very dramatic & powerful
• Bears personality of creator
• Very much a “Romantic” quality
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Beethoven: A Musical Giant
• Born in Bonn, Germany.
• Lived during the social changes toward democracy in France and America.
• Studied with Haydn who encouraged him.
• Went to Vienna, which was a cultural center, to make his living as composer.
• Father-singer in Kapelle of Archbishop-Elector of Cologne; abusive alcoholic, tried to make him into Mozart
• Loner, never married, cared only for music, untidy
• One serious love affair (Distant Beloved)
• Perfectionist, very particular with music
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Beethoven• Beethoven was principal breadwinner by the
time he was a teenager.
• Began to go deaf in his late 20’s, which caused him intense grief.
• Wrote Heiligenstadt Testament (basically a suicide note) to his brothers when he realized there was no cure for his deafness, but decided to live.
• Widely recognized during his lifetime as the greatest composer of instrumental music. When he died in 1827, at age 56, declared a national hero.
• Suffered chronic poor health, deafness, and a custody battle over a nephew during last 15 years of life.
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Ludwig van Beethoven (1770–1827)
Three compositional periods
• First: early career
• Second: middle career, more “Romantic”
• Third: late career, introspective, chromatic harmonies
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Beethoven’s Music-->Romanticism
• He increased the number of instruments in the orchestra.
• He expanded the dynamic range of the orchestra to ppp and fff.
• The development sections of his compositions were long, elaborate, and complex.
• In some compositions, he left no pauses between some of the movements.
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Beethoven’s Music--Romanticism
• He played larger pianos that created more sound.
• He developed the Classical Forms and expanded them.
• He added a chorus to the final movement of his 9th symphony, “Ode to Joy.”
• His works were longer; he labored over them, revising them over and over.
• The end of his life (1827) marks the beginning of the Romantic Period in Music.
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The Sketchbook
• Kept chronicle for posterity of the evolution of thematic material which shows the inner struggle to realize the final form
• “…like bloody record of a tremendous inner battle.”
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Ludwig van BeethovenOther Compositions
• Piano Sonatas
– C# minor-- “Moonlight”
– C minor-”Pathetique”
– D minor-- “Tempest”
– F minor-- “Appassionata”
• Piano Concerto #5
in E-flat major--“Emperor”
• Missa Solemnis-Mass in C
• Fidelio--an opera
• String quartets
• 9 symphonies
– No. 3 in E-flat major --”Eroica”
– No. 6 in F major--“Pastoral”
– No. 9 in D minor--includes chorus singing “Ode to Joy”
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Chapter 29 Personalizing the Conversation:
Beethoven and the Classical Sonata
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• Three or four contrastingmovements
– fast-slow-fast– fast-slow-moderate-fast
The Sonata in the Classical EraThe Movements of the Sonata
Beethoven: Sonata No. 8
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Beethoven: Piano Sonata in C-sharp Minor, Op. 27, No. 2 (Moonlight)
(Listening Guide)
• Title given after Beethoven's death
• Dedicated to Countess Giuletta Guicciardi– Once thought to be
Beethoven's "Immortal Beloved”
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Beethoven: Piano Sonata in C-sharp Minor, Op. 27, No. 2 (Moonlight)
First Movement (Listening Guide)
• Breaks with conventional formal molds
• Retains the three-movement format• I: Adagio sostenuto• II: Allegretto• III: Presto agitato • Remains one of the most beloved
works of the Classical repertory
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• Elements of a development section
• Delicate singing melody
• Continuous triplet patter
• Modified song form
Beethoven: Piano Sonata in C-sharp Minor, Op. 27, No. 2 (Moonlight)
First Movement (Listening Guide)
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Sonata in C# Minor“Moonlight”
• https://www.youtube.com/watch?v=O6txOvK-mAk&index=42&list=PLD2FA7A1A4352F58A
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Chapter 30 Disrupting the Conversation:
Beethoven and the Symphony in Transition
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Beethoven and the Symphony in Transition
Beethoven contributed to many genres. Here are some examples:
Beethoven: Piano Sonata No. 8 in C Minor (Pathétique), I
Beethoven: Serenade in D, Op. 8, I
Beethoven: String Quartet in F, Op. 59, No. 1, I
Beethoven: King Stephan, Op. 117, final chorus, “Heil unsern Enkeln!”
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Fidelio
• Fidelio-only opera• Compared its writing to the
bearing of a child• 1805-revised several times
to 1814• Difficulty setting text• “Rescue” opera based on
events of French Revolution
• Leonore-main heroine• Last act celebration of
heroism & humanitarianism
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Fidelio & Vocal Music
• Fidelio-Overture went through several stages
• Three named “Leonora”
• “Fidelio” overture is fourth version; most preferred by Beethoven
• Not at ease with vocal music
– Song cycle-An die ferne Geliebte(To a Distant Beloved
– Song settings of poet Goethe
– Oratorio-Christ on the Mount of Olives
• Missa Solemnis-monumental work, includes soloists, choral group, “Ode To Joy”
• Written for enthronement of student Archduke Rudolph as Archbishop of Olmutz, finished too late for the occasion
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Beethoven
• Nine symphonies
– I. C Major
– II. D Major
– III. E-Major(Eroica)
– IV. B Major
– V. C minor
– VI. F Major(Pastorale)
– VII. A Major
– VIII. F Major(Humorous)
– IX. F Minor(Choral)
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Symphony No. 3- “Eroica”
• First dedicated to Napoleon, then changed after Bonaparte declared himself Emperor
• “Sinfonia Eroica…composed to celebrate the memory of a great man”
• Unprecedented length
• Called “wild fantasy” at first performance
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Symphony No. 6- “Pastoral”
• Symphony #6 in F “Pastorale”
– 5 movements, each bearing descriptive title
– Program content-“an expression of feeling rather than a graphic depiction”
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Symphony No. 9- “Choral”
• Movement 4-sets Schiller’s “Ode to Joy” for chorus & quartet
• Considered poem as early as 1792
• Text-ideals of brotherhood of man through love, love of God
• Does various different musical techniques with “Joy” theme
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Symphony No. 5 in C Minor
• Most tightly knit motivically of all compositions
• Opening four note motive appears in every movement
• Origins-Fate knocking at door, letter V in Morse Code(not invented yet)
• Along with recurrence of a portion of “Scherzo” in Finale-makes work “cyclic”
• Not break between movements III & IV
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Ludwig van Beethoven Symphony no. 5 in C Minor
• A symphony in 4 movements:
– 1st--sonata form
– 2nd--variations on 2 themes (loud and soft)
– 3rd— “Rocket” theme; ternary form (ABA’); on the return, A is varied
– 4th--sonata form; material from 3rd movement comes back; extended coda
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Ludwig van Beethoven Symphony no. 5 in C Minor
• Simple theme (short-short-short-LONG)– Two pitches
– Monophonic texture
– Simple theme is transformed in multiple ways throughout the movement and the entire symphony.
• Dynamics: from extremely loud to extremely soft; sometimes rapid shifts between– Especially between 3rd and 4th movements
– 3rd movement very soft leads to 4th movement very loud
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Ludwig van Beethoven Symphony no. 5 in C Minor
• Timbre: orchestra is larger in the 4th movement, adding piccolo, contrabassoon (very high and very low instruments respectively), and the trombone.
– Oboe has an unusual solo in 1st movement.
– Double basses have a prominent, difficult passage in the 3rd movement (B section).
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Ludwig van Beethoven Symphony no. 5 in C Minor
• Form: cyclic--movements are linked in tangible and distinctive way.
– The theme in its various permutations is present in all 4 movements.
– An extended passage in the 3rd movement comes back in the 4th.
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The Fifth Symphony
• Rhythmic idea “three shorts and a long” dominates entire work
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Symphony No. 5 in C Minor
• https://www.youtube.com/watch?v=B7pQytF2nak
• https://www.youtube.com/watch?v=EQIVWhKhwPA
• http://www.youtube.com/watch?v=xAQFJ1YpFaI
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Beethoven
• Dies of jaundice & cholera during thunderstorm
• Biggest revolutionist next to Bach during lifetime
• Considered biggest music revolutionary of all-time
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Appreciating Beethoven’s Music
• Contrast-filled with dynamic contrasts, rough/smooth, loud/soft, etc.; soft passage interrupted by sforzandochord; rage section ceases abruptly, gentle melody takes over
• Motive development-showcase of developing short simple musical ideas
• Sense of drive- “inevitability,” music seems to be heading toward final destination; has “this too shall pass” moments; continuation of musical journey
• Personality-sounded like no one else at the time, unique, fiery spirit, sense of musical logic
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by
Kristine Forney
Andrew Dell’Antonio
Joseph Machlis
Lecture Slides
THIRD EDITION
THE ENJOYMENT OF MUSIC
ESSENTIAL LISTENING EDITION
http://wwnorton.com/web/enjoyess2