Mh Beethoven

92
Ludwig Van Beethoven 1770-1827 Born in Bonn Died in Vienna

Transcript of Mh Beethoven

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Ludwig Van BeethovenLudwig Van Beethoven

1770-1827

Born in Bonn

Died in Vienna

1770-1827

Born in Bonn

Died in Vienna

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Ludwig Van BeethovenLudwig Van Beethoven

Third member of the great Viennese masters

The great transitional composer

By the time he was 35 years old he was the most important composer in the world

Third member of the great Viennese masters

The great transitional composer

By the time he was 35 years old he was the most important composer in the world

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LIFE-TIME-LINESLIFE-TIME-LINES

BEETHOVEN 1770-1827

MOZART 1756-1789

HAYDN 1732-1809

1770 1820

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ChildhoodChildhood

Father and Grandfather were musicians.

Father was Ludwig’s first music teacher.

His father was an alcoholic

Supported his family as a child

Showed an interest in composing very early

Father and Grandfather were musicians.

Father was Ludwig’s first music teacher.

His father was an alcoholic

Supported his family as a child

Showed an interest in composing very early

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“Louis van Beethoven… a boy of 11 years and a most promising talent. He plays the clavier very skillfully and with power, reads at sight very well… This youthful genius is deserving of help to enable him to travel. He would surely become a second Wolfgang Amadeus Mozart were he to continue as he has begun.”

– Christian Gottlob Neefe

“Louis van Beethoven… a boy of 11 years and a most promising talent. He plays the clavier very skillfully and with power, reads at sight very well… This youthful genius is deserving of help to enable him to travel. He would surely become a second Wolfgang Amadeus Mozart were he to continue as he has begun.”

– Christian Gottlob Neefe

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Young adulthoodYoung adulthood

Beethoven went to Vienna, Austria to learn more about composing when he was 17. He played for Mozart

He had to return home when his mother died, and help raise his brothers.

Beethoven went to Vienna, Austria to learn more about composing when he was 17. He played for Mozart

He had to return home when his mother died, and help raise his brothers.

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Return to ViennaReturn to Vienna

When Beethoven was 22 (1792), he moved to Austria and never returned to Germany.

He studied with Haydn

When Beethoven was 22 (1792), he moved to Austria and never returned to Germany.

He studied with Haydn

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True, it’s “van,” not the aristocratic “von,” but if someone mistakenly thinks I’m a “von” of royal blood I certainly won’t correct him.

True, it’s “van,” not the aristocratic “von,” but if someone mistakenly thinks I’m a “von” of royal blood I certainly won’t correct him.

Ludwig Van Beethoven

Ludwig Van Beethoven

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Beethoven and PatronageBeethoven and Patronage

Patronage is gone. Besides, Beethoven considered himself equal to, not the servant of, any noble!made his living by:

selling compositions to publishersconcertizing as a pianist

1st musician to make a living almost exclusively through composition

Patronage is gone. Besides, Beethoven considered himself equal to, not the servant of, any noble!made his living by:

selling compositions to publishersconcertizing as a pianist

1st musician to make a living almost exclusively through composition

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His temperamentHis temperamentBeethoven was not easy to be around. He had a temper, and he was very demanding.

He would get lost in his own thoughts and would get impatient with others when they didn’t do what he thought they should do.

Beethoven was not easy to be around. He had a temper, and he was very demanding.

He would get lost in his own thoughts and would get impatient with others when they didn’t do what he thought they should do.

He criticized other musicians when they didn’t perform his pieces the way he wanted them to sound.

His whole life was very ‘stormy’ …there were many sad and discouraging times.

He criticized other musicians when they didn’t perform his pieces the way he wanted them to sound.

His whole life was very ‘stormy’ …there were many sad and discouraging times.

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Beethoven’s ContractBeethoven’s Contract

“But as it has been demonstrated that only one when he is free from care as possible can devote himself to a single department of activity and create works of magnitude which are exalted and which ennoble art, the undersigned have decided to place Herr Ludwig van Beethoven in a position where the necessities of life shall not cause him embarrassment or clog his powerful genius.”

“But as it has been demonstrated that only one when he is free from care as possible can devote himself to a single department of activity and create works of magnitude which are exalted and which ennoble art, the undersigned have decided to place Herr Ludwig van Beethoven in a position where the necessities of life shall not cause him embarrassment or clog his powerful genius.”

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Beethoven’s ContractBeethoven’s Contract

His Imperial Highness, Archduke Rudolph

1500 florins

The Highborn Prince Lobkowitz

700 florins

The Highborn Prince Ferdinand Kinsky

1800 Florins

Total…. 4000 florins (150,000 USD)

His Imperial Highness, Archduke Rudolph

1500 florins

The Highborn Prince Lobkowitz

700 florins

The Highborn Prince Ferdinand Kinsky

1800 Florins

Total…. 4000 florins (150,000 USD)

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Beethoven’s ContractBeethoven’s Contract

All Beethoven had to do was to declare Vienna his home.”

It is good to walk among the aristocracy, but first you must MAKE them respect you.”

All Beethoven had to do was to declare Vienna his home.”

It is good to walk among the aristocracy, but first you must MAKE them respect you.”

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Beethoven, the pianistBeethoven, the pianist

the most virtuosic in Europedazzling technique and powergenius improviser

a composermuch music for piano

piano is being developedcast iron frame (stronger, more powerful instrument)larger range (Beethoven wrote notes that were not on current pianos, then told manufacturers to build new instruments)

the most virtuosic in Europedazzling technique and powergenius improviser

a composermuch music for piano

piano is being developedcast iron frame (stronger, more powerful instrument)larger range (Beethoven wrote notes that were not on current pianos, then told manufacturers to build new instruments)

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Losing his hearingLosing his hearing

Beethoven began hearing buzzing in his ears.

At first he tried to hide his loss of hearing from his friends.

He continued to write music when he was deaf.

Beethoven began hearing buzzing in his ears.

At first he tried to hide his loss of hearing from his friends.

He continued to write music when he was deaf.

Beethoven tried many hearing devices, but none of them worked.

He could watch people’s lips to understand what they were saying, or have them write in a notebook.

Beethoven tried many hearing devices, but none of them worked.

He could watch people’s lips to understand what they were saying, or have them write in a notebook.

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Manifests itself as early as 1796

By 1820 he could barely hear

Heiligenstadt Testament

Letter Beethoven writes in 1802

Describes his illness and his melancholy

Beethoven’s DeafnessBeethoven’s Deafness

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Ca. 1799, Beethoven learned his increasing deafness was irreversible. Deep in despair, he remained in Heiligenstadt the summer and fall of 1802 contemplating suicide.

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Beethoven’s DeafnessBeethoven’s Deafness

“Though born with a fiery, active temperament I was soon to withdraw from society, to live a life alone. If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing. Yet it wasn’t possible for me to say to people, “Speak Louder, shout for I am deaf! Ah, how could I possibly admit to an infirmity in the one sense that ought to be more perfect in me than in others, a sense that I once possessed in the highest degree.”

“Though born with a fiery, active temperament I was soon to withdraw from society, to live a life alone. If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing. Yet it wasn’t possible for me to say to people, “Speak Louder, shout for I am deaf! Ah, how could I possibly admit to an infirmity in the one sense that ought to be more perfect in me than in others, a sense that I once possessed in the highest degree.”

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“How humiliated I have felt if somebody standing beside me heard the sound of a flute in the distance and I heard nothing...It is impossible for me to say to people, ‘Speak louder, for I am deaf.’ How would it be possible for me to admit to a weakness of the one sense that should be perfect to a higher degree in me than in theirs. So forgive me if you see me draw back from your company which I would so gladly share. I would have ended my life. It was only my art that held me back for it seemed impossible to leave the world until I have brought forth all that is within me.”

— Beethoven

“How humiliated I have felt if somebody standing beside me heard the sound of a flute in the distance and I heard nothing...It is impossible for me to say to people, ‘Speak louder, for I am deaf.’ How would it be possible for me to admit to a weakness of the one sense that should be perfect to a higher degree in me than in theirs. So forgive me if you see me draw back from your company which I would so gladly share. I would have ended my life. It was only my art that held me back for it seemed impossible to leave the world until I have brought forth all that is within me.”

— Beethoven

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Medical methods back then...Medical methods back then...

Doctors poured warm milk and crushed nuts in Beethoven’s ears, telling him that this would help restore his hearing!

Doctors rubbed Beethoven’s arms with an ointment until they blistered, then punctured and drained the blisters…telling him that this would help restore his hearing!

Doctors poured warm milk and crushed nuts in Beethoven’s ears, telling him that this would help restore his hearing!

Doctors rubbed Beethoven’s arms with an ointment until they blistered, then punctured and drained the blisters…telling him that this would help restore his hearing!

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Beethovenian PathosBeethovenian Pathos

Man at some unexpected time in his life will sink to the depths of his existence, into the depths of chaos. It is only HE that can make the decision to turn the chaos into a triumphant victory. Rising out of the depths of human chaos is humanity’s primary task for survival.

Man at some unexpected time in his life will sink to the depths of his existence, into the depths of chaos. It is only HE that can make the decision to turn the chaos into a triumphant victory. Rising out of the depths of human chaos is humanity’s primary task for survival.

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Beethovenian PathosBeethovenian Pathos

Shows up in music.Sense of despair.

Sense of acceptance

Sense of reconciliation

Sense of victory over despair.

Shows up in music.Sense of despair.

Sense of acceptance

Sense of reconciliation

Sense of victory over despair.

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“I am resolved to rise superior to every obstacle. With whom need I be afraid of measuring my own strength? I will take Fate by the throat. It shall not overcome me. O how beautiful it is to be alive—would that I could live a thousand times.”

-Beethoven

“I am resolved to rise superior to every obstacle. With whom need I be afraid of measuring my own strength? I will take Fate by the throat. It shall not overcome me. O how beautiful it is to be alive—would that I could live a thousand times.”

-Beethoven

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Beethoven’s deathBeethoven’s death

Beethoven died in Vienna, Austria in 1827.

Thousands of people lined the streets during his funeral procession to pay tribute.

Beethoven died in Vienna, Austria in 1827.

Thousands of people lined the streets during his funeral procession to pay tribute.

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Beethoven, the composerBeethoven, the composerWrote many works for pianoWrote music that required improvement of the pianoFor years, his compositions drew mixed reactionsCritics and journalists hassled him

Intellect, Intellect, Intellect. Why must Herr Beethoven write such difficult and complex music? It sounds like cats fighting! Cannot he write a decent singable melody?

Wrote many works for pianoWrote music that required improvement of the pianoFor years, his compositions drew mixed reactionsCritics and journalists hassled him

Intellect, Intellect, Intellect. Why must Herr Beethoven write such difficult and complex music? It sounds like cats fighting! Cannot he write a decent singable melody?

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“I carry my thoughts within me long, often very long before I write them down. As I know what I want, the fundamental idea never deserts me. It mounts, it grows in stature. I hear, I see the picture in its whole extent standing all of a piece before my spirit, and there remains for me only the task of writing it down.”

-Beethoven

“I carry my thoughts within me long, often very long before I write them down. As I know what I want, the fundamental idea never deserts me. It mounts, it grows in stature. I hear, I see the picture in its whole extent standing all of a piece before my spirit, and there remains for me only the task of writing it down.”

-Beethoven

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Some of his WorksSome of his Works32 Piano Sonatas

Moonlight Sonata

Sonata Pathetique

Fur Elise

Fidelio (his only opera)

9 SymphoniesChoral Symphony …#9 (Ode to Joy)

Beethoven’s Fifth …#5

Pastorale …..#6

32 Piano SonatasMoonlight Sonata

Sonata Pathetique

Fur Elise

Fidelio (his only opera)

9 SymphoniesChoral Symphony …#9 (Ode to Joy)

Beethoven’s Fifth …#5

Pastorale …..#6

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Beethoven SymphoniesBeethoven Symphonies

Supreme architectTied all movements into a theme

5th Fate versus hope

Supreme architectTied all movements into a theme

5th Fate versus hope

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Beethoven SymphoniesBeethoven Symphonies

9th FinaleOde To Joy

9th FinaleOde To Joy

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Jacques Louis DavidJacques Louis David

Coronation of Napoleon

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Jacques Louis DavidJacques Louis David

Napoleonin his study

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Symphony #5 C minor op. 67.Symphony #5 C minor op. 67.

Archetypical Sonata Allegro Form.

Three note motive.

Shows up throughout the whole symphony.

What is this piece about?

Archetypical Sonata Allegro Form.

Three note motive.

Shows up throughout the whole symphony.

What is this piece about?

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Beethoven Piano Sonata in C minor. Pathetique

Beethoven Piano Sonata in C minor. Pathetique

Beethovenian Pathos in each movement

Dramatic quality, sudden dynamic changes

Adagio section that is hymn-like

2nd and 3rd movements are in Rondo form

Beethovenian Pathos in each movement

Dramatic quality, sudden dynamic changes

Adagio section that is hymn-like

2nd and 3rd movements are in Rondo form

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Beethovenian PathosBeethovenian Pathos

Mvt.1 Slow intro

Tempo rubato

Sense of sadness and then anger/ desperation as the music moves to the fast section.

Mvt.1 Slow intro

Tempo rubato

Sense of sadness and then anger/ desperation as the music moves to the fast section.

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Beethovenian PathosBeethovenian Pathos

Mvt. 2. Slow and hymnl-ike

Sense of calm acceptance

Familiar theme

Mvt. 2. Slow and hymnl-ike

Sense of calm acceptance

Familiar theme

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Beethovenian PathosBeethovenian Pathos

Mvt. 3.

Rising out of chaos.

Sounds of triumph.

Mvt. 3.

Rising out of chaos.

Sounds of triumph.

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Ludwig van BeethovenLudwig van Beethovencomposed by evolving and revising musical ideas and compositions

kept notebooks of themes and ideasB’s manuscripts, unlike Mozart’s, are a MESS--a sea of cross-outs, arrows, re-writes, etc.

Much of B’s music was composed in deafness (total by age 29!) He could only hear the music in his head.works are larger, longer, more complexTRANSITION composer:

B’s last two composition periods and styles clearly point the way to the coming Romanticism.

composed for himself and future, NOT for publishers or middle class marketFor Beethoven music is much more important to human existence than mere entertainment!

composed by evolving and revising musical ideas and compositions

kept notebooks of themes and ideasB’s manuscripts, unlike Mozart’s, are a MESS--a sea of cross-outs, arrows, re-writes, etc.

Much of B’s music was composed in deafness (total by age 29!) He could only hear the music in his head.works are larger, longer, more complexTRANSITION composer:

B’s last two composition periods and styles clearly point the way to the coming Romanticism.

composed for himself and future, NOT for publishers or middle class marketFor Beethoven music is much more important to human existence than mere entertainment!

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1. 1. Early yearsEarly years

a. Beethoven born in Bonn

b. Studied under Christian

Gottlob Neefe (1748-98)

1. Court organist at Bonn

2. Wrote Singspiels and songs

c. 1787: Brief visit to Vienna,

may have played for Mozart

d. 1790: Haydn hears Beethoven's music

and urges the archbishop of Cologne to send him to Vienna

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2. Vienna

a. Beethoven moves to Vienna in November of 1792

b. Studies with a number of composers

1. 1792-94: studied with Haydn

2. 1794: Johann Schenk (1753-1836):

composer of Singspiels

3. 1794: Johann Georg Albrechtsberger:

teaches Beethoven counterpoint

4. Antonio Salieri (1750-1825):

teaches vocal composition

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3. Compositional overview

a. 9 symphonies b. 11 overtures

c. Incidental music to plays

d. 1 violin concerto e. 5 piano concertos

f. 16 string quartets g. 9 piano trios

h. 10 vioin sonatas i. 5 cello sonatas

j. 30 large piano sonatas

k. Numerous piano variations

l. 1 oratorio m. 1 opera

n. 2 Masses (including the Missa Solemnis in D)

o. Arias, songs and 1 song cycle

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His Musical Style: Three Periods

His Musical Style: Three Periods

1. Classical Elements: Musical style learned at the hands of Mozart and Haydn.

Use of sonata allegro form. Perfect architecture in his music.

Balanced melodies.

Diatonic Harmony

1. Classical Elements: Musical style learned at the hands of Mozart and Haydn.

Use of sonata allegro form. Perfect architecture in his music.

Balanced melodies.

Diatonic Harmony

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5. The "Three Periods" and Beethoven Historiography a. It is customary to divide Beethoven's works

into three periods on the basis of style and chronology

b. "Bonn" period is usually not taken into account

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5. 5. The "Three Periods" and Beethoven Historiography (cont.)The "Three Periods" and Beethoven Historiography (cont.)

c. Periodic breakdown

1. Early Period in Vienna (1792-1802 )

Six String Quartets, Op.18/1-6

The first 10 piano sonatas (through Op.14)

Symphonies 1 & 2

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5. 5. The "Three Periods" and Beethoven Historiography (contThe "Three Periods" and Beethoven Historiography (cont.)

C. Periodic breakdown

2. Middle Period: Beethoven's "Heroic" period (1803-1816)

Symphonies 3-8 - Egmont

Coriolan overture - Fidelio

Piano concertos in G and Eb - Violin concerto

Piano sonatas through Op.90

String quartets:Op.59/1-3 ("Rasumovsky"), Op.74 ("Harp"), Op.95 ("Quartetto serioso")

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5. The "Three Periods" and Beethoven Historiography (cont.)

c. Periodic breakdown

3. Late Period: Reflective and introspective style

( 1817-1827)

Last 5 piano sonatas

Diabelli Variations

Missa solemnis

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SonatasSonatas

1. Op.2/1-3 (f,A,C): Publ.1796 &

Dedicated to Haydn

2. Op.7 (Eb): publ. in 1797

3. Op.10 No.1 (c min.)

4. Op.13 "Pathetique" slow mov't

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Characteristic textureCharacteristic texture

1. Frequent use of octaves

2. Thick piano writing

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Contemporaries that may have influenced Beethoven Contemporaries that may have influenced Beethoven

1. Muzio Clementi (1752-1832)

2. Jan Ladislav Dussek (1760-1812)

3. Dussek's Grande Sonate, Op.44 "Les

adieux" (Eb) publ.1800 may have influenced

Beethoven's Op.81a "Les adieux" of 1810

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Second PeriodSecond Period

Expanded works.Form, melody, dynamics

Explosive accents.

Longer Movements in Symphonies

Hymn-like calmness in his slower movements.

Expanded works.Form, melody, dynamics

Explosive accents.

Longer Movements in Symphonies

Hymn-like calmness in his slower movements.

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A. Background

B. Symphony no.3 (Eb) "Eroica"

C. Fidelio

D. Piano Sonatas

E. Piano Concertos

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A. Background 1. By 1803 Beethoven was recognized as the

foremost pianis and composer for piano 2. Patronage: differed from that of Mozart and Haydn,

Beethoven was extremely independent, and drove a hard bargain both with publishers and patrons

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B. Symphony no.3 (Eb) "Eroica”: Composed in 1803 1. Originally dedicated to Napoleon but Beethoven

tears up dedication when Napoleon declares himself Emperor in 1804. 1806 dedication "Heroic Symphony... to celebrate the memory of a great man"

2. Significance a. Expansive movements and extraordinary length b. 2nd mov't is a funeral march (C minor) c. 4th mov't is a set of variations (w/fugato episodes)

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C. Fidelio

Compositional history

a. Most problematic compostion as it was revised numrous times

b. Composed initially in 1803, First perf. in Vienna in 1805

c. 1805-1806

- Originally has 3 acts but revises and shortens to 2 acts

- March 1806 perf. of this version is immediately withdrawn

d. 1814 version: The 1st successful production (extensive revision)

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D. Piano Sonatas 1. Op.27/1-2: From ca.1802 known as the

"Moonlight" Sonata Each designated as "quasi una fantasia"

2. Op.53 (C) "Waldstein Sonata" and Op.57 (f) "Appassionata" Exemplary piano works of the middle period Each is in three mov't scheme (fast-slow-fast) Formal schemes of the sonata, rondo and variation are stretched to the limits

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E. Piano Concertos 1. Composed concertos for his own

concert appearances 2. Piano concertos nos.1-3 (C,Bb,c) All date from early years in Vienna Concertos influenced by Mozart 3. Violin Concerto, D maj. Op.61 (1806)

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A. Background

1. 1810-1815 as a prosperous period for Beethoven

2. Health deteriorating, deafness worsening

3. Compositional output in the final years

a. 1816-1821: last 5 piano sonatas

b. 1822: Missa Solemnis

c. 1823: Diabelli Variations

d. 1824: Symphony no.9

e. 1825-26: String Quartets

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B. Characteristics of the late style -- Meditative quality

a. Manifest in the extensive development of themes

b. Late use of variation forms --> thematic development

lengthier passages subjected to dev. rather than

short bar-long motives

c. Variation techniques used by Haydn, Mozart and Beethoven

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B. Characteristics of the late style (Cont.) Meditative quality (Cont.) e. Fugato and use of contrapuntal textures 1. Fugal movements a. Finales of Op.106 and 110 Piano Sonatas b. Grosse Fuge c. Gloria and Credo of the Mass in D d. 2 double fugues in the finale of the 9th Symphony f. Use of nontraditional movement plans 1. Op.111 Piano Sonata: 2 mov't 2. Op.131 String Quartet (C#min): 7 sections (mov't)

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C. Mass in D 1. Beethoven regarded the Mass as his greatest work 2. Mass as a single musical unity, a symphony in 5 mov't D. Ninth Symphony 1. Premiered on May 7, 1824 2. Significant features a. Choral finale 1. Setting of Schiller's "Ode to Joy" 2. Beethoven selects stanzas about

universal brotherhood of man b. Double fugue in the finale

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Final periodFinal period

Chromatic harmonies.

Easier to produce for Beethoven due to the fact that the hands did not have to move so far on the piano.

Music? “Not for you.. For a later time.

Chromatic harmonies.

Easier to produce for Beethoven due to the fact that the hands did not have to move so far on the piano.

Music? “Not for you.. For a later time.

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Beethoven is Power, the strangler of fate, who bowed neither to any man or to lesser gods.

With men who do not believe in me I cannot and will not associate.

- Beethoven

His music reflects “the complete emancipation of human emotion and mind.”

No composer was more committed to the struggle of mankind. Bach wrote for the Glory of God, Mozart because genius must out, (and because he had to eat), Beethoven to impose his will on the world.

- All quotes from Goulding text

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Symphony No. 5, 1st MovementCodaSymphony No. 9, Ode to Joy

Jacques-Louis David, Napoleon Crossing the Alps, 1800

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Beethoven

did not succumb

to this, the gravest of a

musician’s ills. Instead he

composed the heroic and remarkably

optimistic Third Symphony. It

is today one of the best

loved orchestral

works ever

written.

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Ferdinand Ries recalls the piano contest with Stiebelt : Stiebelt again played a quintet with much success and in addition (and this was quite evident) had prepared a brilliant improvisation, choosing as the theme the subject of the variations of Beethoven's trio (Op.11). This outraged not only Beethoven's supporters but also the composer himself. He now had to seat himself at the piano in order to improvise. He went in his usual, I must say ungracious, manner to the instrument as if half lunging towards it, grabbing as he passed, the 'cello part of Stiebelt's quintet, placed it (intentionally?) upside down on the music stand and from the opening notes drummed out a theme with one finger. Offended and stimulated at the same time, he improvised in such a manner that Stiebelt left the room before Beethoven had finished. He refused ever to meet him again; in fact he made it a condition that Beethoven should not be invited anywhere where his company was requested.

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Ferdinand Ries describes the concert of 22 Dec 1808 :

Beethoven gave a large concert in the Theater an der Wien at which were performed for the first time the 5th and 6th Symphonies as well as his Fantasia for Piano/orchestra and chorus. In this last work, at the place where the last theme already appears in a varied form, the clarinet player made, by mistake, a repeat of 8 bars. Since only a few instruments were playing, this error was all the more evident to the ear. Beethoven leapt up in a fury, turned round and abused the orchestra players in the coarsest terms and so loudly that he could be heard throughout the auditorium. Finally he shouted "From the beginning!” The concert was a great success, but afterwards the artists remembering only too well the honourable title which Beethoven had bestowed on them in public swore never to play for Beethoven again - this went on until Beethoven composed something new and their curiosity got the better of them.

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Ludwig Reelstab on Beethoven's deafness :

Beethoven: “This is a beautiful piano! I got it as a gift from London. Look at the name!" He pointed with his finger to the strip of wood above the keyboard.” It is a wonderful present,” said Beethoven looking at me "and it has a beautiful tone," he continued turning towards the piano without taking his eyes off me. He struck a chord softly. Never will another chord pierce me to the quick with such sadness and heartbreak. He has played C major in the right hand and B natural in the bass; he looked at me steadily and repeated the false chord several times to let the mild tone of the instrument sound, and the greatest musician on earth could not hear the dissonance!

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LOGLOG

BeethovenSymphony No. 5 in C Minor, Op. 67SymphonyI = Standard symphony format

IMP Romantic characteristicscyclicism

BeethovenSymphony No. 5 in C Minor, Op. 67SymphonyI = Standard symphony format

IMP Romantic characteristicscyclicism

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It lookslooks like a classical symphony, but mark this well: Underneath that polite, perhaps predictable, exterior rages an overwhelming storm of romanticism.

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Music JournalismMusic Journalism

CA 1790 Music Journalism exploded on the European scene. Middle class people wanted to read essays, analyses, and criticisms about new compositions, performers, instruments, concert halls, etc. (ANYTHING MUSIC!) They bought music newspapers, journals, and magazines by the millions. While these music rags loved and praised Beethoven’s pianistic virtuosity (until deafness curtailed his playing), they mercilessly and audaciously condemned most of his compositions! “Intellect, intellect, intellect!” Herr Beethoven’s music is too complex. It isn’t musical entertainment; it’s intellectual “mind games.” Once again Beethoven wrote something that no one wants to hear. These invectives and journalistic fulminations bothered Beethoven a great deal. However, he is known to have replied to at least one upstart reporter, “Of course you don’t understand it (implying the interviewer had neither the intelligence nor world view). I wrote the piece for future generations. They will understand and appreciate it.” He was correct.

CA 1790 Music Journalism exploded on the European scene. Middle class people wanted to read essays, analyses, and criticisms about new compositions, performers, instruments, concert halls, etc. (ANYTHING MUSIC!) They bought music newspapers, journals, and magazines by the millions. While these music rags loved and praised Beethoven’s pianistic virtuosity (until deafness curtailed his playing), they mercilessly and audaciously condemned most of his compositions! “Intellect, intellect, intellect!” Herr Beethoven’s music is too complex. It isn’t musical entertainment; it’s intellectual “mind games.” Once again Beethoven wrote something that no one wants to hear. These invectives and journalistic fulminations bothered Beethoven a great deal. However, he is known to have replied to at least one upstart reporter, “Of course you don’t understand it (implying the interviewer had neither the intelligence nor world view). I wrote the piece for future generations. They will understand and appreciate it.” He was correct.

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Symphony No. 5, Mvt. 1Kamien, p. 193, CD #2

Symphony No. 5, Mvt. 1Kamien, p. 193, CD #2

Exposition Development RecapitulationCoda

T1 B T2 CT T1 B T2 CtWhat?How?

•••—motive

What change from Expos?

What instruments?What

instruments?

LONG!•••—New

ideas

Sonata form

4.1. 2. 3.

Page 71: Mh Beethoven

Symphony No. 5, Mvt. 1Kamien,

Symphony No. 5, Mvt. 1Kamien,

Exposition DevelopmentRecapitulation

T1 B T2 CT T1 B T2 CtWhat?How?

•••—motive

What change from Expos?

What instruments?What

instruments?

Sonata form

LONG!•••—New

ideas

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Symphony No. 5, Mvt. 1Symphony No. 5, Mvt. 1

DD ee vv ee ll oo pp mm ee nn tt

Theme 2 reminder

•••— motive Based on Th

2Reminder of Th 1Horn

call w/ new answer

2 notes of horn call!1 note of horn call!!

1.a. 1.b. 2.a. 2.b.c.d. 2.e.

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Clickfor guided listeningto the entire development.

Symphony No. 5, Mvt. 1Symphony No. 5, Mvt. 1

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Symphony No. 5, Mvt. 1Symphony No. 5, Mvt. 1

DD ee vv ee ll oo pp mm ee nn tt

•••—motive isubiquitous!

Horn callw/ new answer

2 notes of horn call!1 noteof horn call!!Reminder of Th 2Back to1 note

Based on Th 2

Reminder of Th 1New

melody,motive R

Th 1melody& R

Based on Th 1

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Clickfor guided listeningto the recapitulationand coda.

Symphony No. 5, Mvt. 1Symphony No. 5, Mvt. 1

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Symphony No. 5, Mvt. 1Symphony No. 5, Mvt. 1

R e c a p i t u l a t i o R e c a p i t u l a t i o nn

•••— motive is ubiquitous!

Subdued horns +Bassoons!•••— in accompa-niment

Theme 2

Closing Th

Yes! It was an oboe. Now it continues w/ a short cadenza.

Important addition

Theme 1

Bridge4.a.b.

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Symphony No. 5, Mvt. 1Symphony No. 5, Mvt. 1

C o d aC o d a

Long!based mostly on •••— motivesome new ideas introduced

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Symphony No. 5, Mvt. 1Symphony No. 5, Mvt. 1

Exposition Development RecapitulationCoda

T1 B T2 CT T1 B T2 CtWhat?•••—

motive

This movement is UNIFIED like no earlier piece had ever been!

•••—motive

•••—motive

•••—motive

Listen to entire piece

Page 79: Mh Beethoven

Symphony No. 5, Mvt. 2Symphony No. 5, Mvt. 2

I = contrasting key“time out,” lyricaldouble theme & variations (Why not a rondo?)

A B A’ B’ A” (?) A’’’ Coda Ths A & B Mood? Instruments?

I = contrasting key“time out,” lyricaldouble theme & variations (Why not a rondo?)

A B A’ B’ A” (?) A’’’ Coda Ths A & B Mood? Instruments?

Page 80: Mh Beethoven

Symphony No. 5, Mvt. 3Symphony No. 5, Mvt. 3I = scherzo (“joke”)

minuet & trio form & triple meter BUTcharacter is rough and rollicking, not genteel

I = scherzo (“joke”)minuet & trio form & triple meter BUTcharacter is rough and rollicking, not genteel

•••—motive R

A B A’energy level?Perceived tempo?Texture?Dynamic?Virtuoso double bass

Page 81: Mh Beethoven

Symphony No. 5Bridge between mvts. 3 & 4

Symphony No. 5Bridge between mvts. 3 & 4

Listen for:timpani: •••— motive Rrepeated patterns--high stringsambiguous mode (How will this symphony end?)

C minor? (turmoil, struggle, failure)C major? (victory, triumph, overcoming)

Crescendo at end leads to Mvt 4

Listen for:timpani: •••— motive Rrepeated patterns--high stringsambiguous mode (How will this symphony end?)

C minor? (turmoil, struggle, failure)C major? (victory, triumph, overcoming)

Crescendo at end leads to Mvt 4

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Symphony No. 5, Mvt. 4Symphony No. 5, Mvt. 4

Exposition Development RecapitulationCoda

T1 B T2 CT T1 B T2 CtWhat?How?

VERY LONG!Earlier themes reviewed including •••—

C Major!Triumphant mood

•••—motive R!

•••—motive Ra la mvt 3

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Symphony No. 5Symphony No. 5

Mvt 1: •••— motive used in every part of sonata form

Cyclicism: •••— motive used in Mvts 1, 3, 3-4 bridge, 4. (It is even obscurely used in mvt 2!!!)

Mvts 3 & 4 tied together by ambiguous bridge

Mvt 1: •••— motive used in every part of sonata form

Cyclicism: •••— motive used in Mvts 1, 3, 3-4 bridge, 4. (It is even obscurely used in mvt 2!!!)

Mvts 3 & 4 tied together by ambiguous bridge

Page 84: Mh Beethoven

1. Postponement of gratification, “emotional progression”

2. Conflict & struggle idea of C minor

3. Symphony is more highly unified than earlier ones

4. Symphony deals with emotion, passion

1. Postponement of gratification, “emotional progression”

2. Conflict & struggle idea of C minor

3. Symphony is more highly unified than earlier ones

4. Symphony deals with emotion, passion

Symphony No. 5Romantic Notions:

Symphony No. 5Romantic Notions:

Mvt. 1 Mvt. 2 Mvt. 3 Mvt. 4C minor C Major

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LOGLOG

Beethoven

String Quartet in C Minor, Op. 18, No. 4,

Mvt. 4

String Quartet movement

I = rondo

Beethoven

String Quartet in C Minor, Op. 18, No. 4,

Mvt. 4

String Quartet movement

I = rondo

String quartet = ??

What is the meaning of Op. (opus)?

Page 86: Mh Beethoven

A B A C A B A Coda

aababa ccdcdc aa’bab’a’ eeff

Rondo FormRondo Form

Unity: ?Contrast: ?

dev

BeethovenString Quartet in C Minor, Op. 18, No. 4, Mvt. 4

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A B A C A B A

aababa

Rondo FormRondo Form

Unity: ?Contrast: ?

BeethovenString Quartet in C Minor, Op. 18, No. 4, Mvt. 4

Page 88: Mh Beethoven

A a a b a b a

Rondo FormRondo Form

Question

Question

Question

Question

Answer

Answer

Answer

Answer

OpeningPhrase;Incompletecadence

ClosingPhrase;Completecadence

BeethovenString Quartet in C Minor, Op. 18, No. 4, Mvt. 4

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A B A C A B A Coda

aababa ccdcdc aa’bab’a’ eeffRhythm ? ? ?

Major ? ? ?

Minor ? ? ?

Style ? ? ?

Energy ? ? ?

Rondo FormRondo Form

Unity: ?Contrast: ?

dev

Click the record, listen, track theform, describe points of contrastbetween the A, B, and C sections.

How doesBeethoventreat theupward scales?

BeethovenString Quartet in C Minor, Op. 18, No. 4, Mvt. 4

Page 90: Mh Beethoven

Beethoven Violin Concerto in D Major, Op. 61.

Beethoven Violin Concerto in D Major, Op. 61.

Third Movement:

Written in 1806

From his first and second period of compositional period.

Development of a five note motive.

Third Movement:

Written in 1806

From his first and second period of compositional period.

Development of a five note motive.

Page 91: Mh Beethoven

Ludwig van Beethoven (1770-1827)

Page 92: Mh Beethoven

LUDWIG VAN BEETHOVEN