The Aesthetics of Rupture: Adorno and the Adagio of...
2
The Aesthetics of Rupture: Adorno and the Adagio of Beethoven’s 9 th Symphony Judith Ofcarcik Fort Hays State University [email protected] Example 1: Theme A Example 2: Theme B V# \ ( D: V 7 b VI Bb : I m. 3 Echo Antecedent Consequent Winds Strings Echo Echo Consequent with new continuation Repeated Echo Extension expansion (=16-17) Extension !Transition Bb: V 7 V 6 /vi D: I@ \\\\\\\\\\\\ ! “AC” “AC” “AC” “AC”
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Transcript of The Aesthetics of Rupture: Adorno and the Adagio of...
The Aesthetics of Rupture: Adorno and the Adagio of Beethoven’s 9th Symphony Judith Ofcarcik
Fort Hays State University [email protected]
Example 1: Theme A
Example 2: Theme B
V# \ (
D: V7 bVI Bb : I
m. 3 Echo
Antecedent Consequent
Winds
Strings
Echo
Echo
Consequent with new continuation
Repeated
Echo Extension expansion (=16-17)
Extension !Transition
Bb: V7 V6/vi D: I@ \\\\\\\\\\\\ !
“AC”
“AC”
“AC”
“AC”
Example 3: Fanfare and beginning of modal progression, mm. 121-123
Example 4: Form chart mapping musical and narrative events Measures Formal Section Key Musical/Narrative Content 1-2 Introduction Bb Gradually-building dominant harmony 3-24 A Bb Contrasting period with two consequents;
strong sense of harmonic motion 25-42 B D (IIIs) Four (periodic?) phrases over pedal point;
pedal point attenuates sense of harmonic motion
43-64 A’ Bb Theme A continues search rather than accepting Theme B as solution for yearning
65-82 B’ G (VIs) Theme B appears again, now in new key (but still in chromatic-mediant relationship with Theme A)
83-98 Developmental Episode
Eb ! Cb (IV ! bII)
Based on Theme A. Episode is large-scale example of Durchbruch; horn cadenza (m. 96) is small-scale example of Durchbruch.
99-120 A’’ Bb Theme A resumes search; Theme B repressed 121-157 A’’’ ! Coda Bb Final statement of Theme A interrupted twice
by fanfares (epiphany) and modal response. Theme A fades out before complete statement of melody is heard.
Selected Bibliography Adorno, Theodor. 1996. Mahler: A Musical Physiognomy. Trans. Edmund Jephcott. Chicago: University
of Chicago Press. Beethoven, Ludwig van. Symphonie No. 9. Berliner Philharmoniker. Herbert von Karajan. 1984.
Deutsche Grammophon 439006-2, compact disc. Hepokoski, James and Warren Darcy. 2006. Elements of Sonata Theory: Norms, Types, and Deformations in
the Late-Eighteenth-Century Sonata. New York: Oxford University Press. Mahler, Gustav. Symphonie No. 1. Chicago Symphony Orchestra, Claudio Abbado. 1995. Deutsche
Grammophon 0289 445 5652 0, compact disc. Schenker, Heinrich. 1992. Beethoven’s Ninth Symphony: A Portrayal of Its Musical Content, with Running
Commentary on Performance and Literature As Well. Translated and edited by John Rothgeb. New Haven, CT: Yale University Press.
Sisman, Elaine. 1990. “Tradition and Transformation in the Alternating Variations of Haydn and
Beethoven.” Acta Musicologica 62, 2/3, (152-182). Spitzer, Michael. 2006. Music as Philosophy. Bloomington: Indiana University Press. Sullivan, J. W. N. 1960. Beethoven: His Spiritual Development. New York: Vintage Books. Tovey, Donald Francis. 1935. Essays in Musical Analysis. Volume I: Symphonies. New York: Oxford
University Press. Wilson, John David. “Of Hunting, Horns, and Heroes: A brief history of E-flat major before the
Eroica.” Presented at the American Beethoven Society’s conference New Beethoven Research. New Orleans, LA. October 31 and November 1, 2012.
