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UNIT IV - Class 21
 

UNIT IV - Class 21

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    UNIT IV - Class 21 UNIT IV - Class 21 Presentation Transcript

    • Ludwig van Beethoven (1770-1827)
      • Composed
      • Symphonies (9)
      • Concertos (especially for piano)
      • Overtures (and incidental music)
      • Opera (1)
      • Sacred Choral Music
      • Chamber Music
        • Sonatas (especially piano, violin, and cello)
        • String Quartets
      • Piano Trios
      Born: Bonn (western Germany) Died: Vienna
    • Beethoven’s Early Period
      • Studies (a little) with Haydn in Vienna
      • Composes pieces which assimilate and perfect the “High Classical” style of Haydn and Mozart
      • Piano Sonatas
      • String Quartets (opus 18 – set of 6)
      • Symphonies (nos. 1 and 2)
      • Piano Concertos (nos. 1 and 2)
    • Beethoven: Between Classical and Romantic
      • Style Characteristics
      • Classical:
      • Use of inherited forms
      • Regular phrases
      • Acceptance of established genres
      • Romantic:
      • Expansion of forms
      • Greater intensity and expressivity
      • Harmonic and instrumentational innovations
    • Apollonian vs. Dionysian Friederich Nietzsche (1844-1900)
      • Apollonian:
      • Grounding in Classical tradition
      • Clarity of form
      • Intensive working process
      • Dionysian:
      • Subjectivity
      • Intensity of expression
      • Expansiveness
    • “ Heroic” Beethoven: The Middle Period
      • Forces combine with genius to inspire artistic breakthroughs:
      • Personal struggle with deafness
      • Relationship to Napoleon and the French Revolution
      • “ Unlucky” in love
      • Major works:
      • Symphonies (3-8)
      • Piano Concertos (3-5)
      • Opera: Fidelio
      • Sonatas and String Quartets
      • Musical Characteristics:
      • Greater intensity – louder dynamics, demanding instrumental writing, heavier scoring
      • Greater expressivity – longer, more strident melodies, dramatic contrasts of texture, dynamics, instrumentation
      • Formal Expansiveness – longer movements in general, frequent use of slow introductions to fast movements, striking expansiveness to development sections and codas
    • The Heiligenstadt Testament
    • The Fifth Symphony (in C minor)
      • First Movement (Allegro con brio)
        • Fast, stormy, sonata-form movement in C minor
      • Second Movement (Andante con moto)
        • Double Theme and Variations, ingratiating, martial
      • Third Movement (Allegro)
        • Sometimes convoluted triple-meter, march-like movement in C minor – leads directly to:
      • Fourth Movement (Allegro)
        • Triumphant finale, sonata-form movement in C major
      “ Fate, knocking on the door”