Emotional Language of Beethoven

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String Quartet Lectures

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  • Beginning:Questopezzosidevetrettarecollapui gran delicatezzaComparison with Moonlight sonata (Op.27 #2): Adagio sostenuto: Si devesuonaretuttoquestopezzodelicatissimamente e senzasordini - Verysimilar! Shows extremes pp to ffCreating emotional tension also with chromatic ascending lines and embellishment with appoggiaturas adding more uncertaintyEnding: release, Allegretto quasi allegro (joyous emotion)
  • Beginning:Questopezzosidevetrettarecollapui gran delicatezzaComparison with Moonlight sonata (Op.27 #2): Adagio sostenuto: Si devesuonaretuttoquestopezzodelicatissimamente e senzasordini - Verysimilar! Shows extremes pp to ffCreating emotional tension also with chromatic ascending lines and embellishment with appoggiaturas adding more uncertaintyEnding: release, Allegretto quasi allegro (joyous emotion)
  • Beginning:Questopezzosidevetrettarecollapui gran delicatezzaComparison with Moonlight sonata (Op.27 #2): Adagio sostenuto: Si devesuonaretuttoquestopezzodelicatissimamente e senzasordini - Verysimilar! Shows extremes pp to ffCreating emotional tension also with chromatic ascending lines and embellishment with appoggiaturas adding more uncertaintyEnding: release, Allegretto quasi allegro (joyous emotion)
  • Beginning:Questopezzosidevetrettarecollapui gran delicatezzaComparison with Moonlight sonata (Op.27 #2): Adagio sostenuto: Si devesuonaretuttoquestopezzodelicatissimamente e senzasordini - Verysimilar! Shows extremes pp to ffCreating emotional tension also with chromatic ascending lines and embellishment with appoggiaturas adding more uncertaintyEnding: release, Allegretto quasi allegro (joyous emotion)
  • Emotional Language of Beethoven

    1. 1. Emotional Language of Beethoven
    2. 2. 1783 (age: 13)
    3. 3. Early Quartets Opus 18, No 6 1799
    4. 4. Ex 1: Op. 18 No. 6 IV. La Malinconia, beginning
    5. 5. Ex 2: Ending of La Malinconia, and beginning of Allegretto
    6. 6. Ex 1: Op. 18 No. 6 IV. La Malinconia, beginning
    7. 7. Ex 2: Ending of La Malinconia, and beginning of Allegretto
    8. 8. Middle Quartets Opus 59, No 3 1806
    9. 9. Ex 1: Op. 59 No. 3, IV. Allegro molto, beginning
    10. 10. Ex 1: Op. 59 No. 3, IV. Allegro molto, beginning
    11. 11. Ex 2: Op. 59 No 3, IV. Allegro molto, ending
    12. 12. Ex 2: Op. 59 No 3, IV. Allegro molto, ending
    13. 13. Middle Quartets Opus 74 1809
    14. 14. Op. 74 Mvt, III. Presto
    15. 15. Op. 74 Mvt, III. Presto
    16. 16. Middle Quartets Opus 95 1810
    17. 17. Op. 95 II. Allegretto ma non troppo, opening 12 bars
    18. 18. 1814 (age : 44)
    19. 19. 1818 (age: 48)
    20. 20. 1819 (age: 49)
    21. 21. 1823 (age: 53)
    22. 22. Late Quartets Opus 130 1825
    23. 23. Late Quartets 1822-1826 • • • • • • • Chronological order of composition: Op. 127 Op. 132 Op. 130 (Große Fuge ending) Op. 131 Op. 135 Finale for Op. 130
    24. 24. Op. 130 I. Adagio ma non troppo, Allegro
    25. 25. Op. 130 I. Adagio ma non troppo, Allegro
    26. 26. Op. 130 II. Presto
    27. 27. Op. 130 II. Presto
    28. 28. 1823 (age: 53)
    29. 29. Op. 130 V. Cavatina « Beklemmt »
    30. 30. Op. 130 V. Cavatina « Beklemmt »
    31. 31. Late Quartets Opus 131 1826
    32. 32. Ex 1: Op. 131 V. Presto, beginning
    33. 33. Ex 1: Op. 131 V. Presto, beginning
    34. 34. Ex 2: Opus 131, end of Presto & beginning of Adagio
    35. 35. Ex 2: Opus 131, end of Presto & beginning of Adagio
    36. 36. Ex 1: Op. 131 VII : Allegro, beginning to fade out
    37. 37. Ex 2: Op. 131 VII: Allegro, ending
    38. 38. Ex 1: Op. 131 VII : Allegro, beginning to fade out
    39. 39. Ex 2: Op. 131 VII: Allegro, ending
    40. 40. Late Quartets Große Fuge, Opus 133 1825
    41. 41. Ex 1: Op. 133, Große Fuge, beginning
    42. 42. Ex 1: Op. 133, Große Fuge, beginning
    43. 43. Ex 2: Op. 133 Große Fuge, ending
    44. 44. Ex 2: Op. 133 Große Fuge, ending
    45. 45. 1830

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