Beethoven’s Late Style <ul><li>Contexts </li></ul><ul><li>Failure of “marriage project” </li></ul><ul><li>Increasing deafn...
Musical Features of Beethoven’s Late Style Works Ninth Symphony Missa Solemnis Diabelli Variations Piano Sonatas String Qu...
Piano Sonata in E Major, op. 109 <ul><li>First Movement </li></ul><ul><ul><li>Vivace/Adagio Espressivo </li></ul></ul><ul>...
Fugue and Imitation A common feature in Beethoven’s late style is the inclusion of extended passages of imitation or large...
String Quartet in A Minor, op. 132 <ul><li>First Movement </li></ul><ul><ul><li>Assai sostenuto – Allegro </li></ul></ul><...
The Beethoven Myth Elevating music beyond “the art of pleasing sounds” Schopenhauer: “ A symphony of Beethoven presents us...
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UNIT IV - Class 22

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UNIT IV - Class 22

  1. 1. Beethoven’s Late Style <ul><li>Contexts </li></ul><ul><li>Failure of “marriage project” </li></ul><ul><li>Increasing deafness = increasing isolation </li></ul><ul><li>Possible exhaustion of expressive potentialities of perfected middle-period style </li></ul><ul><li>Drive toward expansion/innovation </li></ul><ul><li>Spiritual/metaphysical yearning </li></ul><ul><li>Artistic/historical self-consciousness </li></ul>
  2. 2. Musical Features of Beethoven’s Late Style Works Ninth Symphony Missa Solemnis Diabelli Variations Piano Sonatas String Quartets Technical Features Formal deviations/innovations Increased lyricism Cyclic techniques Use of “learned techniques” General Connotations Yearning Isolation Intensity Introspection Monumentality Stark Contrast
  3. 3. Piano Sonata in E Major, op. 109 <ul><li>First Movement </li></ul><ul><ul><li>Vivace/Adagio Espressivo </li></ul></ul><ul><li>Second Movement </li></ul><ul><ul><li>Presto </li></ul></ul><ul><li>Third Movement (theme and variations) </li></ul><ul><ul><li>Andante molto cantabile ed espressivo </li></ul></ul>Beethoven’s Piano
  4. 4. Fugue and Imitation A common feature in Beethoven’s late style is the inclusion of extended passages of imitation or large-scale fugues In addition to representing an inherited and “learned” tradition, these passages may represent a “struggle” (with a difficult musical technique, or, metaphorically, with some kind of disembodied musical/artistic value) The affective result is often a surprising synthesis of storminess, even struggle, with a pervasive expressivity, yearning, and lyricism
  5. 5. String Quartet in A Minor, op. 132 <ul><li>First Movement </li></ul><ul><ul><li>Assai sostenuto – Allegro </li></ul></ul><ul><li>Second Movement </li></ul><ul><ul><li>Allegro ma non tanto </li></ul></ul><ul><li>Third Movement (theme and variations) </li></ul><ul><ul><li>Heiliger Dankgesang eines Genesenen an die Gottheit (“Solemn song of thanksgiving of a convalescent to the Deity”), in der lydischen Tonart: Molto adagio </li></ul></ul><ul><ul><li>Neue Kraft fühlend (“Feeling new strength”): Andante </li></ul></ul><ul><li>Fourth Movement </li></ul><ul><ul><li>Alla marcia, assai vivace </li></ul></ul><ul><li>Fifth Movement </li></ul><ul><ul><li>Allegro appassionato </li></ul></ul>
  6. 6. The Beethoven Myth Elevating music beyond “the art of pleasing sounds” Schopenhauer: “ A symphony of Beethoven presents us with the greatest confusion which yet has the most perfect order as its foundation… a true and complete picture of the nature of the world, which rolls on in the boundless confusion of innumerable forms, and maintains itself by constant destruction.” Nietzsche: “ Beethoven is something that happens between an old crumbling soul which is constantly breaking up and a very young soul of the future which is constantly coming. In his music there lies that half light of eternal loss and of eternally indulgent hoping .”

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