Beethoven was a pivotal composer who represented the transition from Classical to Romantic eras. He broke from formal Classical structures and expressed more emotion and drama. As he went deaf, his music became more introspective. He expanded orchestral and piano techniques and forms like the sonata and symphony. His 5th Symphony uses a simple four-note motif throughout, and his 9th includes voices and text for the first time in a symphony. Beethoven was considered a musical revolutionary who transformed classical forms into vehicles of personal expression.

1. THE ENJOYMENT OF MUSIC
ESSENTIAL LISTENING
EDITION
by
Kristine Forney
Andrew Dell’Antonio
Joseph Machlis
THIRD EDITION
Lecture Slides – Chapters 29 & 30

2. Ludwig Van
Beethoven
(1770-1827)

3. Beethoven
• Represents turning point from Classicism to
Romanticism
• Burst bonds of formalism and control of
Classicism
• Most controversial-Classicist or
Romanticist?
• Music very emotional, very dramatic &
powerful
• Bears personality of creator
• Very much a “Romantic” quality

4. Beethoven: A Musical Giant
• Born in Bonn, Germany.
• Lived during the social changes toward democracy in France
and America.
• Studied with Haydn who encouraged him.
• Went to Vienna, which was a cultural center, to make his
living as composer.
• Father-singer in Kapelle of Archbishop-Elector of Cologne;
abusive alcoholic, tried to make him into Mozart
• Loner, never married, cared only for music, untidy
• One serious love affair (Distant Beloved)
• Perfectionist, very particular with music

5. Beethoven
• Beethoven was principal breadwinner by the
time he was a teenager.
• Began to go deaf in his late 20’s, which
caused him intense grief.
• Wrote Heiligenstadt Testament (basically a
suicide note) to his brothers when he realized
there was no cure for his deafness, but
decided to live.
• Widely recognized during his lifetime as the
greatest composer of instrumental music.
When he died in 1827, at age 56, declared a
national hero.
• Suffered chronic poor health, deafness, and a
custody battle over a nephew during last 15
years of life.

6. Ludwig van Beethoven (1770–1827)
Three compositional periods
• First: early career
• Second: middle career, more
“Romantic”
• Third: late career,
introspective, chromatic
harmonies

7. Beethoven’s Music-->Romanticism
• He increased the number of instruments in the orchestra.
• He expanded the dynamic range of the orchestra to ppp and
fff.
• The development sections of his compositions were long,
elaborate, and complex.
• In some compositions, he left no pauses between some of the
movements.

8. Beethoven’s Music--Romanticism
• He played larger pianos that created more sound.
• He developed the Classical Forms and expanded
them.
• He added a chorus to the final movement of his 9th
symphony, “Ode to Joy.”
• His works were longer; he labored over them,
revising them over and over.
• The end of his life (1827) marks the beginning of the
Romantic Period in Music.

9. The Sketchbook
• Kept chronicle for
posterity of the
evolution of thematic
material which shows
the inner struggle to
realize the final form
• “…like bloody record
of a tremendous
inner battle.”

10. Ludwig van Beethoven
Other Compositions
• Piano Sonatas
– C# minor-- “Moonlight”
– C minor-”Pathetique”
– D minor-- “Tempest”
– F minor-- “Appassionata”
• Piano Concerto #5
in E-flat major--
“Emperor”
• Missa Solemnis-Mass in C
• Fidelio--an opera
• String quartets
• 9 symphonies
– No. 3 in E-flat major
--”Eroica”
– No. 6 in F major--
“Pastoral”
– No. 9 in D minor--
includes chorus
singing “Ode to Joy”

11. The Keyboard Instruments:
The Piano
• Larger and more robust
than the harpsichord
• Keys activate hammers
that strike strings
• Full range of dynamics
• Pianos became very
popular instruments for
the home; all “educated”
women could play.

12. Keyboard Instruments: The Piano
• Piano
– 1st constructed about 1709
– Soundboard underneath strings amplifies
sound
– 88 keys
– Grand vs upright
– Three pedals(damper, soft pedal, sostenuto)
– Very versatile

13. Piano (pianoforte)

14. Chapter 29
Personalizing the Conversation:
Beethoven and the Classical Sonata

15. • Three or four contrasting
movements
– fast-slow-fast
– fast-slow-moderate-fast
The Sonata in the Classical Era
The Movements of the Sonata

16. Beethoven: Piano Sonata in C-sharp Minor,
Op. 27, No. 2 (Moonlight)
(Listening Guide)
• Title given after
Beethoven's death
• Dedicated to
Countess Giuletta
Guicciardi
– Once thought to be
Beethoven's
"Immortal Beloved”

17. Beethoven: Piano Sonata in C-sharp Minor,
Op. 27, No. 2 (Moonlight)
First Movement (Listening Guide)
• Breaks with conventional formal
molds
• Retains the three-movement format
• I: Adagio sostenuto
• II: Allegretto
• III: Presto agitato
• Remains one of the most beloved
works of the Classical repertory

18. • Elements of a development section
• Delicate singing melody
• Continuous triplet patter
• Modified song form
Beethoven: Piano Sonata in C-sharp Minor,
Op. 27, No. 2 (Moonlight)
First Movement (Listening Guide)

19. Sonata in C# Minor
“Moonlight”
• Movement I

22. Fidelio
• Fidelio-only opera
• Compared its writing to the
bearing of a child
• 1805-revised several times
to 1814
• Difficulty setting text
• “Rescue” opera based on
events of French
Revolution
• Leonore-main heroine
• Last act celebration of
heroism &
humanitarianism

23. Fidelio & Vocal Music
• Fidelio-Overture went through several stages
• Three named “Leonora”
• “Fidelio” overture is fourth version; most preferred by
Beethoven
• Not at ease with vocal music
– Song cycle-An die ferne Geliebte(To a Distant Beloved
– Song settings of poet Goethe
– Oratorio-Christ on the Mount of Olives
• Missa Solemnis-monumental work, includes soloists,
choral group, “Ode To Joy”
• Written for enthronement of student Archduke Rudolph
as Archbishop of Olmutz, finished too late for the occasion

24. Chapter 30
Disrupting the Conversation:
Beethoven and the Symphony in Transition

25. Beethoven
• Nine symphonies
– I. C Major
– II. D Major
– III. E-Major(Eroica)
– IV. B Major
– V. C minor
– VI. F Major(Pastorale)
– VII. A Major
– VIII. F Major(Humorous)
– IX. F Minor(Choral)

26. Symphony No. 3- “Eroica”
• First dedicated to Napoleon,
then changed after
Bonaparte declared himself
Emperor
• “Sinfonia Eroica…composed
to celebrate the memory of a
great man”
• Unprecedented length
• Called “wild fantasy” at first
performance

27. Symphony No. 6- “Pastoral”
• Symphony #6 in F
“Pastorale”
– 5 movements, each
bearing descriptive
title
– Program content-
“an expression of
feeling rather than
a graphic depiction”

28. Symphony No. 9- “Choral”
• Movement 4-sets Schiller’s “Ode to Joy” for
chorus & quartet
• Considered poem as early as 1792
• Text-ideals of brotherhood of man through
love, love of God
• Does various different musical techniques
with “Joy” theme

29. Symphony No. 5 in C Minor
• Most tightly knit motivically of all compositions
• Opening four note motive appears in every movement
• Origins-Fate knocking at door, letter V in Morse Code(not
invented yet)
• Along with recurrence of a portion of “Scherzo” in Finale-
makes work “cyclic”
• Not break between movements III & IV

30. Ludwig van Beethoven
Symphony no. 5 in C Minor
• A symphony in 4 movements:
– 1st--sonata form
– 2nd--variations on 2 themes (loud and soft)
– 3rd— “Rocket” theme; ternary form (ABA’); on the
return, A is varied
– 4th--sonata form; material from 3rd movement
comes back; extended coda

31. Ludwig van Beethoven
Symphony no. 5 in C Minor
• Simple theme (short-short-short-LONG)
– Two pitches
– Monophonic texture
– Simple theme is transformed in multiple ways throughout the
movement and the entire symphony.
• Dynamics: from extremely loud to extremely soft; sometimes
rapid shifts between
– Especially between 3rd and 4th movements
– 3rd movement very soft leads to 4th movement very loud

32. Ludwig van Beethoven
Symphony no. 5 in C Minor
• Timbre: orchestra is larger in the 4th
movement, adding piccolo, contrabassoon
(very high and very low instruments
respectively), and the trombone.
– Oboe has an unusual solo in 1st movement.
– Double basses have a prominent, difficult passage
in the 3rd movement (B section).

33. Ludwig van Beethoven
Symphony no. 5 in C Minor
• Form: cyclic--movements are linked in tangible
and distinctive way.
– The theme in its various permutations is present
in all 4 movements.
– An extended passage in the 3rd movement comes
back in the 4th.

34. The Fifth Symphony
• Rhythmic idea “three shorts and a long” dominates entire work

35. Symphony No. 5 in C Minor
• Movement I
• Movement II
• Movements II & III

41. Beethoven
• Dies of jaundice &
cholera during
thunderstorm
• Biggest revolutionist
next to Bach during
lifetime
• Considered biggest
music revolutionary
of all-time

42. Appreciating Beethoven’s Music
• Contrast-filled with dynamic contrasts, rough/smooth,
loud/soft, etc.; soft passage interrupted by sforzando
chord; rage section ceases abruptly, gentle melody takes
over
• Motive development-showcase of developing short simple
musical ideas
• Sense of drive- “inevitability,” music seems to be heading
toward final destination; has “this too shall pass”
moments; continuation of musical journey
• Personality-sounded like no one else at the time, unique,
fiery spirit, sense of musical logic

43. by
Kristine Forney
Andrew Dell’Antonio
Joseph Machlis
Lecture Slides
THIRD EDITION
THE ENJOYMENT OF MUSIC
ESSENTIAL LISTENING EDITION
http://wwnorton.com/web/enjoyess2