Anton Schindler (1795-1864) B. Late String Quartets 1. Op.127 (Eb) 2. Op.130 (C# minor) with Grosse Fuge 3. Op.132 (A minor) 4. Op.135 (F major) C. Missa Solemnis (D) Op.123 (1819-1823) D. Ninth Symphony (D minor) Op.125 (1824) E. Piano Sonatas Op.101, Op.106 "Hammerklavier", Op.109, Op.110, Op.111 F. Diabelli Variations Op.120 (18

1. Ludwig Van Beethoven
1770-1827
Born in Bonn
Died in Vienna

2. Ludwig Van Beethoven
Third member of the great
Viennese masters
The great transitional composer
By the time he was 35 years old he
was the most important composer
in the world

3. LIFE-TIME-LINES
BEETHOVEN 1770-1827
MOZART 1756-1789
HAYDN 1732-1809
1770 1820

4. Childhood
Father and Grandfather were musicians.
Father was Ludwig’s first music teacher.
His father was an alcoholic
Supported his family as a child
Showed an interest in composing very
early

5. “Louis van Beethoven… a boy of 11 years
and a most promising talent. He plays
the clavier very skillfully and with
power, reads at sight very well… This
youthful genius is deserving of help to
enable him to travel. He would surely
become a second Wolfgang Amadeus
Mozart were he to continue as he has
begun.”
– Christian Gottlob Neefe

6. Young adulthood
Beethoven went to Vienna, Austria to
learn more about composing when he
was 17. He played for Mozart
He had to return home when his mother
died, and help raise his brothers.

7. Return to Vienna
When Beethoven was 22 (1792), he
moved to Austria and never returned to
Germany.
He studied with Haydn

8. Ludwig Van
Beethoven
True, it’s “van,” not the aristocratic “von,” but if
someone mistakenly thinks I’m a “von” of royal
blood I certainly won’t correct him.

9. Beethoven and Patronage
Patronage is gone. Besides,
Beethoven considered himself equal
to, not the servant of, any noble!
made his living by:
selling compositions to publishers
concertizing as a pianist
1st musician to make a living almost
exclusively through composition

10. His temperament
Beethoven was not
easy to be around.
He criticized other
He had a temper, and
musicians when they
he was very
didn’t perform his
demanding.
pieces the way he
He would get lost in wanted them to
his own thoughts and sound.
would get impatient
His whole life was
with others when they
very ‘stormy’ …
didn’t do what he
there were many sad
thought they should
and discouraging
do.

11. Beethoven’s Contract
“But as it has been demonstrated that only one
when he is free from care as possible can devote
himself to a single department of activity and
create works of magnitude which are exalted and
which ennoble art, the undersigned have decided
to place Herr Ludwig van Beethoven in a
position where the necessities of life shall not
cause him embarrassment or clog his powerful
genius.”

12. Beethoven’s Contract
His Imperial Highness, Archduke Rudolph
1500 florins
The Highborn Prince Lobkowitz
700 florins
The Highborn Prince Ferdinand Kinsky
1800 Florins
Total…. 4000 florins (150,000 USD)

13. Beethoven’s Contract
All Beethoven had to do was to declare
Vienna his home.”
It is good to walk among the aristocracy,
but first you must MAKE them respect
you.”

14. Beethoven, the pianist
the most virtuosic in Europe
dazzling technique and power
genius improviser
a composer
much music for piano
piano is being developed
cast iron frame (stronger, more powerful
instrument)
larger range (Beethoven wrote notes that were not
on current pianos, then told manufacturers to build
new instruments)

15. Losing his hearing
Beethoven began Beethoven tried
hearing buzzing in many hearing
his ears. devices, but none of
At first he tried to them worked.
hide his loss of He could watch
hearing from his people’s lips to
friends. understand what
He continued to write they were saying, or
music when he was have them write in a
deaf. notebook.

16. Beethoven’s Deafness
Manifests itself as early as 1796
By 1820 he could barely hear
Heiligenstadt Testament
Letter Beethoven writes in 1802
Describes his illness and his melancholy

17. Ca. 1799, Beethoven learned his
increasing deafness was irreversible. Deep
in despair, he remained in Heiligenstadt
the summer and fall of 1802
contemplating suicide.

18. Beethoven’s Deafness
“Though born with a fiery, active temperament I
was soon to withdraw from society, to live a life
alone. If at times I tried to forget all this, oh
how harshly was I flung back by the doubly sad
experience of my bad hearing. Yet it wasn’t
possible for me to say to people, “Speak
Louder, shout for I am deaf! Ah, how could I
possibly admit to an infirmity in the one sense
that ought to be more perfect in me than in
others, a sense that I once possessed in the
highest degree.”

19. “How humiliated I have felt if somebody
standing beside me heard the sound of a
flute in the distance and I heard nothing...It
is impossible for me to say to people, ‘Speak
louder, for I am deaf.’ How would it be
possible for me to admit to a weakness of the
one sense that should be perfect to a higher
degree in me than in theirs. So forgive me if
you see me draw back from your company
which I would so gladly share. I would have
ended my life. It was only my art that held
me back for it seemed impossible to leave the
world until I have brought forth all that is
within me.”
— Beethoven

20. Medical methods back then...
Doctors poured warm milk and crushed
nuts in Beethoven’s ears, telling him that
this would help restore his hearing!
Doctors rubbed Beethoven’s arms with
an ointment until they blistered, then
punctured and drained the blisters…
telling him that this would help restore
his hearing!

21. Beethovenian Pathos
Man at some unexpected time in his life
will sink to the depths of his existence,
into the depths of chaos. It is only HE
that can make the decision to turn the
chaos into a triumphant victory. Rising
out of the depths of human chaos is
humanity’s primary task for survival.

22. Beethovenian Pathos
Shows up in music.
Sense of despair.
Sense of acceptance
Sense of reconciliation
Sense of victory over despair.

23. “I am resolved to rise superior to
every obstacle. With whom need I be
afraid of measuring my own strength?
I will take Fate by the throat. It shall
not overcome me. O how beautiful it
is to be alive—would that I could live
a thousand times.”
-Beethoven

24. Beethoven’s death
Beethoven died in Vienna, Austria in
1827.
Thousands of people lined the streets
during his funeral procession to pay
tribute.

25. Beethoven, the composer
Wrote many works for piano
Wrote music that required improvement of the piano
For years, his compositions drew mixed reactions
Critics and journalists hassled him
Intellect, Intellect, Intellect. Why must Herr
Beethoven write such difficult and complex music? It
sounds like cats fighting! Cannot he write a decent
singable melody?

26. “I carry my thoughts within me long,
often very long before I write them
down. As I know what I want, the
fundamental idea never deserts me.
It mounts, it grows in stature. I hear,
I see the picture in its whole extent
standing all of a piece before my
spirit, and there remains for me only
the task of writing it down.”
-Beethoven

27. Some of his Works
32 Piano Sonatas
Moonlight Sonata
Sonata Pathetique
Fur Elise
Fidelio (his only opera)
9 Symphonies
Choral Symphony …#9 (Ode to Joy)
Beethoven’s Fifth …#5
Pastorale …..#6

28. Beethoven Symphonies
Supreme architect
Tied all movements into a theme
5th
Fate versus hope

29. Beethoven Symphonies
9th
Finale
Ode To Joy

30. Jacques Louis David
Coronation of Napoleon

31. Jacques Louis David
Napoleon
in his study

32. Symphony #5 C minor op. 67.
Archetypical Sonata Allegro Form.
Three note motive.
Shows up throughout the whole
symphony.
What is this piece about?

33. Beethoven Piano Sonata in C
minor. Pathetique
Beethovenian Pathos in each movement
Dramatic quality, sudden dynamic
changes
Adagio section that is hymn-like
2nd and 3rd movements are in Rondo form

34. Beethovenian Pathos
Mvt.1 Slow intro
Tempo rubato
Sense of sadness and then anger/
desperation as the music moves to the
fast section.

35. Beethovenian Pathos
Mvt. 2. Slow and hymnl-ike
Sense of calm acceptance
Familiar theme

36. Beethovenian Pathos
Mvt. 3.
Rising out of chaos.
Sounds of triumph.

37. Ludwig van Beethoven
composed by evolving and revising musical ideas and
compositions
kept notebooks of themes and ideas
B’s manuscripts, unlike Mozart’s, are a MESS--a sea
of cross-outs, arrows, re-writes, etc.
Much of B’s music was composed in deafness (total by
age 29!) He could only hear the music in his head.
works are larger, longer, more complex
TRANSITION composer:
B’s last two composition periods and styles clearly point the way
to the coming Romanticism.
composed for himself and future, NOT for publishers or
middle class market
For Beethoven music is much more important to human
existence than mere entertainment!

38. 1. Early years
a. Beethoven born in Bonn
b. Studied under Christian
Gottlob Neefe (1748-98)
1. Court organist at Bonn
2. Wrote Singspiels and songs
c. 1787: Brief visit to Vienna,
may have played for Mozart
d. 1790: Haydn hears Beethoven's music
and urges the archbishop of Cologne
to send him to Vienna

39. 2. Vienna
a. Beethoven moves to Vienna in November of 1792
b. Studies with a number of composers
1. 1792-94: studied with Haydn
2. 1794: Johann Schenk (1753-1836):
composer of Singspiels
3. 1794: Johann Georg Albrechtsberger:
teaches Beethoven counterpoint
4. Antonio Salieri (1750-1825):
teaches vocal composition

40. 3. Compositional overview
a. 9 symphonies b. 11 overtures
c. Incidental music to plays
d. 1 violin concerto e. 5 piano concertos
f. 16 string quartets g. 9 piano trios
h. 10 vioin sonatas i. 5 cello sonatas
j. 30 large piano sonatas
k. Numerous piano variations
l. 1 oratorio m. 1 opera
n. 2 Masses (including the Missa Solemnis in D)
o. Arias, songs and 1 song cycle

41. His Musical Style: Three
Periods
1. Classical Elements: Musical style learned
at the hands of Mozart and Haydn.
Use of sonata allegro form. Perfect
architecture in his music.
Balanced melodies.
Diatonic Harmony

42. 5. The "Three Periods" and Beethoven Historiography
a. It is customary to divide Beethoven's works
into three periods on the basis of style and chronology
b. "Bonn" period is usually not taken into account

43. 5. The "Three Periods" and Beethoven Historiography (cont.)
c. Periodic breakdown
1. Early Period in Vienna (1792-1802 )
Six String Quartets, Op.18/1-6
The first 10 piano sonatas (through Op.14)
Symphonies 1 & 2

44. 5. The "Three Periods" and Beethoven Historiography (cont.)
(cont
C. Periodic breakdown
2. Middle Period: Beethoven's "Heroic" period (1803-1816)
Symphonies 3-8 - Egmont
Coriolan overture - Fidelio
Piano concertos in G and Eb - Violin concerto
Piano sonatas through Op.90
String quartets:Op.59/1-3 ("Rasumovsky"), Op.74 ("Harp"),
Op.95 ("Quartetto serioso")

45. 5. The "Three Periods" and Beethoven Historiography (cont.)
c. Periodic breakdown
3. Late Period: Reflective and introspective style
( 1817-1827)
Last 5 piano sonatas
Diabelli Variations
Missa solemnis

46. Sonatas
1. Op.2/1-3 (f,A,C): Publ.1796 &
Dedicated to Haydn
2. Op.7 (Eb): publ. in 1797
3. Op.10 No.1 (c min.)
4. Op.13 "Pathetique" slow mov't

47. Characteristic texture
1. Frequent use of octaves
2. Thick piano writing

48. Contemporaries that may have influenced Beethoven
1. Muzio Clementi (1752-1832)
2. Jan Ladislav Dussek (1760-1812)
3. Dussek's Grande Sonate, Op.44 "Les
adieux" (Eb) publ.1800 may have influenced
Beethoven's Op.81a "Les adieux" of 1810

49. Second Period
Expanded works.
Form, melody, dynamics
Explosive accents.
Longer Movements in Symphonies
Hymn-like calmness in his slower
movements.

50. A. Background
B. Symphony no.3 (Eb) "Eroica"
C. Fidelio
D. Piano Sonatas
E. Piano Concertos

51. A. Background
1. By 1803 Beethoven was recognized as the
foremost pianis and composer for piano
2. Patronage: differed from that of Mozart and Haydn,
Beethoven was extremely independent, and drove a
hard bargain both with publishers and patrons

52. B. Symphony no.3 (Eb) "Eroica”: Composed in 1803
1. Originally dedicated to Napoleon but Beethoven
tears up dedication when Napoleon declares
himself Emperor in 1804. 1806 dedication
"Heroic Symphony... to celebrate the memory
of a great man"
2. Significance
a. Expansive movements and extraordinary length
b. 2nd mov't is a funeral march (C minor)
c. 4th mov't is a set of variations (w/fugato episodes)

53. C. Fidelio
Compositional history
a. Most problematic compostion as it was revised numrous times
b. Composed initially in 1803, First perf. in Vienna in 1805
c. 1805-1806
- Originally has 3 acts but revises and shortens to 2 acts
- March 1806 perf. of this version is immediately withdrawn
d. 1814 version: The 1st successful production (extensive revision)

54. D. Piano Sonatas
1. Op.27/1-2: From ca.1802 known as the
"Moonlight" Sonata
Each designated as "quasi una fantasia"
2. Op.53 (C) "Waldstein Sonata" and
Op.57 (f) "Appassionata"
Exemplary piano works of the middle period
Each is in three mov't scheme (fast-slow-fast)
Formal schemes of the sonata, rondo and
variation are stretched to the limits

55. E. Piano Concertos
1. Composed concertos for his own
concert appearances
2. Piano concertos nos.1-3 (C,Bb,c)
All date from early years in Vienna
Concertos influenced by Mozart
3. Violin Concerto, D maj. Op.61 (1806)

56. A. Background
1. 1810-1815 as a prosperous period for Beethoven
2. Health deteriorating, deafness worsening
3. Compositional output in the final years
a. 1816-1821: last 5 piano sonatas
b. 1822: Missa Solemnis
c. 1823: Diabelli Variations
d. 1824: Symphony no.9
e. 1825-26: String Quartets

57. B. Characteristics of the late style -- Meditative quality
a. Manifest in the extensive development of themes
b. Late use of variation forms --> thematic development
lengthier passages subjected to dev. rather than
short bar-long motives
c. Variation techniques used by Haydn, Mozart and Beethoven

58. B. Characteristics of the late style (Cont.)
Meditative quality (Cont.)
e. Fugato and use of contrapuntal textures
1. Fugal movements
a. Finales of Op.106 and 110 Piano Sonatas
b. Grosse Fuge
c. Gloria and Credo of the Mass in D
d. 2 double fugues in the finale of the 9th Symphony
f. Use of nontraditional movement plans
1. Op.111 Piano Sonata: 2 mov't
2. Op.131 String Quartet (C#min): 7 sections (mov't)

59. C. Mass in D
1. Beethoven regarded the Mass as his greatest work
2. Mass as a single musical unity, a symphony in 5 mov't
D. Ninth Symphony
1. Premiered on May 7, 1824
2. Significant features
a. Choral finale
1. Setting of Schiller's "Ode to Joy"
2. Beethoven selects stanzas about
universal brotherhood of man
b. Double fugue in the finale

60. Final period
Chromatic harmonies.
Easier to produce for Beethoven due to
the fact that the hands did not have to
move so far on the piano.
Music? “Not for you.. For a later time.

61. Beethoven is Power, the strangler of fate, who
bowed neither to any man or to lesser gods.
With men who do not believe in me I cannot and
will not associate.
- Beethoven
His music reflects “the complete emancipation of
human emotion and mind.”
No composer was more committed to the struggle of
mankind. Bach wrote for the Glory of God, Mozart
because genius must out, (and because he had to
eat), Beethoven to impose his will on the world.
- All quotes from Goulding text

62. Symphony No. 5, 1st Movement
Coda
Symphony No. 9, Ode to Joy
Jacques-Louis David, Napoleon Crossing the Alps, 1800

63. Beethoven
did not succumb
to this, the gravest of a
musician’s ills. Instead he
composed the heroic and remarkably
optimistic Third Symphony. It
is today one of the best
loved orchestral
works ever
written.

64. Ferdinand Ries recalls the piano contest with Stiebelt :
Stiebelt again played a quintet with much success and in
addition (and this was quite evident) had prepared a brilliant
improvisation, choosing as the theme the subject of the
variations of Beethoven's trio (Op.11). This outraged not only
Beethoven's supporters but also the composer himself. He
now had to seat himself at the piano in order to improvise. He
went in his usual, I must say ungracious, manner to the
instrument as if half lunging towards it, grabbing as he
passed, the 'cello part of Stiebelt's quintet, placed it
(intentionally?) upside down on the music stand and from the
opening notes drummed out a theme with one finger.
Offended and stimulated at the same time, he improvised in
such a manner that Stiebelt left the room before Beethoven
had finished. He refused ever to meet him again; in fact he
made it a condition that Beethoven should not be invited
anywhere where his company was requested.

65. Ferdinand Ries describes the concert of 22 Dec 1808 :
Beethoven gave a large concert in the Theater an der Wien at
which were performed for the first time the 5th and 6th
Symphonies as well as his Fantasia for Piano/orchestra and
chorus. In this last work, at the place where the last theme
already appears in a varied form, the clarinet player made, by
mistake, a repeat of 8 bars. Since only a few instruments
were playing, this error was all the more evident to the ear.
Beethoven leapt up in a fury, turned round and abused the
orchestra players in the coarsest terms and so loudly that he
could be heard throughout the auditorium. Finally he shouted
"From the beginning!” The concert was a great success, but
afterwards the artists remembering only too well the
honourable title which Beethoven had bestowed on them in
public swore never to play for Beethoven again - this went on
until Beethoven composed something new and their curiosity
got the better of them.

66. Ludwig Reelstab on Beethoven's deafness :
Beethoven: “This is a beautiful piano! I got it as a gift
from London. Look at the name!" He pointed with his
finger to the strip of wood above the keyboard.” It is a
wonderful present,” said Beethoven looking at me "and
it has a beautiful tone," he continued turning towards
the piano without taking his eyes off me. He struck a
chord softly. Never will another chord pierce me to the
quick with such sadness and heartbreak. He has played
C major in the right hand and B natural in the bass; he
looked at me steadily and repeated the false chord
several times to let the mild tone of the instrument
sound, and the greatest musician on earth could not
hear the dissonance!

67. LOG
Beethoven
Symphony No. 5 in C Minor, Op. 67
Symphony
I = Standard symphony format
IMP Romantic characteristics
cyclicism

68. It looks like a
classical
symphony, but
mark this well:
Underneath
that polite,
perhaps
predictable,
exterior rages
an
overwhelming
storm of
romanticism.

69. Music Journalism
CA 1790 Music Journalism exploded on the European scene.
Middle class people wanted to read essays, analyses, and criticisms
about new compositions, performers, instruments, concert halls,
etc. (ANYTHING MUSIC!) They bought music newspapers,
journals, and magazines by the millions. While these music rags
loved and praised Beethoven’s pianistic virtuosity (until deafness
curtailed his playing), they mercilessly and audaciously
condemned most of his compositions! “Intellect, intellect,
intellect!” Herr Beethoven’s music is too complex. It isn’t musical
entertainment; it’s intellectual “mind games.” Once again
Beethoven wrote something that no one wants to hear. These
invectives and journalistic fulminations bothered Beethoven a
great deal. However, he is known to have replied to at least one
upstart reporter, “Of course you don’t understand it (implying the
interviewer had neither the intelligence nor world view). I wrote
the piece for future generations. They will understand and
appreciate it.” He was correct.

70. Symphony No. 5, Mvt. 1
Kamien, p. 193, CD #2
Exposition Development Recapitulation Coda
1. 2. 3. 4.
T1 B T2 CT T1 B T2 Ct LONG!
•••—
What? New
•••— What What ideas
motive How?
change instruments?
What from
instruments? Expos?
Sonata form

71. Symphony No. 5, Mvt. 1
Kamien,
Exposition Development Recapitulation
LONG!
T1 B T2 CT T1 B T2 Ct •••—
What? New
•••— What What ideas
motive
How? change instruments?
What from
instruments? Expos?
Sonata form

72. Symphony No. 5, Mvt. 1
D e v e l o p m e n t
1.a. 1.b. 2.a. 2.b.c.d. 2.e.
•••— motive Based on Th 2 Reminder
of Th 1
Horn call 2 notes of
w/ new horn call!
answer 1 note of
horn call!!
Theme 2 reminder

73. Symphony No. 5, Mvt. 1
Click
for guided listening
to the entire development.

74. Symphony No. 5, Mvt. 1
D e v e l o p m e n t
Based on Th 1 Based on Th 2 Reminder of Th 1
Th 1 New Horn call 2 notes
melody melody, w/ new of horn
&R motive R answer call!
1 note
of horn
•••— call!!
Reminder
motive is of Th 2
Back to
ubiquitous! 1 note

75. Symphony No. 5, Mvt. 1
Click
for guided listening
to the recapitulation
and coda.

76. Symphony No. 5, Mvt. 1
R e c a p i t u l a t i o n
4.a.b.
Theme 1 Bridge Theme 2 Closing Th
Important Subdued
addition horns +
Yes! It was an Bassoons!
oboe. Now it •••— in
continues w/ a accompa-
short cadenza. niment
•••— motive is ubiquitous!

77. Symphony No. 5, Mvt. 1
C o d a
Long!
based mostly on •••— motive
some new ideas introduced

78. Symphony No. 5, Mvt. 1
Exposition Development Recapitulation Coda
T1 B T2 CT T1 B T2 Ct
What?
•••— •••— •••— •••—
motive motive motive motive
This movement is UNIFIED like no earlier
piece had ever been!
Listen to entire piece

79. Symphony No. 5, Mvt. 2
I = contrasting key
“time out,” lyrical
double theme & variations (Why not a rondo?)
A B A’ B’ A” (?) A’’’ Coda
Ths
A&B
Mood?
Instruments?

80. Symphony No. 5, Mvt. 3
I = scherzo (“joke”)
minuet & trio form & triple meter BUT
character is rough and rollicking, not genteel
A B A’
energy level?
•••— Perceived tempo?
motive R
Texture?
Dynamic?
Virtuoso double bass

81. Symphony No. 5
Bridge between mvts. 3 & 4
Listen for:
timpani: •••— motive R
repeated patterns--high strings
ambiguous mode (How will this symphony end?)
C minor? (turmoil, struggle, failure)
C major? (victory, triumph, overcoming)
Crescendo at end leads to Mvt 4

82. Symphony No. 5, Mvt. 4
Exposition Development Recapitulation Coda
T1 B T2 CT T1 B T2 Ct VERY
What? LONG!
•••— Earlier
motive R! How?
themes
•••— reviewed
C Major! motive R including
Triumphant mood a la mvt 3
•••—

83. Symphony No. 5
Mvt 1: •••— motive used in every
part of sonata form
Cyclicism: •••— motive used in
Mvts 1, 3, 3-4 bridge, 4. (It is
even obscurely used in mvt 2!!!)
Mvts 3 & 4 tied together by
ambiguous bridge

84. Symphony No. 5
Romantic Notions:
1. Postponement of gratification, “emotional
progression”
Mvt. 1 Mvt. 2 Mvt. 3 Mvt. 4
C minor C Major
2. Conflict & struggle idea of C minor
3. Symphony is more highly unified than earlier
ones
4. Symphony deals with emotion, passion

85. LOG
Beethoven
String Quartet in C Minor, Op. 18, No. 4,
Mvt. 4 String quartet = ??
String Quartet movement
I = rondo
What is the meaning of Op. (opus)?

86. Beethoven
String Quartet in C Minor,
Rondo Form Op. 18, No. 4, Mvt. 4
A B A C A B A Coda
dev
aababa ccdcdc aa’bab’a’ eeff
Unity: ?
Contrast: ?

87. Beethoven
String Quartet in C Minor,
Rondo Form Op. 18, No. 4, Mvt. 4
A B A C A B A
aababa
Unity: ?
Contrast: ?

88. Beethoven
String Quartet in C Minor,
Rondo Form Op. 18, No. 4, Mvt. 4
A
a a b a b a
Q A Q A Q A Q A
u n u n u n u n
e s e s e s e s
s w s w s w s w
t e t e t e t e
i r i r i r i r
o o o o
n n n n
Opening Closing
Phrase; Phrase;
Incomplete Complete
cadence cadence

89. Beethoven
String Quartet in C Minor,
Rondo Form Op. 18, No. 4, Mvt. 4
A B A C A B A Coda
dev
aababa ccdcdc aa’bab’a’ eeff
Rhythm ? ? ?
Major ? ? ? How does
Minor ? ? ? Beethoven
treat the
Style ? ? ? upward scales?
Energy ? ? ?
Unity: ? Click the record, listen, track the
Contrast: ? form, describe points of contrast
between the A, B, and C sections.

90. Beethoven Violin Concerto in D
Major, Op. 61.
Third Movement:
Written in 1806
From his first and second period of
compositional period.
Development of a five note motive.

91. Ludwig van Beethoven
(1770-1827)

92. LUDWIG VAN BEETHOVEN