10 revolution, change and beethoven.ppt

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Revolution and Change

Revolution, War & Music 1789-

1815;Ludwig van Beethoven



Key Terms & Concepts

The French RevolutionParis Conservatory

The Industrial Revolution

Early Period, Middle (―Heroic‖)Period, Late Period

Sonata-rondo form

Heiligenstadt TestamentFugue

Exposition

Episode



The French Revolution

• The storming of theBastille (right), 14 July1789

• 1792: King Louis XVIand Queen Marie Antoinette executed

• 1799: General

Napoléon as FirstConsul of theRepublic



The French Revolution

• Napoléon Bonaparte,Emperor: 1804-1814

• The FrenchRevolution led towidespread changesin social conditions

throughout Europe



The French Revolution and Music

• Music became part of the French State‘s

unifying festivities

• The Republican government underwrotethe Opéra and Opéra-Comique, as the

King had done

• The government instituted the first modern

Conservatory in Paris in 1795, which

became a model for many others



The Industrial Revolution

• British textile industry began the trend tomechanizing work

• Mass-production led to change in jobs

(think layoffs of hand-powered labor) andhiring of men, women & children to work infactories; massive economic change

• The middle class grew in Europe at theexpense of the lower and aristocraticclasses; massive social change



Ludwig van

Beethoven

(1770-1827)



Ludwig van Beethoven

(1770-1827)

• Influenced by the music of Haydn & Mozart

• Began as a piano prodigy and composer

• Became increasingly deaf from 1802 until

death

• His life spanned the French Revolution and

Empire, and the beginning of the Industrial

Revolution



Beethoven

• Musical work divided into three periods:

– Early style: 1770 to 1802, Beethoven masters

composition and begins to find his own style

– Middle style: 1802 to 1815, many works said

to sound ―Heroic;‖ very expressive & dramatic

– Late style: 1815 to 1827, experimentation and

increasingly difficult music to play and to listen

to



Beethoven‘s First Period • Born in Bonn, Germany in 1770; worked

for the Elector of Cologne as a pianist andimproviser

• Moved five hundred miles to Vienna in1792 to study with Mozart, at Haydn‘sencouragement

• Mozart‘s death meant Beethoven endedup studying with Haydn until 1794. Thetwo had a ―distant‖ personal relationship



Beethoven‘s First Period 2

• Beethoven studied with Albrechtsberger in

1795

• He became soon well-known as a

composer and pianist in Vienna, receiving

support from nobility (including Prince

Lichnowsky)



Beethoven‘s First Period 3

• Beethoven‘s composition began with works for

the piano, his own main instrument

• Op. 2 Piano Sonatas dedicated to Haydn

(3 works)

• Sonate pathétique, Op. 13 in C minor (c.1799)



Sonate pathétique, Op. 13

• First movement in C minor; sonata form

• Second movement in A-flat major (contrasting

key)

• Third, last movement in C minor; sonata-rondo

form. What is sonata-rondo form????



Sonata-Rondo Form

Expos. Dev. Recap. Coda

P tr S (P) P S (P) Coda

R E1 R E2 R E3 R Coda A tr B A C A B A coda

i III i (bVI) i I i i

(R= refrain, E=Episode)



Sonata Rondo in Op. 13 finale(score and recording on Blackboard)

Sonata form: Expos. Dev.

Sonata form: P tr S1 S2 (P)

Rondo form: R E1 R E2…

Rondo form: A trans B1 B2 A C…

key: cm EbM cm AbM…

mm.#: 1 18 25 43 61 78…

Sonata form: Recap. Coda

Sonata form: P tr S1 S2 (P) Coda

Rondo form: R E3 R Coda

Rondo form: A trans B1 B2 A coda

key: cm CM cm cm

mm.#: 120 128 134 153 171 182

Oth i t t k f



Other important works of

Beethoven‘s First Period

• Non-piano works composed after

Beethoven was well-established and

confident

– Six String Quartets, Op. 18 (1800)

– First Symphony in C Major (1800)

• Tradition both respected and altered

• Opposing styles and emotions juxtaposed

(these became characteristics of his style)



Beethoven in 1802

• Beginning of deafness;

famous Heiligenstadt

Testament (found after

his death) describes hisreaction to the

unstoppable, growing

hearing trouble



The Middle Period (1802-15) 1

• Beethoven was freer to compose as he

pleased:

– Ironically, his deafness was freeing in this way

– Job offers from other nobles in 1808 led

Viennese nobility to pool money to keep

Beethoven in Vienna, giving him financial

freedom• He was more able to compose what he

wished than any previous composer



The Middle Period (1802-15) 2

• Publishers competed for Beethoven‘s

music; he bargained, and sold rights to

publish his music in many countries at

once, which he learned from Haydn

• He sketched his compositions over and

over again, leaving behind one of the most

complete views ever of how a composer

worked (see p. 380)



A B eethoven Sketch



The Middle Period (1802-15) 3• His music sounded more like a drama

• Near the same time, many audiencemembers changed from thinking of music as

a conversation of instruments to music asan abstract drama, involving struggle andresolution

• His works became longer than any before

• 1814 was the height of his popularity



Major Works of the Middle Period

(1802-15)• The Eroica Symphony in E-flat Major (1804)

• The Fifth Symphony in C minor (1808)

• The Sixth Symphony (Pastoral) in F Major(1808)

• Piano and Violin Concerti, 5 string quartets, 2

violin sonatas, the ‗Archduke‘ Piano Trio Op.97

• Fidelio (opera)



The ‗Eroica‘ Symphony in E-flat

Major (1804)

• Longer than any previous symphony

• Originally dedicated to Napoléon, until

Beethoven heard of his tyranny; then hescratched out the dedication, even tearinga hole in the page

• Mvt. I: Heroic; sonata form, Mvt. II: funeralmarch, Mvt. III: fast scherzo with militaryhorn calls, Mvt. IV: variation-form



Title page of the ‗Eroica‘



The ‗Eroica‘ Symphony in E-flat Major

(1804), I (Anthology, p. 282-321; CD 8:46)

• Sonata form with unusual proportions: – Exposition: mm. 1-153 (153 mm.)

– Development: mm. 154-397 (244 mm.)

– Recapitulation: mm. 398-551 (153 mm.)

– Coda: mm. 552-691 (141 mm.)

• There are some powerful dissonances in thework (see the C-sharp in mm. 7-8, and esp. theDevelopment, mm. 272-283)

• Beethoven uncharacteristically uses a NewTheme (NT) in the Development (mm. 284-299)

• The horn seems to prematurely begin therecapitulation (!?)



The Late Period (1815-27) 1

• Increasing isolation

– 1818: Beethoven was almost completely deaf

– Family problems and bad health

– Europe-wide economic depression after 1815

meant less money for musical performances

– Austrian government became repressive in

1815, fearing revolution



The Late Period (1815-27) 2

• Only two large works

– Missa Solemnis

– Ninth Symphony (Choral symphony)

• Focus on music for ‗private‘ performance:

5 string quartets, 5 piano sonatas, Diabelli

variations

• Increasing use of variation technique,

continuity between movements, mixes of

historical and popular styles, fugue



String Quartet in C-Sharp Minor,

Op. 131• Unusual quartet: 7 movements, without

pause; the 4 traditional movements are

present, but jumbled & added to

• I: fugue; II: sonata-rondo (both sometimes

used as finales, if at all…)

• Unusual key structure across the 7

movements:

C#m, DM, Bm, AM, EM, G#m, G#m

String Qt in C # Minor Op 131 I



String Qt in C-# Minor, Op.131, I Anthology, pp. 322-325; CD 8:62)

• Movement I: SLOW fugue (instead of fast sonata

form or fugal finale)

– Exposition (mm. 1-21) uses the full subject in all 4

voices (fugal answer on IV not V!)

– Episode I (mm. 21-47) uses motivic fragments from

the subject, mixed with free counterpoint

– Later Entries (mm. 48 ff, mm. 91 ff) do not always use

the full subject., esp. 48 ff.

– Extreme expression mixed with unusual harmonies

(Augmented: mm. 14, 27, etc.)

– Key areas (EM, G#min, BM, AM, DM) appear in the

other movements as well



Final cadence:German diminished 3rd — I

(B#-F#-A-D) – (C#-E-G#)

Exposition1-21

Episode 121-47

Partial Entry48-54

Episode 255-90

Final Entries91-121

I vln (1)

II vln (5)

vla (9)

vcl (13)

II vln (48)

vla (49)

vcl (50)

I vln (54)

vla (93) vla (108)

II vln (94) II vln (110)

I vln (99) vcl (111)

vcl (100, aug) II vln (112)C-sharp minor

->

F-sharp minor

G-# minor,

F-# major...

E-flat minor A major

->

C-# minor

C-sharp minor

String Qt in C-# Minor, Op.131, I(Anthology, pp. 322-325; CD 8:62)



Beethoven‘s Centrality

• Beethoven became a mythical culturalhero, immediately after his death (and stilltoday)

• Late works were initially disliked, but cameto be seen as masterpieces for theconnoisseur

• The idea that Beethoven was expressinghimself in his works made him an idealcomposer to Romantic composers

10 revolution, change and beethoven.ppt

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