beethoven: the composer as hero. beethoven changes how we think about music
TRANSCRIPT
Beethoven: The Composer as Hero
Beethoven Changes How We
Think about Music
18th-c. music becomes expressive by “play” withexpectation, predictablility
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18th-c. music becomes expressive by “play” withexpectation, predictablility
I. Beethoven: Musical IconoclastA. Begins Work off-tonic and with Dissonance
B. Expands use of Dissonance
C. Pioneers “Metrical Dissonance”
D. Begins Concerto with Cadenza
E. Demands Extreme Virtuosity of Performers
F. Elevates Concept over Realization in Sound
G. Recalls earlier movement (5th finale): Introduces Psychological Element
J. Replaces Minuet with Scherzo
K. Includes fierce, aggressive, “angry” within expressive range
L. Uses motives (rather than complete melody) as conceptual unit
I. Uses Voices in Symphony
H. Music presents problems or intellectual challenges
II. Beethoven’s Intellectual Legacy= changes how we think about music
A. Composing = Central Musical Activity
II. “Beethoven Hero”: The Intellectual Legacy
A. Composing = Central Musical Activity
B. Forges Ideal of the Autonomous Artwork
III. Biography
A. Overview (see Wright)B. Beethoven’s Compositions
• 9 Symphonies
• 5 Piano Concertos + 1 Violin Concerto
• 16 String Quartets
• 32 Piano Sonatas
C. The Three Creative Periods• 1st Period (to 1802): “Early or Classical”• 2nd Period (1802-1813) “Middle or Heroic”
• 3rd Period (1814-1825) “Late”
IV. Beethoven Symphony #7 in A Major Fourth Mvmt. (finale)
1st ThemePt 1 1st Theme Pt2 tr 2nd Theme Closing theme
__ . . . March-like
Exposition
Obsessive2-note motive
Stormy Minor key
Development
All themes except 1st Theme Pt.2 Developed
Recapitulation1st ThemePt 1 1st Theme Pt2 tr 2nd Theme Closing
themeCoda
1st theme Pt1 Developed Further climaxing with Pt2
III. Biography
A. Study Wright with Care