Beethoven

MUSC 3229

Beethoven is central to the musical culture we have inherited, and that is now ours to
modify as we see fit.

Friday, January 17, 14

What is Romanticism?

Romanticism is a concept that can be expressed

most effectively through the arts. It is human
emotion personified through the purest form of
creation.___________ Avonne Waddell

Romanticism is a period of individuality and

self-expression. In this period music was more
heart-felt._____________Aleshia Samuel

Romanticism is an era of music focused on

emotional expression through music.
________________Lisa Oppenheim

Romanticism an easy thing to spot in a writer

or an artist, but notoriously difficult to define.
And that is because romanticism was (and is)
no single idea but a whole heap of ideas, some
of them quite irreconcilable.___________RT

Friday, January 17, 14

Beethovens Work (quick overview)

Beethovens Favorite Genres:

32 piano sonatas--15 with manuscripts extant ...29 sets of piano variations

17 string quartets, 16 piano trios, 10 violin sonatas,

9 symphonies, 6 overtures

5 piano concerti (+ 1 violin concerto)

in contrast: 1 opera, 1 song cycle, 2 masses (incl. Missa Solemnis)

Carl Czerny--studied w/Beethoven (witness)

Karl van Beethoven--nephew; metronome controversy

For further information: http://www.lvbeethoven.com/ (+ links)

Friday, January 17, 14

Ludwig van Beethoven

born Dec. 16, 1770--Bonn

musical family, Flemish descent; keyboard

virtuoso

moved to Vienna in late 1792 to study

with Haydn. (Mozart died 1790-Beethoven was sent by Count Waldstein to
absorb the spirit of Mozart from Haydns
hands.) Haydn and Beethoven did not get
along.

first concert tour of Europe, 1796

first compositions: Op. 1 (3 piano trios),

1795; Op. 2 (3 piano sonatas), 1796; Op. 5
(2 cello sonatas), 1796; Op. 9 (3 string
trios), 1798; Op. 10 (3 piano sonatas), 1798;
Op. 12 (3 violin sonatas), 1798; Op. 13
(Piano Sonata No. 8, Pathetique), 1799;

Friday, January 17, 14

Piano Sonata No. 1, Op. 2 No. 1

Malcolm Bilson
Anton Walter pianoforte

Ludwig van Beethoven

born Dec. 16, 1770--Bonn

musical family, Flemish descent; keyboard

virtuoso

moved to Vienna in late 1792 to study

with Haydn. (Mozart died 1790-Beethoven was sent by Count Waldstein to
absorb the spirit of Mozart from Haydns
hands.) Haydn and Beethoven did not get
along.

first concert tour of Europe, 1796

first compositions: Op. 1 (3 piano trios),

1795; Op. 2 (3 piano sonatas), 1796; Op. 5
(2 cello sonatas), 1796; Op. 9 (3 string
trios), 1798; Op. 10 (3 piano sonatas), 1798;
Op. 12 (3 violin sonatas), 1798; Op. 13
(Piano Sonata No. 8, Pathetique), 1799;

Friday, January 17, 14

Piano Sonata No. 1, Op. 2 No. 1

Malcolm Bilson
Anton Walter pianoforte

Beethoven and Deafness

Letter, 1801: Beethoven confesses that he is losing his

hearing

Kampf und Sieg (struggle and victory)

Heiligenstadt (outside Vienna1802)

The Heiligenstadt Testament has done more than

other single document to make Beethoven an
object of inexhaustible human interest.

Superhuman idea of a successful deaf composer.

Disappearance of Beethoven from real time

music-making to a transcendent space, known
only to him.

The composer--the creator--becomes a truly

Olympian being, far removed from the ephemeral
transactions of everyday musical life.

Beethovens last appearance as concerto soloist:

December, 1808...

Art (province of creators) vs. entertainment (province of

composers)

Mozart would not have understood; the demise of

the patronage system enabled it; Hoffmann and his
fellow critics invented it.

Friday, January 17, 14

Three Creative Periods

First Periodto 1802

Imitative:

Portraits of Handel, Bach, Gluck, Mozart in

my room...they can promote my capacity for endurance [M.
Soloman, Beethoven Studies, 230]
Syncretic formal procedures: recombination into new wholes
of elements (symphonic and chamber styles, or sonata and
fugue)
Ex: Early piano sonatas; String Quartets, Op. 18; Pfte Con 1-3;
Symphonies 1-2

Second Periodto 1816

Heroic

Romantic
Ex: Symphonies 3-8; Fidelio; Piano Concertos Nos. 4-5;
Quartets Opp. 59, 74, 95;
Third Periodto 1827

Introspective (Innigkeit)
Last five piano sonatas; Ninth Symphony; Missa Solemnis;
last quartets

Friday, January 17, 14

Three Creative Periods

First Periodto 1802

Imitative:

Portraits of Handel, Bach, Gluck, Mozart in

my room...they can promote my capacity for endurance [M.
Soloman, Beethoven Studies, 230]
Syncretic formal procedures: recombination into new wholes
of elements (symphonic and chamber styles, or sonata and
fugue)
Ex: Early piano sonatas; String Quartets, Op. 18; Pfte Con 1-3;
Symphonies 1-2

Second Periodto 1816

Heroic

Romantic
Ex: Symphonies 3-8; Fidelio; Piano Concertos Nos. 4-5;
Quartets Opp. 59, 74, 95;
Third Periodto 1827

Introspective (Innigkeit)
Last five piano sonatas; Ninth Symphony; Missa Solemnis;
last quartets

Friday, January 17, 14

Composing
Process

Vienna

Wakes at 5/6a.m. Works until 2/3p.m

(occasional walks). Main meal 3pm
(Guests on Fridays), followed by long
walk.
Late afternoon: tavern, coffee house for
reading. Reads in evenings-Homer,
Schiller, Goethe, Shakespeare, others.
Retires at 9/10p.m.
Beethoven worked at top speed,
putting down any clich that would
mark the place where an idea ought to
be....

Friday, January 17, 14

416330-fleurandemgerman.webs.com

What Beethoven Liked

To Eat

BREAKFAST : Coffee (glass coffee maker) Exactly 60 beans per cup.

LUNCH : (Main meal) Macaroni. Stracchino
cheese. Verona salami. Fish (Schill) & potatoes.
Bread soup (Thursdays).
EVENING : Light snack / soup
DRINKS : Spring water (esp.in summer). Wine
(esp.from Budapest). Beer (in evening, reading
papers & smoking pipe)

Friday, January 17, 14

Eroica

Szell, Cleveland

Beethovens heroic style...post-Heiligenstadt Testament composition...

First performance: Theater an der Wien on April 7, 1805.

This lengthy composition, extremely difficult to perform, is in effect a very elaborate,

audacious and wild fantasy. It is by no means lacking in striking and beautiful
passagesvery often, however, it seems to lose its way in complete
disorder. (review, 1805)

First movement (Allegro con brio): ca. 15 minutes (first mmt of Mozart 40, ca. 9)

Klang: the four-bar fanfare idea...followed by lack of phrase symmetry in 2nd and 3rd statements
of the theme, rather than balancing phrases (as would be expected in Mozart)

Concept of Grundgestalt

basic shape--concept coined by Arnold Schoenberg

Eroicas Grundgestalt--the most famous C# in music

Friday, January 17, 14

Eroica

Szell, Cleveland

Beethovens heroic style...post-Heiligenstadt Testament composition...

First performance: Theater an der Wien on April 7, 1805.

This lengthy composition, extremely difficult to perform, is in effect a very elaborate,

audacious and wild fantasy. It is by no means lacking in striking and beautiful
passagesvery often, however, it seems to lose its way in complete
disorder. (review, 1805)

First movement (Allegro con brio): ca. 15 minutes (first mmt of Mozart 40, ca. 9)

Klang: the four-bar fanfare idea...followed by lack of phrase symmetry in 2nd and 3rd statements
of the theme, rather than balancing phrases (as would be expected in Mozart)

Concept of Grundgestalt

basic shape--concept coined by Arnold Schoenberg

Eroicas Grundgestalt--the most famous C# in music

Friday, January 17, 14

How we hear
the Eroica

One listens to a movement

like this with a degree of
mental and emotional
engagement no previous music
had demanded, and one is left
after listening with a sense of
satisfaction only strenuous
exertions, successfully
consummated, can vouchsafe.
RT

Friday, January 17, 14

Symphony No. 3, First movement: Allegro con brio

Exposition (155x2)
Main theme A (m. 3) [klang]
Second theme B (m. 45)
Second group, main theme C (m. 83)
Codetta D (m. 144)

Recapitulation (154)
Main Theme A (m. 398)
Second Theme B (m. 448)
Second group C (m. 486)
Codetta D (m. 547)

Development (245)
C major (B) m. 166
C minor (A) m. 178;
G minor (A) m. 198;
Ab Major (B), m. 220;
F minor fugato (B), m. 236, leads to syncopations;
Frtwangler
E minor, new theme (E), m. 284;
C Major (A), m. 300;
Eb minor (E), m. 322
Retransition (A), m. 338. [m. 396--cumulus (outburst)]
Coda (140)
Main Theme (A) m. 551;
F minor, new theme (E) m. 581
Dominant pedal, m. 603
Culmination on A, m. 631
Friday, January 17, 14

Symphony No. 3, First movement: Allegro con brio

Exposition (155x2)
Main theme A (m. 3) [klang]
Second theme B (m. 45)
Second group, main theme C (m. 83)
Codetta D (m. 144)

Recapitulation (154)
Main Theme A (m. 398)
Second Theme B (m. 448)
Second group C (m. 486)
Codetta D (m. 547)

Development (245)
C major (B) m. 166
C minor (A) m. 178;
G minor (A) m. 198;
Ab Major (B), m. 220;
F minor fugato (B), m. 236, leads to syncopations;
Frtwangler
E minor, new theme (E), m. 284;
C Major (A), m. 300;
Eb minor (E), m. 322
Retransition (A), m. 338. [m. 396--cumulus (outburst)]
Coda (140)
Main Theme (A) m. 551;
F minor, new theme (E) m. 581
Dominant pedal, m. 603
Culmination on A, m. 631
Friday, January 17, 14

Crisis and Reaction

Most of Beethovens works until 1812 were marked by his new heroic style, including Fidelio, symphonies
nos. 4-8, Op. 59 string quartets, Waldstein and Appassionata piano sonatas.

Contrary to myth, Beethoven was accepted both by his patrons in Viennese aristocracy and by the new mass
public. He was neither a world-renouncing hermit nor a musical revolutionist.

Beethovens setbacks, 1810-12: unavailable prospective brides (Immortal Beloved letter--written in 1812-found after his death); Karl van Beethoven (Ludwigs brother, who died in 1815, had one son, and Ludwig
sought custody of Karl between 1815-19--Karl was 8 years old when his father died);

Creative trough--1812-17: Wellingtons Victory (worked with Johann Maelzel, 1772-1838); 3 piano
sonatas, including the Hammerklavier (Op. 106); An die ferne Geliebte (To the far-off beloved)--group of
songs (not really a cycle).

Resurgence, 1822-23: Diabelli Variations (op. 122, 20 variations, completed 1822); Missa solemnis (Solemn
Mass, op. 123 completed 1823).

The long shadow of The Ninth

Composed in 1824 (the 8th was written in 1814)

Beethoven was completely deaf, but decided to come out of retirement for a final concert--his popularity in
Vienna had been eclipsed by Rossini, and he had planned the premiere to take place in Berlin, but a group of
of admirers wrote to him not to forsake his second native city.

Friday, January 17, 14

Inwardness, Innigkeit (Innerlichkeit)

From 1824-27 Beethoven devoted himself to the writing of string quartets--Opp. 127, 130, 131, 132, 135,
and the Grosse Fuge (originally the finale to Op. 130 but separated by the publisher owing to excessive
length).

Why quartets? Friendship of Ignaz Schuppanzigh, the concert master of the Ninth...

Quartet in Bb major, Op. 130--Cavatina

example of a cavatina: Porgi amor from Marriage of Figaro

Expression of Beethovens private grief--sempre pp; Beklemmt (all choked up or stifled) in the
1st vn. passage in Gb-minor: flat-submediant = symbol of Innigkeit for Beethovens successors, esp.
Schubert.

Juilliard String Quartet

Quartet in A minor, Op. 132--Heilinger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart
(Sacred Hymn of Thanksgiving from a Convalescent to the Deity, in the Lydian Mode:).

Motet with variations, some infinitely remote liturgy, a ritual music of romance (J. Kerman)

III--Last variation, Mit innigster Empfinung (With the most inward expression)

Beethoven died 3 years after the premiere of the Ninth--March 26, 1827. Ten thousand people turned up
for his funeral three days later.

Friday, January 17, 14

Inwardness, Innigkeit (Innerlichkeit)

From 1824-27 Beethoven devoted himself to the writing of string quartets--Opp. 127, 130, 131, 132, 135,
and the Grosse Fuge (originally the finale to Op. 130 but separated by the publisher owing to excessive
length).

Why quartets? Friendship of Ignaz Schuppanzigh, the concert master of the Ninth...

Quartet in Bb major, Op. 130--Cavatina

example of a cavatina: Porgi amor from Marriage of Figaro

Expression of Beethovens private grief--sempre pp; Beklemmt (all choked up or stifled) in the
1st vn. passage in Gb-minor: flat-submediant = symbol of Innigkeit for Beethovens successors, esp.
Schubert.

Juilliard String Quartet

Quartet in A minor, Op. 132--Heilinger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart
(Sacred Hymn of Thanksgiving from a Convalescent to the Deity, in the Lydian Mode:).

Motet with variations, some infinitely remote liturgy, a ritual music of romance (J. Kerman)

III--Last variation, Mit innigster Empfinung (With the most inward expression)

Beethoven died 3 years after the premiere of the Ninth--March 26, 1827. Ten thousand people turned up
for his funeral three days later.

Friday, January 17, 14

C-Minor Moods...
Beethovens Struggle and Victory narrative, and the four C-minor works of Beethoven

Friday, January 17, 14

Fifth Symphony, Op. 57

See text, exx. 16-1a-d, pp. 493-96

Germinal motive: Two or four notes?

Critics at the time (Hoffmann) said 2; Schenker said 4.

For musicology: Whats important is that the meaning of music can be

discussed in terms of its structure: What is the value of absolute music?

(Frtwangler)

For music in the post-Beethoven tradition, metaphorical description

is called for, and even necessary, but none will be satisfactory or
definitive (C. Rosen)

Friday, January 17, 14

Fifth Symphony, Op. 57

See text, exx. 16-1a-d, pp. 493-96

Germinal motive: Two or four notes?

Critics at the time (Hoffmann) said 2; Schenker said 4.

For musicology: Whats important is that the meaning of music can be

discussed in terms of its structure: What is the value of absolute music?

(Frtwangler)

For music in the post-Beethoven tradition, metaphorical description

is called for, and even necessary, but none will be satisfactory or
definitive (C. Rosen)

Friday, January 17, 14

Piano Sonata No. 8, Op. 13 Pathtique

Composed during 1798-1799

Beethoven supplied the title himself
One of only two piano sonatas he titled
Title suggests passion and pathos

Requires more technical skill than any previous piano sonata

As had become Beethovens custom, he frequently performed this sonata in the homes
and palaces of Viennese aristocracy
The slow introduction suggestive of Beethovens style of improvisation

Friday, January 17, 14

Piano Sonata No. 8, Op. 13 Pathtique

Composed during 1798-1799

Beethoven supplied the title himself
One of only two piano sonatas he titled
Title suggests passion and pathos

Requires more technical skill than any previous piano sonata

As had become Beethovens custom, he frequently performed this sonata in the homes
and palaces of Viennese aristocracy
The slow introduction suggestive of Beethovens style of improvisation

Friday, January 17, 14

Piano Sonata No. 8, Op. 13 Pathtique

Composed during 1798-1799

Beethoven supplied the title himself
One of only two piano sonatas he titled
Title suggests passion and pathos

Requires more technical skill than any previous piano sonata

As had become Beethovens custom, he frequently performed this sonata in the homes
and palaces of Viennese aristocracy
The slow introduction suggestive of Beethovens style of improvisation

Friday, January 17, 14

The Untold Story of Musical

Classicism and Musical Emancipation

Beethovens deafness is read in retrospect as emancipation--contributing to his prestige

(a consequence of canonization). [history/narrative/myth]

The values of German art--hegemonic claims of romanticism, of aggressive heroism, of

philosophical grandiosity--came to represent universal and by definition timeless
human values. This was the discourse of classical music taught in music appreciation
classes and told/sold to the concert-going public.

Ethnocentrism: There are universal values, and they happen to be mine (Stanley
Hoffman)

For those opposed to this narrative, Beethoven is the one to beat. We can sympathize
with those who have opposed his authority, and can do so without any loss of belief in
his greatness. [narrative/myth]

Beethoven is central to the musical culture we have inherited, and that is now ours to
modify as we see fit.

Friday, January 17, 14