Ludwig van

1. Ludwig van

2. Ludwig van Beethoven • Biography • Quotations • Composition History (The “Moonlight” Sonata in C Sharp Minor, op. 27 no. 2) • Detailed Listening Guide (of all Three Movements) • Works Cited

3. Greatest Composer of all Time Born: December 16, 1770 in Bonn, Germany Music is most recognized in the world.

4. Father Johann van Beethoven • Musician • Singer • Teacher • Alcoholic

5. Mother Maria Magdalena Keverich • Kind • Gentle • Best Friend

6. Siblings Nikkolas Johann • October 1776 Maria Margaretha Josepha • 1786 Kaspar Anton Karl (shown below) • April 1774

7. Beethoven’s Early Years • First public recital on March 26, 1778 • Attended a Latin school, Tirocinium • Quit school at ten years of age • First composition published at age twelve

8. Struggles • Alcoholism • First Job • Continuing Education • Wolfgang Amadeus Mozart • Mother’s Sickness • Death

9. Extraordinary • Holy Roman Emperor Joseph II • Mozart • Symphony No. 1 • Joseph Haydn • Professional career began

10. NAPOLEON BONAPARTE April 1800 Close in Age Declaration Emperor Symphony No. 3 Eroica Symphony

11. Deaf and Depressed • Angry and alone • Suicide • Low pitched sounds • Most popular

12. Beethoven Fur Elise • “For Elise” • 1810 • Bagatelle in A Minor • “For Therese” • Elisabeth Rockel • 1815 • Custody Battles • Brutal Seven Years Death

13. Final Symphony • Ninth Symphony in D Minor, Opus 125 • Popular • 1822-1824 • King of Prussia • Fourth Movement • 60-70 Minutes

14. Death of a Legend • 56 Years Old • Cause of Death • Clues of Deafness • Proposals • Children

15. Quotations • “Only the pure of heart can make good soup.” • “Then let us all do what is right, strive with all our might toward the unattainable, develop as fully as we can the gifts of God has given us, and never stop learning.” • And on his deathbed he said, “Applaud my friends, the comedy is over…”

16. The “Moonlight” Sonata • Origin of name • 1801 • Dedication • Humble Beethoven

17. Listening Guide Movement • Measure 5: The melody is introduced by 3 notes above the accompanying triplet figure. • M. 10: The melody now is played in minor with the accompaniment triplet also becoming minor • M. 22: He uses suspensions to go to the key of f# minor in m.23. Here he plays the main theme in f# minor. • M. 28: The melody is repeated as an echo in the left hand in m. 29 • M. 30: The melody is echoed in the left hand in m. 31 • M. 32-42: Is a transition or modulation back to the main theme in c# minor • M. 55: He uses suspensions using the inner parts as a modulation. • M. 59: The main motif is now repeated in the left hand with the triplet figure in the right hand. He uses the c# minor triplet broken chords ascending and descending until he brings it to a peaceful resolution on the ppp c# minor chord. Attacca subito il sequente on the bottom of the score indicates: begin the next movement immediately. First

18. Continued Movement Allegretto means poco allegro. This movement should not exceed a moderate minuet tempo resembling similar movements in the Sonatas Op 2 #1 & 2; Op 20 #2; Op 14 #1 and some of the later ones. The anti scherzo is a lyrical intermezzo between two tragical nocturnes. Franz Liszt noted “a flower between two abysses.” • M. 9: The right hand produces a song-ful leading to melody with a light and graceful staccato in the second part, which latter combines with the left hand part as a third factor. • M. 37: He uses a pattern and a variation leading into descending octave passages. • M. 61: He uses a reprisal of the Main Theme followed by the second reprisal using octaves and suspensions bringing the second movement to an end in Db minor. The two reprisals preceding the end make an undelayed attack of the Finale (3rd movement) indispensable. Second

19. Finale Movement The main theme comes in presto agitato. It is a passage of arpeggios leading up to the abrupt stroke on the 4th beat in m. 2 which is played soft for distinctness over the rapidity of the arpeggios. The arpeggios in the right hand are accompanied by repetitions of staccato 5ths in the left hand. The main theme is in c# minor followed by an echo in G# Major. • M. 5: The theme is repeated by c# minor arpeggios as a sequence and taking the piece to G# Major. • M. 9: The left hand has the melody here accompanied by diatonic intervals in the right hand with a pause on G# Major octave. • M. 15: The Main Theme returns • M. 21: The Secondary Theme is played expressively building in intensity with use of octaves in the right hand taking the piece to the key of A Major. • M. 53: Agitato: The Closing Theme I is introduced using a pattern, repetition followed by descending staccato and slurred intervals of 3rds and 4ths. Third

20. Continued Movement • M. 60: The passionate 8th note beginning with the first half of the measure with stronger emphasis and greater freedom as is demanded by the rhythmic importance of the second 8th note which accelerates in the second half, creates unity of the measure and also a psychical agitation. • M. 67: The Closing Theme II is repeated with intervals of 9ths followed using return to the Main Theme at the repeat. • M. 76: In the development of the second ending the Main Theme and Secondary Themes are repeated. Then the left hand plays the Secondary Theme using sequences. • M. 86: The left hand imitates the melody accompanied by broken chords in f# minor then going to G Major. • M. 98: We have a tranquil singing style melody in the right hand accompanied by octaves in the left hand followed by more animation in m. 102. Here the right hand uses sequential motives accompanied by octaves in the left hand ending on a g# minor chord which is molto tranquillo. Third

21. Continued Movement • M. 113: The Main Theme reappears softly, leading to forte in m. 121. Here the left hand imitates the melody accompanied by harmonic minor in the right hand descending intervals. • M. 127: The Secondary Theme reappears expressively, building in intensity to a fortissimo chord in d minor in m. 139. • M. 148: The Closing Theme I reappears in c# minor. • M. 162: He begins the coda which animato, crescendoing with use of the Main Theme to the F# Major chord held by the fermata, and then there is a re-entrance of the first subject. • M. 178: The melody is in the left hand with very soft accompaniment in the right hand. • M. 182: The melody is in the right hand dolefully becoming agitated and vigorous to the fortissimo where we have cascading c# minor arpeggios and a chromatic scale followed by the cadenza leading to the adagio and return of the Closing Theme II which is twice as slow as the presto movement. Third

22. Continued Movement • M. 207: We begin an instantaneous animated and tempestuous reproduction of the Principle Theme in miniature. The deep melancholy of the adagio is followed by a wild desperation of the Finale in c# minor. Third

23. Works Cited “About the Composition.” Fur Elise. Forelise.com. 2006-2013. 9 Feb. 2013. Web. Chan, Amanda. “Beethoven’s Deafness May Have Influenced His Music Throughout the Years: Study.” The Huffington Post. TheHuffingtonPost.com, Inc. 26 Dec. 2011. 9 Feb. 2013. Web. Koerth-Baker, Maggie. “7 Songs Inspired by Real Women.” CNN.com/living. Cable News Network. 23 July 2007. 9 Feb. 2013. Web. "Ludwig Beethoven." 2013. The Biography Channel website. 9 Feb. 2013. Web. “Parents.” Beethoven. Beethoven.ws. 9 Feb. 2013. Web. “Siblings.” Beethoven. Beethoven.ws. 9 Feb. 2013. Web.