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Ludwig van Beethoven

Ludwig van Beethoven. By Christopher Thompson. Born D ecember 16, 1770 in Bonn, Germany. Family and Childhood. Born to a musical family Grandfather and Father Strict Father Forced him to practice relentlessly. Teachers and Musical Study. Father Christian Neefe

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Ludwig van Beethoven

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  1. Ludwig van Beethoven By Christopher Thompson

  2. Born December 16, 1770 in Bonn, Germany

  3. Family and Childhood • Born to a musical family • Grandfather and Father • Strict Father • Forced him to practice relentlessly

  4. Teachers and Musical Study • Father • Christian Neefe • Helped him publish first piano variations • Mozart • Briefly • Predicted a bright future • Joseph Haydn • Johann Georg Albrechtsberger • Antonio Salieri

  5. Compositions Divided into three periods

  6. First Period up to 1802 • Early Works • Piano Sonatas, String Quartets, and Symphonies no. 1 & 2 • Began to be established as a master composer • Began to go deaf • Heiligenstadt Testament

  7. “O you men who think or say that I am malevolent, stubborn or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you and I would have ended my life – it was only my art that held me back. Ah, it seemed impossible to leave the world until I had brought forth all that I felt was within me.”

  8. Second Period—1802 to 1815 • His Works • Symphonies Nos. 3 to 8, piano sonatas, two piano concertos, a violin concerto • Became more independent in composition style • Financially Stable • Well-known • Symphony No. 3 dedicated to Napoleon Bonaparte • Never married

  9. Third Period– to 1827 • His Works • Missa Solemnis, final piano sonatas and string quartets, Diabelli Variations, and Symphony No. 9 • Music is more reflective • Completely deaf • Symphony No. 9 • Premiered May 7, 1824 • Received 5 standing ovations • Could not hear the applause

  10. Death—March 26, 1827 • Liver failure • Funeral attended by an estimated 20,000 people

  11. Fur Elise Bagatelle No. 25 in A minor

  12. Composition History • Written in 1810 • Discovered by Ludwig Nohl • He claims it was dedicated to “Elise” • Her identity is unknown • Therese Malfatti • Elisabeth Rockel

  13. Listening Guide Fur Elise

  14. 0:00 Theme A • Waltz-like rhythm • Conjunct melody • 0:42 Theme B • Moves to major • Arch contour • Louder Dynamics • 1:05 Theme A • 1:46 Theme C • Tempo increases • Minor key • Dissonance • Arch contour • Crescendos/decrescendos • Thick texture • 2:16 Theme A to end

  15. Symphony No. 9 in D minor, Op. 125 Second Movement: Scherzo: molto vivace—Presto

  16. Composition History • Commissioned in 1817 • Completed in 1824 • Premiered in Vienna • May 7, 1824 • Received 5 standing ovations • First symphony with voices • “Ode to Joy” • Beethoven could not hear applause • Considered his best work

  17. Listening Guide Symphony No. 9 in D minor, Op. 125—Second Movement

  18. Section A • 0:00—Strong rhythmic introduction in all voices • 0:04—Melodic line in strings, rhythmic accompaniment in woodwinds, strong crescendo • 0:28—Crescendo climax, homophonic • 0:39—Melodic rhythm in woodwinds, dance-like feel in strings, crescendos to new section • 1:15—All sections rest, return to beginning • 1:42—Loud dynamic, all instruments play • 2:28—All sections rest, transitions to duet in strings and woodwinds

  19. 2:43—Timbres changes, strong rhythmic drive, timpani enters • 3:00—Strings and woodwinds play call and answer • 3:28—All sections play and crescendo • 3:45—Soft dynamic, woodwinds carry melody, strings provide harmonic counterpart • 4:03—Strings play pulsing rhythm, woodwinds carry theme, timpani is heard • 4:32—Orchestra rests, call is heard in brass

  20. Section B • 4:50—Mood softens, rhythm calms, flutes repeat melodic line, bassoon plays counterpoint • 5:03—Strings and woodwinds build melodic line • 5:17—French horn repeats theme at 4:50, strings play counterpoint, oboes and bassoons enhance theme • 5:48—Dynamics build, all sections play • 6:02—Music repeats as at beginning of Section B • 7:00—Variation of original melody, tempo slows and Section B ends

  21. Section A • 7:38—Section A returns, rhythmic intensity reappears as at beginning • 8:06—Orchestra plays homophonically • 8:17—Dynamic drops as strings and woodwinds play • 8:25—Strong pulse by strings, woodwinds play dance-like rhythm • 8:49—Intensity decreases, orchestra plays short theme • 9:09—Woodwinds play dance-like theme, timpani brings dissonance • 9:51—Orchestra crescendos into climax

  22. 10:11—Sudden drop in dynamic, rhythm calms, flowing melody • 10:29—Rhythmic intensity returns. Section A themes reappear briefly • 10:58—Orchestra rests, call in brass, forward motion resumes building to final climax, strong rhythmic chords end the piece • 11:33—Ends

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