Unit XII The Classical Symphony

1. Unit XIIThe Classical Symphony Chapter 36 Beethoven and the Symphony in Transition

2. Ludwig van Beethoven • 1770-1827 • Bridged the Classic and Romantic eras single-handedly and established for all time the place of the independent artist • Was championed by powerful Viennese patrons

3. Three Periods - Imitation • Reflected the classical elements he inherited form Haydn and Mozart

4. Three Periods - Experimentation • More closely aligned with the characteristics of the nineteenth century • strong dynamic contrasts • explosive accents

5. Three Periods - Experimentation • longer movements • First movement -- expanded dimensions, especially of the coda and development, which he made dynamic center of the form. • Second movement -- hymnic character • Third movement -- substituted the rhymically vital scherzo for the minuet • Fourth movement -- enlarged to comparable size and scope with the first movement

6. Three Periods - Introspection • Rigidly pared away all nonessential elements from his compositional techniques. • More chromatic harmonies

7. Music • 32 Sonatas - spanning his career. • 9 symphonies which take on the stature of spiritual dramas. No composer since can compose a symphony not indebted to Beethovens’. • 5 piano concertos including the 5th in E flat, the Emperor. • Many influential string quartets

8. Music • In vocal music, Beethoven: • Establishes the song cycle in An die ferne Geliebte • Leaves one masterpiece rescue opera (very political), Fidelio; first called Leonora • Two great masses • An oratorio, Christ on the Mount of Olives • The Ninth Symphony, which breaks the predetermined symphonic mold forever.

9. Fifth Symphony in C minor, Op. 67 Bound by the motive "Fate knocks at the door“ Listening Guide 21, pp. 202-205 (CD 2/4-28)

10. First Movement Allegro con brio • Opening 4 note motive not only creates the materials for the first theme group, but serves as a rhythmic motive unifying the whole symphony • Note extremely short bridge based on theme 1 • Even Theme 2 is accompanied by the rhythmic motive which pervades this movement

11. First Movement -- Allegro con brio • Powerful dynamic changes and abrupt contrasts are characteristic of Beethoven's style • Note solo oboe in Recapitulation between Theme 1 and 2! Furthermore, the second theme continues in C major to the end!

12. SecondMovement -- Andante con moto in A flat major • Theme and variations. • All procedures of variation used: • melodic outline • harmony • rhythm • tempo • dynamics • register • key • mode • types of accompaniment

13. SecondMovement -- Andante con moto in A flat major • Two related themes used, the second employing the Fate motive.

14. Third Movement -- Scherzo in C minor • Note use of rocket theme in this scherzo • Trio shifts to C major -- “cosmic laughter” theme • The scherzo on return is reorchestrated • The Fate motive appears in the tympani

15. Fourth Movement -- Allegro in C Major • The scherzo moves without interruption into this triumphal movement in a monumental sonata form. • Exposition Theme I Bridge Theme II Codetta C Major----------------- G Major------

16. Fourth Movement -- Allegro in C Major • Note transformed Fate theme in the Second Theme group • Note literal return of the scherzo in this movement and insistence of the Fate motive which returns; both of these give symphony a cyclicalform