Beethoven: The Heroic Period

Slides:

Advertisements

Similar presentations

Tchaikovsky Romeo and Juliet Fantasy Overture Key Words Overture – music usually heard in one movement before an opera. Programme Music – descriptive.

Advertisements

AoS 1: Classical Music The Classical Era (c – 1830) Set work 2: W.A. Mozart: 1 st movement from Symphony No. 40 in G minor.

Chapter 11 Prelude: Music and the Enlightenment Style Features of Classical Music.

Beethoven and the Symphony

The Development Section Bars Based entirely on the opening figure from the first subject. That’s this bit, here!

Piano Concerto no 23 in A Major

Classical Music Higher Music.

 A less complicated texture than Baroque times (less Polyphonic/more homophonic)  More use of Dynamics.  Elegant  Question & Answer phrases  Clear.

Music History An Abbreviated History of Western Classical Music An Abbreviated History of Western Classical Music.

Review from last class What are some of the new features of the classical style (as compared to Baroque) What are some of the new features of the classical.

Joel Aldrich Music 1010 Spring  1770, December 16 - Born  – Father started teaching him using rigorous and brutal methods  Beethoven.

Beethoven. Life and Works, Periods and Styles Ludwig van Beethoven (1770–1827) Three Style Periods – Early Beethoven – Middle Period “Heroic Style” beginning.

Western Classical Tradition Chamber Music. Chamber music is intended for performance in a room (or chamber), rather than in a concert hall or large building.

 Composed in 1796  One of many sets of variations that Beethoven composed in his early years  Composing a set of variations is an easy way.

 Ludwig Van Beethoven Ishleen Saini Music Biography  Ludwig Van Beethoven was born on 16 th December, 1770 in Bonn, Germany  was the grandson.

The Enjoyment of Music 10 th, Shorter Edition The Enjoyment of Music 10 th Shorter Edition.

The Classical Era ( ) Year 10 IGCSE October 2009.

MUSIC1010 Semester Presentation Benedetta Renso Lambert.

Beethoven: The Composer as Hero. Beethoven Changes How We Think about Music.

© 2010 The McGraw-Hill Companies, Inc. All rights reserved The World of Music 7 th edition Part 4 Listening to Western Classical Music Chapter 11: Music.

Orchestral Landmarks.

S5.  Learn about the Classical era.  Listen to some music from the classical period.  Discover famous classical composers.

Beethoven: The Heroic Period. [across the top] Nb: 1 Cues for the other instruments are to be written into the first violin part Sinfonia Grande Intitulata.

Piano Concerto no 23 in A Major

III. Sonata Form. Sometimes called sonata-allegro form Sometimes called sonata-allegro form Definition- The form of a single movement. Definition- The.

CLASSICAL FORMS Old forms and new forms will be discussed in detail later Usually though instrumentals will have four movements (1. FAST 2. Slow 3. Dance-related.

Classical Period Forms. Sonata Allegro - Review Exposition Exposition Development Development Recapitulation Recapitulation Coda Coda.

Mozart Symphony No 40 in G minor. The essay question - melody Well proportioned/balanced melody lines Regular 4 bar phrases Contrasting melodies in the.

Begins on page 166 Chapter 20 Piano Sonatas The Sonata  Multi-movement for ► One instrument and piano ► Two instruments are equally important ► Piano.

70 yrs The Classical Period WHAT WAS HAPPENING?

Unit 4: Classical. Review Phrase Cadence Homophonic  “Having one part or melody predominating”  All sounds (full chords) moving at the same.

Overture to the Marriage of Figaro Mozart. The Marriage of Figaro, K.492 The overture, which was written last (just two days before the premiere), does.

Begins on page 159 Chapter 19 Chamber Music Nature of Chamber Music  Important in Classical period  One player on a part  Instrumental music  Forms.

CLASSICAL MUSIC CHARACTERISTICS Melody is composed by means of symmetric and balanced musical phrases. Harmony becomes simple and regular.

Chapter 16: Classical Genres: Instrumental Music.

Introduction to the instruments you can learn to play at our school!

Year 11 AOS 1 Revision Mozart: 1 st movt. Symphony No. 40 in G minor 1788.

Begins on page 173 Chapter 21 The Symphony and Beethoven.

Elements of Classical Period. Elements Transition to classical period: (pre-classical period) Shift to more homophonic textures. Pioneers in.

Beethoven 1770 – Early Period Life in Vienna String Quartet No. 12 in E Flat Major Sold for L 1,181,600.

The Evolution of Sonata Form in the Wind Music of W.A. Mozart Brian Alber Fall 2005 Music 923 Brian Alber Fall 2005 Music 923.

Piano Concerto in G Major, K453,. a work for instruments (usually orchestra) that features a soloist or group of soloists like the sonata and symphony,

Purcell 1. Learning Objectives  To study the background of the baroque solo concerto and place the Purcell trumpet sonata in context.

Classical Music Higher Music.

Classical Music Higher Music.

Mozart – Symphony no.40 in G minor

By Angel and Farah Music 2 Year

The classical period

Chapter 16: Classical Genres: Instrumental Music

Chapter 11 Prelude: Music and the Enlightenment

PETER & THE WOLF A Russian Fairy Tale Story was written as a ballet

The Classical Concerto

The World of Music 6th edition

Baroque revision question

Classical Music S5.

Beethoven and the Symphony

Beethoven’s “Third Period”

Mozart’s Symphony #40.

The Classical Era ( ) Year 10 IGCSE October 2009.

In the Classical period and beyond

Classical Music Higher Music.

Insert CD 5 and bring up Contents. Click on Brahms’ Symphony No

Chapter 3 The Structures of Music

Key styles, composers and their works.

R.Schumann :Symphony No.1/Ⅰ

Mozart’s Symphony #40.

Piano Sonata No.8 in C Minor, 1st movement ‘Sonata Pathetique’

Presentation transcript:

Beethoven: The Heroic Period

Heiligenstadt

[across the top] Nb: 1 Cues for the other instruments are to be written into the first violin part Sinfonia Grande Intitulata Bonaparte [1]804 im August del Sigr. Louis van Beethoven Geschrieben auf Bonaparte Sinfonia 3 Op. 55 [at the bottom] Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario

[across the top] Nb: 1 Cues for the other instruments are to be written into the first violin part Sinfonia Grande [written by copyist] Intitulata Bonaparte [scratched out violently, made a hole] [1]804 im August del Sigr. [written by copyist] Louis van Beethoven [written by copyist] Geschrieben [in pencil, in Beethoven’s own hand] auf Bonaparte [in pencil, in Beethoven’s own hand] Sinfonia 3 Op. 55 [at the bottom] Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario

Beethoven’s expansion of sonata form in the Third Symphony

Opening two chords Deceptively simple theme for four measures

Repeat of opening theme, ff Three-note transition figure in woodwinds (oboe, clarinet, flute)

Second theme, alternating between woodwinds and strings

Extended crescendo, from pp to ff, coupled with increasing note values and expansion of range

Rhythmic energy, typical of Beethoven’s “heroic” works

New theme introduced in the development section

Horn entrance at “wrong” time, creating unexpected dissonance, immediately before recapitulation

“Apparent” ending of the movement, but then Beethoven slides down three notes to begin a greatly expanded coda, a “second development”

The real end of the first movement

Second movement: Marcia funebre C minor again—Beethoven’s “key of tragedy”

Third movement: Scherzo, beginning

Trio – begun by the horns

Acceleration, drive to the end

Finale [begins with prolonged dominant harmony] Introduction and theme

Fugal treatment of theme Fugal treatment of theme. Counterpoint becomes important in Beethoven’s middle period, and even more so in his late works.

Closing chords, similar to opening chords of first movement, and chords that end each of the movements.