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Published byMaud Rosemary Roberts Modified over 9 years ago
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Beethoven: The Heroic Period
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[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
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[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
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Beethoven’s expansion of sonata form in the Third Symphony
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Opening two chords Deceptively simple theme for four measures
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Repeat of opening theme, ff Three-note transition figure in woodwinds (oboe, clarinet, flute)
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Second theme, alternating between woodwinds and strings
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Extended crescendo, from pp to ff, coupled with increasing note values and expansion of range
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Rhythmic energy, typical of Beethoven’s “heroic” works
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New theme introduced in the development section
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Horn entrance at “wrong” time, creating unexpected dissonance, immediately before recapitulation
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“Apparent” ending of the movement, but then Beethoven slides down three notes to begin a greatly expanded coda, a “second development”
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The real end of the first movement
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Second movement: Marcia funebre C minor again—Beethoven’s “key of tragedy”
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Third movement: Scherzo, beginning
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Trio – begun by the horns
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Acceleration, drive to the end
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Finale [begins with prolonged dominant harmony] Introduction and theme
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Fugal treatment of theme. Counterpoint becomes important in Beethoven’s middle period, and even more so in his late works.
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Closing chords, similar to opening chords of first movement, and chords that end each of the movements.
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