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The impact of Beethoven
Beethoven the greatest composer
Beethoven and how he affected the classical music era
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Lewis Lockwood, a Beethoven devotee, he has stated that Beethoven’s middle period can be classified as “the Heroic & the Beautiful.”1 whilst adding that “some of his most magnificent works were produced during this time”2 The heroic style showcases spectacular emotion with big orchestral proportions, strong alterations to popular practiced theories, creation of large extended structures characterised by the repeated expansion and development of musical material, themes, rhythmic and melodic motifs.
One of the pieces that is often considered the beginning of the heroic style is Symphony No. 3 in E-flat major (“Eroica”). With its unpredictable harmonic turns, significant contrast and striking dissonances, it is aptly named 'Heroic'. The orchestra used, was quite typical for symphonies of the time. The only notable effort to alter the normal was the inclusion of another horn, bring it to a total of three horns. This also pushes the symphonies tone and timbre as the horn provides and pushes the heroic sound Beethoven was trying to showcase. 'Eroica' is an also tremendous symphony in terms of length. If you compare its length to early classical works, its first movement is more than half as long as Haydn's entire 22nd symphony. This aspect of length gives the symphony that much more epic tone. While the symphony is long, the themes and motifs used are comparatively short. The first theme succeeds the exposition's introductory chords and shows a fairly simple form in the cello [theme shown right]. It is simplistic because of it is only the tones of a Eb major triad and it only lasts four bars but is instantly adopted and elaborated upon for the next few phrases. This theme is exchanged through an orchestral sequence building to a tutt...
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... means it requires little harmonic activity. However, due to this energy, lightness and lack of characteristics of his definitive heroic style places it in what many call Beethoven's middle period style. This style reflects earlier works rather discovering new territories.
Works Cited
Beethoven, Ludwig van. Symphony No. 3 in E-flat Major (Eroica), Op.55
Beethoven, Ludwig van. Symphony No. 4 in B-flat Major, Op.60
Beethoven, Ludwig van. Symphony No. 5 in C minor, Op.55
Lockwood, Lewis. Beethoven: The Music and the Life.
Leonard Bernstein Omnibus Series: Beethoven Video
Leonard Bernstein, Young people's concerts video series
Thayer-Deiters-Riemann, The 3rd & 5th Symphonies, Vol. 3
Leon Plantinga,Romantic Music: A History of Musical Style in Nineteenth-Century Europe
www.lvbeethoven.co.uk
www.imslp.org
www.raptusassociation.org
www.expierencefestival.com
Beethoven was a political composer. He stubbornly dedicated his art to the problems of human freedom, justice, progress, and community. The Third Symphony, probably Beethoven's most influential work, centers around a funeral march provoking patriotic ceremonies from the French Revolution. Beethoven was a long time admirer of Napoleon Bonaparte. So he dedicated the symphony to Napoleon, but when Napoleon was proclaimed the Emperor of France, he scratched the dedication to Napoleon. This Symphony is cited as the marking end of Beethoven's classical era and the beginning of musical Romanticism. But what of Beethoven after Napoleon? Beethoven's life and music became worse after the Third Symphony was composed because of his reaction to Napoleon becoming Emperor, his deafness, and through his personal and family difficulties.
Johann Sebastian Bach and Ludwig van Beethoven both flourished in their compositions of classical music; however, their genre of music differed considerably. Bach was a German composer during the Baroque time era of western music which is estimated to have taken place during 1600 to 1750. It was during this time that he composed prolific church organ music which included such works as the Mass in B Minor, much scared choral music, and the St. Matthew Passion, as well as composing over a thousand works in nearly every musical genre except opera. On the other hand, Beethoven was a German composer whom began to emerge during the classical era of western music twenty years after Bach. This era took place throughout the years1750 and 1830. The large quantity of arrangements, over two hundred works in numerous musical genres composed by Beethoven was significantly influenced by his predecessors, onset of deafness, and his highly personal expression of intellectual depth. Such works include the first an...
Beethoven's Symphony No.3 also known as the Eroica consists of four parts, namely, allegro con brio, adagio assai, scherzo and allegro, which is the standard structure of a symphony. In this work, the analysis focuses on the first movement so as to show how Beethoven enriched symphony. The first movement has a distinctive sonority and texture. It is considerably long as it takes about 14 minutes (it may depend on the version). Some complete symphonies from the classical period are about the same length as this first movement, so Beethoven's work set aside from the traditional symphony. It tells other composers that there is no such thing as a standard length of symphony's movement. In order to understand the first movement, one needs to consider the historical framework. Beethoven composed his 3rd symphony at the beginning of the XIX century when Europe underwent through a lot of political changes. The absolutism was coming to an end, so freedom was in everyone's heart. Beethoven manages to convey particular feelings and emotions t...
Beethoven was a pioneer of his time. During the classical period most composers were at the hands of monarchs. Composers had to create whatever the monarchs wanted, they really did it have a choice in what they wrote. Beethoven on the other hand was not reliant on patrons of the arts. Beethoven created and sold what he made, not what some aristocrat told him to make. These traits of Beethoven make it possible for him to be classified in both the classical and romantic music periods.
Symphony No. 5 in C minor, composed by the legendary Ludwig van Beethoven, is one of the most famous orchestral musical compositions done by the German-born composer. The symphony is broken down into four movements. The symphony has such a profound effect on so many people because of its use drama by introducing sudden and powerful chords which quickly grabs the audience’s attention as well as creating a variety of musical ideas through his use of excitement by way of fast and slow tempos. The first movement, Allegro con brio, which utilizes the Sonata form, contains an opening sequence or Exposition, which initially compels my attention during its first 6 seconds due to its powerful entry and introduction of the basic four-note motive (short-short-short-long) of the piece. The quick repetition in a lower step using strings in unison keeps me engaged due to its energy, as it sort of
Beethoven's Ninth Symphony I attended Beethoven’s Ninth Symphony on October 14, at the Bass Performance Hall in Fort Worth. The Fort Worth Symphony Orchestra, conducted by Miguel Harth-Bedoya and Southwestern Seminary Oratorio Chorus, directed by C. David Keith, performed. Ludwig Van Beethoven composed the work. He composed it between 1811-1824. Beethoven composed the work in D minor, Op.
It has a very nice combination of the woodwind and violin. The music goes slow for first three minutes and suddenly it goes fast with the sound of violin and slows down again with the melodious sound of the flute and violin and repeats again giving the feeling of nature and after eleven minutes it is in very high notes. And again, from the 14 minutes, begins the second movement with the melodious sound of violin followed by other instruments. This part is very sad and attractive part of the orchestra too. It feels tragedy and sad music. The music is slow and in low notes. The flute in the fourteen minute is so attaching and alluring. I felt like listening to it again and again. The third movement then begins from twenty-three minute which also feels sad music. It reminds me of the good old childhood days. After the thirty minutes comes the most powerful and weighty part that is the fourth movement. It ends comfortably in F major. Among the four symphonies by Johannes Brahms, I liked the Symphony no.3. And I would like to thank Mr. Madere for giving us with such assignments which help us relax and get free from our
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
“To say the word romanticism is to say modern art - that is, intimacy, spirituality, color, aspiration towards the infinite, expressed by every means available to the arts.” Charles Baudelaire. The Romantic era in classical music symbolized an epochal time that circumnavigated the whole of Western culture. Feelings of deep emotion were beginning to be expressed in ways that would have seemed once inappropriate. Individualism began to grip you people by its reins and celebrate their unique personalities and minds. Some youth began to wear their hair long, their beards scraggly and unkept, and their clothing was inspired by the outlandish and the flamboyant. Music morphed from a once tangible aural stimulant into music marked by its decent into the depths of human emotions most of which were not rational. Classical music became a stream of consciousness, a vehicle to convey their countless emotions. In the Romantic Period, music now voiced what, for centuries, people had been too afraid to express. The culture, the composers, and the music of the Romantic era changed classical music profoundly. The Romantic era classical music manifested itself as a time of the irrational and peculiar, a time that allowed many people the opportunity to express their inmost convictions through the music.
In the following paper I will be exploring the beginning of Leonard Bernstein's career and his family background. I will also look into the influences he had in his life and look at two pieces that he composed, "Jeremiah Symphony No. 1", and "Candide". My reasons for choosing these two pieces is due to the fact that they are contrasting in genre, one being a symphony with orchestration and the other being an operetta, and that they were written at different stages in Bernstein's life. They both produced a number of responses and displayed his wide range of musical ability.
It is clear that Beethoven’s stands as being significant in development of the string quartet to a massive extent in creativity and innovation. His early quartets show great influence of those from the Classical period and with his own, has influenced his contemporaries and later composers. The quartets published later in his life show even greater imagination and use of expression. It is also through similar uses of texture, harmony, rhythm and counterpoint that composers of the Romantic period and the 20th century wrote their own string quartets. Beethoven’s however prove a huge advancement in how string quartets are written and the intensity of emotions that they portray.
Each individual player in this orchestra is a soloist of sorts, playing a completely different piece than the musician seated directly next to them or across the stage. Rather than being written as a concerto, this piece, written in three movements, allows for each of the accomplished musicians to display their skill individually though each solo is not brought to the forefront of the piece, creating a what sounds like a disgruntled compilation of individual pieces that come together. This piece both begins ends with the Funeral March of Beethoven’s Eroica Symphony directly tied into the basses, at first it is quiet and difficult to recognize but as the third movement is introduced it becomes more pronounced and evident. Those who were present for this pieces introduction to society were able to see its emotional effect on its composer who had obvious emotional ties to the music. Strauss never showed up to see his work debut instead he attended the dress rehearsal, asked Sacher if he could conduct this work. Strauss was said to have given a beautiful reading of the score that many view as his most...
- Beethoven’s Three Periods are the different periods of his music, and the differences between them. The periods
Ludwig van Beethoven was born in Bonn, Germany in 1770. His works are traditionally divided into three periods. In his early period, he focused on imitating classical style, although his personal characteristics of darker pieces, motivic development, and larger forms are already evident or foreshadowed. In his middle period, he is beginning to go deaf, and has realized that he cannot reverse the trend. His works express struggle and triumph. He stretches forms, with development sections becoming the bulk of his works. He is breaking from tradition and laying the groundwork for the romantic style period. In his late period, he breaks almost completely with classical forms, but ironically starts to study and use baroque forms and counterpoint. He is almost completely deaf, and his works become much more introspective with massive amounts of contrast between sections, ideas, and movements. He dies in Vienna in 1827.