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Beethoven symphony no 3 analysis
Analysis of Beethoven's Pathetique sonata
Analysis of beethoven 3
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Out of all of Beethoven’s one hundred and ten works, he wrote thirty-two piano sonatas. Of those thirty-two piano sonatas, the thirty-first piano sonata was one of the most important and was composed in the year 1821towards the end of Beethoven’s life. It is one of Ludwig van Beethoven’s final sonatas for the piano, given the full name: Piano Sonata No. 31 in A-flat major, op. 110. I am writing about a video performance – found on YouTube – by Richard Goode in 1993. The performance piece is a sonata which is defined by Kerman as “a chamber-music piece in several movements” (Kerman, 427) The thirty-first sonata came to be in an interesting way. Moritz Schlesinger, in the summer of 1819, had made a request to Ludwig van Beethoven. Schlesinger was in search of some music and thought that Beethoven would be perfect for the job. He asked Beethoven to compose the desired music for him and would pay Beethoven in return. The two agreed in the May of 1820 that Beethoven would write twenty-five songs and three sonatas for Schlesinger at the cumulative price of one hundred and fifty ducats. Beethoven quickly finished the songs and made them available to his commissioner. He then began work on the three sonatas when he suddenly came under attack by a disease known as jaundice. This delayed the finishing of the three sonatas which later became well-known as the final sonatas – some of the last works of Beethoven. All three were completed and sent to Schlesinger by the end of 1822. The thirty-first sonata is broken up into three separate movements. The first movement starts at 0:00 in the video – the very beginning. This movement is marked moderato because it is playing at a moderate speed (it is not too fast but not too slow). It beg... ... middle of paper ... ...ten. 7th ed. Boston: Bedford/St. Martin's, 2012. Print. Miller, Carole B. "The Classical Period." MostlyWind. Mostly Wind, n.d. Web. 28 Jan. 2014. . Miller, Carole B. "The Romantic Period." MostlyWind. Mostly Wind, n.d. Web. 28 Jan. 2014. . MrPalika123. “Beethoven - Sonata No. 31 in A-flat major, Op. 110 (Richard Goode).” YouTube. 26 May 2012. Web. 28 Jan. 2014. . Rosen, Charles. Beethoven's Piano Sonatas: A Short Companion. New Haven: Yale UP, 2002. Print. Shotwell, C. M. "Music Traits of the Romantic Period." Augusta State University. Augusta State University, Oct. 2010. Web. 26 Feb. 2014. . Steen, Michael. The Lives and Times of the Great Composers. New York: Oxford UP, 2004. Print.
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.
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London: Macmillan, 1980)9: 708-709
Subotnik, Rose Rosengard. Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press, 1991.
For almost half a century, the musical world was defined by order and esteemed the form of music more highly than the emotion that lay behind it. However, at the turn of the 19th century, romantic music began to rise in popularity. Lasting nearly a century, romantic music rejected the ideas of the classical era and instead encouraged composers to embrace the idea of emotionally driven music. Music was centered around extreme emotions and fantastical stories that rejected the idea of reason. This was the world that Clara Wieck (who would later marry the famous composer, Robert Schumann) was born into. Most well known for being a famous concert pianist, and secondly for being a romantic composer, Clara intimately knew the workings of romantic music which would not only influence Clara but would later become influenced by her progressive compositions and performances, as asserted by Bertita Harding, author of Concerto: The Glowing Story of Clara Schumann (Harding, 14). Clara’s musical career is an excellent example of how romantic music changed from virtuosic pieces composed to inspire awe at a performer’s talent, to more serious and nuanced pieces of music that valued the emotion of the listener above all else.
His compositions are considered to have led to the development of the sonata form. This was still evident late in his career. Piano Sonata No. 62 in E-flat major (Hob. XVI:52) consists of short, balanced melodic phrases of two, four or sometimes six bars. Each melody in the exposition is evenly divided into an antecedent phrase and a consequent phrase; question and answer. This is a typical characteristic of the Classical Period which obsessed over clarity of structure. Similarly, Beethoven’s Piano Sonata No. 1 in F minor Op. 2, No.1 is clearly divided into an exposition, development and recapitulation. Its lucid exposition of melodic material occurs in balanced melodic phrases. Both of these works contain short codas to each section. The fact that Beethoven’s sonata was written one year after Haydn’s, whilst he was still a student of Haydn’s, highlights the influence of Haydn over Beethoven during the early stage of his
‘Sonata’ at this time referred to instrumental music while ‘pian’ means soft and ‘forte’ means loud. The title of the work indicates that it is an instrumental work that has soft and loud sections. Gabrieli's composition is special because it is the first to show dynamic markings in an ensemble setting. Some sources will say that it is the first piece to portray dynamics in general, but other sources provide evidence that dynamic markings appear in solo literature composed decades beforehand. “Deeper acquaintance with the music shows that they [the dynamics] also have an emotional function, for they occur so irregularly that the listener is never certain if he will be overwhelmed with sound, or when he must strain his ears for some more subdued phrase.” Gabrieli felt that dynamics can help portray or alter the audience’s perception of a pattern of music towards a particular mood.
Taruskin, R., & Taruskin, R. (2010). Music in the seventeenth and eighteenth centuries. Oxford: Oxford University Press.
This piano concerto adheres to the tradition way of composing a piece in this genre as it consists of three movements:
Kreis, Steven. "Lecture 16: The Romantic Era." The History Guide. Web. 18 Aug. 2010. .
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
Ludwig van Beethoven’s piano sonatas have proved to be among the most influential piano pieces of the Classical Period. Each and every one of his 32 sonatas has been played over and over again and has been enjoyed by pianists across the globe. But I believe that one of his Sonatas is greater than the rest, or shall I say, a personal favorite: his Pathetique Sonata Movement 1 (Op. 13 No. 8).
This sonata is highly unconventional. It begins with a set of themes and variations; not one of the movements is written in a sonata-allegro form. It interchanges the middle movements; a scherzo precedes the slow movement, which happens to be a funeral march. Chopin’s two great sonatas.... ... middle of paper ...
Bonds, Mark Evan. A Brief History of Music in Western Culture. 1st. New Jersey: Pearson
Roughly from 1815 to 1910, this period of time is called the romantic period. At this period, all arts are transforming from classic arts by having greater emphasis on the qualities of remoteness and strangeness in essence. The influence of romanticism in music particularly, has shown that romantic composers value the freedom of expression, movement, passion, and endless pursuit of the unattainable fantasy and imagination. The composers of the romantic period are in search of new subject matters, more emotional and are more expressive of their feelings as they are not bounded by structural rules in classical music where order, equilibrium, control and perfection are deemed important (Dorak, 2000).
In the 19th century the world experienced many dramatic changes related to politics, economics and culture. Music would never be the same after this period. During these years musicians, influenced by the Romantic movement in literature, neglected the formalism and aims of Classicism (Bohle p1861), and developed Musical Romanticism as a way to express their feelings free of traditional musical structures.