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
Second Movement -- 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
Second Movement -- 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 cyclical
  form