Ludwig van Beethoven (1770-1827)
Begins in Classical period, ends in Romantic period
Born in Bonn, Germany, not far from French border. 1770- France is leading up to Revolution. Beethoven takes through life the ideals of Revolution, humanity and equality.
Father wanted son to be like Mozart: child prodigy. Father was a musician, not great. Obsessive, physically and psychologically; also an alcoholic. Wake him up in middle of night to practice. In 1780Õs, Beethoven played for Mozart. Mozart said Òkeep your eyes on him, someday he will give the world something to talk aboutÓ. Beethoven wanted to stay in Vienna, but his mother was ill and he had to go home. Made another attempt to study with Mozart in 1797, one problem...Mozart was dead. Studied with Haydn instead. Haydn was self-taught, and not a very good teacher.
Beethoven rebelled against social tradition. He considered himself a prince because of his art. First one to use the word ART with music. If his own audience doesnÕt understand, heÕs writing for posterity; for an ideal audience of the future.
Mozart broke that tradition and died a pauper. System broke him.
Beethoven never was somebodyÕs servant. Never under patronage system. Refused to accept deadlines, refuled to live as a servant.
A Musician's role:
staff of the wealthy: low class, above the cook at an estate.
Go into it because it's the job your father has done.
If your patron (benefactor) wants you to write dinner music for Friday night's party, you must comply! No opportunity to be ÒcreativeÓ or be inspired. Do what you are told. Often, the finished work is discarded after its initial performance!
Bach, Mozart, Haydn, Vivaldi, etc. all worked in some form of this ÒPatronage systemÓ.
Beethoven born into it as well; father was a [mediocre] court singer. Forced young child to practice late at night and after the bars closed when his father staggered in.
Went to play for Mozart as a teenager, and Mozart recognized his potential.
He became a new sort of musician - no deadlines, no writing for hire, only when he wanted to compose. He was a novelty to the aristocracy of Vienna, and several wealthy people paid Beethoven to live and work there.
He modified the genres of music that were in existence at the time. This was the Romantic spirit. Mozart and Haydn write in a formula, but Beethoven changed that recipe each time he set out to compose a new work.
He gradually lost his hearing over time, and the last 10 years of his life, he composed some of the most adventurous works with no ability of hearing at all!
Heiligenstadt Testament - a long lost letter to his brothers that admitted that he contemplated suicide. It's considered his Òsuicide noteÓ, and contains many of the traits of a musician and artist that we now attach today; music is an Art, no deadlines, music saved him from taking his life, becoming a philosopher (at least stretching out to other liberal arts as expression), longing for death, isolating himself, wanting to keep records of his health and problems with hearing for later generations to study; patience; spending time in the country and nature;
Composers that followed Beethoven all strived to keep the new ideal of a musician and artist but refine if for their time.
In Vienna, Nobility valued him. When NapoleonÕs army was invading, few of aristocracy got together to give money to Beethoven; they paid him just to stay in town.
He changed our view of what an artist was; we now put them on a pedestal.
He believed all people were equal.
1799, he realized he was going deaf (By 29 years old)
In 1802, he was deaf at age 32; still had yet to compose many of his masterpieces.
Heiligenstadt: villa in the country. He went for long walks here. Wrote a letter to his brothers that he never sent. Suicide note; Heiligenstadt Testament. So despairing about losing his hearing, only his art kept him going. He knew he had more to produce.
We break down his composing career into three periods; early (pre-deafness and using language of Haydn), middle 1802-crisis point, music has a fighting spirit. in 1815, the deafness was complete. Last period; Resigned quality; acceptance. Extremely complex. Texturally, structure, harmonic, very difficult for even todayÕs audiences.
Enigma. Many contradictions in his life; he went deaf, but a very simple ear operation in a Dr.Õs office could have cured him. Mostly self taught and very widely read, but he could barely add and subtract. Believed in equality in all men (from the Enlightenment), but could be very ruthless and horrible to his publishers.
Wanted to have a permanent relationship, but could never find someone to marry. Desperately wanted to have children; Beethoven fought for custody of his dead brotherÕs son. Such a perfectionist in his music, yet he was a complete slob and messy.
Beethoven saw music not as an entertainment, but as a moral force.
Demanded perfection in his music; worked on pieces for years. 9th symphony took over 25 years to complete. We have over 100 sketchbooks also conversation books.
Tries to unify the four movements in a symphony.
Three periods and type of music composed in each
Early (up to 1802). Follows the language of Haydn - Classical style
Middle (1802-1815) - Heroic period, fiery music, dramatic, Symphony No. 5
Late (after 1815) - introspective, very complex, intimate performing forces (piano, string quartet)
3 important things to remember about Symphony No. 5 in C minor, Op. 67: 1808
It has rhythmic drive that constantly forces you along
Motivic consistency: motive=too short to be a melody, brief fragment of melody.
Psychological progression (moral force) victory over despair. darkness moving to light. Tragedy to rejoicing.
SYMPHONY # 5 IN C MINOR, OP. 67 - - LUDWIG VAN BEETHOVEN
MOVEMENT TEMPO FORM
1 fast sonata-allegro
2 slow theme and variations
3 dance-like scherzo (minuet/trio)
4 fast sonata-allegro
Beethoven's Fifth
Take note of any unusual treatment of Sonata Allegro form that is identified in this humorous video:
The theme is not really a theme, but a motif that is used to create the theme.
The transition to the second theme is very short, as the motive has already been developed to a new key.
The development works with the four note motif rather than any proper theme. The four notes are developed down to two notes, and finally one note.
The recapitulation contains a cadenza for the oboe.
The Coda is usually a very short cadence that puts the finishing touch on the movement. Here, the coda is extended, containing a new theme, and a new development.