Beethoven: The Composer as Hero

Beethoven Changes How We

Think about Music

18th-c. music becomes expressive by “play” withexpectation, predictablility

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18th-c. music becomes expressive by “play” withexpectation, predictablility

I. Beethoven: Musical IconoclastA. Begins Work off-tonic and with Dissonance

B. Expands use of Dissonance

C. Pioneers “Metrical Dissonance”

D. Begins Concerto with Cadenza

E. Demands Extreme Virtuosity of Performers

F. Elevates Concept over Realization in Sound

G. Recalls earlier movement (5th finale): Introduces Psychological Element

J. Replaces Minuet with Scherzo

K. Includes fierce, aggressive, “angry” within expressive range

L. Uses motives (rather than complete melody) as conceptual unit

I. Uses Voices in Symphony

H. Music presents problems or intellectual challenges

II. Beethoven’s Intellectual Legacy= changes how we think about music

A. Composing = Central Musical Activity

II. “Beethoven Hero”: The Intellectual Legacy

A. Composing = Central Musical Activity

B. Forges Ideal of the Autonomous Artwork

III. Biography

A. Overview (see Wright)B. Beethoven’s Compositions

• 9 Symphonies

• 5 Piano Concertos + 1 Violin Concerto

• 16 String Quartets

• 32 Piano Sonatas

C. The Three Creative Periods• 1st Period (to 1802): “Early or Classical”• 2nd Period (1802-1813) “Middle or Heroic”

• 3rd Period (1814-1825) “Late”

IV. Beethoven Symphony #7 in A Major Fourth Mvmt. (finale)

1st ThemePt 1 1st Theme Pt2 tr 2nd Theme Closing theme

__ . . . March-like

Exposition

Obsessive2-note motive

Stormy Minor key

Development

All themes except 1st Theme Pt.2 Developed

Recapitulation1st ThemePt 1 1st Theme Pt2 tr 2nd Theme Closing

themeCoda

1st theme Pt1 Developed Further climaxing with Pt2

III. Biography

A. Study Wright with Care