Candidate number: GDYL5
Total amount of words: 1699
ELCS6060 – Hearing Culture(s): Contextualised soundscapes of Europe (1770-1914)
1. Beethoven’s Ninth Symphony As Ideological Or Political.
If there is one piece of music that has been discussed and used more than any other is Beethoven’s ninth Symphony. From political meetings to sport matches, Beethoven’s piece has been used for all kinds of purposes and by a wide variety of people, and it always seems to be supporting whatever ideas whoever uses it has. In this essay I intend to deepen into the various ideological and political environments in which the piece has been played and to explain why it has been a reference for several different ideologies and ideas, especially focusing on the 20th Century.
After a seven-year hiatus, including the war, in 1953 a significant number of the most important politicians in Europe gathered together in West Germany to hear the re-opening of the Bayreuth Festival. The piece played that night was Beethoven’s Ninth Symphony, and it doesn’t seem to be a random choice. The last of Beethoven’s symphonies seems to appeal to all kinds of people in all ideologies. The Ode To Joy in the last movement of the piece talks about brotherhood and harmony among all people. This message can be approached from any point of view and still make it support one’s ideologies. In this occasion it was seen as a celebration of the new unified Western Europe after the
As noted by Robert Hughes, "Beethoven was not only the embodiment of all that was before him, but also of that which was yet to come" (Hughes 486). The truth of this may be seen by comparing Beethoven's 5th Symphony in C Minor to Haydn, the father of Symphony, and his 95th in C Minor. While Haydn's symphony is both playful and dramatic, Beethoven's symphony is grander both in terms of scale and vision. He expands the size of the orchestra to incorporate the sounds swirling around, underlying, and depicting the arrival of Fate in a rhythm-driven, thematic symphony that takes Haydn's form and runs with it as though to the top of a mountain peak. This paper will analyze the symphonies by movement, according to form, size, structure, tonalities, melodies, orchestral sound and overall mood and effect.
For the second and final concert report, I listened to the performance of Beethoven’s 9th symphony, as played by the Chicago Symphony Orchestra. Beethoven lived in Germany during the late 16th and early 17th centuries, and was an influential figure in the transition between the Classical and Romantic eras in western music. The performance requires a large number of instruments, with woodwinds, brass, percussion, strings, and even a choir during the 4th movement.
25. What is significant about Beethoven’s 9th symphony? In the ninth symphony the chorus and orchestra join together and show the universal love for brotherhood as well as God.
Since the Constitution of the United States was written, Americans have practiced their right to freedom of speech as a way to express their point of view on issues facing the country. Over time, voicing one’s opinion went from outspoken newspaper articles to large rallies, and during the Vietnam War, music was a prevalent tool in aiding the protests. Allowing political messages to be shared nationally, the music had touched the lives of the younger generation. Author Jerome L. Rodnitzky explains in his journal, “The Sixties between the Microgrooves: Using Folk and Protest Music to Understand American History, 1963-1973”, how music was “trying to be all things
The West-Eastern Divan Orchestra and the National Youth Choir of Great Britain impressively rendered Ludwig van Beethoven’s Symphony No. 9 at the 2012 BBC Proms. The Orchestra conducted by Daniel Barenboim played the four played all four movements of Symphony no. 9. The performers brilliantly upgraded the symphony, fully respecting the brilliance of Beethoven. The performance utilized a large Orchestra and Choir, all of which displayed various musical concepts. Ultimately, this performance breathtaking performance, respectfully paid homage to one of the most revered symphonies of all time.
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 it. Ludwig Van Beethoven composed the work. He composed it between 1811-1824. Beethoven composed the work in D minor, Op. 125 (“Choral”). His Ninth Symphony was his last symphony to compose. It was preceded by eight other symphonies. I was attracted to this work because it was the first symphony to include a choral. I found it astonishing that Beethoven was completely deaf when he finished this work.
With a sense of mystery, highly acclaimed New York Philharmonic conductor Lorin Maazel opened Bruckner’s 8th symphony with a tremolo on the strings and then repeats this tremolando in forte while the brass gloriously brought in the first major theme. Amidst the bright colors and amazing acoustics at Disney Hall, the audience sat in eager anticipation; many of the present members were experienced with Bruckner’s pieces and Wagnerian style. Sitting next to me, David Barry of the LA Philharmonic Board of Directors gave me an introduction to the history of Disney Hall, the LA Philharmonic musicians, and Anton Bruckner. He quickly detailed several prominent musicians’ profiles, including that of the only timpanist at the concert, and then, he
Symphony number nine in D minor, Op.125, the "Choral" is the outstanding piece accompanied with a vocal chorus. Beethoven began concentrated work on the piece in 1822. It occupied him throughout 1823, and he completed it in February 1824. The first performance took place at the Karntnertor Theater in Vienna on May 7, 1824. The deaf composer stood on stage beating time and turning the pages of his score, but the real conducting was done by Michael Umlauf. The first American performance was given on May 20, 1846 by the New York Philharmonic under George Loder. Its performance can never be an ordinary event, just another concert, it is something special because the feeling you get inside when you hear
Ludwig Van Beethoven was one of the most influential composers of his time. The decades around the 1800’s were years of many changes and Beethoven’s new approach to music was something that reflected that. “His symphonies, concertos, string quartets and piano sonatas are central to the repertory of classical music.” This essay will focus on the historical and theoretical aspects of the third movement of Sonata Op. 28 No. 15.
3. Medieval and Renaissance culture varied in many ways, aside from the differing music. In the Medieval age (the time between the 5th and 15th century), the church controlled many things, not only music. The church was in charge of education, the church also dominated politics. People very much feared God. Whereas in the Renaissance (15th and 17th century) the state ruled over the church. People in the Renaissance believed that God wasn’t some fearsome being, instead they believed more in logical and practical thinking.
“He (Beethoven) was a pivotal figure in the transition from 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound” Kerman and Tyson. Beethoven’s sixth symphony (also known as the pastoral symphony) has qualities of both the classical and romantic periods and illustrates Beethoven’s revolutionary ideas as well as highlights his classical influences. The programmatic nature of the piece is the dominant romantic feature although the use of brass and percussion as well as the dramatic dynamic changes are also characteristics from this era. However there are many classical influences in Beethoven’s work such as the balanced phrasing, the
The composition of classical music is said to be derived from the emotion of the composer. When aficionados of classical music are introduced to new music, it is expected to ‘move’ them. Emotional expression and communication, often exerted through the compositions of Ludwig Beethoven are said to have changed the composition of symphony forever. To quote Beethoven, “Coming from the heart, may it go to the heart”. Beethoven said this when expressing the emotion it took to compose and accept his music. Beethoven is also viewed as innovative through his workings, as it has impacted music of the past, present, and future. Philip Clark (2014) agrees “Nearly 200 years after his death and no one expects Beethoven’s pieces to settle down any time
Traditional analysis of Beethoven's use of Sonata Allegro form tends to focus on harmonic or melodic movement and key relationships. This study stretches such investigations to include questions of historical context and philosophic motivations that drive a composer to structure music in a certain way. Ultimately this leads to an inquiry about how these traditions affect us as listeners, and more specifically how they relate to gender issues in a musical tradition primarily made up of male composers.
At this time last year, I would have considered all music before the 20th century to be classical. However, after taking a Dual Credit Music Appreciation course, I realized that “old” music cannot simply be grouped into a single category. There are so many differences that I had no idea existed. Throughout the years, music has changed and evolved, meeting the needs of listeners and performers. Different composers have been catalysts in this change as they have developed new styles and genres. Even though the classical period is directly subsequent of the baroque period, baroque and classical music have countless different qualities and characteristics.
For my Introduction to music class I decided, to write about the Seventh Symphony in A major (Op. 92) by Ludwig van Beethoven. The reason why I choose this symphony is because it’s an emotional piece of music, and it definitely catch my attention since the moment I heard it. I feel this symphony reach emotional situations that are above human explosions. Emotional areas that invade us through a contradictory fact between feelings. The Seventh Symphony in A major by Beethoven appears in 1813. The orchestra contains two flutes, two oboes, two clarinets in A, two bassoons, two horns in A (E and D in the inner movements), two trumpets in D, timpani, and strings. Beethoven insisted on directing it at its premiere, with tragicomic results. The critics recognized a new genius of Beethoven; even today there are experts who consider it as the best of their symphonies. Richard Wagner, another fervent Beethovenian, describe this symphony as “all tumult, all yearning and storming of heart” into “the blissful insolence of joy, which snatches us away with bacchanalian might.” For its relentless dance rhythm and