Tyler Martin
Advanced Orchestration
Symphony no. 5 in C minor Beethoven’s intent behind this piece is creating diversity out of unity. The unifying idea of the work is a series of three short notes followed by one long note. The diversity of the simple unifying idea therein is generated by the use of timbral development techniques and expansion of the orchestra; however, there are several performance practices and technical issues that impact the work’s total realization. The score referenced throughout this essay is the Kalmus Miniature Orchestra Scores version. Beethoven takes his initial motif, which is quite simple, and fleshes it out via timbral orchestration. Throughout each movement, he carefully places developmental and
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The first appearance of the full original motif is in measure fourteen, made of three eighth notes and an agogically emphasized eighth on the downbeat of the next measure. This particular rendition is used throughout this movement to hold bring sections of it together on a macro level (mm. 21, 23, 30, 79 – 85, etc.). Various instruments throughout the movement also adapt three short notes as pick-notes or as set-up sections for a string of lesser articulated notes(mm. 15 Violins, 76 – 77 Violin II and Viola, etc.). For the first time in music history, movement three sees the emancipation of the low strings. The introductory statement of the movement is not made with violin, high wind, or even viola; it is made with the celli and basses. The two instruments lend a sort of dark cast to the line that sounds anticipating, almost in a foreboding sense. The anticipation is met with the original motif at measure nineteen played by horns and accompanied by strings, which is then texturally expanded into the entire orchestra, much like it has been at time in the previous two movements (mm. 19 – 44). This movement, again conveniently in three, allows the motif to be interwoven throughout in much the same way as the second movement while the theme from the beginning measures is also developed. Further diversity is generated through the use of
Broadly speaking, the first movement can be divided in to three pieces, each beginning with a version of what I have denoted A_0, the introduction to the piece inwhich motifs float around in a constant void, gaining energy, and morphing into musicalthemes. If we were to impose the sonata structure onto the piece, we would say that the three pieces are the exposition, development, and recapitulation. The exposition introduces two large thematic blocks separated by a transition that
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.
The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.
This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.
The piece makes use of an allegro tempo (‘moderately fast’), setting the foundations for the relentlessly aggressive nature of the piece. This is supported by the irregular aforementioned 5/4 time signature, which when combined with the allegro tempo, creates an intense, uneasy, and unnatural mood. A 5/4 time signature will almost always ‘place the listener on edge’, as it is an irregular time signature, due to the odd number of beats (5) in each bar. This manipulation of tempo and time signature was an ingenious decision by Holst, as it establishes the foundation of the piece through his portrayal of the unnatural, uneasy atmosphere of war. However, the addition of a time signature change to 4/4 in bars 68-92 (C1 – see figure 2.1) would be extremely effective in assisting the sections’ ‘military’ atmosphere (as the act of military marching is typically rigid, regular, and constant), further supporting Holsts’ theme of unpredictability. The strings ostinato at the opening of the piece is coloured by a mechanical timbre, achieved through the use of ‘col legno battuto’ (Italian for ‘hit with the wood’). ‘Col legno’ is a technique which involves striking the strings with the wood of a bow, as opposed to drawing the hair of the bow across. The obvious manipulation of this technique results in an extremely effective mechanically percussive
An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.
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.
Beethoven draws the listener in by providing multiple repetitions of the short fast-slow-fast waves. As I listened, I took notes about things I felt while hearing this. I felt like each time the symphony almost mellowed out with the violins, the listener was relaxed, but then the “fast” part came which included more instruments, and I felt awakened. When all the instruments came to a perfect harmony, it was soothing and satisfying to hear. I could also instantly see the emotions painted on conductor Claudio Abbado’s face as the wave increased in volume before mellowing out
On 17 December 1770, Ludwig van Beethoven was born. He was an amazing and great classical musical composer. He is known for being the most famous composer of the classical and romantic periods of music. According to the “Enjoyment of Music” manual, Beethoven was born in Bohn, Germany. His father, with his grandfather, was the two singers at the court of a local prince, Friedrich Max. (Forney and Machlis 197).
Beethoven contributed one of the most significant musical developments through his fifth and ninth symphonies. He used a musical motive as the basic of his entire piece. (Beethoven described the motive as “Fate knocks at the door”.) It was the first time in history that anyone had done such a thing for a multi-movement piece. Beethoven’s contribution has become a norm in the music world, even to this day.
Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.
Another habit of Beethoven when composing his pieces in the heroic style would be to insert warlike themes and motifs into his pieces. Some of these themes include death and victory.
28 No. 15 was written during the second period. This movement (III) is in ternary form (ABA). This first A section (A1) is in binary form and consists of 70 total measures in the key of D major. It is made up of two 32-bar sections that are divided into eight 4-bar phrases, a 4-bar extension at measures 45-48, and a 2-bar cadence at the end of the section. The second A section (A2) is made up of nine 4-bar phrases. A1 consists of a repeating theme that follows the chord progression I, ii6, V7, 1 in measures 5-8 and then goes to V6, vi6, V7/V, V I in measures 13-17 and the repeats these same progressions in measures 18-32 except measure 32 ends on the V chord instead of the 1 chord. A2 continues in D with a different and less melodic theme in measures 33-49 before repeating to the main theme in measures 50-70. This section crescendos and grows in
The early piano sonatas of Beethoven deserve special mention. Although his first published examples of concertos and trios and the first two symphonies are beneath the masterpieces of Mozart and Haydn, the piano sonatas bear an unmistakably Beethovian stamp: grandiose in scope and length, and innovative in their range of expression. The sonatas were able to move expression from terrible rage to peals of laughter to deep depression so suddenly. Capturing this unpredictable style in his music, a new freedom of expression which broke the bounds of Classical ideals, was to position Beethoven as a disturbed man in the minds of some of his contemporaries. Furthermore, he was to be seen as the father of Romanticism and the single most important innovator of music in the minds of those after him. (Bookspan 27).
Thesis: Wolfgang Mozart’s Symphony No. 40 in G minor has been admired and analyzed numerous times. Although it has been criticized by many, I believe deeply interpreting this piece will aid in a better understanding of the music during the Classical