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Unit 8 (Chapter 33 (Beethoven and Politics (Symphony 5 - Out of Conflict…

- - - - Early - (until 1802) Symphony 1 & 2
        
        In style of Mozart and Haydn
      - MIddle - 1803- 1814) Symphony 3-8
        
        Symphony 3- “Eroica”- Begins revolution of changing symphonic sound
        
        Originally dedicated to Napoleon
        
        Personal narrative of individual heroism
      - Late- (1814-1827)
        
        Symphony 9- adds choir (chorale) with final “Ode to Joy”
  - - - Beethoven a supporter of democracy
        
        Napoleon (at first
        
        Great Britain democratic parliament system (Wellington’s Victory)
      - “Ode to Joy” finale widely used for political aims
      - Intense, collective endeavor toward a common purpose
    - - Symphony No. 1 in C Major, Op. 21 (1801)- Movement 1 Focus
      - Style of Mozart & Haydn
        
        Form- Sonata Allegro
      - Begins to explore:
        
        Musical joke- beginning
        
        Sfz- Sforzando
        
        Winds becoming more prominent
        
        Changing Tempo within the form
    - - Symphony No. 3 in Eb Major, Op. 55 ”Eroica” (Heroic)- 1803-4- Movement 3 Focus
      - Classical tradition but #
      - Uprising Begins with
        
        Form- Scherzo with a Trio- 1st time Trio appears in a Symphony
        
        Length- twice as long as Mozart & Haydn and scrutinized for in reviews
        
        Context- Napoleon
        
        Harmony & Emotion- 2nd movement is a funeral march
    - - Four movements but a UNIFED piece
      - Conflict in movement 1 to victory in movement 4
      - Movement 1
        
        Motive- short- short- short- LONG
        
        Dominates whole piece
        
        Fate knocking at the your door (Beethoven’s description)
      - Movement 2
        
        Serene theme and variations
        
        Still uses the motive
      - Movement 3
        
        Scherzo with no stop going into the 4th movement
      - Movement 4
        
        Much energy & passion
        
        Cyclical motive
    - - Symphony No. 9 in d minor, Op. 125 (1822-1824)- “Ode to Joy”
      - His greatest work & one greatest works in classical music world
      - 1st example of using voices/choir in a symphony
      - “Ode to Joy”- poem by Schiller
      - Large production- more musicians
      - Romantic era established
- - - - Melody > Fiery four-note motive, the basis for thematic development; contrasting, lyrical second theme
      - Rhythm/meter > Four-note rhythmic idea (short-short-short-long) shapes the movement
      - Harmony > C minor, with dramatic shifts between minor and major tonality
      - Texture > Mostly homophonic
      - Form > Concise sonata-allegro from, with extended coda; repetition, sequence, and variation techniques
      - Expression > Wide dynamic contrasts; forceful, energetic tempo
    - - Melody > Two contrasting themes: smooth first theme; rising second theme built on four-note idea
      - Rhythm/meter > Flowing triple meter
      - Harmony > Related key;]: A flat major
      - Texture > Mostly homophonic
      - Form> Variation, with two themes; varied rhythms, melodies, harmony (major and minor)
      - Timbre > Warm strings, brilliant woodwinds, powerful brass
    - - Melody > Wide-ranging, ascending scherzo theme; more conjunct, quick trio theme
      - Rhythm/meter>Quick triple meter throughout; insistent focus on four-note rhythm
      - Harmony > Dramatic C-Minor scherzo; trio in C major
      - Texture > Homophonic; some fugal treatment in the trio
      - Form > A-B-A' (Scherzo-trio-scherzo); plus a link to the final movment
      - Expression > Wide-ranging dynamic contrasts; fast tempo
      - Timbre > Themes in low strings; plucked (pizzicato) strings at the return of the scherzo; timpani in transition to the last movement
    - - Melody > Triumphant theme outlining C-Major triad; energetic second theme
      - Rhythm/meter > Very fast duple meter; four-note rhythmic idea
      - Harmony > C major; remains in major throughout
      - Texture > Mostly homophonic
      - Form > Sonata-allegro form, with long coda; cyclic (return of material from earlier movements)
      - Expression >Forceful dynamics; fp (forte/piano) effects; intense and spirited
      - Performing forces > Added instruments (piccolo, contrabassoon, trombones)
- - - - Artist’s shed light on social problems
      - 1900s
      - Replacement of tonality- 12 tone method
      - 2nd Viennese School
        
        Schoenberg teacher
        
        Alban Berg & Anton Webern Students
        
        1st Viennese School- Mozart, Haydn, and Beethoven
    - - Schoenberg developed a system to replace tonality
      - Serialism- method of composing with 12 chromatic
        pitches (all important)
      - Tone row- Arrangement of the 12 pitches
      - Alternate forms of tone row-
        
        Transposition: same order of intervals; starts different
        pitch
        
        Inversion: Notes move in opposite direction (up
        instead of down)- upside down
        
        Retrograde: Reverse order or backwards
        
        Retrograde inversion: Upside down & backward
    - - (1885-1935)
      - Born in Vienna, studied with Schoenberg
      - Rose to fame with Wozzeck
      - Active teacher and promoter of Schoenberg
        school
      - Also known for-Violin concerto, Lulu, Lyric Suite
      - Berg's Wozzeck
        
        1922
        
        Opera in 3 acts; 5 scenes; orchestral interludes
        
        Originally a play by Buchner- expressionist play on reallife
        events; Berg wrote libretto
        
        Modern- 12 tone technique & Romantic- German
        romantic expressionism
        
        Sprechstimme: speak singing
        
        Leitmotifs- melody that repeats is symbolic
- - - - History represented in opera
      - Not a documentary
      - Deeper truths found in his stories based on fiction
    - - Educated at Harvard
        
        Steeped in serialism, but listened to rock in dorm
        room
      - 1972 moved to San Francisco
        
        Advocate for contemporary music
      - Style
        
        Minimalist
        
        Neo-Romantic- accessible & deeply expressive
      - Stage works often topical and controversial
      - Adam's Doctor Atomic
        
        2005
        
        Opera (3rd one)
        
        Libretto
        
        Peter Sellars
        
        Based on memoirs, government documents, poetry, & Hindu scripture
        
        Focuses on the last days and hours before the first atomic test in 1945
        
        Hopes and fears, awe and trepidation
        
        Hugely complex subject, combining science and art & criticized at the time
        
        At The Sight Of This
        
        Bhagavad Gita- Chapter 11- Hindu Scripture
        
        Chorus
        
        Setting- New Mexico, 1945
        
        Short/Choppy repetition of ideas
        
        After each section there is a refrain
        
        Lots of syncopation & accents
        
        VERY dissonant
        
        Mysterious electronic sounds
        
        Brass & timpani are featured
- - - - Melody > Short, choppy phrases with declaimed text, much repetition of ideas
      - Rhythm/meter > Syncopated, with many off beat accents
      - Harmony > Sharply dissonant
      - Form > Verse/refrain structure with repeated sections and text
      - Expression > Fiery mood; mysterious electronic sounds
      - Timbre > Prominent timpani and brass
      - Performing forces > Chorus and Orchestra
      - Text > Bhagavad Gita, Chapter 11
- - - - Integration of traditional & folk music into experimental art music
      - Music characteristics meaningful in a certain culture may change
        meaning when added to another art form
      - Departed from conventions of 19th century music
      - Musicologists
        
        Phonographs were taken to villages to preserve songs as they were meant
        to be performed
        
        Captured original music
        
        Composers tried to retain that idea is new music
        
        Bartok & Kodaly collected over 2,000 Eastern European songs & dances
    - - Revolt against traditions and return to 18th century music idealism of Bach, Handel, & Vivaldi
      - Revolt again romantic music & symphonic poem
      - Revival of older forms- fugue & suite
      - Key ideas:
        
        Absolute music
        
        Balance
        
        Formality
    - - Born in Hungary
      - Musicologist
        
        Toured remote villages of Hungary to collect native songs
        
        These songs served as “raw” material for his neo-classical style
      - Moved to New York City in 1940 due WW11
      - Used the features of Eastern European traditional music while adhering
        to Classical form
        
        Ancient modes
        
        Unfamiliar scales
        
        Non-symmetrical Rhythms
      - Bartok's Concerto for Orchestra
        
        Commissioned in the summer of 1943
        
        Orchestral concerto
        
        Movement IV, Interrupted Intermezzo
        
        Rondo-like form
        
        Opening tune evokes Hungarian folk song in pentatonic (A)
        
        Followed by a broad string theme (B)
        
        Mood disrupted by clarinet melody borrowed from Shostakovich’s Symphony No. 7 (C)
        
        Two opening themes eventually return (B’, A’)
        
        Irregular meters
        
        Soloists- oboe, clarinet, & flute
- - - - Melody > Three contrasting themes: folklike and pentatonic (A); broad and lyrical (B); harsh descending line in clarinet (C).
      - Rhythm/meter > Shifting meter (2/4, 5/8,3/4,5/8) and irregular rhythms
      - Harmony > Polytonal and atonal harmonies; dissonant
      - Form > Rondo-like structure (A-B-A'-C-B'-A").
      - Expression > Nostalgic and sentimental; violent interruption at idea of Nazi invasion
      - Timbre > Solo woodwinds featured (oboe, clarinet, flute); darkly colored (violas)
- - - - Music builds community cohesion
      - Since the nineteenth century, sense of community tied to the concept of nationality
        
        Distinctive culture and heritage shared by people who live in a common territory
      - Political conditions in nineteenth-century Europe encouraged the growth of nationalism
      - Composers expressed nationalism in a variety of ways
        
        Basing music on songs and dances of their people
        
        Dramatic works based on folklore or peasant life
        
        Works celebrating national heroes, historic events, or scenic beauty
      - Political expression sometimes banned
    - - Born in Norway, attended Leipzig Conservatory
      - Stipend from Norwegian government allowed
        him to focus on composition
      - Goal was to create art accessible to all the
        public
      - International figure, notable for lyricism and use
        of folk music and dances
      - Peer Gynt, Suite No.1
        
        1876
        
        Play by Henrik Ibsen based on moralistic Norwegian folk tale
        
        Grieg composed twenty-two pieces as incidental music for the play
        
        Later extracted eight of them, created two four-movement suites
        
        Listening excerpts
        
        Morning Mood- atmospheric depiction of sunrise
        
        In the Hall of the Mountain King- grotesque ballet music as troll daughters chase Peer
- - - - Melody > Dreamy melody in an inverted arch shape, with decorative grace notes
      - Rhythm/Meter > Lilting 6/8 meter
      - Harmony > E major, with many harmonic inflections; static chords
      - Texture > Homophonic
      - Form > Three-part (A-B-A')
      - Expression > Grows to a loud climax; swells in dynamics, then dies away.
      - Performing forces > Pastoral instruments (flute, oboe, horn) are prominent
    - - Melody > Ghostly melody in two phrases, with a rising accented line
      - Rhythm/meter > Duple-meter march; short, staccato notes and offbeat accents
      - Harmony > B minor
      - Texture > Homophonic
      - Form > A single theme repeated over and over; closing coda
      - Expression > Huge crescendo and accelerando to a dramatic ending
      - Performing Forces > Pizzicato strings and staccato woodwind effects; offbeats in brass and percussion