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Unit 8 (Chapter 33 (Beethoven's Revolution (Symphony 9- With Victory…

- - - - Beethoven wrote 9 Symphonies
      - 3 periods to his music- early, middle, late
        
        Early (until 1802) Symphony 1 & 2
        
        In style of Mozart & 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”
      - Music transitioned
    - - Many composers responded to political climate- they are artists
        
        Beethoven a supporter of democracy
        
        Napoleon (at first)
        
        Great Britain democratic parliamentary 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
        
        Sfv- Sforzando
        
        Winds becoming more prominent
        
        Changing tempo within the form
    - - Symphony No. 3 in Eb Major, Op. 55 “Eroica” (Heroic)- 1803-1804- 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 Unified piece
      - Conflict in movement 1 to victory in movement 4
        
        Movement 1
        
        Motive- short-short-short-long
        
        Dominates whole piece
        
        Fate knocking at 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 of the greatest works in classical music world
      - “Ode to Joy”- poem by Schiller
      - Large production- more musicians
      - Romantic era established
- - - - Form
        
        Contrasting themes
        
        Sonata-allegro
        
        Starts in a minor key
        
        Exposition, development, recapitulation
      - Texture
        
        Four note motive
        
        Mixed
        
        Homophony
        
        Polyphony
      - Symphony
        
        Wind
        
        flutes, oboes, clarinets, bassoons, French horns, trumpets; timpani
        
        Strings
    - - Form
        
        Variation in themes
        
        two themes
        
        Rhythm moves faster and faster
      - Symphony
        
        Wind
        
        flutes, oboes, clarinets, bassoons, French horns, and trumpets; timpani
        
        Strings
      - Texture
        
        Mixed
        
        Homophony
        
        Polyphony
      - Meter
        
        Triple Meter
    - - Form
        
        Third Movement
        
        Scherzo and Trio
        
        A-B-A'
        
        B
        
        Quicker meter
        
        Major key
        
        Conjunct theme
        
        Triple Meter
        
        Homophonic texture
        
        Starting in Major key
        
        Fourth Movement
        
        Sonata-allegro
        
        Same key throughout
        
        Duple Meter
        
        Homophonic texture
        
        Major key
- - - - Social Advocacy & Musical Innovation
        
        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
      - Twelve Tone Method
        
        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
    - - 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 real-life events; Berg wrote libretto
        
        Characters
        
        Wozzeck- soldier
        
        Marie- common-law wife of Wozzeck
        
        Son of Wozzeck & Marie
        
        Captian
        
        Doctor
        
        Drum major
        
        Modern- 12 tone technique & Romantic- German romantic expressionism
        
        Sprechstimme: speak singing
        
        Leitmotifs- melody that repeats is symbolic
- - - - Singing approximate pitches rather than exact pitches
    - - Changes after Wozzeck murders Marie
      - Frantic
    - - Three acts
    - - Tonal and atonal
      - Chromatic and dissonant
    - - Minimalist stage design
      - Rely heavily on characters
- - - - 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
    - - 1867
      - 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 Peer gets chased down the mountain by the troll daughters
    - - 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
    - - Revolt against traditions and return to 18th century music idealism of Bach, Handel, & Vivaldi
      - Revolt again romantic music & symphony poem
      - Revival of older forms- fugue & suite
    - - 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 NYC in 1940 due to WW2
      - Used the features of Eastern Europe traditional music while adhering to Classical form
        
        Ancient modes
        
        Unfamiliar scales
        
        Non-symmetrical Rhythms
    - - 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
- - - - Rondo-like
      - A-B-A' -C-B'-A
      - Three themes alternate
    - - Dissonant
      - Polytonal, and atonal
    - - Shifting meters
    - - Woodwind
- - - - 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
    - - 2005
      - Opera (3rd one)
      - Libretto
        
        Peter Sellars
        
        Based on memoirs, government
      - 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
- - - - Verse-refrain structure
      - Repeated section and text
    - - Chorus: sings disjunct and shorty choppy melody
      - Orchestra: Prominent brass and timpani
      - Syncopated accompaniment
    - - Dissonant
    - - Serious, dark tones
      - Set in the 1940s during WW2