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Unit 8 (Chapter 33 (Beethoven and the Symphony in Transition (Symphony V -…

- - - - 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 from Classical to Romantic era
    - - many composers responded to political climate - they are artists
      - 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. I in C Major, Op. 21 (1801) - Movement I 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) - 1803-04 - movement 3 FOCUS
      - classical tradition but...
      - uprising begin 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
    - - 4 movements but a UNIFIED piece
      - conflict in movement I to victory in movement 4
      - Movement I
        
        motive - short-short-short-long
        
        dominates whole piece
        
        fate knocking at the your door (Beethoven's description)
      - Movement II
        
        serene theme and variations
        
        still uses the motive
      - Movement III
        
        Scherzo with no stop going into the 4th movement
      - Movement IV
        
        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 de Joy" - poem by Schiller
      - large productions - more musicians
      - romantic era established
- - - - 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 Viennnese 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-
        
        transportation: same order of intervals, starts different pitch
        
        Inversion: notes moves 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 promotorof Schoenberg school
      - also known for-
        
        violin concerto
        
        Lulu
        
        Lyric Suite
    - - 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
        
        Captain
        
        Doctor
        
        Drum Major
      - modern- 12 tone technique & Romantic- German romantic expressionism
      - Sprechstimme: speak singing
      - Leitmotifs- melody that repeats is symbolic
      - story
        
        Wozzeck a soldier, but is a victim of evil Captain & Doctor- they performed experiments on him
        
        Wozzeck did this for money
        
        Wozzeck unhappy in love affair with Marie
        
        Marie cheats on him and Wozzeck cuts her throat
        
        Wozzeck goes insane and returns to her death scene and drowns himself (LG 46)
        
        ending is the child of the 2 notified of his mother's death
      - Wozzeck, Act III, scene 4 (LG 46)
        
        use of Sprechstimme, disjunct line
        
        movement alternates between metric and free-flowing
        
        both tonal and atonal language, dissonant and chromatic
        
        intensely emotional vocal line, supported by dissonance and surging dynamics
- - - - history represented in opera
      - not a documentary
      - deeper truths found in his stories based on fiction
    - - born 1947
      - 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 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
      - Act II, scene 3, chorus: "At the sight of this"
        
        Bhagavad Gita- Chapter 11- Hindu Scripture
        
        chorus
        
        setting- New Mexico 1945
        
        short/choppy repetition of ideas
        
        lots of syncopation & accents
        
        VERY dissonant
        
        mysterious electronic sounds
        
        brass & timpani are featured
- - - - music builds community cohesion
      - since the 19th century, sense of community tied to the concept of nationality
        
        distinctive culture and heritage shared by the people who live in a common territory
      - political conditions in 19th 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 his composition
      - goal was to create art accessible to all the public
      - international figure, notable for lyricism and use of folk music and dances
    - - 1876
      - play by Henrik Ibsen based on moralistic Norwegian folk tale
      - Grieg composed 22 pieces as incidental music for the play
      - later extracted 8 of them, created two four-movement suites
      - listening excerpts
        
        Morning Mood- atmospheric depiction of sunrise
        
        dreamy melody in an inverted arch shape
        
        lilting 6/8 meter
        
        E major with many harmonic inflections
        
        homophonic
        
        A-B-A'
        
        In the Hall of the Mountain King- grotesque ballet music as troll daughters chase Peer
        
        ghostly melody in two phrases
        
        duple-meter march, short
        
        B minor
        
        homophonic
        
        single theme repeated over and over
- - - - integration of traditional & folk music folk into experimental art music
      - music characteristics meaningful in a certain culture may change meaning when added to another art form
      - departed from conversations of 19th century music
      - musicologist
        
        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 2000 Eastern Europe 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
    - - 1881-1945
      - born in Hungary
      - musicologist
        
        toured remote village of Hungary to collect native songs
        
        these songs served as "raw" material for his neo-classical style
      - moved to New York in 1940 due WWII
      - used the features of Eastern European traditional music while adhering to Classical form
        
        ancient modes
        
        unfamiliar scale
        
        non-symmetrical rhythms
    - - commissioned in the summer of 1943
      - orchestral concerto
      - movement IV, interrupted intermezzo (LG 54)
        
        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 returns (B',A')
        
        irregular meters
        
        soloists- oboe, clarinet & flute
        
        polytonal and atona harmonies, dissonant
        
        nostalgic and sentimental