The famous “March” is a part of “The Nutcracker”, presented as the second piece in the first act. It was written by a Russian composer, Tcaikovsky Pyotr Ilych (1840-1893). It was written in 1891-1892, when the author was in his sixties. This composition is one of his last works.
Beethoven: Symphony No. 5 in C minor, Op. 67, I
Symphony No.5 in C minor is a part of the first act of the Opera 67. It was written in 1804 -1808 by Ludwig Van Beethoven (1770 – 1827). Writing this composition, the author was in his mid-thirties; his hearing was constantly getting worse.
To compare the two pieces, several aspects should be analyzed, which include instrumentation, form, harmony, tempo, meter, texture, style period, meaning, and orientation.
Instrumentation: The Nutcracker is performed by a range of instruments, namely woodwinds, flutes, triangle, violins, snare drums. The Beethoven’s Symphony uses such instruments as Flutes, oboes, clarinets, trumpets, timpani, piccolo, bassoons, contrabassoon, and trombones.
Form: the Nutcracker consists of two acts, and the March is the second composition in the first act. This piece lasts around 7 minutes. The Symphony No. 5 lasts nearly 30 minutes. The work is presented in four movements. The first one has a form of sonata Form A :|| B A’; the second movement is presented by the theme and variations T,V1,V2, V3,V4,V5.
Harmony: in Nutcracker the harmony is mainly tonic, sometimes changed by subdominant; the Symphony has tonic and sometimes dominant harmony.
Tempo: the Nutcracker is presented in tempo allegro; the Symphony has a comparatively complicated structure and therefore the tempo is changeable. The first movement is in tempo allegro; the second movement has the andante tempo, which is later switched back to tempo allegro and at the end changed to tempo accelerando
Meter: the both compositions use duple vs. triple meters.
Texture: in Nutcracker the loud parts are supported by soft instrumentation; in Symphony the melody is changed rapidly from soft to very loud and back.
Style period: While the Nutcracker was written during the Romantic period, the Beethoven’s Symphony was composed during the Heroic period.
The meaning of the Nutcracker is absolute. The meaning of the Beethoven’s Symphony is rather programmatic.
The orientation of the Nutcracker is rather secular, while the Symphony has a sacred orientation.
In my opinion, the both melodies have some strengths and weaknesses. Concerning the Nutcracker, it is a very harmonic composition, which gives a general impression of good mood and some importance. I liked the party of violins which made the melody smooth and supported the main instrumentation. However, the ending did not impress me much. In my opinion, it would be better to end a march with some kind of slow and loud – textured rising notes than with chords of tempo allegro. This would make the ending more distinctive and exuberant.
The Beethoven’s Symphony is a very complicated composition which appeals to me very much. I like the rapid change of harmony and texture, which is very expressive. The instrumentation is perfect; in addition, the composer uses the loud and soft parties to contrast, which is a very successful method. I think that this work is a real masterpiece of Beethoven.
Beethoven’s Eroica and Tchaikovsky’s famous 1812 have earned their unique places in classical music history. The pieces signify bold and new ways of presenting this genre of music and they are both firmly rooted in the history of their times.
Comparison of the pieces
The Eroica is significantly different from the 1812 Overture although both of them have the ability to invoke some of the deepest emotions. While the Eroica starts with an objectionable (contrary to most symphonies) E flat chord which is intended at grabbing the attention of its listeners, the Overture commences with a Russian folk song of heartfelt prayer (Matz, 2006). Therefore, the introductions of both these types of music are quite divergent because the artists had different intentions.
As one listens on, one is taken through a very tumultuous melodious journey in the Eroica. Several keys are switched in the piece and at the second movement; the melody first begins with a very slow and sad melody. He then builds up the fugue to a climax and then includes some blaring horns towards the end of that part.
Trumpets and strings are struck in one accord until this high comes to a halt and it is again replaced by the first melody. One is overcome by extreme emotions as one moves through these pieces; indeed even the thought of death occurs because it is as though at one point the symphony destroys its melody.
The Eroica allows one to think and to go to places that one desires since a lot of room for interpretation is given. This piece spoke to me in a manner that I had not imagined because I was taken through a journey of self discovery. It was powerful, extra ordinary and everything else in between. Beethoven therefore granted me the opportunity to create my own story as I was listening to his timeless masterpiece.
Conversely, the 1812 Overture first starts with a prayer by the Russians, this is then followed by some elements of the French national anthem in the background. As the music proceeds, one can hear the latter anthem getting louder.
Eventually, this is interrupted by a Russian folk song interlude. All these interchanges continue into the song as the music gets punctuated with other additional features such as shots, wind blowing and the like. These additions were designed to place each piece in context; when the folk songs are at par with the French national anthem; this denotes that both armies have confronted one another.
When one part it louder than the other then this signifies that the loud side is winning. Indeed this is the reason why the piece ends with triumphant church bells and gun shots. To me, the Overture was trying to relieve this experience of war. The Battle of Borodino became so real to me as I listened to the Overture. I was going through the same, dread, desperation, tension and exhilaration that the Russians went through during that Battle. I felt like I had been taken right back into 1812.
History of the music
The 1812 Overture was written regarding a time when the French Army (Led by Napoleon Bonaparte) was seen as invincible. It is a commemoration of the events surrounding the Battle of Borodino where Russians were brave enough to confront the French Army.
Although the battle did not result in victory by the Russian or the French side, it was still a landmark because it put an end to the monotonous victories experienced by the French (Zamoyski, 2004). Most of these aspects of the invasion and confrontations with the French were included in the Orchestra hence explaining why this musical piece was one of a kind.
On the other hand, Beethoven’s Eroica was written at a time in French History (1803) when Napoleon Bonaparte was revolutionizing the way armies were run. In fact, Beethoven was an admirer of the French leader and his ways.
There was strong evidence to suggest that Beethoven wanted to dedicate the piece to Napoleon initially. In fact, the initial composition had the name of Bonaparte at the top. Some critics have asserted that in the same way that Bonaparte was upsetting traditions, Beethoven was transforming the way symphonic music was written (Churgin, 1998).
It can be argued that he was getting bold just like his much admired leader and that he was initiating a revolution just like the then French consul Bonaparte. In this light, it can be said that the two pieces of music had both been influenced by the same French leader although in the Eroica, this influence was positive while in the 1812 Overture, it was more of a campaign against the said leader.
On a more personal level though, both pieces were written by composers who were going against the grain. Tchaikovsky was told to compose a piece for festivities surrounding Moscow’s commemoration (Tchaikovsky, 1996). Instead of writing something full of warmth, he gave his audience something loud and a little piercing.
In other words, this artist was not afraid to be defiant and bold. Beethoven’s personal history was even more influential than the political situation during the writing of the Eroica. At that time, he was going through a very trying time. Beethoven was in ill health and was also going deaf.
He even contemplated suicide at some point but chose not to do so given the repercussions of such actions. Furthermore, he had just written his will and was looking for a way of redefining his genre of music (George, 1998). So given these trying times, Beethoven chose to break the rules and go contrary to what his teachers had taught. This bold new piece marked a new phase in the classical era and was a sign of better things to come.
Conclusion
Both pieces are timeless, bold, emotional and unexpected. However, Beethoven lets the audience create their stories for themselves and only provides them with the background. On the other hand, Tchaikovsky takes the audience to a specific time and place in history; his piece is less subtle in terms of its message.
References
Tchaikovsky, P. (1996). 1812 Overture. London: Courier Dover
Ludwig van Beethoven was born on December 17th, 1770 in a place called Bonn (“Life of Beethoven- ‘Childhood’ ” par. 1). He was the first born son and his father was so determined to mold him into a musician. His father used to give him violin and piano classes when he was a child.
At eight years of age, he learned theory and keyboard under the instruction of van den Eeden who was the former chapel organizer (par. 2-3). He also received piano lessons from Tobias Friedrich Pfeiffer while Franz Rovantini gave him violin and viola lessons (Schindler p. 40).
Equipped with the basics, his father forced him to stage a public performance at only twelve years of age (“Life of Beethoven- ‘Childhood’” par. 3). During his teenage years, Beethoven concentrated more on performances than composition (“Life of Beethoven- ‘Youth’ ” par. 1). In 1787, Beethoven visited Vienna and it is believed that he may have attended some classes with Mozart, a famous symphony composer at the time.
His visit was, however, cut short by the news of his ailing mother who later died in July the same year (par. 4-5). His father was so much affected by the loss that he resorted to heavy drinking leaving Beethoven with no option, but to assume the role of the family head. Beethoven even sort court proceedings to allow him to receive a portion of his father’s salary to take care of the family.
Having assured the welfare of his younger siblings, Beethoven eventually moved permanently to Vienna in 1792 (Schindler p. 48). While there he studied courses like choral fugues, double fugue and canon. In his adult years, he concentrated more on music composition and composed many symphonies.
In the year 1800, he made a performance of his first symphony (Schindler p. 54). Between the year 1801 and 1806, he composed his 2nd 3rd and 4th symphonies making him a successful composer with the best symphonies in the industry. Beethoven excelled in his career as a symphony composer until his death on 26 March, 1827 in Vienna.
General Overview of the Genre
A symphony is an extended musical composition in the western classical music (“Symphony” par. 1). It contains both instrumental passages and overtures or interludes. The usage of the word symphony dates back to the 17th century tracing its origin from Greek word συμφωνία meaning agreement or concord of sound.
Symphonies written in the past had three movements namely; quick-slow-quick. They were mainly used as overtures to introduce a stage work (“Symphony” par. 1). A piece originally written as an overture could be used as a symphony and a symphony could also be used as an overture.
The three movements in the 17th century symphony were later replaced by four movements in the 18th and 19th centuries. The change from three to four movements originated from German composers especially Haydn and Mozart. The four movements were: the opening, slow movement, a minute with trio, and an allegro (“Symphony” par. 6). There were, however, variations in this layout in terms of style and content.
In the 19th century, symphonies became very popular among the music fans. Beethoven expanded symphony very fast with his compositions. His ninth symphony was the best ever composed making a summary of the previous eight. By the end of the 19th century, instruments that allowed an orchestral approach to symphonies were introduced by French organizers.
In the 20th century, symphony experienced further diversification in style and content, but still mentioned the old format. Symphonies still remained to be orchestral works even with diversification of style and content. However, most symphonies composed in the 20th century had variations distinguishing them from the earlier genre.
Analysis of the Specific Work
Beethoven composed a total of nine symphonies commonly classified as No. 1-9, though they had names as we will see below. His first and second symphonies were a continuation of Haydn’s and Mozart’s work (Comini p. 124, 130). His third symphony was called ‘Eroica’, which was a romantic symphony. It marked the start of his best compositions.
In his fourth symphony, he featured strong programmatic background. This symphony also marked the start of the fading away of the classical symphony. His fifth symphony was unique. This is so because of its sonata that made it stand out from his previous compositions.
The sixth symphony called the pastoral is a series of symphonic poems interconnected through related melodic motifs (Comini p. 135). The seventh and the eighth symphonies has new element of aesthetics. The ninth symphony is in the form of a choral. It represents the summit of the Beethoven Symphony (Cook p. 64).
It also represents all the musical means of expression utilized by himself up to that point of his composition (Cook p. 64). Beethoven once said that symphonies were a true representation of him. Through them you would get to know his likes and dislikes. Beethoven is the best known composer in the world both during his time and in the current world.
His compositions were a great breakthrough for this genre of music. They were all unique from the other artists’ compositions. Each prepared a way for the next. They were like a continuation of each other. Some of his best compositions were symphony No. 3, 5 and 9. They were the most popular and the most listened to during his time. Beethoven’s compositions are known to many in the history of this genre of music.
Analysis of the Ninth Symphony (Choral Work)
Composed in the early 19th Century, Symphony No. 9 is the summary of all Beethoven’s symphonies (Comini p. 138). This composition includes all his previous eight compositions. It has all the ideas of the previous symphonies summarized into one composition. Its tone is that of happiness hence considered by many as the symphony of joy (Cook p. 67).
Part one of this symphony has an everlasting moment in the creation of the composition and Beethoven is viewed as a genius for this. Its content presents the horrors of war in the world at that time. The music background is composed of violins and the cellos. The first theme is introduced with much effort contrasting with the secondary themes and motives (p. 65).
Part two of the symphony is joyful. It has great intense and depth, which often made the crowd happy and cheerful during performance. Part three creates a different atmosphere altogether. It is like the beginning of a new cycle (p. 70). There are movements of lyrics allowing for dancing during the performance. Finally, part four is the summary of the whole symphony (p. 72). It creates the most memorable page in the book of universal culture.
Works Cited
Comini, Alessandara. The Changing Image of Beethoven: A Study in Mythmaking. New Mexico: Sunstone Press, 2008. Print.
Cook, Nicholas. Beethoven Symphony, Issue 9. Cambridge: Cambridge University Press, 1993. Print.
Ludwig van Beethoven was a German composer, born in 1770 and died in 1827 while completely deaf (Kinderman 22). Beethoven was a key figure in Western art music and was monumental in the musical transition between the Classical era and the Romantic era.
His hearing problem set in his early twenties but it never deterred him from composing quality music. He continued to compose and perform even after he went completely deaf. Entirely, he composed nine symphonies and his most popular symphonies are No’s 3, 5 and 9 (Grove 27).
Analysis of the symphonies
Beethoven is one of the greatest composers of music in both the classical and modern music era. This is so because of his great symphonies. He only composed only nine symphonies, each of which is unique in a distinct way and composed in a different key. His most popular symphonies are No’s 3, 5 and 9 (Simpson 19). The histories of these three symphonies are familiar to almost every classical music enthusiast, but the other six are not very well known.
Symphony No. 1, Op, C Major
Beethoven started composing this symphony in 1799 and premiered it in 1800, one year later in Vienna. Relative to the other eight symphonies, this one has the most moderate sound (Lockwood 41). When it first premiered, the audience was surprised because they were used to listening to pure classical music, unlike this one that started on a dissonant chord.
Symphony No. 2, Op. 36, D major
Before its completion in 1802, Beethoven had been working on it for three years. This was a critical time in his life because his hearing ability was slowly diminishing. Musical critics believe that the mellow and ‘sunny’ nature of this piece was a direct reflection of his will to overcome his predicament (Morris 33). He was even suicidal because of the hearing problem but others refute these claims.
Symphony No. 3, Op. 55, E-flat Major
This symphony is also called Eroica and it debuted in August 1804. From the writings of Lobkowitz, Beethoven first performed it in 1805 in Vienna. The performance was a bit off the point because the audience did not fully grasp the content of the symphony (Grove 31). This sparked debate with some claiming that it was his best work while others claimed that it expressed a longing for originality that never was.
Symphony no.4, Op. 60, B-flat Major
This symphony was composed in 1806 and is one of Beethoven’s simple symphonies (Grove 36). This is because of his interruption while he was working on it. After beginning work on it, he was commissioned to work on a symphonic request from the count of Sicilia. The reason behind suspending his symphony for the Count’s is not clear.
Symphony No. 5, Op. 67, C Major
This symphony was composed between the years 1804 and 1888 and played first in 1808 at a theatre in Vienna (Lockwood 53). Of his entire symphonies, this is the most popular. This may be due to the familiarity in its four first notes. This symphony premiered together with symphony 6 but their numbers were switched.
Symphony No.6, Op. 68, F major
This is also referred to as ‘pastoral.’ (Lockwood 56) When it premiered, it was recorded as ‘recollection of country life’ on the performance program. Even though this symphony is believed to contain some of Beethoven’s most powerful writing, it was not well received by the audience. This may have resulted from the previous symphony that is the most popular with most classical music lovers. Despite bad reception, it is played in many places throughout the world.
Symphony No. 7, Op. 92, A Major
The composition of this symphony was finalized in 1812 and it premiered at the University of Vienna, one year later in 1813. It is widely considered a symphony that evokes dance moves. Wagner gave the title “apotheosis of dance” to the symphony owing to its consideration as a dance symphony.
Symphony No.8, Op. 93, F major.
This is the shortest symphony that Beethoven composed and runs for only 26 minutes. As such, it is widely known as “the little symphony in F Major.” In addition, this symphony is often times disregarded because of its shortness that many consider as simple. Beethoven composed it at the age of 42 and premiered it together with symphony 7 two years after he composed it.
Symphony No. 9, Op. 125, D Minor.
This is also referred to as “choral” and was Beethoven’s last symphony (Grove 42). Beethoven composed it in 1842, a time when he had gone fully deaf. In this symphony, the human voice and the sound of the instruments were integrated at the same level. The premiere was so dramatic that when the performance was over, he went conducting and his soloist had to intervene. This marked a triumphant and glorious end for one of the greatest composers of all time.
Conclusion
Ludwig van Beethoven is on of the greatest composers of all time and composed nine symphonies, all distinct in their structure. Of the nine, three are the most popular, 3,5 and 9, 5 being the most popular of the three (Grove 24).
He marked the transition between the classical era and the Romantic era. His hearing problem set in his early twenties but it never deterred him from composing quality music. He continued to compose and perform even after he went completely deaf. He performed his last symphony while entirely deaf and it marked his glorious end.
Works Cited
Grove, George. Beethoven and his Nine Symphonies. London: Kessinger Publishing, 2004. Print.
Kinderman, William. Beethoven. California: University of California Press, 1995. Print.
Lockwood, Lewis. Beethoven: The Music and the Life. New York: W.W, Norton, 2005. Print.
Morris, Edmund. Beethoven: The Universal Composer. New York: HarperCollins, 2010. Print.
Simpson, Robert. Beethoven Symphonies. New York: Ariel Music, 1986. Print.
In “Beethoven’s Instrumental Music,” Ernst Theodor Amadeus Hoffmann expressed his attitude to Beethoven’s instrumental pieces as the vivid examples of the absolute music, the concept of which was developed in the nineteenth century. The document is important to describe the perception of the instrumental music in contrast to the vocal music during the era of Romanticism.
Hoffmann’s main argument presented in the document is that Beethoven’s instrumental works illustrate the real essence of music. Hoffmann claimed that the composer’s approach “gives pure expression to music’s specific nature” (151). The author of the document also developed the argument that Beethoven’s works represent the new musical paradigm, according to which the focus is on its pure means and effects and not on words. Hoffmann noted that Beethoven’s instrumental music “opens up to us also the realm of the monstrous and the immeasurable” (152). From this point, the composer does not need any other tools in addition to sounds of instruments in order to demonstrate the emotions that are typically expressed with the help of words in the vocal music.
Pointing to the pure nature of Beethoven’s music, the author also focused on the harmony of music. Hoffmann stated that Beethoven “has truly mastered the secrets of harmony who knows how, by their means, to work upon the human soul” (155). Therefore, according to Hoffmann, a great composer appeals to the listener’s feelings through the power of the instrumental music and its clear sounds.
While focusing on the context of the document, it is important to state that the author analyzed Beethoven’s music through the lenses of Romanticism, and this fact is important to be noted. Hoffmann claimed that this music “sets in motion the lever of fear, of awe, of horror, of suffering, and wakens just that infinite longing which is the essence of romanticism” (153). Thus, he accentuated the direct link between the principles of Romanticism with its focus on absolute feelings and the aspects of Beethoven’s music.
The document is important to be preserved and consulted because it provides the insights regarding the privileged position of the instrumental music in the nineteenth century in contrast to the other forms of music. In addition, Hoffmann’s discussion introduced the idea of pure music in relation to the instrumental pieces that was developed as the concept of the absolute music later. The author accentuated the absolute music as free from the text impact.
Works Cited
Hoffmann, Ernst Theodor Amadeus. “Beethoven’s Instrumental Music (1813).”Source Readings in Music History, Volume 6: The Nineteenth Century. Ed. Leo Treitler. New York: W. W. Norton & Company, 1998. 151-156. Print.
Ludwig van Beethoven is usually referred to as one of the most famous composers of all time. He created works that are still very popular today and are used in a lot of mediums of modern society.
His particular style and technique are made obvious in his Symphony 5, 1st movement and Symphony 7, 1st movement. Even though both are unique, there are similarities that relate to the person’s soul, connecting the inner world of an individual to the surrounding environment, society and all existence.
The great ability of Ludwig van Beethoven to compose music came from his intricate connection to the time of his life and matters that took place in the world. 5th symphony was a work of several years, starting around 1804 and ending in 1808 (Kinderman 109). There are four parts or movements in the symphony, but the beginning of each movement is what defines every one of them.
The first movement is significant because its distinct sound and originality are unexpected. Ludwig van Beethoven made it out to sound profound and important, and it is extremely difficult to explain in words, as a person can only feel music and experience emotions that arise with the sounds. The closest description of the composition is the way a person lives a life, meeting with its intensity and standing up to the challenges.
The bright rhythm and definite sounds illustrate a grandeur picture of a person fighting their destiny, falling down but getting up again, only to face new battles. Emotions of happiness, facing hardships but continuing the journey in the look for more happiness are key features.
The 1st movement can be thought of as quick and fiery, a clear contrast between notes gives the person a taste of what is to come but keeps one wondering what and how it will develop. At the same time, there is somewhat of a nervous and worrisome emotion, as the person feels being lifted by the sounds, but the rise is so quick and mind bottling that there is little knowledge of what to expect and how the descent will turn out.
The hard base sound is changed by a more melodic and invigorating style that consumes a person; swirls around imagination and emotions (Beethoven 5th Symphony, 1st Movement).
The 7th symphony is much different, as the talent and compositions of the composer were developing. It was written in 1812 and is contrasted with the 5th symphony by a separation of a mere four years (Kinderman 140). The melody and sounds are more united; representing the society that Ludwig van Beethoven lived in.
There is more heroism and the audience is left with a clear end result of a person overpowering life’s hardships and coming out victorious. It might seem simplistic but it is purposefully made to lack any unneeded, overrated zeal. The unique style is very evident, containing intricate connection of melodies and sounds flowing into one another.
The similarity between 5th and 7th symphonies is that both have many contrasts, strengthening and then lowering of intensity. The colorful nature of Ludwig van Beethoven’s imagination is put into sounds and is apparent by the interdependence of each sound.
It seems that the 5th symphony was the beginning of an unsure and battling person and composer, who was searching the world and trying to separate chaos from order, whereas the 7th symphony represents moments when the unity between a person and the world was found. Both have qualities of heroism and an unstoppable force that will not be crushed by the perturbations and unexpectedness of life.
In contrast, 7th symphony seems to relate more to people and patriotic ideas of the times. This was the historical period when Napoleon was defeated and the music seems to joyfully speak to people who have endured and survived yet another war with chaos (Beethoven 7th Symphony 1st Movement).
The great skill of Ludwig van Beethoven is to contrast the mental processes through music. In 5th and 7th symphonies, there seem to be two different points of view that clash and manifest themselves through the progress that is made by listening and comprehending thoughts and feelings.
The elements of ideal life, freedom and engulfment by evil forces are present throughout, making two compositions similar but different. The 5th symphony speaks with direction, sharpness and the motif is defined by the person’s readiness to take on whatever is presented in front of them.
The other movements of the 5th symphony continue the battle but variations and additions to the 1st movement represent progression and intensity of the developing picture.
As each movement begins with a contrasting and defining sharpness of the unexpectedness continuing, the effect of new challenges is presented over and over again, but the following additions create a sense that the light side of existence is becoming stronger, eventually overpowering evil forces.
It gives hope to a person and provides consolation regarding past struggles. The difference between the intensity and the calm qualities of the continuation bring peace to the composition. But the repetitive nature of the harsh base reminds that the battle is far from over and an individual will have to face more hardships and limitations.
To back away from the micro details of each symphony and compare the two, they can be seen as two separate forces of nature. The 5th symphony is the personal fight of an individual, whereas the 7th symphony is the unity that is reached through social understanding and a common goal. The stormy skies of life back away and people are given something to look forward to, together and with each other’s help.
This effect is created by the grandeur and harmony of sounds. The changes in tonality provide an insight into the composer’s thoughts and feelings, making obvious his own struggles. It is interesting to see how the 5th symphony can be compared to a structured march that has a repeating chorus, organizing the whole composition into a reliable and framed version of life.
The 7th symphony, on the other hand, is “smoothly shaped” by a gradual flow of one melody into another. In the two symphonies, Ludwig van Beethoven has created depth and phases of melodies. The mood of the music is deepened by the unexpected sounds, but then, the listener is given something concrete to rely on, as the melody returns to the previously heard sounds.
Not only the two symphonies are different in emotional make up, the periods of time are also represented. The dominating features of the 5th symphony constantly change the melodical drawing. Pauses that are made in the beginning stages are erased and later avoided, providing the audience with new interpretations and understanding.
An important thing to keep in mind is that Ludwig van Beethoven was very serious about writing his symphonies. His work can be compared to a novel or drama in several parts that speak to people and their souls. All of them are united by a single line of development and battle between two forces.
Also, the fact that his compositions seem directed towards people, nations and even timeless existence of humanity, give his symphonies a special place in the music world. All the sounds that are included in the symphony are carefully selected, thought of, felt and molded. The shaping of the melody came from his heart and depth of an understanding of human emotions and oneself.
The 5th symphony is a creation that tells a story with an ending, from the contrasting “light and darkness” to the final rising of the victory. The parts are separated so well that there is no doubt in the person listening.
This proves that Ludwig van Beethoven had a profound understanding of human nature and the main points of one’s life. There were many great composers before and after, but Beethoven stands out as a unique person with own style and definition of music.
One of the most significant facts about Ludwig van Beethoven’s symphonies is that he was able to communicate to people and make them realize that there are much greater things in life than suffering and defeat. It shows that he was a deep thinker and had a very sensitive understanding of emotions. There has been a lot of speculation as to how such great works of art come into existence.
What is it that makes a certain person come up with such a masterpiece? Some people offered an explanation that an individual is simply more talented than the rest of the population. But if people cannot choose to be talented that means there is a natural process in place that puts such talents into people. It would be a safe assumption that Ludwig van Beethoven was filled with melody and harmony.
In order to create a piece of art that can be enjoyed through hundreds of years and become universal in the world, one must possess talents beyond those regularly expected. To zoom out even further, his later life and his hearing deteriorating can be seen as a great part of his whole journey. A person, who familiarized so many people with such divine sounds, was later deprived of the ability to hear.
The fact that he was able to continue his work means that hearing is not the only way a person can intake music and melody. Ludwig van Beethoven was still able to “hear” the melody in his head, just as dreams can be seen and heard without the physical senses being in an active mode.
All Beethoven’s symphonies are undeniable masterpieces that exist outside time. His 5th and 7th symphonies have a lot in common but also differ in their content. The one important theme dominant in both works is that there is a deeply felt connection to the world, people and Beethoven’s own being. The timeless works are the reminder of the unity between the universe and intelligent life everywhere.
Ludwig van Beethoven’s Für Elise is the masterpiece of Romanticism
Ludwig van Beethoven’s Für Elise was written in 1867. It belongs to the period of Romanticism. It was published in a music collection under the title Clavierstuck in A Mull that was translated as Keyboard Piece in a Minor. This music composition is a bagatelle that means a short piece of music for piano of mellow character. The rhythms of this musical composition are consistent throughout the whole piece. The whole musical piece is in 3/8 time without any contrast in meter. Nevertheless, it does not lack the feeling of motion and drive. Falls and rises may be observed in this melody (Staszak, n.d.). There is no wonder that this musical composition belongs to the period of Romanticism as far as it evokes romantic feelings during its listening. I like this composition but it evokes quite distressing feelings about unrequited love.
Vivaldi’s The Four Seasons is the musical piece of Baroque
Vivaldi’s The Four Seasons is my favorite musical piece as far as I’m fond of the violin play. This set of four violin concerts was composed in 1723. These concertos belong to Baroque music. Its ornamentation throughout music compositions is a peculiar feature of Baroque music. Most compositions are known for their sections of disjunct notes (Jennifer, 2007). These concertos are peculiar for their dynamics that may be sudden or gradual. The texture of each concerto differs from the other depending on the season. The Summer is peculiar for its thunderstorm at the end of the composition while The Winter differs for its pizzicato notes from the high strings that resemble icy rain. Every composition evokes a particular feeling associated with a particular season. Listening to every of these four violin concertos, I feel that every season is beautiful and unique. Although I like The Spring with its cheerful melody that is connected to the process of flowering making the spring so beautiful, other seasons are also beautiful and Vivaldi points out their beauty with the help of his compositions. The mild music of The Spring may be opposed to the tense music of The Summer with its storm.
Wolfgang Amadeus Mozart’s The Requiem Mass in D Minor is the peak of classical music
Wolfgang Amadeus Mozart’s The Requiem Mass in D Minor was written in 1791 and was unfinished because of his death. It is considered to be the most enigmatic musical piece belonging to Classical music. There are a lot of controversies and legends surrounding this musical composition. This composition is performed with 2 bassoons, 2 basset horns, 3 trombones including tenor, bass, and alto, violins, viola, 2 trumpets, cello, double bass, and organ. Tenor, bass, contralto, and soprano are the vocal forces observed in this composition. This music makes the listeners think about their life. It is quite complicated to perform as well as to listen to as far as it is necessary to have a certain experience to catch all peculiarities of this musical piece. I like this composition but I think it is quite melancholy and its melody seems to be constant that is quite boring and oppressive to listen to it for a long time. Maybe my conclusions testify to the fact that I am not the prepared listener for such a serious composition. It is considered to be the peak of Mozart’s career and belongs to the great masterpieces of Classical music.
Conclusion
Beethoven, Vivaldi, and Mozart are the greatest composers in the history of music. Their masterpieces differ from each other but all of them are beautiful and evoke different feelings such as joy or grief, composure or disturbance, pain or enjoyment, and others.
Reference
Jennifer, G. (2007). Analysis of Vivaldi’s The Four Seasons. Web.
18th-century London and Vienna were leading musical centers that attracted both renowned and aspiring composers from all over Europe. The cities differed in their concert scene and attitude to music, as well as the cultural and economic factors that shaped their musical culture. Both Beethoven and Haydn worked in Vienna, and Haydn spent several years in London, where he created some of his most well-known symphonies.
18th-century London was one of Europe’s most thriving capitals, where the wealth and power of the British Empire were concentrated. It led the world in trade and manufacturing and in the banking and insurance industries, on which trade depended (Rice 88). In 1714, the new Hanoverian dynasty was established that presided over London’s growth and prosperity and, to some extent, shaped the city’s cultural life (Rice 89). London’s musical scene, however, although mirroring the court in its multiculturality, was not under the king’s control. Numerous cultural institutions were sponsored by rich benefactors and did not rely on the government’s money.
Haydn was invited to London in 1791 by the German impresario Johann Peter Salomon, who conducted concerts that attracted the audience with the novelty of the programs and the popularity of the featured musicians. According to their agreement, Haydn was to write six symphonies and direct the performance of a new work for each of the 12 concerts presented during the season (Rice 238). The audience loved novelty, and Haydn strived to please their tastes. In his Surprise Symphony, the most celebrated of his twelve London symphonies, he included a fortissimo chord reinforced with a drumbeat in the otherwise placid slow movement, supposedly to attract the audience’s attention. Both the joke and the symphony itself won the public’s admiration and contributed to the composer’s popularity in England.
In Vienna, music flourished throughout the entire 18th century, attracting a steady stream of composers striving to establish themselves in the European musical scene. The French influence on Vienna, which was initially significant, deteriorated after the French Revolution when Parisian aristocrats disappeared from musical life. However, the revolution itself has a significant impact on the Austrian compositional style, with the nobility focusing on “a self-conscious promotion of “greatness” in music, at the expense of music that is perceived as merely entertaining or pleasing” (Rice 255). Composers found inspiration in the events that took place in Europe during the Napoleonic era, and the figure of Napoleon.
The city’s artistic climate was primarily created by Viennese noblemen who commissioned musical pieces from composers under the terms of exclusive ownership for a certain period of time. Beethoven, who moved to Vienna in 1792, quickly found patrons and established his reputation as a composer. His musical style reflected the tendencies of that time, combining “Mozart’s universality and wild, extravagant audacity with Haydn’s humorous caprice” (Rice 256). His works during the 1800s were described by his biographers as “heroic,” shaped by his own personal struggles and the general vibes of the Napoleonic era (Rice 264). The Sinfonia Eroica, originally dedicated to Napoleon, is considered to be the musical illustration on the subject of heroism, influenced by French Revolutionary music. Full of raw, wild dissonances and rhythms, it was a groundbreaking piece both in style and manner that changed the history of European music.
Overall, 18th-century London and Vienna were cultural capitals that differed significantly in their approach to music. London’s aristocracy was primarily focused on music for entertainment, and the ability to engage the audience was the most valuable quality for a composer. In Vienna, influenced by the events of the French Revolution and Napoleonic wars, music strived to reflect the political struggles, revolutionary ideas, and patriotic spirit of the city’s aristocracy.
Formation of the musical canon in the 19th century
The 19th century was marked by the establishment of the musical canon that denoted a major shift in how people thought about music. Over the course of the century, the individual performance canons of 18th-century Britain and France transformed into an integrated, international canon that established a stronger authority in cultural and aesthetic terms. It was shaped by the changes in the performance culture and the role of an individual composer, as well as economic, cultural, and social developments of that time.
Symphony, suite, concerto, chamber music, and piano sonata originated in the 18th century in private venues owned by the aristocracy who constituted the primary consumers of music. A specific concert culture was developed that was incorporated into the nobility’s social life (McVeigh 60). The performance culture defined the canon, as the repertoire and the presentation of works was the primary source of authority with regard to musical taste (Frisch 174). Over the course of the 19th century, this has changed towards public performances in concert halls that included both the classics and new works.
The role of each individual composer also changed significantly. By the end of the 18th century, musicians were no longer thought about as in service to extra-musical institutions (Goehr 206). In the 18th century, musical pieces were primarily commissioned by the aristocracy, and composers depended on their patrons in their work (Rice 264). This has gradually changed towards musicians sharing in the revolutionary freedom claimed by the rising middle class and being seen as “independent masters and creators of their art” (Goehr 206). The idea of a musical classic emerged from respect for the master composer, and the musical canon was developed to include the great musical pieces created in the 18th and 19th centuries.
The further development of the musical canon can be illustrated in the examples of Johannes Brahms, Aaron Copland, and John Cage. Brahms was a 19th-century composer whose music was rooted in classical traditions and counteracted the rapid growth of romantic individualism. Aaron Copland, the 20th -century American composer, is seen as a liberator of indigenous American music, who freed it from European influence. John Cage, also an American, was a pioneer of indeterminacy in music and electroacoustic music, whose reaction to the traditional canon was the creation of music that illustrated the blurred line between art and life. In his piece “4:33,” he included the noises of the audience breathing, coughing, and shifting in their seats to show that the sounds of life can also be considered as music (Burkholder 130). He went against all the boundaries of the traditional canon, making music that was more often talked about than played.
The program for a concert by the Santa Barbara Symphony includes the works of composers from different time periods. The program adheres to the traditional canon in featuring Johannes Brahms’s musical piece in the final part of the program. It was customary for 18-century concerts to perform the highlight of the program in its second part because many members of the audience arrived late for the performance (McVeigh 60). The program contradicts the tradition of not having an interval, which was typical for traditional concerts.
London theater and cultural values
The 18th century saw the flourishing of theater in London, with the scene mainly dominated by dramas and Italian operas. At that time, London’s theater operated under government control and was governed by the Licensing Act of 1737, which allowed only two theaters, the Theatre Royal, Drury Lane, and the Theatre Royal, Covent Garden, to present dramas in English (Rice 90). Another one, the King’s Theatre in the Haymarket, specialized in the production of Italian opera (Rice 90). The theater was one of the most popular forms of entertainment, and its popularity reflected the cultural values of that time.
The success of the Italian opera on the London stage was explained by the fact that many British aristocrats developed their musical tastes during travels in Italy. They brought with them Italian singers and composers who significantly contributed to London’s musical scene (Rice 93). Opera dominated the repertory, with individual pieces performed in the King’s Theatre varying accordingly to the tastes and strategies of the impresario in charge and the abilities of singers (Rice 93). Having a taste for opera was a symbol of cultural prestige and refinement.
In 1724, George Frideric Handel’s Giulio Cesare was performed at the King’s Theatre and was an immediate success. Handel, a German-born Baroque composer who settled in London in 1712, wrote Italian-style operas that gained him widespread recognition. Sung in Italian and featuring music in the modern Italian style, his works catered to the audience’s tastes while at the same time astounding it with compositional innovation.
Although the appreciation for Italian opera was considered as a sign of good taste, the performances were primarily valued for their entertainment qualities. The consumers of the Italian opera admired virtuoso singing, dramatic acting, and declamatory. The audience flocked to see foreign star singers who were considered exotic. Operas were often performed partly in Italian and partly in English, which made it difficult for the general public to follow the plot. The critiques of the opera pointed this out to expose the unrefined nature of the London theater public: “At length the audience grew tired of understanding half the opera, and therefore to ease themselves entirely of the fatigue of thinking, have so ordered it as a present that the whole opera is performed in an unknown tongue” (Addison 5). Many members of aristocracy came late for performances, regarding them as a part of social life rather than a cultural event.
In 1728, the impresario John Rich presented The Beggar’s Opera at Lincoln Inn Fields, which was an immediate success and was performed 62 times during its first run. The Beggar’s Opera defined and established a new genre of musical theater, a ballad opera, which was a spoken play interspersed with existing songs sung to new words (Rice 90). To some extent, it was an answer to the critiques of the popularity of the Italian opera, undermining and making fun of theatrical conventions in general and operatic conventions in particular (Rice 90). The Beggar’s Opera turned the world of Italian opera inside down, using familiar characters and songs in unexpected contexts and making fun of Italian opera’s fondness for happy endings. It led to the production of other ballad operas and the gradual deterioration of Italian opera traditions.
Works Cited
Addison, Joseph. “On Italian Opera.” The Attentive Listener, edited by Harry Haskell, Faber and Faber, 1995, pp. 3–6.
Burkholder, Peter. “Museum Pieces: The Historicist Mainstream in Music of the Last Hundred Years.” The Journal of Musicology, vol. 2, no. 2, 1983, pp. 115–134.
Frisch, Walter. Music in the Nineteenth Century. W. W. Norton and Company, 2012.
Goehr, Lydia. The Imaginary Museum of Musical Works. Oxford University Press, 2007.
McVeigh, Simon. Concert Life in London from Mozart to Haydn. Cambridge University Press, 2006.
Rice, John. Music in the Eighteenth Century. W. W. Norton and Company, 2012.
Exposition: This is a lively sonata on a much lighter theme than many of the composer’s works. It begins with a very fast movement that roughly reminds one of a chase, perhaps a hunt, or a train journey. It is played at different timing by different artists, but none are done slowly. This sonata:
The first theme – 0:00
This movement begins with a very quick main melody which is punctuated by a counterpoint trill on the upper keys, which repeats on a different set of notes and then the counterpoint repeats, terminates in a flowery round of notes going up and down in a couple of circles, like a small bird or a butterfly flying, and ends with a group of four single chords at what sounds like fifths intervals down the piano. It then moves into a second melody created from circles of notes up and down the piano and finally a set of steps up on the right hand with the left echoing. It terminates is a very lyrical section that transitions to the next theme. The almost hurried main theme is in surprising contrast to the light trilling notes of the counterpoint and flowery rich phrases of the round of notes that precedes the ending group of falling chords.
The second theme – 0:58
This short almost exciting section which builds upon the lyrical entrance and flows lightly with the right hand doubling the rhythm set by the left until it culminates in a set of rising and falling arpeggios that end on a repeated upper note and move into a set of chords struck in thirds going up and down the keyboard. The tempo gets progressively faster and louder until it drops into the quieter transition melody (2:07) that sets up the next variation on the first theme. This lighter lyrical melody is blended with a second more flowing melody with twice the notes that almost dances around the main melody and become more prominent, since it is more noticeable. It is almost like a butterfly pair as they fly together encircling each other in the air.
The first theme – 2:30
The first theme is repeated completely with a variation on the second melody and also on the punctuating fifths until it flows into the second theme (3:26), which is also repeated. Different additional melodies are blended with this reprise of the first and second themes. This also ends upon the bird-like repeated note until it reaches a strong intensity and then the closing theme is again a slower transition (4:35) to the next phrase, using a repeated melody line on several different beginning notes in a pattern of four harmonious beginning notes which would form a chord if played together.
Development – 4:59
The main theme is repeated again in a different variation which leaves out whole phrases and makes this section very quick. The lyrical second theme is also truncated which turns it into a different melody entirely that is repeated at different places and intensified in both tempo and volume. This section ends in a new melody composed of sets of three rising and three falling notes repeated until it once more finishes with the flowery melody that travels up and down the piano in waves almost like a cascading waterfall. The short transition is a very different set of notes travelling up the piano and ending again in the flowery section
The Recapitulation
Al of the several melodies that make up the overall theme are repeated in more variations: First theme – 6:55; Second theme – 8:06; Closing theme – 9:16 The last time the main beginning theme is repeated is it almost angry, very loud and punctuated, ending in a strong set of arpeggios and finally moving into the quieter melody then ending in just part of the first theme plus very strong closing chords.
This entire sonata sounds much like the composer was thinking about a fox hunt or something like it, as the melodies make on think of moving very quickly through a pastoral scene with birds and butterflies, streams and running animals. Even with the almost dark main theme, it is uplifting and bright.
Identifying Forms
This seems to be a concerto with the piano as the main instrument contrasted with the entire orchestra, mostly strings, but there are winds there also, which may make it a concerto grosso, except that it is very skilled, and not simply a simple conversation among the instruments. The horns even take the fore at times as do other instruments in solo.
This seems to be a baroque string quartet playing a rondo. I thought it was a canon, but the same melody is simply repeated by the different instruments, underscored by the cell sounds more like a rondo. Since it is played out of context, it is difficult to decide between these two.
This I was sure was a canon, even though it is played by different instrument groups. However, since it explores different variations on the melody, and I am not really sure of the difference, it is probably a rondo.
I think this is part of a larger work, perhaps a fugue, since it is only one theme. It is primarily violin and horns, almost in conversation.
I think this is a trumpet concerto. It seems that it is only the horn and the full orchestra in contrast.
This is a baroque violin solo concerto punctuated by a ritornello on other stringed instruments.
This is a rondo on strings, probably the last part of a violin or string concerto, rather baroque in style, but very rich.
This piano piece is a canon with what sounds like two voices, both piano.
Violin Concerto in D major, Op. 61 was written by Ludwig van Beethoven in 1806. It was written in a number of weeks. This concerto written for violin and orchestra was the only one of such kind.
In the 18th century, there were many conventional elements, which were dominating in concertos. Beethoven made his contribution to the evolution of the genre. He eliminated these elements and made the concerto closer to the symphonic genre. The composition was innovative and rich in technique and form. It is lyrical and harmonious, without any sign of tragic intensity.
In addition to the solo violin, the concerto is played in flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. The work is in three movements:
Allegro ma non troppo (D major)
Larghetto (G major)
Rondo. Allegro (D major)
Beethoven constructed this concerto symmetrically. Two dialectically opposed parts have a complete motif (A+B, C, D, E) in each section. The structure of the first movement is the “sonata form”. He divided it into three parts: the Exposition (orchestra and soloist), Development and Refrain (with coda). Closer to the end of the Development section, he introduces a new motif, which is not only breaking the monotony, but also has a significant psychological effect. He uses it to prepare the solemn return of the First Theme in the Refrain. This movement has a good example of ‘sonata form’. The second period has a radiance of scale and fine articulation. Beethoven achieved a perfect balance using six pure motifs (A, B, C, D, E and F). The first phrase consists of symmetrical antecedents and consequents.
The second movement has a pure lyricism. The structure is distinctive for the fact that it is completely in G major. The first theme is a pure romanza phrase played pianissimo with two bar coda on a muted strings. Then, goes two variations by the soloist and orchestra. The second theme is made up by a sublime period of eight bars. It begins in bar 45 and returns in bar 71. It is played on the deep strings of the violin. The whole movement consists of melodic variations played by the soloist and orchestra. The unexpected moments is the modulation on the chord (F sharp) in the fourth bar. The strings play with “sordina”, so the color in this movement is soft and warm. The second theme is played on the solo violin. The strings are deep and warm. Then, goes two the variations of the first theme and repeat of second theme with woodwinds. After that, goes cadenza and the last embellishment on first theme.
The third movement has a lively Rondo form. It starts interruptedly with the solo violin in low and high registers. Then, orchestra repeats the theme. In the second theme soloist plays a typical “corni da caccia”. Then, orchestra plays the same theme, altering the fragments, and returns to the main key and Refrain. Then, goes the consequent to the refrain. After that, goes a different pace in a transition to the next Episode. The second Episode is lyrical and expressive, as well as contrasting. The counterpoint is specifically melodic. Then, goes repeat of the first theme, first by soloist, then by orchestra. The third Episode is a variation on the first one. It is characterized by the hunting theme. Then, it is insensibly goes back to the main key. After that, goes cadenza and return of motif A. Then, goes reconduction and coda. The last repetition of motif A leads to the grand conclusion. The movement features the three-part symmetry and harmonic structure.
It is clear that Beethoven did not write the cadence just for violin, but wanted the performer to improvise. The entire Violin Concerto in D major, Op. 61 lasts for about 45 minutes. The first movement is the longest one and it is about 20 minutes in duration. This concerto is one the most important among the violin repertoire and it is unclear why the work was not recognized by audience and critics of that time.