Category: Beethoven

As I recollect my recent experience of Beethoven’s Ninth Symphony performed by Tafelmusik Baroque Orchestra in Koerner Hall, I find it quite complicated to communicate the enormity of the experience using conventional language means. My search for words can be explained by the mystery that surrounds the great composer and his last symphony, the ambiguity that the Ninth has aroused in scholarly literature and the public perception, and the unearthly feeling of the composer’s message slipping away into infeasibility when listening to live performance of the Ninth.

Tafelmusik has gone further in their attempt to explore and reveal what Beethoven had contrived and prequeled the Ninth with a cappella choral works that served as a divine overture to Beethoven’s panoptic genius. In the following paper, I am going to render an account of my experience with a live performance of the Ninth Symphony, as well as the ground for including the a cappella chorales into the program and make an attempt at analyzing the implications of the performance style.

The concert program featured four works, three of which were shorter a cappella compositions by Rheinberger, Brahms, and a modern Canadian composer Jeffrey Ryan, leaving the second half of the concert to Beethoven’s Ninth. The works by Beethoven, Rheinberger, and Brahms belong to 19^th century while Ryan’s work was written in 2015 and only premiered on February 4¹. The styles of the works preceding the Ninth are chorales, which might have served as a tribute to Beethoven’s most widely-known symphony.

The Ninth was an unprecedented case of a renowned composer deploying voices in a symphony². “Warum ist das Licht gegeben” by Brahms, “Abendlied” by Rheinberger, and the Ninth Symphony were created by German artists, although these works are an indispensable part of universal musical legacy. “Valediction,” which is yet to establish itself as one, was not only the most recent but also the only work in the concert that was written by a Canadian.

Rheinberger’s “Abendlied” belongs to the composer’s “Three spiritual songs,” which is a short work for choir. The text of the work directly cites St. Luke 24:29, particularly the episode featuring the Messiah and His disciples³. Rheinberger might have changed the meaning and essence of the Scripture, specifically by taking the line out of context; on the other hand, judging by the musical characteristics, it was the words that have spoken to him.

The “Abendlied” is followed by a still more ambiguous Brahms’ work which has raised much scholarly controversy regarding the composer’s religious disposition⁴. “Warum ist das Licht gegeben” encompasses the sufferings of Job and, simultaneously, the Lutheran motives of the righteousness of God. The “why” question is transcendent through the text as well as the music, leading the listener to the Lutheran anthem of joy in death⁵; such association is clearly a tribute to Beethoven’s Ninth. Finally, “Valediction” is based upon the poem by Norma West Linder, featuring the narrative of the fragility of life and the might and glory of death through the symbolist images of flowers⁶.

Such precedence to the great Ninth Symphony virtually leads the listener into the “Ode to Joy” featuring the fourth movement. The “Ode” by Schiller, slightly modified by Beethoven, is the climax following the long prelude and a compilation of the symbols of God, life, death, joy, love, flowers, unity, and cosmos, which intertwine in the poetic magnificence.

Thus, the program of the concert considers some of the symbols and meanings that can be attributed to the Ninth Symphony. The Symphony is multidimensional, deploying a range of symbols via the text of the chorale and the melodious imagery. Although the composer’s intentions cannot be fully unriddled, the program cleverly ties the stark imagery, turning the concert into a glorious hymn of existence. The power of the Absolute, which Beethoven himself has regarded as a subject of utmost importance, is underlying yet overarching.

It is worth considering that by the time the Ninth Symphony was written, Beethoven has lost the best part of his hearing, which is why he could sense the power of inevitability like no other⁷. The program consisting of Rheinberger’s, Brahms’, and Ryan’s works, thus, has its reasons which can be singled out upon some follow-up study. Reviving the Ninth required a decent tribute to Beethoven’s genius, which the program provided.

Interestingly, the print version of the program contains a single clue to what the meaning of the concert is. A historical insight into the Symphony is provided to enhance the listener’s understanding of the composer’s situation at the time, particularly his deafness and the time it took him to finish the Symphony. It is stated that the Ninth Symphony has long been exploited, and many sideways meanings have been assigned to the great creation. The Presbyterian hymn, the fall of the Berlin Wall, and later – the German Olympic Games have used the Symphony, attributed it with the symbols of freedom or devoting it to the Absolute alone. The brochure suggests that the listeners forget about the symbols abuse, hinting at the initial intentions that the composer had regarding this symphony.

As to my personal experience, the performance was quite different from what I had expected. Firstly, the three choral works preceding the Symphony filled the atmosphere with the vocal images of unearthliness and quiet energy. Afterward, the Symphony itself was performed so as to expose the nuances. The repetitive motives brought out by the basses in the fourth movement sounded like a recitative, an in-between untraveled patter that the listener rather expects from an oratorial verse. The recitative of the basses did not have any words, of course. In the fourth movement, particularly, they sounded as if to reject the motives introduced earlier.

The greatest contribution that the Tafelmusik Orchestra had added to the Ninth, in my opinion, is the theme of Joy: the way it was performed, it produced the impression of the very process of creation, as if Beethoven himself was crooning the motive under his breath.

Upon preliminary reading with regard to the Symphony, I was prepared to hear a hymn of unity and brotherhood, the symbolic meaning so frequently assigned to Beethoven’s work. It was the brochure that made my mind deviate from this preconception and rely on the hearing solely. Featuring the works by Brahms and Rheinberger, as well as a marvelous creation of the modern composer, the program seemed to take a stance not quite conforming to what the public generally thinks of the Ninth Symphony. The follow-up reading that I have made cleared everything up to the point of nearly-understanding. I use the word “nearly” because I still think the fullness of meaning that Beethoven attributed to his creation can hardly be comprehended today. What can be done is getting as near to the genius as possible.

Thus, subsequent readings have partially opened my eyes to what the great musical utterance probably implied, and whoever created the program seems to share such a viewpoint. It can be argued that there is more to the Ninth than the idea of brotherhood and unity as designed by Schiller and reconceptualized by Beethoven. Among other things, the numerous sketches of the Symphony made by the composer in different periods of his life speak for the great diversity of what was subsumed.

Considering that the work was used, and exploited, in a wide array of areas and occasions, from Marxists to Protestant Church to Nazi hymns to “Clockwork Orange,” the riddle of the Symphony appears all the more unsolvable. The only guideline comes in the form of Schiller’s Ode – but then, it can be asked what it was that Schiller meant that inspired Beethoven. The seemingly solid suggestion of the Symphony’s meaning is, thus, fractured into subsequent questions.

Was it the references to Hellenic heroism that determined Beethoven’s choice of the words for the chorale? Was it the power of the Absolute? Was it friendship and brotherhood, religious awe, heroism, and unity, or the libertine bacchanalian imagery that appealed to him? The diversity of interpretations can hint that the sphynx has no universal answer to all these questions. I stick to the point that by writing it the composer unleashed the power that his feelings had over him and transformed the inner into the universal, which just about sums up the Romanticist idea of freedom. The meaning of the Symphony can be, thus, regarded as the meaning that each individual listener attributes to it.

Beethoven’s personality and life circumstances, as well as his philosophy and religious stance, have undoubtedly laid an imprint on his creation. Nevertheless, the meaning that the composer intended to put into his creation is nowhere to be elicited from except the thoughts that the Symphony provokes.

To me, the concert has appeared a decent and intelligent version of what the meaning is. The concert taken as a whole can be regarded as a versatile, and at the same time utterly personal analysis of what the strongest power of existence might be, as per Beethoven. The message of the concert, as I see it, is that there are entities that have the humanity under control. The notions of God, death, unity, and joy are intertwined, demonstrating the complicity of existence, showing that the universal order of things is somewhat more puissant and exhaustive than we imagine. The premiere performance of “Valediction” by Jeffrey Ryan was very much to the point, at that.

Given that the work was created in 2015, there is a sub-message of the statics of the universal order. The Baroque may give way to the Romantic that, in turn, is followed by experimentalists, minimalists, and modern classicists but the power that is watching from behind the curtain of existence remains the same. The agreement over what the powers are may never reach consensus but judging by the Ninth Symphony, Ludwig van Beethoven has come very near to the truth, leaving the glorious offspring of his mind for the subsequent generations to conceptualize and overthink.

Bibliography

Cooper, Barry. Beethoven. New York, NY: Oxford University Press, 2008.

Beller-McKenna, Daniel. “The Great ‘Warum?’: Job, Christ, and Bach in a Brahms Motet.” 19th-Century Music 19, no. 3 (1996): 231-251.

Markfromireland. “J.G. Rheinberger: Abendlied – Dresdner Kreuzchor.” Saturday Chorale. Web.

Molina, Marcela. “The Use of Chorale in the Motets of Johannes Brahms: Plurality of Musical Languages.” PhD diss., The University of Arizona, 2013.

“Valediction.” Jeffrey Ryan: Composer. Web.

Vincent, Michael. “Tafelmusik and Bruno Weil expose inner workings of Beethoven’s Ninth: review.” Toronto Star. Web.

Footnotes

1. Michael Vincent, “Tafelmusik and Bruno Weil expose inner workings of Beethoven’s Ninth: review,” Toronto Star. Web.
2. Barry Cooper, Beethoven (New York, NY: Oxford University Press, 2008), 280-295.
3. Markfromireland, “J.G. Rheinberger: Abendlied – Dresdner Kreuzchor,” Saturday Chorale. Web.
4. Daniel Beller-McKenna, “The Great ‘Warum?’: Job, Christ, and Bach in a Brahms Motet,” 19th-Century Music 19, no. 3 (1996): 231-232.
5. Marcela Molina, “The Use of Chorale in the Motets of Johannes Brahms: Plurality of Musical Languages,” (PhD diss., The University of Arizona, 2013), 15-16.
6. “Valediction,” Jeffrey Ryan: Composer. Web.
7. Barry Cooper, Beethoven (New York, NY: Oxford University Press, 2008), 78.

Introduction

The Beethoven’s 9^th symphony has been the basis of vocal settings and structural innovation to the music composers emerging after the nineteenth century. The 9^th symphony was however developed from the 8^th symphony which comprised of voices developed by Berlioz. It is believed that a composer by the name Mahler significantly influenced the 9^th symphony through his works. This paper seeks to analyze the reception of Beethoven’s 9th symphony since 1900.

The symphony development

Several ideas boosted Mahler’s in his composing career. Among the ideas includes the articulation of the symphony as a journey coupled with various stages of experiences and events. This quality gives the music a practical objective which further boosts its listeners. It also differentiates this musical style from the rest. Mahler’s also modified Beethoven’s symphony in order to change the status and the weight of the music. This piece of music, therefore, transformed Beethoven’s music from having a public perspective to more dynamic and substantial music. The 9th edition also incorporates the philosophical and individual symphonic style which has received great support and attention from the listeners. This music edition also uses a large-scale vocal finale to improve on the complexity of the first Beethoven masterpiece. There are also a lot of superstitions in the 9th edition which has also added flavor into this form of music.

It is believed that Mahler’s work in the ninth manifested his chromatic writing which reversed the spiritual assertion and solidarity amongst human beings as supported by Beethoven’s. These writings were however musical and philosophical. They were philosophical since they expressed human predicament which portrays their extraordinary power and beauty. The ninth symphony was universally interpreted by the musicians in both Germany and Austria by this time.

Despite the fact the Beethoven’s project was a fictitious or utopian project to the majority, it gradually gained popularity and acceptance in the musical arena as the societies yarned for better and improved music (Painter 26). And since the symphony represented an ideal concept to the human beings, it therefore heavily expressed the strengths and experiences of Beethoven. The symphonic style also enhanced the proper coordination of different voices between the musicians. This is because it greatly reduced tonal conflicts as the voices are vividly differentiated. This character emotionalized the symphony making it like the listener’s own.

The importance of the ninth Beethoven’s symphony

The symphony has made it possible to emotionalize a musical piece both in the thoughts of personal individuals and strangers. The same has also been translated to the crowds as the symphony is performed. The performance of symphony is banded together with the instrumentals in order to produce a heroic self on the stage. This quality made the symphony more acceptable and appealing to the listeners and the crowd in the case of stage performances. Beethoven’s symphony, therefore, united the extreme stand in the individual’s lives regardless of whether private or public.

Beethoven’s symphony translation to suit the current generation

It was also expected that more narrative templates could follow Beethoven’s heroic writings as technology and experiences changed with time. More emotionalized melodies could be established with the new musical instruments invented. With the newly invented musical instruments, the symphony clarity and quality are enhanced. This has led to the increase of the symphony’s listeners in the current generation. The sweet, emotional, and experiential tones have also contributed to quality improvement (Pasler 395). The slow movement and dancing quality has made the symphony be loved by the elderly listeners. This is because the music does not involve its listeners and dancers in a rigorous body movement as they seek to follow the musical tunes and melodies.

There has also been a change in the symphony’s program all of which were aimed at establishing more quality music. Among the changes made were the symphony tempo, the conductors in this case tend to make the music more slowly and grandly than the original one (Barry 209). In the past few decades, there has been some emergence of historically informed performances which seek to improve and adjust Mahler’s ideas on Beethoven’s symphonies. These melodies are therefore translated into modern orchestra sound but still retain their original tone and quality. In the many live concerts and super audio CDs, such musical symphonies have been able to win support from many listeners around the globe. The orchestra sound effectively uses Mahler’s interpretation of Beethoven in order to capture the valuable qualities and ideas.

Conclusion

The ninth Beethoven’s symphony has greatly transformed the musical arena making as it provided quality and more harnessed vocal tunes. The symphony has recently received more support from the listeners due to its slow pace and memorable experiences. Their emotional experiences also make them livelier when being performed on the stage a quality that has helped to increase their popularity. Considering that this was Mahler’s idea, it is important to appreciate his work even as we continue enjoying Beethoven’s melodies. In order to maintain their originality, it is important to always interpret Mahler’s historical ideas.

Works cited

Barry, Barbara. The philosopher’s stone: essays in the transformation of musical structure. NY, Pendragon Press. 2000. Web.

Painter, Karen. Symphonic aspirations: German music and politics, 1900-1945. London, Harvard University Press. 2007. Web.

Pasler, Jann. Writing through music: essay on music, culture, and politics. New York, Oxford University Press US, 2008. Web.

Introduction

Beethoven’s Ninth Symphony is a marvel of woven sound, bringing together all the power and harmony of orchestra and voices to celebrate freedom. This symphony has engendered more controversy than any other of Beethoven’s works. There is no doubt as to its beauty and power, and the Ode to Joy is so memorable that it is recognized worldwide by people who never listen to classical music.

The controversy was whether or not it was intended as a praise to Napoleon Bonaparte or not. The name was changed several times. Beethoven was undoubtedly very disappointed that Napoleon Bonaparte had turned out to be an ordinary man after all, giving in to personal ambition and declaring himself the Emperor of France. He was actually asked to compose a symphony for the coronation celebration, and he seems to have refused.

However, the name Bonaparte was penned on the manuscript (or penciled) after all when it was finished. It is interesting to note that Beethoven, like most other composers of his time, was dependent upon sponsors for his living, since, unlike visual arts, people seldom actually paid for musical compositions. So it can be expected that some of the dedications and names were given to curry favor with those who could help his career.

Main text

It must have been hard for Beethoven to take money from patrons and have to please them. He was a proud and idealistic man. However, there is no doubt that the Ninth Symphony was a celebration of freedom and an end to the war. However, when Napoleon decided to crown himself emperor of France, Beethoven was enraged. The entire first part was changed and we shall never know what the original was like. Beethoven had to be persuated to finish it at all. The structure of the symphony is very thematic, but he uses competing elements almost like he is recreating a war. This is especially obvious in the vocal quartets.

The beginning of this symphony is a section with very strong brass and percussion that stops and is followed by almost ominous strings on a slow, low-pitched lyrical section. This is then capped with more brass and percussion and more even lower pitched strings going down the scale to a deep long note which ends again in trumpets and drums. Then the woodwinds take over and are again followed by low pitched lyrical, but somber strings.

Woodwinds alternate with strings again with a light quick part on the woodwinds followed by more heave strings moving again to woodwinds and back to somber strings until the first notes of Ode to Joy are heard on the woodwinds, punctuated by brass and underscored by heavy slow strings. It is this pattern of alternating between two very different section of the orchestra and two very different themes that creates the impression of struggle.

Finally, a very quiet string section follows, leading gently to the beginning of the Ode to Joy, then reprising once with more melodious blends and full strings with oboe. This part really reminds the listener of what Napoleon said of his effects upon people, “I was the sun that crosses the equator as it describes the eclipse; as soon as I entered each man’s clime, I kindled hope, I was blessed, I was adores, but soon as I left it, I no longer was understood and contrary sentiments replaced the old ones. (Cite the Solomon article here) The beginning phrases are tossed back and forth between beauty and power, possibly symbolizing this dual nature of the public. It also reminds one of the actual nature of heroism, which is born when ordinary people are raised to extraordinary levels by circumstance.

The Symphony was entitled Eroica, and this could be simply a term to note that it was a celebration of heroism. Beethoven considered his titles and dedications very carefully. The dedications were often used for political, social or just personal reasons, but the titles gave insight into the theme and emotional content of the music. Will (2002) made a comment which intrigued me, and I had to check it out. “The Eroica more closely resembles The Seven Last Words; if Christ, whose utterances begin as fully formed melodies that are thereafter varied, does not therefore make the celebrated journey toward wholeness that Beethoven’s grand Uomo does, his identity coheres in a similar way.

Thematic resemblances give the impression that every twist and turn in the implied plot, every emotional vicissitude, affects a single body.” (Will 210) If he is talking about the Ode to Joy, which some call the Ode to Freedom, I can understand this, since the notes and the syllables in the original Hebrew are alike. It even follows the same repetition of phrases as in the recorded last words of Christ. Tyson agreed with the religious interpretation, pointing out the story of the arrest of Christ in the Garden of Gethsemane. These themes certainly seem to be there, but one cannot discount the social themes of struggle for freedom wither.

The first round of the thematic Ode to Joy is played by very quiet low pitched strings, followed by fuller strings with the oboe playing a contrasting melody that blends perfectly. It is repeated once more with strings only until the sound swells and is echoed again by the entire orchestra at full volume with lots of horns. All the while there are minor melodies combined and woven into the whole.

It finishes with huge flourish and then the baritone solo introduces the vocal section. Strings and woodwinds underscore or present counterpoint as the baritone sings and flutes are added when all the voices join in the repetition. It becomes almost a round with different vocal sections playing off each other, yet ending at the same place. The four soloists sing almost like a string quartet playing a fugue or a canon. This culminates in the full orchestra and chorus ending this part.

The drums and brass reprise the theme in a very military sounding march, using doubled notes and the tenor joins in once more, followed by the full chorale. It is a variation on the theme, but so subtle that it almost is not heard as the same theme. Finally the strings take off with the melody in a final variation on the theme with the brass until they descend into a soft quiet interlude before the full chorus repeats the original theme with plenty of brass and percussion and low strings supporting.

To me this symphony sounds like the composer was thinking about the connection between God and the people. The sacred elements are certainly there, represented in all the vocal elements. It certainly sounds like praise. The Ode to Joy returns several times in slightly different variations between more classic sacred musical types. What is positively magnificent is how Beethoven wove melodies and harmonies almost like a canon in parts with the orchestra providing the background and some of the complexity.

However, Hamburger insists that it is all more political or social. “it would have been easy enough to detect revolutionary tendencies in the choral movement of the Ninth Symphony” (Michael Hamburger 7) I think it is very odd that I should hear ecclesiastical themes in the music while Beethoven was reported to have been quite furious that Bonaparte had signed a deal with the Vatican. He felt that France had been betrayed by this act.

It is certain that Beethoven was fully focused upon this piece while he worked on it, though the work was interrupted at one point. Schlosser would have said he wqas rather obsessed with the composition. The Ninth Symphony filled his imagination, at home in the highest spheres, and the completion of this gigantic work displaced every other occupation at this time. Yet I was able to gather from his reply that in the near future he would publish several new quartets and sonatas, the manuscripts of which had already been sent off. (Michael Hamburger 193)

I found the vocal quartets both surprising and a little disturbing, since they seem just a little atonal in places. They must be very difficult to sing. The ending is almost conventional as compared to the rest of the symphony, with rising scales to a repeat of the themes at great speed and volume until it ends in three long notes.

I have to agree with the statement that Solomon made about the return of the dream of enlightenment being only really just a hope, but Beethoven did hang on zealously to that hope. In fact, it must have been very difficult for Beethoven, an idealist, to have to play politics and curry favor in order to survive. It is interesting how much rebellion shows up in his music. While this symphony was supposed as a coronation celebration for Napoleon, there are some Russian and Viennese elements which cannot be pointed to as exactly rebellious, as they are not outwardly revolutionary, but there are things like the chaos of anarchy hiding between the themes.

Quite by accident I listened to Tchaikovsky’s 1812 Overture the same day as I listened to Beethoven’s Ninth Symphony and I was struck by the interesting similarities. For a symphony, the Ninth seems a bit short and the 1812 Overture is a little long for an overture, and the structures have things in common, such as the low pitches base score which underlies many parts, almost like a low thunder. The later versions of the 1812 Overture added voices which made it even more simi9lar.

However, that was not Tchaikovsky’s original intent no matter how well they work. Beethoven was half a century earlier, but they both wrote on the same theme from different perspectives, though both had the same idealistic views of freedom. Beethoven was focusing upon the freedom of the French people and the raising of the status of the common man. Tchaikovsky was memorializing both the struggles of the soldiers and the sacrifices of the common man. After all, it was the burning of their crops by Ukrainian peasants which actually defeated Napoleon by starving out his army during the harsh winters on the Russian steppes.

Though they were not written at the same time, and they were not even focused upon the same part of history. However, the two pieces together almost paint a picture of the French Revolution followed by the Napoleonic Wars.

Conclusion

So the controversy is really easy to understand, but I think that perhaps there really is none at all, if we consider that Beethoven, idealist as he was, wanted both themes to inform his work. Is not the theme of freedom the same in the story of Christ and in the struggle of the French people for freedom from tyranny? The sacred elements are there in the voices, and the military flavor is there in the percussion and brass sections and the whole is woven together almost like a tapestry of human social development.

The final blending of these with the wonderful melodic themes from Ode to Joy plus the inclusion of rounds and canons with the vocal quartet create a wonderful whole that pays tribute to the struggles of the time. It is really doubtful that composers of Beethoven’s time believed that they would be remembered and their music would be played for centuries, perhaps millennia. However, in writing for the people of their time they managed to write for the people of all times. The themes of freedom and sacrifice, love and joy are timeless and without national boundaries, and they are expressed exquisitely in Beethoven’s Ninth Symphony.

References

Solomom, first name. date. book name. Bonaparte: Crisis of Belief. publisher. pp. 175-185.

Michael Hamburger, ed. Beethoven: Letters, Journals and Conversations. New York: Pantheon, 1952.

Tyson, Alan. 1969. Beethoven’s Heroic Phase. The Musical Times, Vol. 110, No. 1512, pp. 139-141. Musical Times Publications Ltd. Web.

Will, Richard. The Characteristic Symphony in the Age of Haydn and Beethoven. Cambridge, England: Cambridge University Press, 2002.

For this task, I listened to Beethoven’s Symphony No. 9. The Sydney Opera House conducted this concert in 2020. This performance lasted an hour and ten minutes and took place in the Sydney Opera House in Sydney, Australia. The complexity and sophistication of the work are exceptional, given the time in which it was written. It calls for a bigger choir and orchestra. Symphony No. 9 is critically acclaimed because Beethoven was among the first prominent composers to include vocalists in an orchestral performance.

Edo de Waart was the orchestra’s principal conductor for the concert. The composition was played in four acts, each built in intensity while including a unique set of parallels. The band builds to a confident and fearless sound in the opening allegro of the first act. Typically played at a tempo of about 72 beats per minute, this symphony is constructed in the key of D major. The second movement has a lively, quick tempo, somewhat faster than the allegro. The melody has a solemn and somber tone at the beginning, but it gets more upbeat and humorous as it progresses. I discovered that this part is called “Scherzo,” which is the Italian term meaning “playful.”

The music calms considerably from the second movement’s speed in the third movement, which is an adagio. From what I have heard and read, the only real purpose seems to have been to increase the piece’s dynamic range. As someone who enjoys dramatic shifts in tone, I found the shift from humorous and joyful to more serious about being satisfying. The prominence of the choir in the final fourth section made it my favorite element of the rendition. This movement is particularly well-known since it features the “Ode to Joy” motif. It quickly returns to its slower tempo and changes to an allegro one.

Hearing the whole composition in one go was thrilling. There was perfect coordination between the musicians, and all participants understood their roles. The orchestra’s rhythm section is among my favorites since the violins, violas, and cellos blend so wonderfully. When performed by a full band, this symphony deserves its reputation as one of Beethoven’s classics.

Ludwig van Beethoven, the Classical German artist, best defined by his music, was born in 1770 and his musical compositions surpassed every existing note in the music world. In an attempt to connect the compositions with the life of the composer, it would be significant to note that the compositions, on the basis of the illustrious Ninth Symphony of Beethoven, were very much related to the personal life of the composer.

It is of great significance to note that the composition style of Beethoven has been evolving through the different stages of his development and this style has never been affected by struggles and misfortunes of his personal life. From the composition of the third Symphony onward, we might notice a drastic transformation in the style of Beethoven’s composition which was free of the influence of his master. The time has tested its worth and it only proved that the art and style of the great composer is only strengthened by the time and the works of his later period, which were composed when he was affected by adversities, are of notable evidence to this assumption.

Completed in 1824, while he was deaf, the Ninth Symphony, the manuscript of which, in the words of Dr Stephen Roe, “is an incomparable manuscript of an incomparable work, one of the highest achievements of man, ranking alongside Shakespeare’s Hamlet and King Lear,” showed one of the most significant transformations in the style of Beethoven’s music. (Begg 2003).

The determination not to be ruined by the deafness or any other misfortunes assisted him grow greater and came greater works like “symphonies 2, 3 ‘Eroica’, 4, 5, 6 ‘Pastoral’, 7 and 8, Piano Concertos 4 and 5 ‘Emperor’, the Violin Concerto, piano sonatas, the three Rasumovsky String Quartets, the opera Fidelio… the Hammerklavier Sonata, the last three piano sonatas, the Diabelli Variations, the Missa Solemnis” and culminating in the greatest of all the Ninth Symphony. (Beethoven 1770 -1827). Thus, the Ninth Symphony is an example of his established pieces that were developed through life experience and matured by the test of time.

Generally considered as one of the greatest music pieces ever composed, the Ninth Symphony told the story of Beethoven’s strenuous period of life which was illustrated by his loud banging of the piano, during its composition, in order to listen to the notes. Several of his most celebrated musical pieces, culminating in the Ninth Symphony, were the products of a period which made him deaf. It would be fundamental to remark at this point that the Ninth Symphony, as opposed to the common belief, was the result of three separate ideas by Beethoven over different periods between 1793 and 1823, and “we can find elements of style from his earlier periods juxtaposed against elements from his late period of composition.” (Beethoven 1997).

Therefore, it was notable that the Symphony was very much related to the life and experience of the great music composer apart from being the result of the varied style of Beethoven’s composition over the different periods of his life. The essential analysis of the composition style of the piece would convey it all.

The Ninth Symphony by Beethoven, first of all, should be recognized as the result of a long cherished wish to give music for the “Ode to Joy” by distinguished Revolutionary champion Friedrich Schiller and the composition reflected the spirit of a great nation, Germany, which was earnestly trying to find an end to the unrest it had been feeling. “The bigness, the idealism, the thrill of massed forces proclaiming the glory of the human spirit to a war-weary international audience–these were not grafted on by mythmakers but were very much Beethoven’s own reaction to the times he lived in.” (Feldman 2005).

Therefore, the life and experience of the composer, his personal feelings, characteristic features of his personality over a period of time etc, apart from the transformation in the style of composition, became most conspicuous in the musical notation.

In this analysis of the Ninth Symphony of Beethoven, it would be very reasonable to make the note that aside from preaching freedom and the unity of peoples and attempting to promote them, the late Beethoven pieces, most obviously the Ninth Symphony, tood surprising courses. Whereas his earlier works tended to have a tone, termed by him as “Pathetique” and “Eroica,” which caused a dramatic unfolding, allowing us to listen to what happened to the pathos and the heroism, the late works of Beethoven, the Ninth Symphony being the best example, “turned away from such clear dramatic curves to more elusive and evocative trains of ideas whose effect he and his time called poetic. And in keeping with the turn from drama to poetry, he left the heroics behind.” (Swafford 2003).

To analyze the Ninth Symphony in relation to the change in style that had taken place over the course of Beethoven’s career, it would be important to remark that the piece surfaced from a whispering mist to towering, fateful proclamations. The Joy theme of the final note was considered as “almost constructed before our ears, hummed through, then composed and recomposed and decomposed. The Ninth is music about music, about its own emerging, about its composer composing… “This kiss for all the world!” runs the telling line in the finale, in which Beethoven erected a movement of epic scope on a humble little tune that anybody, can sing.” (Swafford 2003).

The real “kiss” of the composer for the entire universe was the piece itself, in its beauty and terror and simplicity and complexity, ending with a cry of jubilation. The effect of the composition was that, every human being was greeted and invited to the spirit of the work which culminated in the song of joy.

The ultimate value of this analysis relived in the finding that “Symphony No. 9 in D minor, op. 125 represents the apotheosis of Beethoven’s symphonies.” (Beethoven 9th Symphony. 2004-2006). The upshot of a great idea and transformation in the style over a long period of time, as aforementioned, the symphony had a general tone of happiness that was captured in manifold instances, which was the main reason for being titled “The Symphony of Joy”.

Allegro ma non troppo, un poco maestoso, the first part of the Symphony represented an eternal moment in the creation of the composer and became the proof of his creative genius; Allegro vivace, the second part, “is a joyful scherzo with a theme coined by Beethoven in 1815 initially meant for a fugato;” the next, Adagio molto e cantabile “is marked by a different atmosphere than the previous parts;” and the final part, Allegro assai “represents the synthesis of the whole symphony, a memorable page in the book of universal culture.” (Beethoven 9th Symphony. 2004-2006).

In the ultimate conclusion of the paper, it would be interesting to remark that the Ninth Symphony formulated Beethoven’s experience and the conclusions of the life as well as it represented the transformation in the style of composition which had taken place over a period of time. Thus, the composition connected to the life and experience of the composer who had, by the time of the composition, became deaf.

Besides, it also reflected a drastic change in the composer’s style through the course of his career. Nobody will doubt the fact that Beethoven is the most influential symphonist in history who was ready to shake the conventions and traditions with the sheer strength of his musical quality. The musical elements that were apparent in the composition pointed to the same factor. “His music always contains passages of nobility and warmth, and an underlying belief in the human spirit that found such powerful expression in his Ninth Symphony’s ‘Ode to Joy’.” (Beethoven 1770 -1827).

Therefore, the Ninth Symphony would become very important to the understanding of its composer, his life and experience as well as the transformation in his style.

Works Cited

Begg, Duncan. ‘Ninth Symphony’ Manuscript Sells for Record £2.1m. The Independent. Music. 2003. Web.

Beethoven, Ludwig van. Symphony with Final Chorus on Schiller’s “Ode to Joy.” Classical Net. Bonnie Koo. 1997. Web.

Feldman, Henry. Symphony No. 9 Op. 125 (Choral). William Lane. 2005. Web.

Swafford, Jan. The Beethoven Mystery. Why Haven’t We Figured Out His Ninth Symphony Yet? Slate. 2003. Web.

Beethoven 9th Symphony. The Ode to Joy. Beethoven Symphony 9. All About Beethoven. 2004-2006. Web.

Beethoven, Ludwig van. Final Days. 1770 – 1827. 2008. Web.

Introduction

Ludwig van Beethoven a Germany citizen is today known for his contribution to music. He was a composer as well as a pianist; skills that he learnt when he was young. His musical career was successful as he was a composed up to nine complete symphonies. The Germany musician suffered ill health that in the end left him deaf while in his twenties. However, he did not quit music as he continued living his life style in music. The sickness contributed to his financial crisis as he was not able to make enough income to support himself.

Besides the deafness, Beethoven was a creative composer. In his works Beethoven carefully made masterpiece that were original. Additionally, made the works formed a basis for future composition and left room for further exploration in composition to achieve creativity. Among his works are the choral fantasy and the ninth symphony.

They contain similarities that provoke one to think that Beethoven had thought of the ninth symphony before the choral fantasy where as the choral fantasy came years before the ninth fantasy which was his final piece. Therefore, this essay will discuss Beethoven life and discuss the choral fantasy and the ninth symphony and point out the similarities.

Beethoven’s Choral Fantasy and Beethoven’s Ninth Symphony

The Choral Fantasy was presented at the end of the year in 1808 in a concert among other artist to present their new musical composition. Beethoven and the other musician had been given the venue for free to hold the concert in closure of the year. At that time musicians met the cost of the venue and other expenses like paying the choir by raising money during concerts.

Beethoven was experiencing financial turmoil in his personal life and he took on this opportunity. Besides his deafness at the time he completed and presented the master piece. The money he was going to get from the concert was going to bring a relief in his financial difficulties (Broyles p. 264).

The choral fantasy was written in C minor and had been composed in a hurry following the fifth symphony. The concert was done in a theater that was extremely cold because there were no arrangements to warm the theatre. The singer had little practice and so the presentation of the orchestra did not sound like it intended. The group had not perfected its vocal sounds since there was inadequate practice and the soloist was replaced the day of presentation.

Despite the cold weather, the piece was presented and the presentation had irregularities. This is because there was poor coordination between the musical instruments and the singing group as well as the soloist. In this piece Beethoven avoided using the symphony he often used in the end of his masterpiece. Although the presentation was not perfectly presented the choral fantasy has survived to date due to it competency (Broyles p. 264).

The musical instruments start the orchestra on a slow tempo, and then the different leaders of instrumentations alternating give their presentations and then the soloist follows. While the soloist builds up a melody the choir joins systematically in the melody making the piece excellent.

This presentation last for twenty minutes although the time might vary slightly at times. When presented as designed the piece is outstanding. This was an original composition that became a favorite to audiences. It was pleasing to the audience and he received appreciation for his musical skills, which he could not hear.

The ninth symphony was composed in D minor after the choral fantasy. At the time of the composition Beethoven was already deaf and could not recover. Nevertheless, he chose to continue with giving his contributions in music. Despite the hearing challenge the Beethoven overcame all the odds and composed the ninth symphony. He also presented the ninth symphony in an academic concert for a period longer than an hour.

The piece borrowed heavily from the choral fantasy climax and words from the title “ode to joy”. The ninth symphony took a lot of time in preparation and Richman (2) a music director believes that he had prepared for long to do this kind of a symphony. Although the group he used to present the piece did not have adequate preparations, the presentation moved the audiences and they appreciated the symphony.

The ninth symphony became a success and has been used as an exclusive masterpiece that incorporated voices in the piece. The voices of four vocalists come in towards the conclusion and also include a chorus. In his composition, Beethoven observed thematic harmony from the first movement to the fourth movement.

The theme was predominant stormy with variations especially in the introduction. Next the group use variation in developing the theme. Then the introduction is revisited by a bass singer and the next movement is ushering in the vocalist and the concluding chorus (Richman p. 3).

The ninth symphony was his last piece that he wrote before his demise. He had overcome the deaf challenge and used his talent to create music. The music composition took a long period of time to complete and demonstrated creativity.

Similarities between Beethoven’s Choral Fantasy and Beethoven’s Ninth Symphony

There are similarities between the Choral Fantasy and the Ninth symphony. Beethoven was aware that the two were going to be alike when writing the ninth symphony. As it is noted by Kinderman (p.160) the climax of the two pieces has similarity in harmony. In both the singers join the music towards the end especially in the final movement. The instruments and the vocalist melodiously wind up the song together.

Additionally, both the choral fantasy and the ninth symphony were excellent academic concerts that demonstrated similar themes and a well designed structure of the master piece. Beethoven observed musical principles in his compositions and established harmony in the music. At times there were criticism that arose from his composition, Beethoven defended himself on the basis of creativity (Broyles p.262)

Kinderman (p.162) further argues that although the choral fantasy was presented much earlier than the ninth symphony, their relationship could imply that Beethoven had earlier thought of the ninth symphony’s theme. This is because the theme in the choral fantasy seems to have been further developed in the ninth symphony.

Although he tried to present it as an entirely unique theme ninth symphony, the style and structure are identical though with some few distinctions. The audiences greatly influenced the structure of both pieces. The religious ideas expressed were greatly appreciated by the audiences. The recitations were equally alike in their presentation especially when it went along with the playing off the piano.

In his book Broyles (p.263) notes that the choral fantasy after the first movement has four variations that resemble the ninth symphony theme. It bears a resemblance to the choral in the structure, the unity and harmony and repetitive sentences as well as the combination of voices. This is what aided in development the theme in the masterpiece. They are evident in the use of musical instruments with a lot of reference to the piano and also the use of singing group with a soloist.

The choral fantasy along with the ninth symphony has an artistic, affectionate and spiritual appeal. Broyles (p. 262) pointed out that they are emphatically demonstrated that in the ninth symphony than in the choral fantasy. This is exhibited when the piece begins with instruments and proceeds to end with a chorus.

For instance, the melodies that introduce the masterwork are alike in terms of structure. He also notes that he used the vocalist in two pieces to bring out the emotion and spiritual of the musical piece affection. The ninth masterpiece however had more style in to reveal all that was not attained with the choral fantasy.

The soloist and the choir are present in both the ninth symphony and the choral fantasy. This part is demonstrated very clearly towards the end, in the last movement of the symphony and the choral fantasy. It is appealing to the listener, similar in style and ends the piece well. Therefore, it is possible that the composer had an idea of the ninth symphony earlier than he composed the choral fantasy. That may be the reason he actually composed the ninth symphony to demonstrate the original thought.

The orchestra and instrumentation are slow in tempo at the start. The other instrumentation is introduced orderly in harmony as a melody is created.

Beethoven was a pianist and he incorporated the piano in the piece carefully and creatively with an aim of causing harmony in the entire song. The soloist crafts an artistic way of blending in while the choir joins the orchestra. Together chorus is thereby presented: making the music fantastic. The music and the voices are together applied in the choral fantasy and the ninth symphony similarly.

Graber (p. 4) reveals that Beethoven employed creativity in his composition. Every theme was searched and every possibility tried on to give an original piece. Consequently, Graber also believes that the ideas that were not fully explored in the choral fantasy thoroughly gave insight to the ninth symphony composition. He revised the choral and creatively crafted the ninth symphony and manages to make them two separate works.

In addition, Beethoven also used unutilized ideas and the actualized to develop the later composition. Therefore, one piece of work could be used to develop the future piece. Being his last composition, the ninth symphony included what he had earlier left in his composition. The themes that he presented were universal and the timing could not be easily predicted because it was not possible to match the specific time that the idea developed.

The two works of Beethoven have some common aspects that make them similarity. Although the two works differ in some respects, they are in stature by present day valuation highly and significantly interconnected. Beethoven himself also noted some similarities between the two of his work when he analyzed them.

Derrick (p. 1) says that later in life, Beethoven began making a critical analysis of musicians like Handel. This period that he wanted to assert his influences has been referred to as the late period by various scholars who have attempted to look into the life of Beethoven.

Throughout this period as his health continued to deteriorate he struggled to compose a number of music and writing quartets such as Fifteenth Quartet, Thirteenth, Fourteenth, and Sixteenth Quartets. He finally succumbed to illness on Monday 26th March 1827 (p.24).

A lot has been made of Op.80 as a master plan for the Ninth Symphony. In two mails written on March 10 1824, Beethoven referred to the symphony as a ‘new grand symphony which concludes with a finale. In Op.80 the theme of mutual love is presented and developed like that in the finale of the Ninth Symphony. Broyles argues that, although Ninth Symphony is superior to the Choral Fantasy, these two works are alike in a number of ways.

The Choral Fantasy begins instrumentally and always concludes with a chorus. Their themes are also very similar in that they have conjunct diatonic melodies that lay primarily in the first four scale steps, with regular clear cut antecedent consequence phrase structure. In addition, the theme in both is given to the instrument first for variations before the chorus enters. Harmonically, the two have a pattern that appears at the climax of the Choral Fantasy on the words ‘und Kraft’.

Furthermore, the series of chords C-F-D-G-E, with the agogic accent clearly on E. There are other thematic similarities between Choral Fantasy and the Ninth Symphony in that the Ninth Symphony has a consistent use of scale wise subjects, especially the ones that move up and down and lower tetra chord do provide a greater than normal element of cohesion to the various movements (p.69).

Kinderman says that that Beethoven had thought of the Ninth Symphony before he composed it. Hopkins (p.3) states that in 1818 Beethoven had in mind a symphony with voices that that could sing pious in the ancient modes. However it had to wait until the period between 1822 and 1823 when Beethoven connected the ideas that he had of Schiller with such kind of symphony.

To demonstrate that he was aware about the Ninth Symphony, up to the late 1823 he was still experimenting with the instrumental solutions to the finale. To make sure that he came to the final form of the Ninth Symphony, Beethoven had to cut and rearrange Schiller’s poem so that in order to suit his own poetic vision.

Since this was not a simple task he had to struggle a bit to establish how he was to link the choral section and its introductory instrumental variations to the lengthy preceding instrumental movements. In the long run he hit upon the solution of a baritone recitative whereby he used his own words.

The melody for the ode to joy took a long period of time to be released (p.4). One of its peculiarities is the way it was incarnated in the Choral Fantasy, Op.80 of 1808. This work also employed a text by an obscure poet Christoph Kuffner that looked exactly the same in content and rhythm to Schiller’s Freude poem (p .4).

His first movement was designed in a way that it was of imposing stature, which was rooted in archaic sonata form with an ingenious layer of variations and thematic transformations. Cooper says that,” Of all the passages in a work of art, the first subject of the first movement of the Beethoven’s Ninth Symphony has had the deepest and widest influence on later music” (p.55).

This was a clear indication that not only was this Ninth Symphony popular in those days but even in the contemporary world where music of different genres has emerged. The subsequent theme became excellent in its final form because it was remodeled over a number of years although it is evident that Beethoven conceived of its fugue subject from the beginning.

Peek (p.1) also notes some differences between the two works by Beethoven where he says that “Some of the music at the climax of the symphony is borrowed from his “Choral Fantasy” composition from 1808″ (Peek p. 1). The choral fantasy acted as a pace setter for the symphony. It acted as his basis of putting both the Choral and Symphony music together.

Another notable similarity is that the vocal forces in both represent a theme that is played instrumentally. This theme is highly evocative in the two works. The Choral Fantasy was performed along the same time with symphonies five and six which also set the ground for symphony 9. The theme in Choral Fantasy indicates a direct kinship with the ‘Ode to Joy’ in the ninth symphony.

In the top level form of the two works, there are some notable similarities. For instance, in the two works, according to Symphony No (Beethoven), “The instrument and the vocal sections are presented in double variation forms, the tonality moves from tonic minor to tonic major and Themes are being offered and rejected many times before the final vocal theme is accepted” (Symphony No. (Beethoven), p. 1).

Besides, both works involve instruments and voices used in the two arts and both are meant for pointing out the vocal sections. It is also noted that many aspects of the Choral fantasy anticipates Beethoven’s later settings of Schiller’s text in the Choral finale of the ninth symphony.

According to Bent (p. 213), both works had overall forms that defied the all previous standards. These include; a long, purely instrumental component that was almost a composition of in its own right, followed by a substantial Choral component. The two works also could not be viewed nether as an instrumental composition with Choral appendage or a choral work with instrumental prelude but both works were a fusion of forms.

The two works also affected a partial transfer of sonic medium from instrument to human voice. They also differ in the sense that both entailed a shift from abstract music to a combination of music and language or a shift from purely musical to the human.

Conclusion

Beethoven composition did not only appeal to the audiences of his time but has lived as history that can be revisited in learning music today. His compositions were full of creativity and variation and managed to appeal to the listeners.

He did not take his inability to hear as an excuse to refrain from composing but he went on to compose and present music he could not hear. His works often showed similarity in structure and creativity. The choral Fantasy and the ninth symphony are works that had likeness although he managed to make them remain exclusive works.

The Choral fantasy and the ninth symphony are similar in structure and the use of variation within the composition. In both compositions Beethoven made use of the orchestra and the choir with a soloist. There is creativity in the use of the instrument. Being a keyboard player, he was capable of forming come up with a combination of notes that went along to form fantastic sounds.

The climax was similar with the choir and the orchestra performing harmoniously in the climax. The presentation of both the choral fantasy and the ninth symphony in the theater was not as successful as it was meant but the composition was highly appreciated by the spectators.

Works Cited

Beethoven, van Ludwig. Beethoven: The Man and the Artist. Middlesex: Echo Library, 2007.

Bent, Ian. Music analysis in the nineteenth century: hermeneutic approaches. Cambridge: Cambridge University Press, 2005.

Broyles, Michael. Beethoven: the emergence and evolution of Beethoven’s heroic Style. New York: Excelsior Music Publishing Co, 1987.

Cooper, Barry. Beethoven. New York: Oxford University Press, 2008.

Derrick, Austin. Beethoven’s Ninth Symphony. New York: Routledge, 1992.

Graber, Naomi. Twice upon a time: Thematic intersection between Beethoven’s quartet, 2000. Web.

Hopkins, Anthony. The Nine Symphonies of Beethoven. London: Heinemann, 1981.

Kinderman, William. Beethoven. California: University of California Press, 1995.

Peek, Kevin. Beethoven’s 9th Symphony, 2010. Web.

Richman, Daniel. Beethoven’s Piano concert, 2003. Web.

Symphony No. 9 (Beethoven). The Ninth Symphony’s finale and its Perceived structure, 2011. Web.

Introduction

Music refers to the arrangement of sounds in an artistic manner within a certain period. The music industry grew from monophonic in the Middle Ages to polyphonic common during the 9^th century. It then developed to homophonic before developing to classical music in 18^th century and eventually to romantic music in 19^th century.

The 21^st century music involved random noise and electronic sounds. Consequently, music composers have come up with their various compositions. Lonel power, Walter Frye, Henry Purcell, Mauro Giuliani, and Ludwig van Beethoven are amongst the famous artists of the world. With this highlight of the music industry and various composers, the paper provides a detailed research of Beethoven with the sole goal of showing how he established his career as a musician. However, the paper begins by a brief highlight of his early life

Ludwig van Beethoven’s early life

Beethoven was born in a family that had music orientations. Beethoven’s grandfather Lodewijk Beethoven was a famous classical music artist. According to Cooper, Lodewijk was a musician who was employed at Elector of Cologne as a singer (407). In fact, Beethoven’s grandfather had grown in music ranks to become a music director.

Ludwig van Beethoven was born in a place called Bonn. His father Johann also worked at elector of Cologne court as a musician in the tenor divide. Cooper asserts that Johann was also a music teacher. Johann taught how to operate the piano and violin.

Beethoven’s mother was Magdalena Keverich. The actual date of Beethoven’s date of birth is not known. However, there exist records that Beethoven was baptized on December 17, 1770. This information can be used to trace his date of birth to 16 December 1770 since children were baptized at the age of one day in that era. His biological father who was a musician initially taught Beethoven music.

However, he was a harsh teacher. In most instances, he forced his son Beethoven to learn music in tears. Other music teachers that made Beethoven a lead musician included Gilles, Tobias, and Rovantini. Beethoven had a music talent that was realized at a very tender age. His father Johann wanted to make Beethoven a leading example of gifted musicians in the country. He even went on to lie about the age of his son when he made his first public appearance. Beethoven made his first music performance at the age of seven.

According to Thayer et al, Beethoven began his music classes in 1779 in Bonn (67). His teacher at that time was Gottlob Neefe. Thayer et al. say that Gottlob was very influential to the music life of Beethoven (14). Gottlob taught Beethoven how to write and compose music. Thayer et al. posit that Gottlob helped Beethoven in writing his first music publication (56). Beethoven began working for the Electors court together with Neefe who was the deputy organist. Initially, Beethoven worked as an unpaid pianist in 1781.

He was later employed in 1784. Beethoven made his first sonatas publications for Fredrick Maximilian who was the Elector in 1708. This Elector realized that Beethoven was talented in music at his early age. Thayer et al. affirm that Maximilian encouraged Beethoven to better his music talent and studies (32).

When leadership changed hands from Fredrick to Franz, various changes in the field of arts and education were witnessed. As a teenager, Beethoven was highly influenced by these dynamics. Since Neefe (his teacher) was a member of Illuminati, Beethoven also became a member.

According to Cooper, Neefe and other people that were close to Beethoven were members of order of Illuminati (15). He therefore became a role player in the freemasonry. After the death of his mother, Beethoven’s father became a deep alcoholic thus leaving Beethoven with the role of providing for his younger siblings.

In fact, Thayer et al. confirm that it was due to his father’s drunkenness that Beethoven went to court and obtained a court order to receive half of his father’s salary in order to enable him provide for his family (57). During this period, Beethoven worked in the Court and made friends with influential people. One of such friends was one of his financiers Ferdinand Waldstein (Thayer et al. 105).

How Beethoven established his career

Beethoven’s music career began at a tender age of seven years when he did his first public performance. According to Cooper, Beethoven became an ally to Joseph Haydn when he stopped at Bonn in 1790 on his way to London (35). Due to this friendship, Beethoven got a scholarship to study in Vienna.

In 1792, Beethoven went to Vienna. Unfortunately, his father passed on at around the same time. While in Vienna, he was financed by Prince Joseph, Prince Karl, and Swieten (Cooper 53) to sharpen his music talent. In Vienna, Beethoven became famous for his ability to improvise music. It was also in Vienna that he studied how to play violin professionally under the instruction of Salieri. He leant Italian music and its composition.

By 1793, Beethoven had established his career as an expert in playing piano: a piano virtuoso. In fact, Cooper argues that, due to this expertise in playing piano, his publications of 1795 had a great effect (53). In 1795, Beethoven did his first public performance in Vienna. From this point, performances by Beethoven earned him a lot of profit. His first composition was dedicated to his Vienna patron Lichnowsky (the prince).

Between 1796 and 1800, Beethoven was able to compose six quartets that he published in the year 1801. At this point, people rated Beethoven as the third king of music after Mozat and Haydn due to his powerful composition. According to Cooper, Beethoven’s music became prominent due to its character, emotional depth, originality, level of ingenuity, and manipulation of tone (82). During this period, he composed the Septet that has been very popular in the world.

Although this composition was very popular during his lifetime, some critics observed that Beethoven disregarded the soloist hence making it unprofessional. Beethoven’s music has also been criticized of being more like the music composition of Mozart. His music career got another promotion in 1800 because of his overwhelming demand. This demand was especially coming from music publishers and patrons (Cooper 97).

At the height of his career, Beethoven taught a good number of famous students of music. For example, he taught Anna (a daughter to the countess of Hungary). He also taught Ferdinand Ries who later became a famous composer and writer. It is believed that the song “immortal beloved” that Beethoven did in 1812 was dedicated to Josephine after another man married her. However, in 1796, Beethoven began having a problem with his hearing ability.

This issue resulted from severe tinnitus that made him hard of hearing. After his hearing loss became profound, he stopped public performances. This situation happened when he failed to perform a piano concerto in 1811. Later on in 1827, Beethoven died in his bed due to a thunderstorm. His death has been attributed to alcoholism, syphilis, sarcoidosis, and lead poisoning. In 1862, his remains were exhumed for analysis.

Beethoven’s Character

Beethoven grew up as a vibrant musician with a likeable behavior. The health problem that Beethoven suffered from greatly impacted on his character. Since Beethoven experienced deafness and abdominal pains as early as in his early twenties, his character was unstable to a certain extent. At is also argued that Beethoven contemplated suicide due to these problems. According to Cooper, some of Beethoven’s allies argued that he suffered from bipolar disorder.

However, Beethoven had a strong personality that kept him moving despite his health problems. Due to his appealing character and ability to make many friends, most people moved in to help him during his final days. For several months that Beethoven was bed ridden, he garnered much support from many people who had earlier recognized him as a figure whose work was worth emulating.

The other strong character of Beethoven was respect for the authority. In fact, in most instances, Beethoven would stop his performance when he noticed that his audience was not according him full attention (Cross and Ewen 43). This stance made his audience to have great discipline, which in turn contributed significantly towards their understanding and liking of Beethoven’s music.

The other character that was so eminent in the life of Beethoven is his outstanding capacity to do planning and organization. This was evident based on his refusal to perform when he was hurriedly invited to do so. According to him, it was uncouth to do any performance that could not appeal to the eyes of his audience due to lack of proper planning and organization. Therefore, he preferred missing opportunities than having them only to displease his viewers.

Beethoven also advocated for social coexistence between people. He composed many songs that he dedicated to various persons. This strategy portrayed his passion for peace and love within humanity. It is also worth noting that various people sponsored Beethoven in his pursuit for music education. Beethoven also loved to learn. He went in search for more education even when he knew that he was talented in music.

Beethoven’s Music

Beethoven is a famous talented composer in the classical music world. He is among the great founders of classical music. Other founding talents include Brahms and Bach. These artists are the founders of the classical music in the world. In fact, Beethoven brought in the art of education in the classical music.

He made it possible for artists and fans of the classical music to seek more knowledge in the form of theory and practical skills. Beethoven played a great role in maintaining the classical music in the lead at the turn of the 18^th century. He championed the change of traditional classical music to romanticism.

This kind of classical music became more appealing to the people hence making it a preference for them especially the youth. The music that Beethoven did was unique in style because Beethoven took his time to learn in addition to being talented in music composition. He spent quite a considerable part of his life learning how to play instruments like the piano, violin, and the flute. His music became more appealing due to the use of instruments.

Beethoven was also a good pianist. In fact, he was employed in the Electors House during his early years. His dedication to music was also demonstrated by his acceptance to work in the Electors court as a pianist without being paid. This gesture gave him an opportunity to learn from his teachers.

Beethoven also made many piano sonatas. He also made short compositions of classical music. According to Cross and Ewen, Beethoven’s music ran across various genres. In fact, in almost all of them, he came out outstanding. It is also worth noting that Beethoven’s music involved the use of instruments, which he also excellently played. Beethoven wrote orchestra music, symphonies, operas, chamber music, and soloist led songs.

Conclusion

In conclusion, Beethoven was a great classical music composer and an artist. Beethoven came from a family that was rooted in music. Both his father and his mother were musicians. It was out of learning from his father and the teachings of local teachers that Beethoven learnt the art of music. Other volunteers also sponsored his career. Beethoven’s appealing personality made him shine in the music industry.

He was able to make great friendship with sponsors in an attempt to manage his music life. Though he suffered from hearing loss, he was able to maintain a stable character. Beethoven played and wrote classical music. He is also credited with overseeing the change of ancient classical music to the romanticism classical music. In his music, he also added the accompaniments that made it very outstanding in comparison with the traditional classical music.

Works Cited

Cooper, Barry. Beethoven. Oxford: Oxford University Press, 2000. Print.

Cross, Milton, and David Ewen. The Milton Cross New Encyclopedia of the Great Composers and Their Music. Garden City, NJ: Doubleday, 1953. Print.

Thayer, Wallen, Henry Krehbiel, Hermann Deiters, and Hugo Riemann. The life of Ludwig Van Beethoven vol1. London: The Beethoven Association, 1921. Print.

The second movement of Beethoven’s Sonata #8 in C Minor, Op 13, “Pathetique” : II Adagio cantabile is a wonderfully expressive piece which rises from the depths of despair to the birth of hope and new life and strength. The sonata as a whole moves from a ponderous beginning movement which uses lots of pauses and hesitations to layer themes one upon another making the whole a strongly morose piece, even when the tempo quickens to almost a frantic pace. The second movement picks up where the first ended on a very dark and sad note in a minor key followed by a frantic rising arpeggio that suddenly falls and stops right there.

The second movement picks up almost on the ending note of the first, needing no transition. It uses very evenly spaced notes, as opposed to the very dramatic pacing of the first movement, which blend together masterfully to produce three harmonious melody lines. The first is the undercurrent of the sets of four notes, with every other note creating the second melody line. Then the fourth note of every set is the actual melody.

The composer then moves up the keyboard to repeat the pattern in a higher octave thirty-six seconds into the piece. However, the pattern is varied by the secondary notes which are now a pattern of 1-2-3-1 instead of 2-1-2-1, creating a nice lighter variation on the first pattern. The last two phrases include a rising arpeggio on the lower notes which enriches the harmony and provides a second rhythm, ending in an almost light five note group that rolls upwards gently.

I believe that the composer was providing a lighter interlude between the morose first movement and the almost frantic third movement, to lull the listener into a contented peaceful state after the wrenching first movement and before the powerful ending movement. It is almost a breathing exercise as this movement begins, but it quickens its pace, though more gently than the other movements. Throughout, the second movement is more evenly paced than the other two, almost like a rocking song, faster than slow ponderous notes of the theme notes of the first movement, but slower than what will follow.

At about 1:15 the recuperative bridge builds up to the third variation of the first theme. Then it gently picks up pace as sets of triple notes underscore the second bridge which leads us into the fourth variation of the first theme, but it has moved into double bottom notes in pizzicato, punctuated by the rising arpeggios as before. It is followed with a lovely building melody using the same tripl note style, but the bottom two notes which sound the second and third note of the triples is underscored this time by a falling arpeggio, almost turning it upside down. The movement finally ends upon a melodic little grace note phrase, almost as if some little bird were beginning to sing us into morning.

The gentle ending of the very complex, yet thematic second movement lulls the audience into a sense of safety, preparing them for the surprise third movement which takes off at a speedy pace to build flowering bouquets of sound, punctuated by bursts of strong accent chords. It is interesting that this movement provides a blending of contrast and cohesion as it always returns to a variation upon the beginning theme. The contrast is most apparent in the bridges and the wonderful variations upon this beginning theme make this movement my favorite, in spite of the power of the other two.

Without the second movement, this sonata would fail utterly, since it is this movement which provides the breathing space between the other very powerful movements. It provides the contrast that makes us feel as if we have been on a journey with the composer through sequential dreams. It began almost with a shock, and the second movement is needed to reassure the audience that the world is not coming down around their ears.

Like a good story, this sonata has a beginning, middle and an ending. As with stories, the middle makes the transition from the opening to the climax and serves to build the rapport with the audience. We are lulled into a sense of well-being by the wonderfully complex blending of melody in the very nicely paced second movement, perfectly setting us up for the denouement of the last movement. So many things in life seem to be this way. We need the contrast and variation to enrich everything we do.

Beethoven’s 5^th symphony is one of the most recognized symphonies in the world. Being written for a particular set of instruments, this melody has been performed by different orchestras and with the involvement of some additional set of instruments.

Beethoven’s 5^th symphony has numerous variations as being performed by a particular person, he/she may have a desire to insert some changes in the sound and motif. Having conducted a research, I came across a classical performance of Beethoven’s 5^th symphony and the same symphony performed by the London Classical Players conducted by Roger Norrington.

The same composition, the same piece of music is performed differently. It is hard to say that the music is absolutely different, however, having listened to these two performances it becomes obvious that slice aspects are varied. Analyzing just the first movement of Beethoven’s 5^th symphony, the similarity and differences are going to be discussed for a better understanding this piece of music.

The classical first movement of Beethoven’s 5^th symphony is written for the following set of instruments, flutes, oboes, clarinets, bassoons, horns, trumpets, timpani and strings. The symphony begins with a famous distinctive four-note motif which is repeated twice. This four-note motif has the following structure, short-short-short-long. These four notes have become a real point for discussion as different authors could not come to the conclusion how this specific part should be played.

Choosing among many variants, both the classical version and the London Classical Players conducted by Roger Norrington use Allegro con brio tempo. However, the further performance is faster in the variant of the London Classical Players conducted by Roger Norrington. The flowing melody presented in these both variants is a slight and unobtrusive. The volume in the following piece of music increases, that gives an opportunity of the tempo increase, however, this is not true.

The magic music is finished with rhythmic powerful notes which conclude the set with a silence. The singular repetition of the fist four-note motif creates an impression that the composer wanted to show the comparison of the good and the evil and the instruments have perfectly coped with this task. These parts are similar in the pieces under consideration.

Listening further for the described music, the piece of magic melody is presented with the slow increase of the tempo and volume that creates an impression that a fight takes place.

There is a slight difference between the classical Beethoven’s 5^th symphony and the one performed by the London Classical Players conducted by Roger Norrington. In its original sound, this part is structured and smooth, but listening to the performance of the London Classical Players, it seems that the sound is separated, the lopes of the music notes are heard.

The tone and the tempo seem similar with the only difference in the way how the strings are played. This difference does not spoil the piece, however, it makes the impression of the interruptions and another piece insertion. After this, a horn sounds differently in these two pieces. The melody is changed which is reflected on the change of the tempo.

The whole further performance is presented in a different tempo. The pitches where Beethoven’s 5^th symphony in classical variant is moderate, the London Classical Players conducted by Roger Norrington presents the fast tempo. The cases of music stretching are noticed.

The motif is the same, is possible to recognize that struggle which is performed in this symphony, however, the way the instruments correlate is different. For example, the London Classical Players conducted by Roger Norrington strengthen strings and flutes, oboes, and clarinets play faster, while the original variant offers absolutely different distribution of instruments’ stress. Up to the very end of the music the tempo does not coincide.

The power and the sound are similar, the repetition of the four-note motif presented in the beginning is performed in the same way, but when the strings start playing everything becomes different. Beethoven’s variant of the second part is E flat major and it seems that the London Classical Players conducted by Roger Norrington use the same technique.

Therefore, it may be concluded that one of the main differences between the pieces of performances of one and the same melody is tempo. Having chosen the same instruments, the same pitch and melody, the tempo in performances is different that creates an impression that the classic variant of the first movement of Beethoven’s 5^th symphony is more lyric and smooth while the same first movement of Beethoven’s 5^th symphony presented by the London Classical Players conducted by Roger Norrington is played in a leaping way, when the instrument change each other with slight interruptions. Listening to both these pieces of music is a real pleasure.

It is impossible to say that some slight changes performed by the London Classical Players have spoiled Beethoven’s symphony. Vice versa, it seems that hej symphony has received a new vision which should be developed. Of course, no one says abou the changes in the symphony motif, but the variations may be successfully offered.

Works Cited

“Beethoven’s 5th Symphony.” YouTube 25 March 2008. Web. https://www.youtube.com/watch?v=_4IRMYuE1hI

Norrington, Roger. “Beethoven. Symphony №5 Allegro con brio.” London Classical Players, CD.

Beethoven’s Seventh symphony has no equal. The symphony is articulately arranged and established with unique flow of both chords and musical patterns. Listening to the seventh symphony one may note that the music is purely priceless; it is not an impersonation of someone’s ideas.

Thus, it can be argued that with its rich texture and timbre the symphony is exceptionally great. This illustrates that the seventh symphony is beyond any common explanation. The manner it stimulates thrills and captures the imagination of the listeners with its musical beauty and glory, it is awesome. The introduction, for instance, is developed and arranged in a manner that it strikes an addictive attention.

This can be allied to the manner the instruments have been arranged in order to synch with the tempo. More so, the symphony’s imposing orchestra chords, and the compliments of wind instruments such as oboe makes the symphony have a taste that is extremely majestic. Hence, the smooth ascendancy of its sonorities makes the symphony rhythm and movements have an effect that cannot be compared to any other symphony (Grove 80).

It ought to be noted that Beethoven gave the symphony its magnificent touch by establishing strong rhythms which are tied to the symphony’s themes. With the impact of individual dynamism the symphony is etched along the pillars of integrating diverse instruments with selected and tested alterations.

These measures seem to have aided the composer in developing the diverse elements which are apparent in the symphony. Consider the fact that the seventh symphony is almost without any elements of slow movement, yet its mood is extremely exuberant. Yet, it has less melody which is also complimented by less usage of strings.

From such a creative alteration of chord the symphony is equally propelled to its greater heights by the manner Beethoven injecting both major and minor chords interchangeably. Also, as the symphony gains in moment, it is evident that he introduced a new melody which is accompanied by dissimilar rhythm, bassoons as well as clarinets yet the temple and the pulse of the symphony remains intact.

More so, another notable feature of the seventh symphony is the way the diverse musical notes are exploited from a simple texture to the more complex key patterns we find the notes being craftily altered.

With the use of violin the symphony captures the imagination of orchestra lovers, while at the same capacity he sets motley of short notes against external rhythm of the symphony. And this established the allegretto movement in the composition (Steinberg 54). Subsequently, the arrangement of strings and the usage of G-sharp which is elaborately sustained by brilliant twining of horns, trumpets and other assorted instruments are superb.

What I have discovered is that the symphony has unique delay effect that is difficult to pick. This can be testified by the way singular octaves rise and drop creating a sublime melody. And this can be said to be the third feature that is unique to the seventh symphony. The instrumentation of this symphony indicates that it is divided into four major segments. Each segment is defined as a movement.

However, according to diverse music pundits the second movement which is popularly known as Allegretto is the most popular. Though, the symphony itself was developed with the core introduction being etched on the traditional orchestral traditions, it is no surprise that it has such a lengthy introduction, yet so impressive and aesthetically independent both in content and character and this separate the seventh symphony from the preceding symphonies.

It ought to be noted that it has definite and impressive structural design that can be said to be anchored within the range of C-major. And this makes the seventh symphony rhythmically a danceable piece. Note that, the rhythm is well tied to the entire instrumentation where the tempo is neither fast nor slow and this makes the entire piece to be a movement in the dancing context.

Thus,in exploring the entire configuration of seventh symphony we can argue that the arrangement sand the composition is total consigned to exposition which is equally transferred with dynamic transpositions. And this gives the symphony the movement depicted as allegro.

More so,the other factor is that the establishment of diverse tones ranging from the F-ajor scale with minor tones moving towards 6^th scale with the extent of A provides a sound explanation of symphonies tendency to move towards its unique simplicity which is in the domain of E, a dominant feature all through the symphony.

In essence, this establishes the symphony’s unique context both in presentation and performance. With unconventional method the tones,chords,harmonies as well as the tempo are all integrated to give the piece the unique timbre making the symphony danceable and equally enjoyable to listen, it has a smooth texture that is a product of harnessing the elements of treble G-major which happens to e the ultimate musical hierarchy.

The vivacity which is evident in tone and rhythm ascertains the symphony’s audacity and its splendid vitality. It ought to be noted that the manner the symphony transcends and descends is an ultimate score in symphonic movement.

With sustained chords, smooth flow of basses, violin and unassumed dominance-note- E establishes the resounding melodic tune swayed by elaborate accompanienment of D-major which is also supported by the home-keys. The seventh symphony can be said to be the genius composition by Beethoven in his earlier symphonies (Hopkins 155).

Works Cited

Grove, Sir George. Beethoven and his nine symphonies .New York: Dover, 1999.

Hopkins, Antony. The Nine Symphonies of Beethoven. London: Heinemann, 2001.

Steinberg, Michael. The Symphony: a listener’s guide. Oxford, 1995.