According to Plantinga, The orchestral style of Liszt, Wagner, Strauss and Debussy belongs to the pictorial order, while that of Schumann, Mendelssohn, Brahms, Bruckner and Mahler follows more or less Beethoven's line of scoring.
Ludwig van Beethoven 1770-1827
Sylistic characteristics
Works involve a heroic struggle which ends triumphantly. Aimed toward the virtuous man.
Works become much longer
In sonata form movements, developments become longer and more complex. Development of thematic material to exhaustion
Codas were expanded to create a second development (inspired by Haydn).
He makes greater demands on the instruments of the orchestra
Many works in minor keys
Theme and variation become very important
Obsession with counterpoint
Blurring the distinction between movements-cyclicity
Fragmentation of themes
He has works of two types: Introverted: found in his complex meditative piano sonatas and string quartets. Large works: meant to have an all encompassing message.
Symphony 1 C Major op. 21
Published 1801 Leipzig . Echoes Haydn and Mozart
Emphasizes Winds
I. Adagio Molto. Allegro con brio
Slow introduction beginning on a series of secondary dominants suspending the tonic.
The three note figure of its allegro is carried to the coda.
2 themes in sonata form
II. Andante Cantabile con moto
Two themes, in sonata form ending
Strongest Mozart resemblance- minuet like, fugal like beginning.
Kettledrum accompaniment à Flute and violin playing triplets and chords in cross rhythm. A forerunner of his effects used in later symphonies (such as the violin concerto and the Emperor concerto).
III. Menuetto: Allegro molto e vivace
The shortest movement.
Not really minuet but evokes a scherzo.
Fast tempo unusual for a minuet.
IV. Allegro molto e vivace
Powerful Haydn like expression
Thematic elements borrowed from previous parts becoming an ending for a symphonic cycle while adding complexity to the sonata form.
Symphony 2 D Major op. 36
Composed around the time of his Heiligenstadt testament (1802)
Longer, richer, expands the orchestra
Bolder rhythms
Mozart techniques à places the climax of the movement in an extended coda à Mozart's finale of Jupiter symphony. The introduction of Mozart's Prague symphony in D as well as the beginning the Allegro with a low lying theme.
Kinship to his 9 th symphony first movement with its strong unison climax in D minor. Also note the kinship in the trios of the scherzi.
In 1821 Beethoven conducted a performances of this symphony at the Concerts Spirituels. However for the second movement he inserted the Allegretto from Symphony 7. the audience demanded a repeat of this movement.
I. Adagio con moto. Allegro con brio
Adagio begins in D major, changing to B-flat major à A major à D major. Slow introduction made up of 3 sections representing the junction of dramatic and lyrical thematic ideas.
Exposition begins in D major with the first theme lasting until measure 57. The transition to the second theme lasts until 72 modulating to A minor. The second theme begins in A major moving back to A minor with a codetta which moves back to D major.
The development modulates heavily on the first theme.
Abandons the theme for harmony creating a staggering effect. Grand ascending sequences resolving in a Haydn like cadence. Beethoven greatly admired Haydn.
Sonata form with thematic material of great simplicity giving an air of seriousness and dignity.
II. Larghetto
An example of one of Beethoven's creative high points.
Beautiful themes, noble ideas
Short coda (16 bars) sonata like segment ends with a feeling of joy and bliss as the strings playing at a higher pitch.
III. Scherzo / Allegro
First time in the structure of the symphony a new movement appears.
IV. Allegro Molto
Great depth, musical and harmonic complexity
Symphony 3 “Eroica” E-flat Major op. 55 1803
Originally for Napoleon.
Detaches cellos from basses for a richer sound
Expands form in 2 ways à Additive principle à new motives are presented during transition and are treated to fragmentation.
Development à 3 sections à Initial bridge, Core (counterpoint/fragmentation), Retransition (dominant pedal, modulation).
Narrative Quality à purgatorial fire which purifies. How man becomes better.
Violent contrasts
Almost twice as long
Vehement reiterations
Cross accents
Passages of themeless, timeless suspense
I. Allegro con brio
Starts off with startling first theme (NO slow introduction).
Triadic, solemn theme. Second theme in minor tonality with lyrical and melancholic expression.
Additive principle
II. Marcia funebra, adagio assai
C minor
Main theme presented by strings uses topics evoking the sacred and eternal.
Basses imitate muffled drums at the beginning
Funeral march modeled after grand dirges played at funerals of the Revolution and Napoleonic wars. These marches written by French composers (eg. Gossec, Mèhul, Cherubini) à Slow tempo, minor mode, imitations of drumrolls, dotted rhythms like the French overture.
Beethoven's differences from the French model: Secondary motive in E flat major (relative major) and a contrasting middle section in C major.
III. Scherzo, Allegro Vivace
“Resurrection of nature in spring.”
Sharply contrasting to movement II in such a way that 19 th century commenter's supplied the piece with a program.
Solo roles for three horns symbolizing the hunt
Hemiolas used throughout
IV Allegro Molto
Symbolizes victory and triumph
Extravagant introduction stopping with a series of dominant chords
Begins with the bass of the theme, then it is developed into 2,3,4 parts before the main theme is presented à Double Variation à creates the option to vary the bassline as well as the melody. This is one of Beethoven's favorite techniques.
Symphony 4 B flat major, op. 60 composed 1806
Filled with musical jokes.
Early classic style blended with hearty orchestrations abundant in later works
Written while Beethoven was writing Symphony 5
Cross influences of his 5 th symphony à falling 3rds found in the introduction, darkness that precedes the light (Allegro, Vivace) and a transition between the scherzo and the finale.
Fresh and spontaneous themes, lack of tragic motives.
Enthusiasts à Schumann, Mendelssohn chose to perform it at his first concert at the Gewandhaus in Leipzig .
Beethoven's Scherzo Principle:
Extends the ternary form out to include a reprise of the middle section and a final reprise of the main theme.
New turns or abbreviations the final time around (often the last reprise of the main theme), gives the sense of going in circles.
Transitions may become more elaborate thus playing with the listeners expectations.
I. Allegro Vivace
Slow introduction which contains all the traces of the entire discourse, coming as a true synthesis of the symphony
Material is rather sparse in the introduction, meandering harmony, doesn't set up the key the way a Haydn symphony would à B flat harmony, octaves (sunrise at midnight), canon for clarinet and bassoon in the second subject.
2 themes are successively shown in the form of sonatas.
The coda is a culmination, not a conclusion.
Development à 1 subject only à melodic counterpoint in various keys. Recalls the sparseness of the introduction.
Enharmonic modulation A sharp = B flat Recapitulation.
II. Adagio
lyrical
Repeated perfect fourth, heartbeat like.
Main theme in the violins, Second theme sounds similar to symphony 3 theme.
III. Allegro vivace
He calls it a minuet but he exaggerates. More reminiscent of a lively folk dance and is too syncopated for a minuet.
Structured on Beethoven's Scherzo principle but thematic elements can be easily recognized from the introduction of the first part.
Sounds much like Symphony 5.
IV. Allegro ma non troppo
Sonata form with a large coda. “Joy of Life”
Contrast this with Schubert's finale C minor Symphony no. 4
Symphony 5 C minor op. 67 composed 1807-08
Classical traits used in Romatic ways à standard classical orchestra with extra instruments being reserved for the finale. Tightly structured, over powering.
Motto symphonies, Cyclic à short theme creating unity throughout the piece and is identified by the motto. In the fifth, the motto returns in each movement with rhythm preserved but the melody changed. Generating a motive in this fashion, from a rhythmical four note cell occurred previously (Sonata Appassionata, Mozart and Haydn).
Instrumental Recitative à operatic (C.P.E. Bach and Haydn)
Terminal Development à Contains new unheard material obsessively repeated.
Charged rhetoric
Third and fourth movement joined à blurs form
Modality
This is the best example of his tension between clear form and expressiveness à transgression of internal form
ETA Hoffmann refers to Beethoven as the quintessential romantic linking him to German Idealism à spiritual ideas and things are as real as any physical objects or phenomenon.
Schumann's symphony 3 models the fifth symphony à cyclic and triumphant.
I. Allegro con brio
Clear exposition
Second theme derived from the first but unique to itself à not in the expected E flat major. Horns provide the theme.
Development à relatively short and based on a four note motive. Harmonic stasis at the end of the movement which provokes the recapitulation. The harmonic progress slows down along with the melody, rhythm. Strings pitted against the winds in syncopation.
Recapitulation à unexpected oboe solo, instrumental recitative for expressivity
terminal development.
II. Andante con motto
Motto rhythm preserved with changed melody
Theme and variations (Haydns later symphonies II movements). 2 contrasting themes
Rhythm of motto also in accompaniment figures
Lyrical hymn like theme, majestic quality.
III. Allegro
Free form/ Expanded minuet and trio.
Epilogue to the dramaticism of part I and the prologue to part IV
Fugal trio takes on developmental quality
Winds play motto at a forte disrupting the slow, quiet beginning.
Double bass used as solo instrument
IV. Allegro
Crescendo over pedal point with a rising melodic line
Triumphant movement à festive march theme expressing joy and victory
Triadic nature of material
Transition section uses the horn motive
Second theme based on the first theme of the first movement
New material in closing section
Musical stasis calling on the recapitulation which recalls the scherzo of the third movement.
Symphony 6 F major op. 68 Pastoral composed 1808
The “Eroica” sketchbook of 1803-04 contained at least two indications of the “Pastoral” symphony
The rustic dance 12/8 “murmuring of the brook”
The Double bass “thunder rumbling.”
Labels for the movements were retained but with the warning that it is an emphasis on feeling rather than tone painting.
Written in the woods of Heiligenstadt where he found stability through nature.
Not as long as his other symphonies
Overriding effect (especially I and V) achieved by the leisurely, long term repetition of quiet motives creating a static melodic surface. This makes the listener focus on variations of harmony and tone color.
I. Allegro ma non troppo, Awakening of happy feelings upon arrival in the country
Small number of themes all subjected to development and transformation, provides the happy setting.
Sonata form
Unusual textural feature à multiple repetition of very short motifs.
II. Andante molto mosso, Scene by the Brook
Describes sensations rather than images
Coda- onomapoetic sounds of the birds à flute theme entitled the Quail, Clarinet theme is the Cuckoo.
III. Allegro, Merry gathering of the peasants
Scherzo depicting the country folk dancing and reveling in F Major
Theme built through repetition of a motif only on a different structure (First theme F Major à Second theme D Major) à reflects external position of the viewer with regards to others.
Altered version of the usual form for scherzi à the trio appears twice rather than just once and is interrupted by a loud passage in 2/4 time (note similar 2/4 interruption in his Hammerklavier sonata for piano).
Repeats of the second parts of the scherzo and the trio are left out (which are normally observed).
The final Scherzo is accelerated and then abruptly interrupted by the beginning of rain.
IV. Allegro, The Tempest
F minor, depicts a violent thunderstorm, awe and fear.
Does not resolve in a final cadence and interrupted and an extended introduction to the final movement rather than a movement in itself. Possibly influenced by Mozart's String Quintet in G minor K. 516 1787, which prefaces a final movement with a long stormy introduction.
Free form- renders the stages of the storm as it unravels à announced by cellos and double basses
Staccato of violins à raindrops
Timpani and flute à thunder and lightening
V. Allegretto, Shepherds song: Happy and grateful feelings after the storm.
Sonata rondo form à the main theme is in the tonic key at the beginning of the development as well as the exposition and the recapitulation.
F major 6/8 time. The first eight bars form a continuation of the stormy introduction. Measure nine defines the tonic (finale proper).
Very long coda
Emphasizes a symmetrical eight bar theme (common to classical finales) which in this case is the shepherd's song of Thanksgiving.
Symphony 7 A Major op. 92 1811-1812
Beethoven was to conduct it to benefit Austrian and Bavarian soldiers who had been wounded at the battle of Hanau in the Napoleonic wars. Also premiered, “ Wellington 's Victory.”
Wagner named it, “the Apotheosis of Dance.”
Tonally subtle with great use of rhythm. Tensions built between A,C,F. Movement II in a minor.
Liszt arranged this symphony.
I. Poco Sostenuto: Vivace
Majestic introduction almost a sonata movement in itself
Keys of C major and F major play an important role
Predicting salient tonal moves in all the remaining movements
Series of rising scales that gauges itself against the long notes of the opening measures. A repeated note figure follows which generates the dotted rhythm of the vivace itself.
The pervasive dotted rhythm, is reserved until the famous crescendo passage near the end.
Motif I à rhythmic, dance background. First movement, dance rhythms à usual for symphonies of this time.
Melody, modulations, and orchestral design all compete.
Oboe sustained during silence and states the opening melody in sostenuto.
II. Allegretto
A minor
Most expressive second movement of all his symphonies.
Emphasizes contrast, first part in A major, second part in A minor.
Rhythm as important as the melody. Repeated figure comprised of a quarter note, two eighth notes, and two quarter notes.
Influential to Mendelssohn, Berlioz and Schubert. This movement is in a rondo cum sonata form. A (a min.) à B (A maj.) à A (shortened) à C(dev. of A) à A(only hinted at) à B(shortened) à Coda. The movement opens and concludes with three bars of a held six four chord. The exposition of theme A is an uncommon structure as it suggests the idea of a terrace. Theme A is repeated three times as the melody rises an octave higher each time. At the same time the scoring becomes richer and dynamics increase (Ravel's “Bolero” used this device). Theme A is a strict period of two eight bar sections. This square construction results from regularly repeating the second section and putting rests in bars 8, 16, and 24. The theme's rhythm suggests a slow march which pervades the entire movement. The tune is born from this rhythm à germ-motive. This symphonic march is like his Eroica and piano sonata op. 26 funeral marches. The B theme is hymn like and bright in sonority with its smooth line.
This is the first time that a symphonic march is introduced into the symphony and sonata.
III. Presto
Scherzo (F major) and trio ABA à ABABA (did this expansion in his String Quartet no. 8.
Conveys a pastoral scene with pictorial meanings and associations.
In the trio, a theme from an Austrian folksong (pilgrims' hymn) is used.
IV. Allegro con brio
Sonata form
Emanates joy from beginning to the end. Dance like
Like a folk song, everything is captured by movement.
Second theme, a Hungarian dance
Creative fantasy, unpredictable form, uses all musical forces.
Symphony 8 F major op. 93 composed 1812
Beethoven refers to it as, “The little symphony in F major.”
Fits the 18 th century classical symphony
Light hearted, not light weight with musical jokes as in Haydn and Mozart
Op. 54 and op.79 piano sonata first movement resemble this symphony.
Criticized that the eighth isn't something different from what it is. (Not heroic or emotive).
Written for Classical orchestra, 2 flutes, 2 clarinets, 2 Bassoon, 2 horns, 2 trumpets, timpani and string orchestra
Bears no dedication
Ironic à He reverts to 18 th classical style yet this was composed during an unpleasant time with his interference in his life as his brother's love life, and a search to cure his deafness. He also wrote the intimate violin sonata, op. 96 during this year.
Only about 26 minutes duration
I. Allegro vivace con brio
F major 3/4 time, fast.
Sonata form with the first theme in a ternary rhythm
Substantial Coda
Unusual in that he does not reach dramatic climax during the development but on the onset of the recapitulation.
Opening theme in three sections, four bars each with loud-soft-loud dynamics.
The middle four bars are omitted at the onset of the Recapitulation.
II. Allegretto Scherzando
B flat Major, parody of the metronome (like Haydn's “Clock Symphony.”
16 th note steady rhythm
No development section (Slow movement sonata form). But a short modulation back to B flat for Recapitulation.
The second subject includes rapid 64 th notes, perhaps an unwinding spring in a not so perfect metronome.
Beethoven's friend Johann Maelzel invented/improved the Metronome
III. Allegro Vivace
Nostalgia à minuet which was no longer in practice during the time of this composition (also done in Piano Sonata op. 31 no. 3 1802). With his aggressive, thumping rhythms and sforzando (upbeat) markings, Beethoven still retains his Romantic “Beethovian” spirit which ties it to the other movements of this symphony.
ABABA, sonata rondo form à opening material appears in three places à the beginning of the development, beginning of the recapitulation, and halfway to the coda. The ABABA extension arises perhaps from the same impulse to write the Scherzi of symphony 6 and 7 in ABABA (Scherzo/Trio/Scherzo/Trio/Scherzo).
Substantial Coda and elaborate because the opening material returns in the middle of the coda, it can be interpreted as a second development and recapitulation.
Second subject exposition à on the dominant. The recapitulation à The tonic adopts the “wrong” key, the normal key is found after a few measures (this also happens in movement I).
Symphony 9 d minor op. 125 composed 1822-24
Ode , An die Freude by Friedrich Schiller poem
First example of a major composer using voice on the same level with instruments in a symphony.
Unusually large Orchestra for its time; piccolo, 2 flutes, 2 oboes, 2 clarinets (C, A & B flat), 2 trumpets (D, B flat), 3 trombones, 2 timpani, triangle, cymbals, bass drum, strings, four vocal soloists and chorus.
Musical notes for this symphony found as early as 1809.
Narrative feel in each movement though Beethoven was hesitant to explain what each movement meant. Its spirit is linked with extramusical influences à the French Revolution, dignity of the individual, sufferings and hopes of mankind. Triumph of the major key over the minor.
Great impact on Mahler (sym 2,3,8) with its grand demeanor, extensive use of large choral and vocal forces. Also influenced Wagner's music drama writing as well as most other late 19 th century composers.
Beethoven's theme maybe influenced by Haydn's late masses where the symphonic idea was explored à Harmoniemesse B flat, agnus dei.
I. Allegro ma non troppo, un poco maestoso
Sonata form, d minor
The beginning opens with 5ths (incomplete triads), grows to a diminished chord (this influential to other composers).
Instead of literally repeating the pianissimo opening bars in d minor during the recapitulation, he switches to fortissimo in D major à creating terror and awe.
Coda employs the chromatic fourth in a way that was copied by Bruckner in his own third symphony.
First appearance of the quartet of horns in a Beethoven Symphony.
II. Molto vivace
D minor Scherzo
Opening theme echoes the theme of the first movement (this is also found in his Hammerklavier piano sonata written a few years earlier).
Propulsive rhythm
Timpani solos (tuned an octave apart) play on the minor third of the chord influencing the whole course of the movement.
Points indicated Ritmo di tre battute- beats of three consecutive measures must form a single rhythmic unit. As if in 9/4 instead of 3/4.
Trio section à contrasting D major in duple time. Also marks the first arrival of the trombones in the work.
Theme of the scherzo was initially meant for a fugato which can still be heard in the staccato playing (3/4 dotted quarter, eighth, quarter).
III. Adagio e molto cantabile
B flat major, lyrical, gives an impression that a new cycle begins.
The first theme choral like, Secondary theme (ternary meter) dancing like disposition.
Loose variation form. Each of the two variations divides the basic beat to produce a more elaborate melodic configuration that what went on before. The first variation in 4/4, Second variation in 12/8.
Variations separated by 3/4 passages in D major then G major.
The final variation is interrupted with episodes, loud fanfare, with double stopped octaves.
IV. Allegro assai
Fanfare opening typical of Beethoven.
He has incorporated Sonata elements into the theme and variation.
Extreme range of voices. Tone painting à voices ascend when referring to stars and descend when referring to falling down.
Movement with in a movement
Introduction à stormy, chaotic presto passage. Briefly quotes all three of the previous movements in order. Each is then dismissed in various ways by the cellos and basses which foreshadow the vocal recitative. The introduction eventually “discovers” the famous theme which then:
Theme is subjected to a series of variations for orchestra alone
Introduction repeated from the presto passage, this time with the bass soloist singing recitative previously played by the cellos and basses.
Variations again, this time for the soloists and choir.
Charles Rosen à A symphony within a symphony. Four movements played without interruption. The “inner” symphony follows the same overall pattern as the symphony does as a whole.
Inner Symphony
Theme and Variations with slow introduction. The main theme appears in the cello and basses first then recapitulated with voices.
6/8 scherzo in military style beginning at “Alla Marcia” on the words, “Froh, wie seine sonnnen fliegen.” Turkish music concludes with 6/8 variation of the main theme.
Slow meditation with new theme beginning at the Andante maestoso on the text, Seid umschlungen, millionen!”
Fugato finale on themes of the first and third “movements” at the Allegro Energico.
Excessively long symphony only to be surpassed (in duration) by Mahler and Bruckner.
Differs from an independent symphony because of its thematic unity. Every part is based on either the main theme, the “seid umschlungen” theme ,or a combination of the two.