3. LIFE-TIME-LINES BEETHOVEN 1770-1827 MOZART 1756-1789 HAYDN 1732-1809 1770 1820

17. Ca. 1799, Beethoven learned his increasing deafness was irreversible. Deep in despair, he remained in Heiligenstadt the summer and fall of 1802 contemplating suicide.

30. Jacques Louis David Coronation of Napoleon

31. Jacques Louis David Napoleon in his study

61. Beethoven is Power, the strangler of fate, who bowed neither to any man or to lesser gods. With men who do not believe in me I cannot and will not associate. - Beethoven His music reflects “the complete emancipation of human emotion and mind.” No composer was more committed to the struggle of mankind. Bach wrote for the Glory of God, Mozart because genius must out, (and because he had to eat), Beethoven to impose his will on the world. - All quotes from Goulding text

62. Symphony No. 5, 1 st Movement Coda Symphony No. 9, Ode to Joy Jacques-Louis David, Napoleon Crossing the Alps, 1800

63. Beethoven did not succumb to this, the gravest of a musician’s ills. Instead he composed the heroic and remarkably optimistic Third Symphony. It is today one of the best loved orchestral works ever written.

64. Ferdinand Ries recalls the piano contest with Stiebelt : Stiebelt again played a quintet with much success and in addition (and this was quite evident) had prepared a brilliant improvisation, choosing as the theme the subject of the variations of Beethoven's trio (Op.11). This outraged not only Beethoven's supporters but also the composer himself. He now had to seat himself at the piano in order to improvise. He went in his usual, I must say ungracious, manner to the instrument as if half lunging towards it, grabbing as he passed, the 'cello part of Stiebelt's quintet, placed it (intentionally?) upside down on the music stand and from the opening notes drummed out a theme with one finger. Offended and stimulated at the same time, he improvised in such a manner that Stiebelt left the room before Beethoven had finished. He refused ever to meet him again; in fact he made it a condition that Beethoven should not be invited anywhere where his company was requested.

65. Ferdinand Ries describes the concert of 22 Dec 1808 : Beethoven gave a large concert in the Theater an der Wien at which were performed for the first time the 5th and 6th Symphonies as well as his Fantasia for Piano/orchestra and chorus. In this last work, at the place where the last theme already appears in a varied form, the clarinet player made, by mistake, a repeat of 8 bars. Since only a few instruments were playing, this error was all the more evident to the ear. Beethoven leapt up in a fury, turned round and abused the orchestra players in the coarsest terms and so loudly that he could be heard throughout the auditorium. Finally he shouted "From the beginning!” The concert was a great success, but afterwards the artists remembering only too well the honourable title which Beethoven had bestowed on them in public swore never to play for Beethoven again - this went on until Beethoven composed something new and their curiosity got the better of them.

66. Ludwig Reelstab on Beethoven's deafness : Beethoven: “This is a beautiful piano! I got it as a gift from London. Look at the name!" He pointed with his finger to the strip of wood above the keyboard.” It is a wonderful present,” said Beethoven looking at me "and it has a beautiful tone," he continued turning towards the piano without taking his eyes off me. He struck a chord softly. Never will another chord pierce me to the quick with such sadness and heartbreak. He has played C major in the right hand and B natural in the bass; he looked at me steadily and repeated the false chord several times to let the mild tone of the instrument sound, and the greatest musician on earth could not hear the dissonance!

68. It looks like a classical symphony, but mark this well: Underneath that polite, perhaps predictable, exterior rages an overwhelming storm of romanticism.

72. Symphony No. 5, Mvt. 1 D e v e l o p m e n t Theme 2 reminder •••— motive Based on Th 2 Reminder of Th 1 Horn call w/ new answer 2 notes of horn call! 1 note of horn call!! 1.a. 1.b. 2.a. 2.b.c.d. 2.e.

73. Symphony No. 5, Mvt. 1 Click for guided listening to the entire development.

74. Symphony No. 5, Mvt. 1 D e v e l o p m e n t •••— motive is ubiquitous! Horn call w/ new answer 2 notes of horn call! 1 note of horn call!! Reminder of Th 2 Back to 1 note Based on Th 2 Reminder of Th 1 New melody, motive R Th 1 melody & R Based on Th 1

75. Symphony No. 5, Mvt. 1 Click for guided listening to the recapitulation and coda.

76. Symphony No. 5, Mvt. 1 R e c a p i t u l a t i o n •••— motive is ubiquitous! Subdued horns + Bassoons! •••— in accompa-niment Theme 2 Closing Th Yes! It was an oboe. Now it continues w/ a short cadenza. Important addition Theme 1 Bridge 4.a.b.

77. Symphony No. 5, Mvt. 1 C o d a Long! based mostly on •••— motive some new ideas introduced

82. Symphony No. 5, Mvt. 4 Exposition Development Recapitulation Coda T1 B T2 CT T1 B T2 Ct What? How? VERY LONG! Earlier themes reviewed including •••— C Major! Triumphant mood •••— motive R! •••— motive R a la mvt 3

86. Rondo Form A B A C A B A Coda aa b a b a ccdcdc aa’bab’a’ eeff Unity: ? Contrast: ? dev Beethoven String Quartet in C Minor, Op . 18, No. 4, Mvt. 4

87. Rondo Form A B A C A B A aa b a b a Unity: ? Contrast: ? Beethoven String Quartet in C Minor, Op . 18, No. 4, Mvt. 4

88. Rondo Form A a a b a b a Q u e s t i o n Q u e s t i o n Q u e s t i o n Q u e s t i o n A n s w e r A n s w e r A n s w e r A n s w e r Opening Phrase; Incomplete cadence Closing Phrase; Complete cadence Beethoven String Quartet in C Minor, Op . 18, No. 4, Mvt. 4

89. Rondo Form A B A C A B A Coda aababa ccdcdc aa’bab’a’ eeff Rhythm ? ? ? Major ? ? ? Minor ? ? ? Style ? ? ? Energy ? ? ? Unity: ? Contrast: ? dev Click the record, listen, track the form, describe points of contrast between the A, B, and C sections. How does Beethoven treat the upward scales? Beethoven String Quartet in C Minor, Op . 18, No. 4, Mvt. 4

91. Ludwig van Beethoven (1770-1827) Music

92. LUDWIG VAN BEETHOVEN