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Flashcards in Ludwig Van Beethoven Deck (13)
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1

Information About Him (13)

- (1770-1827)
- born in Bonn, Germany, to a musical family
- father was a harsh parent
- started out as an organist and violist in court orchestras in Bonn
- traveled to Vienna to study with Mozart then returned to Bonn to take care of family
- moved to Vienna and studied with Haydn
- used a modified patronage system: he was a freelance artist and composer but received financial support from various princes
- had many girlfriends but remained single
- started to lose his hearing in his mid-20’s
- admired Napoleon but later became disenchanted after he crowned himself king of France
- became a care-giver to his nephew Karl
- in later years, became completely deaf
- funeral attracted thousands of admirers

2

His Style and Contributions (14)

- early: used classical style, liked minor keys and sudden contrasts
- middle: more chromatic and more modulations
- late: used more fugal writing and experimented with form
- he used new instruments
- replaced menuet and trio with scherzo and trio
- piano works: “Pathéthique,” “Moonlight,” “Waldstein,”
“Appassionata,” “Tempest,” and “Hammerklavier”
- symphonies: “Eroica,” “Pastoral” (No. 6), “Choral’
- overtures: Egmont, Leonara
- piano concertos: “Emperor”
- piano trios: “Ghost,” “Archduke”
- opera: Fidelio
- vocal works: Missa solemnis
- oratorio: The Mount of Olives
- song cycle: An die ferne Geliebte (To the Distant Beloved)

3

Important Piece: Symphony No. 5, op. 67 (1)

- composed in Beethoven’s middle period

4

First Movement of Symphony No. 5, op. 67 (3)

- in C minor
- allegro
- in sonata form

5

Exposition of First Movement of Symphony No. 5, op. 67 (4)

- first theme: 3 shorts, 1 long famous rhythm, introduced by clarinets and strings
- bridge features the French horns and modulates
- second theme in E-flat major, more smooth and quiet than first theme
- codetta finishes exposition

6

Development of First Movement of Symphony No. 5, op. 67 (1)

- based on theme 1 with sudden dynamic changes

7

Recapitulation, Coda, and Codetta of First Movement of Symphony No. 5, op. 67 (4)

- first theme in C minor
- second theme in C major
- codetta in C major
- coda back to C minor

8

Second Movement of Symphony No. 5, op. 67 (10)

- in A-flat major
- andante
- 2 themes with variations:
- theme A: starts in low strings with dotted rhythms
- theme B: in woodwinds and violins, contains the 3 shorts, 1 long rhythm from first movement
- 1—theme A is played by violas and cellos in running 16th notes followed by theme B unchanged
- 2—theme A in low strings with 32nd notes followed by theme B unchanged
- 3—theme A in woodwinds and theme B in C major
- 4—theme A in A-flat minor with a march-like quality; no theme B
- coda starts with bassoons with theme A material

9

Third Movement of Symphony No. 5, op. 67 (8)

- in C minor
- allegro
- scherzo and trio
- scherzo—has 2 themes:
- 1st theme is a rocket theme in low strings
- 2nd theme played by French horns with 3 shorts and a long rhythm
- trio: in C major, strings and woodwinds are featured, trio is playful and energetic with a double bass solo
- scherzo return: 1st theme is shortened, 2nd theme is quiet with strings and woodwinds, timpani plays the 3 shorts and a long rhythm

10

Fourth Movement of Symphony No. 5, op. 67 (3)

- in C major
- in sonata-form
- allegro

11

Exposition of Fourth Movement of Symphony No. 5, op. 67 (3)

- 1st theme: strong, with trumpets, bridge features French horns
- 2nd theme: includes triplets and 3 shorts and a long rhythm
- codetta has descending motives

12

Development of Fourth Movement of Symphony No. 5, op. 67 (3)

- based on 2nd theme
- scherzo theme returns gently
- dominant preparation

13

Recapitulation and Coda of Fourth Movement of Symphony No. 5, op. 67 (3)

- basically the same as exposition but in C major
- coda features the piccolo playing scales
- ends dramatically