Chapter 21 -- Ludwig Van Beethoven
Chapter 21 -- Ludwig van BeethovenIllustration 1: Excerpt of manuscript of Symphony No 9 in d minor byLudwig van Beethoven (courtesy of Petrucci Music Library)A dilemma: where does one properly put Beethoven? If we analyze and listen to hisearliest music, it is as much a part of the Classical tradition as that of his famous teacher,Franz Joseph Haydn. His first compositions included the standard forms of sonatas,concerti, symphonies, string quartets, etc.And, at the end of his life, he was still composing sonatas, concerti, symphonies, stringquartets, etc.However, if we try to pigeonhole his late music into the Classical style, it just doesn’twork. One of the most striking changes is that Beethoven's personality engulfs hismusic. Added to that, the harmonies, the technical difficulties, the unusual structures inhis later compositions seem more appropriate to a much later era.During the 19th century, the Romantic Era splintered off into two directions: oneinspired by the strict discipline of the Classical Era, focusing on time-honored structureand forms—the traditionalists. The other was a truly innovative Romantic style where
formal structure took a back seat to freedom of expression—the music was the story ofthe artist's personal journey—the rebels. Not surprisingly, each side had contempt for theopposing viewpoint.And. . . both of them trace their origins and inspiration to Ludwig van Beethoven.How is it possible for one man to have that much influence on the next severalgenerations of musicians?It's a remarkable story and stands alone in the history of music. . . and this is the reasonthat Beethoven deserves his own chapter.HIS STORY IN SYMPHONIESIllustration 2: Fourth Movement of Symphony No 5 in C minor byLudwig van Beethoven
It's not mandatory to know the story of a composer's life in order to listen to his music,but sometimes knowing his back story adds a depth that aids in understanding of whythe composer did what he did.Unfortunately with Beethoven, this has difficulties. While a number of detailedbiographies were written by Beethoven's contemporaries, modern research suggests thatsome of these authors were more than a little loose with the truth. Parts of themanuscripts are accurate, but we now know that some events have been fabricatedwholesale. Generally, something that is inaccurate or inconsistent is worse than nothingat all—which is why many of the biographies of him are worse than useless.What do we have, then, that can tell us a true story of his life and put his enormoustalents in perspective?One of them is a set of conversation books Beethoven used after he lost his hearing. If avisitor wanted to ask him questions, he would write his question in one of the books.Beethoven would read the question and then answer verbally. Unfortunately, as you canimagine, the material is quite one-sided and we’ll never know what his responses were.However, the best answer can be found in his music. Unlike the biographies, it tells nolies. It is his pure unfiltered voice. Through it, we can follow the trail of his developmentinto one of the greatest and most influential minds in Western culture.In contrast to much of the music business today, his music was not arranged, padded out,corrected, or exaggerated. There was no collaboration, no producer or arranger to comealong and flesh out ideas. Minus a few relatively minor copying errors here or there, hispublished work is the pure raw thoughts and emotions that Beethoven experienced—andcommunicated. Beethoven’s manuscripts are definitive primary sources.As we've seen earlier, notation is a storage device that preserves the meticulous detail ofthe parameters necessary to reconstruct the performance of a piece of music. However, itpreserves much more.On a very basic level—and perhaps this is more relevant to the point of what music is allabout—a piece of music itself is a storage device for emotions. The notes, the rests, theharmonies, melodies, dynamics are simply the delivery mechanism for the thoughts andfeelings of a human being.It is similar to a computer program that executes a series of commands. However,instead of generating calculations, it generates a sequence of emotions that manipulatethe listener through a pattern of feelings. As we've seen, we in the West tend to be very
specific with this emotional program; we are obsessed with the great detail of musicalnotation and to perform it exactly as written (and then argue endlessly about thosedetails).And, some psychologists and neurologists go even further. They argue that as motionscan convey emotion (imagine someone walking into a room and slamming his briefcasedown on the table—that's a very clear communication), it's perfectly logical that a widevariety of emotions are communicated in the motions a performer uses to play pianomusic. This is obviously something that only a performer would be able to experience.There are many layers to a musical composition, but the emotions may well be the mostimportant one. It’s also not just music that does this--on a very basic level, plays, films,books, etc. are also programs of emotions.Beethoven composed in all of the common classical mediums during his life. It couldjust as easy to make the case to trace his life by way of his 17 string quartets or his 32piano sonatas.This chapter will focus on his nine symphonies for a number of reasons.First, as a general body of music they are the most accessible of his major compositions,and the most popular (for example, an Amazon.com search for “Beethoven completesymphonies” gets almost 2,700 results).Second, as musical statements they represent a group of work he labored over veryseriously. For Beethoven and those that followed him, the symphony is a parallel to anovel by a writer – a very complex and involved work of art.When Beethoven composed his first symphony, his work was very much in the classicalmodel of his teacher, Franz Joseph Haydn. At his death in 1827, he had completelytransformed the medium and had become the greatest innovator of his time. Nearly 200years after his death, anyone who composes a piece of music called a symphony is stillwalking in the composer's footsteps.Two centuries after his death, his symphonies remain the most popular and mostperformed of any composer. Herbert von Karajan, the most recorded conductor of the20th century, recorded the complete symphonies four times on audio recordings. Inaddition, he filmed two more complete performances of the nine.
For orchestra conductors trying to establish a repuation, they are the gold standard uponwhich a performer’s reputation is measured.A recent published collection of Beethoven's music fills out 85 cds—that's a lot of musicfor someone who only lived to age 57. What might be surprising is that for being suchan innovator and a prolific composer, Beethoven often had difficulty getting his ideas toa point where he was satisfied with them, unlike his contemporaries.Melodies seem to have flowed effortlessly out of Mozart—in every year of his adult lifehe singlehandedly composed more music than the Beatles did during their entire career.Haydn's assertion that he sometimes had to get down on his knees to pray for musicalinspiration often gets a chuckle out of musicians who know his tremendous output andwonder how one person could compose such an amount of music in one lifetimeregardless of him claiming that he needed divine help.We know from Beethoven's sketchbooks that he had no such luck. His music sometimesseems as if it had to be chiseled out of stone one note at a time. Beethoven workedintensely on pieces of music, sometimes taking years and revision after revision until hewas satisfied with it.Living to age 77, Haydn composed nearly 110 symphonies. Mozart died at age 35 andcomposed over 40 of them.Beethoven died at age 57, composing only nine symphonies with sketches for a tenthleft incomplete. Nine compared to 40 or 110? How is it that many consider this man tobe the greatest symphonist who ever lived?Unlike his predecessors, his music was not created for the purpose of light entertainmentfor nobility. This was a new era demanding different works from its creative artists. Hisintense revision process, coupled with a brilliantly creative imagination, (and a stubbornpersonality as witnessed in his music) refined ideas to a peak never seen before.The early 19th century was a time when audiences were demanding a much morepersonal, individual vision. With composers now having the freedom—intellectualfreedom as well as financial freedom—to compete with each other for the public's favor,all of those factors contributed to a somewhat smaller outputi.The musical era starting in the early 19th century is often described as “The celebration
of the individual” and we can see this characteristic taking hold early in Beethoven's lifeand output. It was an intense era, an era full of promise and change.Economics had changed to where the middle class had enough clout to be a factor in themusic market. Public concerts were common and now a venue for an artist to earnserious amounts of money staging them. Beethoven became quite well known during hislifetime and died a comfortably wealthy man, due in part to being a ruthlessbusinessman. The publication of his first opus (a set of piano trios) was successfulenough to take care of his living expenses for an entire year (Barry Cooper, Beethoven,Oxford University Press, US)And, there is also the factor of sheer luck. While Beethoven was enormously talented, hewas also fortunate to live in an era where his dynamic, personal, humorous, andsometimes rebellious style was what audiences were ready to hear. His personal tragedyof his hearing loss (and his resolve to overcome the damage), coupled with his strongpolitical views was a perfect match for the zeitgeist of the era he lived in. Had he beenborn at a different time, we may still remember him as an outstanding musician andcomposer. It may be, though, that we wouldn’t be talking about him as one of the alltime greats.As noted at the beginning of this chapter, Ludwig van Beethoven is a challenge toclassify. His earliest music is clearly Classical in its feel and structure. He lived the bulkof his life within the confines of what most historians would call the Classical Era. Hisorchestra was essentially the same as the orchestra used by Haydn and Mozart. Theexpansion of instruments and sizes of the sections were decades away.And even with the same basic set of symphonic instruments, Beethoven’s late music iscompletely out of place in the early 1800s. His forms, harmonies, and musical ideasdidn't just push the musical envelope of the time—it ripped the seams of the envelope.For decades after his death, music critics argued that he had lost his sanity. However astime passed, his "insanity" turned out to be his far-reaching vision and a creativity thatwas decades ahead of his time.Composers who followed him found his footsteps to be giant. The first symphony ofBrahms got the nickname "The Tenth", a reference to the fact that some critics felt it wasthe first symphony since Beethoven ninth (dating from 50 years earlier) that lived up tothe standards of the great master. In every one of his own nine symphonies, AntonBruckner took Beethoven's 9th symphony as a starting point. Gustav Mahler's 5thsymphony begins with the three short/one long motif that permeates Beethoven's 5thsymphony. Mahler also re-orchestrated Beethoven's symphonies, updating the scores to
the enlarged orchestra of the late 1800s in an acknowledgment that Beethoven seemed tobe writing for a medium that didn't exist yet.It also helps to understand the time in which he lived.Beethoven was born in 1770, into an era that was rapidly changing and becoming highlyfertile ground for political and social upheaval of the likes that had never been seenbefore.A few centuries earlier, the Church had dominated all of society—especially music andthe arts. In the Renaissance with the rise of humanism, in addition to the splintering ofthe Church during the Reformation, we see power (political and economic) shifting tothe monarchy, creating the era of absolute monarchs.An additional game changer was the first Industrial Revolution. The middle class beganto gain unprecedented wealth and influence, a trend seen again in the Second IndustrialRevolution that began in the late 1800s.We see the end of rule by Divine Right echoed in Rousseau's Social Contract Theory,suggesting that there were certain rights that belonged to every human being and thatgovernment should be at the consent of the masses. We see "enlightened despots" suchas Emperor Joseph II, who believed that his subjects should be treated humanely.In 1776 a disorderly band of colonies in the New World decided enough was enough andofficially severed political ties with the powerful British Empire, choosing selfgovernment and eventually creating a representative form of government that hadn'tbeen seen for thousands of years.In 1789, France followed the example of the United States, creating a political shockwave all over Europe.It was an age of revolution; an age where the individual could believe that he was bornwith rights of life, liberty, and the pursuit of happiness.A piece of music tells stories on many levels. In earlier centuries, music told the story ofthe Church and the total influence of God in society. Later, the music told story of thegrandiosity of the nobility. Even later, in it we begin to hear logic, reason, and thecelebration of the universal, the story of "Everyman".Society—and, of course, music—then turned to celebrating the power of the individual.
This was the rise of the musical personality, the heroic artist giving his personal vision,telling his personal story. Members of his society had the personal and financial meansto create a market for art and music that told the stories they wanted to hear.Enter Beethoven.Born into a musical family, Beethoven showed a tremendous musical talent at an earlyage. He was a child prodigy and began composing music early, although not on the levelof Mozart. His father recognized his son's talent and began exploiting the fact, taking theyoung child on tourii.Tradition tells us that Mozart heard him play and made the statement, "Some day he willmake a noise in the world!", although modern scholars find no hard evidence that thetwo actually met.His composition teachers included Antonio Salieri and Haydn--who found the youngman impulsive and his compositions difficult to understand.Even if they didn’t see eye to eye, Beethoven's first works are clearly in the mold ofHaydn. However, a few distinct traits of his personality already begin to show through: arough edged humor, an energy, a drive—even to the point of obsessiveness—that beginsto surface.As far as we know, Beethoven always had a certain contempt for nobility and theconcept of being born into privilege. On the other hand, he kept many ties to nobilityand a number of them supported him financially.When he was 19, a critical event happened at an impressionable time in his life—theFrench Revolution. For each of us, quite often in our adolescence, there are events thataffect us for the rest of our lives. They determine how we will see things and react tothem and are the standard to which we compare all future events. The French Revolutionwas an event that seems to have profoundly affected Beethoven.This was not the only upheaval he was to experience. As early as his mid-20s, his lifetook a very tragic turn as he discovered that he was losing his hearing. Analyzing hisdescription of the symptoms, modern scholars have not come to a definitive conclusionas to the cause. Among the suspected culprits was lead poisoning.As he was simultaneously trying to establish his reputation as a composer, Beethovenwas the most famous pianist throughout Europe, known for his legendaryimprovisational ability. For a performer knowing that he would eventually be unable tohear what he was playing, it was nearly as devastating as having an arm amputated.
In one of his writings known as the Heiligenstadt Testament, he even confessed toconsidering suicide. However, the young composer stated that he had decided to takeFate by the throat and continue working through his affliction. He would not let it win.Regardless of anything his doctors could do, even supplying him with primitive hearingdevices, within a couple of decades, he was completely deaf.This is where the musical genius becomes the musical deity. From this world of silence,he composed the most powerful music of his life, and as many critics say, some of thefinest and most powerful music composed in Western history.The following section is a cursory analysis of his nine symphonies with some historicalnotes. It is recommended that the reader take the opportunity to listen to the worksdiscussed here. There are numerous fine performances on YouTube, the Petrucci MusicLibrary (imslp.org), and other locations on the internet.SYMPHONIES 1 AND 2 -- THE EARLY PERIODBeethoven's two first symphonies are very much in the Classical mold of his teacher,Haydn. There is little sign of a feeling of struggle that characterizes his later music.Symphony No. 1 in C Major1.2.3.4.Adagio molto —Allegro con brioAndante cantabile con motoMenuetto: Allegro molto e vivaceAdagio—Allegro molto e vivaceFirst performed in 1800, Beethoven's first symphony is perfectly Classical in feel withthe standard four movement framework: fast (with a slow introduction reminiscent of histeacher, Haydn), slow, medium, fast. The structures of the movements draw heavilyfrom the sonata form, also a trademark of Haydn.There is also a good natured sense of humor in it with a few harmonic tricks. He mayhave gotten that from his teacher, Haydn, who occasionally indulged himself in mildmusical pranks in his symphonies.
Symphony No. 2 in D major1.2.3.4.Adagio molto, Allegro con brioLarghettoScherzo: AllegroAllegro moltoThe second symphony, first performed in 1803, also begins with a slow Haydenesqeintroduction and the remainder of the symphony follows through in the patternestablished by his Classical peers.The "feel" of this one, though, is a little different. There is again an ebullient andsometimes impish sense of humor that pervades it. Compared with its predecessor, thesecond is filled with an unstoppable energy. Unlike the first which has a quiet entry, thesecond begins with two loud full orchestra notes quickly getting the listener’s attention.The theme that begins fourth movement was a little shocking to purists at the time with awide jump in the intervals of its melody. There were a few harmonies that also wereoutside the norm as Beethoven was already asserting his personal stamp on his music—aprophesy of things to come.Had Beethoven stopped composing here or at least continued in the same vein, he wouldhave left a legacy as having created one of the best, most dramatic—and yes, most fun—of Classical symphonies.SYMPHONIES 3 THROUGH 7 -- THE MIDDLE PERIODSomething seems to have happened between the creation of his second and thirdsymphonies.There is a phrase sometimes used to describe such a situation; "new wine in oldwineskins". Prior to the use of bottles, wine was fermented in animal skins. Newwineskins would be needed to store new wine as it fermented. They would have theflexibility to be able to expand with the fermentation of the wine. Putting new wine inold wineskins would cause them to explode.
Such a musical explosion takes place in his third symphony, first performed in 1804.Symphony No. 3 in Eb major “Eroica”1.2.3.4.Allegro con brioMarcia funebre: Adagio assaiScherzo: Allegro vivaceFinale: Allegro moltoBeethoven dispenses with the slow and quiet introductory passage typical of his oldteacher Haydn. It starts off with two fortissimo chords from the full orchestra (thatwould be right at home closing the movement) and immediately plows right into the firstmain theme which is introduced by the cellos. The scale of the movement is larger,grander, more complex with the creative touches and surprises that became a trademarkof Beethoven. It ends in an extraordinary coda hammering home the main theme throughrepetition, with Beethoven adding more and more instruments until it becomes a heroiccelebration of the theme.The second movement is, of all things, a funeral march: grand, heroic, filled with twistsand turns of mood almost like one remembering the complex life of a great man.The third movement is no longer a minuet--it is a "scherzo", a fast romping goodnatured movement. The final movement is an imaginative and large scale theme andvariations (he must have had a liking for this melody because he used the same theme anumber of times in other compositions).The “Eroica” (meaning Heroic), as it came to be called, is almost twice as long as mostof Haydn's symphonies. The treatment of the musical themes and the scope of thecomplexity and the drama he created were far beyond what anyone else had done up tothat point. The triumph of the first movement giving way to the tragedy of a funeralmarch in the second movement is an example of the broad scale of his unique creativeconcept. Even though his orchestra is esssentially the same one that Haydn used,Beethoven's use of the orchestral instruments was unconventional.There is a well-known story behind this “heroic” symphony. Fortunately, this one can becorroborated.Napoleon Bonaparte had become known as the great liberator of Europe, and someonethat Beethoven deeply admired. The accounts of Beethoven's life (that we can trust)suggest that he was obsessed with the ideals of freedom and human rights.
The symphony began life as "Sinfonia Bonaparte", a testament to his hero.His plan did not end well.In a solemn and opulent ceremony Napoleon Bonaparte narcissistically crowned himselfemperor. When word reached Beethoven, he was furious and came to the conclusion thatNapoleon was yet one more tyrant. He tore up the dedication page and scratched out thewords "Sinfonia Bonaparte" so angrily that he ripped a hole in his manuscript.The composer rededicated the symphony "to the memory of a great man"; perhaps witha personal meaning that it was to an ideal that only existed in his memory before realitysunk in.Whatever the outcome, it was a very personal portrait.A portrait of Napoleon? A little psychology tells us that’s not necessarily the case.Many times, those we look up to as ideals are actually reflections of our own aspirations.In our heroes, we see ourselves.If there was any need for a glimpse at the real Beethoven, it can be found in thissymphony. Beethoven later redubbed the nickname, "Eroica". However, we have apretty good case in concluding that the "hero" is Beethoven himself.Starting with the third symphony he seemed to have alternated his symphonies. Some ofthem are intense dramatic musical statements--most of these are the odd numberedsymphonies. Most of his even numbered symphonies tend to be a little gentler, a littlemore introspective, a little more conservative. Whether he planned it this way isunknown.Symphony No. 4 in Bb Major1. Adagio – Allegro vivace2. Adagio3. Allegro vivace4. Allegro ma non troppoHis fourth symphony sits between two great dramas--the heroic third and the bombasticfifth symphony. It starts softly and is almost a throwback to a classical style, but it hasmany of the characteristics of Beethoven's mature symphonic musical style. It has hisunusual (and sometimes tricky to perform) rhythms and syncopations. It was given its
first public performance in 1807.Regardless of its fresh innovations, nothing could have prepared his contemporaries forhis fifth symphony.Symphony No. 5 in C minor1. Allegro con brio2. Andante con moto3. Scherzo Allegro4. AllegroThe first four notes – three short notes and one long—may be the most recognizedmelody on the planet. Various writers have called it his "Battle Symphony", his "VictorySymphony" (in part because the Morse code for the letter 'V' is the same pattern), or the"Fate Symphony" because it is so powerful of a document that it's hard for many peopleto think of it in just purely musical terms.It may be the most intense, compact, powerful, and innovative piece of music composedup to that time, and perhaps still hasn’t been equaled.Beethoven--at least in any authenticated history--seems to have had little to say about it,but if we take a look at the circumstances surrounding the creation of it, we may be ableto understand a little more about it and the time for which it was created.Battle? Fate? Victory? What about a piece of music would lead listeners to draw thatconclusion?Beethoven was engaged in his own personal battle that threatened to take away his mostprecious gifts – he realized that he was losing his hearing.The young Beethoven was certainly an up and coming composer who had studied withsome of the greats of his era. At this time in his life, he was considered to be the finestpianist in Europe. His improvisations were legendary. There was a potential forsubstantial income from performances.By all odds, the future should have been in the palm of his hand.Instead, Beethoven found himself being robbed of a talent that should have been greaterin him than in anyone else. The best doctors of the time were helpless to do anythingabout it.
What was his first reaction? From one of the reliable sources—a letter to his brothersknown as the Heiligenstadt Testament—we know that it was despair. In his own wordswe know he contemplated suicide.And later in the same document, we see him saying he said that he he would not letdeafness defeat him and resolved to “take Fate by the throat.”Let's step back for a moment and look at the larger historical musical picture. Up to thistime, if you listen to the work of composers and try to guess what was happening in theirlives—tragedy or prosperity—you will have a nearly impossible task on your hands.Music tells stories on many levels—the instrument makers, the printers and the needsthat led to standardized notation, and the economics of their times; the thinking andunderstanding of the time in the structures used; not to mention the intended audiencefor the composition.Earlier music told the story of a powerful Church, or a powerful monarchy—or inHaydn's time, the story of the common man. The composer's personal story was simplynot that important in earlier times.This is where Beethoven begins to stand alone from the crowd. It is his point of viewthat we are hearing. We hear his triumphs, his tragedies, his fears—not someone else's.Simultaneously we also know that there was a great battle going on in society aroundhim. Revolutions were taking place. A powerful monarchy was being overthrown by asmall set of colonies on the other side of the Atlantic showing the world that arepresentative form of government based on the will of its common citizens could exist.We do know with some certainty that Beethoven was obsessed with human rights.These political movements going on around him couldn't help but fire his imaginationand very likely resonated as freedoms took tyrants “by the throat”.Beethoven's fifth symphony begins with a dramatic movement dominated by a motifconsisting of three short notes followed by one long note. He constructed the entire firsttheme out of it, creating a melody sounding very ominous and oppressive. Themovement itself is a conflict between the first theme and a second defiant melody thatseems to give a sense of hope and strength.The second movement is two sets of theme and variations (alternating) that once againbring back the opening motif. This was something that had never been done before.
The third movement is a fast scherzo overwhelmed by the same motif, but once again abattle between the ominous and the optimistic.Like all good symphonies of the time, the fifth symphony has four movements.However, the third movement plows directly into the fourth without a break—again, aninnovation that no one had ever done before.The main theme of the fourth movement is a defiant victory theme—almost with thepower of a fight song. And again. . . the four note motif returns and threatens tooverwhelm the victory, but in the end, the symphony ends in unquestionable triumph asthe positive sounding key of C major replaces the ominous key of C minor.In this one piece, Beethoven had done a number of things never done before. He createdthe first “cyclical” symphony where the four movements were musically related—notunlike a “concept album” in modern pop music. He also shifted the dramatic balance towhere the greatest drama comes at the end, not in the first movement.The fifth symphony is unmistakeably telling a personal story. The Romantic Era is oftenreferred to as “the celebration of the individual”. This is unquestionably one of theworks of art—even if it is still within the confines of a Classical structure—that led theway for musicians who followed him.Again, as far as we know he never said publicly what was behind the powerfulemotions expressed in this symphony; but it is probably not likely that someone whohad not experienced the adversity and tragedy that Beethoven did—or someone whodidn’t sense the hope and promise of freedom—would have created such a documentthat hinted of such a powerful struggle.Symphony No. 6 in F major “Pastoral”1.Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening ofcheerful feelings upon arrival in the country): Allegro ma non troppo2.Szene am Bach (Scene at the brook): Andante molto mosso3.Lustiges Zusammensein der Landleute (Happy gathering of country folk): Allegro4.Gewitter, Sturm (Thunderstorm; Storm): Allegro5.Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherds' song;cheerful and thankful feelings after the storm): AllegrettoBeethoven's sixth symphony is of a completely different character. It is relaxed: a
One of them is a set of conversation books Beethoven used after he lost his hearing. If a visitor wanted to ask him questions, he would write his question in one of the books. Beethoven would read the question and then answer verbally. Unfortunately, as you can imagine, the material is quit
Egmont Overture Ludwig Van Beethoven Classical Beethoven King Stephan Overture Ludwig Van Beethoven Opera Leonore Overture No. 3 Ludwig Van Beethoven Classical Symphony No. 3 in Eb ("Eroica") Ludwig Van Beethoven Classical Symphony No. 5 in C Minor Ludwig Van Beethoven Classical Symphony No. 6 ("Pastoral") in F Major Op. 68 Ludwig Van Beethoven .
Barber Samuel Agnus Dei (Adagio for Strings) 181 Hal Leonard Beethoven Ludwig van Choral Fantasia 81 Kalmus S26,A21,T16,B18, 2P/V Beethoven Ludwig van Choral Fantasia 41 H. W. Gray P/V Beethoven Ludwig van Hallelujah Chorus (Mt. of Olives) 151 Banks, Harris, Novello Beethoven Ludwig van Mass in C Major 196 Kalmus
Wolfgang Amadeus Mozart . . 148 Sonata No. 8 in C Minor, Op. 13 (Pathétique) (Movement II) Ludwig van Beethoven . . The Violin Sonata No. 5 in F major, Op. 24, is a four movement work for violin and piano by Ludwig van Beethoven. It was first published in 1801. The work is commonly known as
INSTITUTE for COMPOSER DIVERSITY OVER 20 PROGRAMMED PERFORMANCES Beethoven Symphony No. 5 (31) Beethoven Symphony No. 3 (29) Beethoven Symphony No. 7 (27 Beethoven Violin Concerto (27) Mussorgsky Pictures at an Exhibition (25) Beethoven Symphony No. 6 (24) Beethoven Piano Concerto No. 4
Part One: Heir of Ash Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26 Chapter 27 Chapter 28 Chapter 29 Chapter 30 .
Listen: Ludwig van Beethoven: Piano Sonata in C minor, op. 13 “Pathetique,” movt. 1 (BINDER: 41) Beethoven: Symphony #1, movt. 1 (BINDER: 45) Early Romantic 9 Beethoven (Middle) Read: BINDER pp. 46 Beethoven: Symphony #5 complete (BINDER: 47-53, and also use IMSLP for a complete score) 10 .
For example, it was discovered that he inserted passages in the conversation books after Beethoven’s death, glossed over his and Beethoven’s extremely volatile relationship, and often incorrectly dated key events. While Schindler’s reliability as a witness to Beethoven’s life and ca
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor ‘Pathétique’ (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born in 1770 in the western German city of Bonn. As a young man he moved to Vienna in Austria, where he became known as a virtuoso pianist .
