Ludwig%20Van%20Beethoven

1
Ludwig Van Beethoven

• 1770-1827
• Born in Bonn
• Died in Vienna

2
Ludwig Van Beethoven

• Third member of the great Viennese masters
• The great transitional composer
• By the time he was 35 years old he was the most
  important composer in the world

3
LIFE-TIME-LINES
BEETHOVEN 1770-1827
MOZART 1756-1789
HAYDN 1732-1809
1770
1820
4
Childhood

• Father and Grandfather were musicians.
• Father was Ludwigs first music teacher.
• His father was an alcoholic
• Supported his family as a child
• Showed an interest in composing very early

5

• Louis van Beethoven a boy of 11 years and a
  most promising talent. He plays the clavier very
  skillfully and with power, reads at sight very
  well This youthful genius is deserving of help
  to enable him to travel. He would surely become a
  second Wolfgang Amadeus Mozart were he to
  continue as he has begun.
• Christian Gottlob Neefe

6
Young adulthood

• Beethoven went to Vienna, Austria to learn more
  about composing when he was 17. He played for
  Mozart
• He had to return home when his mother died, and
  help raise his brothers.

7
Return to Vienna

• When Beethoven was 22 (1792), he moved to Austria
  and never returned to Germany.
• He studied with Haydn

8
Ludwig Van Beethoven

• True, its van, not the aristocratic von,
  but if someone mistakenly thinks Im a von of
  royal blood I certainly wont correct him.

9
Beethoven and Patronage

• Patronage is gone. Besides, Beethoven considered
  himself equal to, not the servant of, any noble!
• made his living by
• selling compositions to publishers
• concertizing as a pianist
• 1st musician to make a living almost exclusively
  through composition

10
His temperament

• Beethoven was not easy to be around. He had a
  temper, and he was very demanding.
• He would get lost in his own thoughts and would
  get impatient with others when they didnt do
  what he thought they should do.

• He criticized other musicians when they didnt
  perform his pieces the way he wanted them to
  sound.
• His whole life was very stormy there were many
  sad and discouraging times.

11
Beethovens Contract

• But as it has been demonstrated that only one
  when he is free from care as possible can devote
  himself to a single department of activity and
  create works of magnitude which are exalted and
  which ennoble art, the undersigned have decided
  to place Herr Ludwig van Beethoven in a position
  where the necessities of life shall not cause him
  embarrassment or clog his powerful genius.

12
Beethovens Contract

• His Imperial Highness, Archduke Rudolph
• 1500 florins
• The Highborn Prince Lobkowitz
• 700 florins
• The Highborn Prince Ferdinand Kinsky
• 1800 Florins
• Total. 4000 florins (150,000 USD)

13
Beethovens Contract

• All Beethoven had to do was to declare Vienna his
  home.
• It is good to walk among the aristocracy, but
  first you must MAKE them respect you.

14
Beethoven, the pianist

• the most virtuosic in Europe
• dazzling technique and power
• genius improviser
• a composer
• much music for piano
• piano is being developed
• cast iron frame (stronger, more powerful
  instrument)
• larger range (Beethoven wrote notes that were not
  on current pianos, then told manufacturers to
  build new instruments)

15
Losing his hearing

• Beethoven began hearing buzzing in his ears.
• At first he tried to hide his loss of hearing
  from his friends.
• He continued to write music when he was deaf.

• Beethoven tried many hearing devices, but none of
  them worked.
• He could watch peoples lips to understand what
  they were saying, or have them write in a
  notebook.

16
Beethovens Deafness

• Manifests itself as early as 1796
• By 1820 he could barely hear
• Heiligenstadt Testament
• Letter Beethoven writes in 1802
• Describes his illness and his melancholy

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.
18
Beethovens Deafness

• Though born with a fiery, active temperament I
  was soon to withdraw from society, to live a life
  alone. If at times I tried to forget all this, oh
  how harshly was I flung back by the doubly sad
  experience of my bad hearing. Yet it wasnt
  possible for me to say to people, Speak Louder,
  shout for I am deaf! Ah, how could I possibly
  admit to an infirmity in the one sense that ought
  to be more perfect in me than in others, a sense
  that I once possessed in the highest degree.

19

• How humiliated I have felt if somebody standing
  beside me heard the sound of a flute in the
  distance and I heard nothing...It is impossible
  for me to say to people, Speak louder, for I am
  deaf. How would it be possible for me to admit
  to a weakness of the one sense that should be
  perfect to a higher degree in me than in theirs.
  So forgive me if you see me draw back from your
  company which I would so gladly share. I would
  have ended my life. It was only my art that held
  me back for it seemed impossible to leave the
  world until I have brought forth all that is
  within me.
• Beethoven

20
Medical methods back then...

• Doctors poured warm milk and crushed nuts in
  Beethovens ears, telling him that this would
  help restore his hearing!
• Doctors rubbed Beethovens arms with an ointment
  until they blistered, then punctured and drained
  the blisterstelling him that this would help
  restore his hearing!

21
Beethovenian Pathos

• Man at some unexpected time in his life will sink
  to the depths of his existence, into the depths
  of chaos. It is only HE that can make the
  decision to turn the chaos into a triumphant
  victory. Rising out of the depths of human chaos
  is humanitys primary task for survival.

22
Beethovenian Pathos

• Shows up in music.
• Sense of despair.
• Sense of acceptance
• Sense of reconciliation
• Sense of victory over despair.

23

• I am resolved to rise superior to every
  obstacle. With whom need I be afraid of
  measuring my own strength? I will take Fate by
  the throat. It shall not overcome me. O how
  beautiful it is to be alivewould that I could
  live a thousand times.
• -Beethoven

24
Beethovens death

• Beethoven died in Vienna, Austria in 1827.
• Thousands of people lined the streets during his
  funeral procession to pay tribute.

25
Beethoven, the composer

• Wrote many works for piano
• Wrote music that required improvement of the
  piano
• For years, his compositions drew mixed reactions
• Critics and journalists hassled himIntellect,
  Intellect, Intellect. Why must Herr Beethoven
  write such difficult and complex music? It
  sounds like cats fighting! Cannot he write a
  decent singable melody?

26

• I carry my thoughts within me long, often very
  long before I write them down. As I know what I
  want, the fundamental idea never deserts me. It
  mounts, it grows in stature. I hear, I see the
  picture in its whole extent standing all of a
  piece before my spirit, and there remains for me
  only the task of writing it down.
• -Beethoven

27
Some of his Works

• 32 Piano Sonatas
• Moonlight Sonata
• Sonata Pathetique
• Fur Elise
• Fidelio (his only opera)
• 9 Symphonies
• Choral Symphony 9 (Ode to Joy)
• Beethovens Fifth 5
• Pastorale ..6

28
Beethoven Symphonies

• Supreme architect
• Tied all movements into a theme
• 5th
• Fate versus hope

29
Beethoven Symphonies

• 9th
• Finale
• Ode To Joy

30
Jacques Louis David
Coronation of Napoleon
31
Jacques Louis David
Napoleon in his study
32
Symphony 5 C minor op. 67.

• Archetypical Sonata Allegro Form.
• Three note motive.
• Shows up throughout the whole symphony.
• What is this piece about?

33
Beethoven Piano Sonata in C minor. Pathetique

• Beethovenian Pathos in each movement
• Dramatic quality, sudden dynamic changes
• Adagio section that is hymn-like
• 2nd and 3rd movements are in Rondo form

34
Beethovenian Pathos

• Mvt.1 Slow intro
• Tempo rubato
• Sense of sadness and then anger/ desperation as
  the music moves to the fast section.

35
Beethovenian Pathos

• Mvt. 2. Slow and hymnl-ike
• Sense of calm acceptance
• Familiar theme

36
Beethovenian Pathos

• Mvt. 3.
• Rising out of chaos.
• Sounds of triumph.

37
Ludwig van Beethoven

• composed by evolving and revising musical ideas
  and compositions
• kept notebooks of themes and ideas
• Bs manuscripts, unlike Mozarts, are a MESS--a
  sea of cross-outs, arrows, re-writes, etc.
• Much of Bs music was composed in deafness (total
  by age 29!) He could only hear the music in his
  head.
• works are larger, longer, more complex
• TRANSITION composer
• Bs last two composition periods and styles
  clearly point the way to the coming Romanticism.
• composed for himself and future, NOT for
  publishers or middle class market
• For Beethoven music is much more important to
  human existence than mere entertainment!

38

• 1. Early years
• a. Beethoven born in Bonn
• b. Studied under Christian
• Gottlob Neefe (1748-98)
• 1. Court organist at Bonn
• 2. Wrote Singspiels and songs
• c. 1787 Brief visit to Vienna,
• may have played for Mozart
• d. 1790 Haydn hears Beethoven's music
  
• and urges the archbishop of
  Cologne
• to send him to Vienna

39

• 2. Vienna
• a. Beethoven moves to Vienna in November of
  1792
• b. Studies with a number of composers
• 1. 1792-94 studied with Haydn
• 2. 1794 Johann Schenk (1753-1836)
• composer of
  Singspiels
• 3. 1794 Johann Georg Albrechtsberger
• teaches Beethoven
  counterpoint
• 4. Antonio Salieri (1750-1825)
• teaches vocal composition

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• 3. Compositional overview
• a. 9 symphonies b. 11 overtures
• c. Incidental music to plays
• d. 1 violin concerto e. 5 piano
  concertos
• f. 16 string quartets g. 9 piano trios
• h. 10 vioin sonatas i. 5 cello
  sonatas
• j. 30 large piano sonatas
• k. Numerous piano variations
• l. 1 oratorio m. 1 opera
• n. 2 Masses (including the Missa Solemnis in
  D)
• o. Arias, songs and 1 song cycle

41
His Musical Style Three Periods

• 1. Classical Elements Musical style learned at
  the hands of Mozart and Haydn.
• Use of sonata allegro form. Perfect architecture
  in his music.
• Balanced melodies.
• Diatonic Harmony

42

• 5. The "Three Periods" and Beethoven
  Historiography
• a. It is customary to divide Beethoven's
  works
• into three periods on the basis
  of style and chronology
• b. "Bonn" period is usually not taken into
  account

43

• 5. The "Three Periods" and Beethoven
  Historiography (cont.)
• c. Periodic breakdown
• 1. Early Period in Vienna (1792-1802 )
• Six String Quartets, Op.18/1-6
• The first 10 piano sonatas (through Op.14)
• Symphonies 1 2

44

• 5. The "Three Periods" and Beethoven
  Historiography (cont.)
• C. Periodic breakdown
• 2. Middle Period Beethoven's "Heroic" period
  (1803-1816)
• Symphonies 3-8 - Egmont
• Coriolan overture - Fidelio
• Piano concertos in G and Eb - Violin concerto
• Piano sonatas through Op.90
• String quartetsOp.59/1-3 ("Rasumovsky"), Op.74
  ("Harp"), Op.95 ("Quartetto serioso")

45

• 5. The "Three Periods" and Beethoven
  Historiography (cont.)
• c. Periodic breakdown
• 3. Late Period Reflective and
  introspective style
• ( 1817-1827)
• Last 5 piano sonatas
• Diabelli Variations
• Missa solemnis

46
First Period

• Sonatas
• 1. Op.2/1-3 (f,A,C) Publ.1796
• Dedicated to Haydn
• 2. Op.7 (Eb) publ. in 1797
• 3. Op.10 No.1 (c min.)
• 4. Op.13 "Pathetique" slow mov't

47
First Period

• Characteristic texture
• 1. Frequent use of octaves
• 2. Thick piano writing

48
First Period

• Contemporaries that may have influenced
  Beethoven
• 1. Muzio Clementi (1752-1832)
• 2. Jan Ladislav Dussek (1760-1812)
• 3. Dussek's Grande Sonate, Op.44 "Les
• adieux" (Eb) publ.1800 may have
  influenced
• Beethoven's Op.81a "Les adieux" of 1810

49
Second Period

• Expanded works.
• Form, melody, dynamics
• Explosive accents.
• Longer Movements in Symphonies
• Hymn-like calmness in his slower movements.

50
Second Period

• A. Background
• B. Symphony no.3 (Eb) "Eroica"
• C. Fidelio
• D. Piano Sonatas
• E. Piano Concertos

51
Second Period

• A. Background
• 1. By 1803 Beethoven was recognized as the
• foremost pianis and composer for
  piano
• 2. Patronage differed from that of Mozart
  and Haydn,
• Beethoven was extremely
  independent, and drove a
• hard bargain both with publishers
  and patrons

52
Second Period

• B. Symphony no.3 (Eb) "Eroica Composed in 1803
• 1. Originally dedicated to Napoleon but
  Beethoven
• tears up dedication when Napoleon
  declares
• himself Emperor in 1804. 1806
  dedication
• "Heroic Symphony... to celebrate
  the memory
• of a great man"
• 2. Significance
• a. Expansive movements and
  extraordinary length
• b. 2nd mov't is a funeral march (C
  minor)
• c. 4th mov't is a set of variations
  (w/fugato episodes)

53
Second Period

• C. Fidelio
• Compositional history
• a. Most problematic compostion as
  it was revised numrous times
• b. Composed initially in 1803,
  First perf. in Vienna in 1805
• c. 1805-1806
• - Originally has 3 acts but
  revises and shortens to 2 acts
• - March 1806 perf. of this
  version is immediately withdrawn
• d. 1814 version The 1st successful
  production (extensive revision)

54
Second Period

• D. Piano Sonatas
• 1. Op.27/1-2 From ca.1802 known as the
• "Moonlight" Sonata
• Each designated as "quasi una
  fantasia"
• 2. Op.53 (C) "Waldstein Sonata" and
• Op.57 (f) "Appassionata"
• Exemplary piano works of the
  middle period
• Each is in three mov't scheme
  (fast-slow-fast)
• Formal schemes of the sonata,
  rondo and
• variation are stretched to
  the limits

55
Second Period

• E. Piano Concertos
• 1. Composed concertos for his own
• concert appearances
• 2. Piano concertos nos.1-3 (C,Bb,c)
• All date from early years in Vienna
  
• Concertos influenced by Mozart
• 3. Violin Concerto, D maj. Op.61 (1806)

56
Third Period

• A. Background
• 1. 1810-1815 as a prosperous period for
  Beethoven
• 2. Health deteriorating, deafness
  worsening
• 3. Compositional output in the final
  years
• a. 1816-1821 last 5 piano sonatas
• b. 1822 Missa Solemnis
• c. 1823 Diabelli Variations
• d. 1824 Symphony no.9
• e. 1825-26 String Quartets

57
Third Period

• B. Characteristics of the late style --
  Meditative quality
• a. Manifest in the extensive development of
  themes
• b. Late use of variation forms --gt thematic
  development
• lengthier passages subjected to dev.
  rather than
• short bar-long motives
• c. Variation techniques used by Haydn, Mozart and
  Beethoven

58
Third Period

• B. Characteristics of the late style (Cont.)
• Meditative quality (Cont.)
• e. Fugato and use of contrapuntal textures
• 1. Fugal movements
• a. Finales of Op.106 and 110 Piano
  Sonatas
• b. Grosse Fuge
• c. Gloria and Credo of the Mass in D
• d. 2 double fugues in the finale of
  the 9th Symphony
• f. Use of nontraditional movement plans
• 1. Op.111 Piano Sonata 2 mov't
• 2. Op.131 String Quartet (Cmin) 7
  sections (mov't)

59
Third Period

• C. Mass in D
• 1. Beethoven regarded the Mass as his
  greatest work
• 2. Mass as a single musical unity, a
  symphony in 5 mov't
• D. Ninth Symphony
• 1. Premiered on May 7, 1824
• 2. Significant features
• a. Choral finale
• 1. Setting of Schiller's "Ode
  to Joy"
• 2. Beethoven selects stanzas
  about
• universal brotherhood
  of man
• b. Double fugue in the finale

60
Final period

• Chromatic harmonies.
• Easier to produce for Beethoven due to the fact
  that the hands did not have to move so far on the
  piano.
• Music? Not for you.. For a later time.

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, 1st 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 musicians 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!
67
LOG

• Beethoven
• Symphony No. 5 in C Minor, Op. 67
• Symphony
• I Standard symphony format
• IMP Romantic characteristics
• cyclicism

68
It looks like a classical symphony, but mark this
well Underneath that polite, perhaps
predictable, exterior rages an overwhelming storm
of romanticism.
69
Music Journalism

• CA 1790 Music Journalism exploded on the European
  scene. Middle class people wanted to read
  essays, analyses, and criticisms about new
  compositions, performers, instruments, concert
  halls, etc. (ANYTHING MUSIC!) They bought music
  newspapers, journals, and magazines by the
  millions. While these music rags loved and
  praised Beethovens pianistic virtuosity (until
  deafness curtailed his playing), they mercilessly
  and audaciously condemned most of his
  compositions! Intellect, intellect, intellect!
  Herr Beethovens music is too complex. It isnt
  musical entertainment its intellectual mind
  games. Once again Beethoven wrote something
  that no one wants to hear. These invectives and
  journalistic fulminations bothered Beethoven a
  great deal. However, he is known to have replied
  to at least one upstart reporter, Of course you
  dont understand it (implying the interviewer had
  neither the intelligence nor world view). I
  wrote the piece for future generations. They
  will understand and appreciate it. He was
  correct.

70
Symphony No. 5, Mvt. 1Kamien, p. 193, CD 2
Exposition Development Recapitulation Coda T1 B
T2 CT T1 B T2 Ct What? How?
4.
1.
2.
3.
LONG!New ideas
motive
What change from Expos?
What instruments?
What instruments?

• Sonata form

71
Symphony No. 5, Mvt. 1Kamien,
Exposition Development Recapitulation T1 B T2
CT T1 B T2 Ct What? How?
LONG!New ideas
motive
What change from Expos?
What instruments?
What instruments?

• Sonata form

72
Symphony No. 5, Mvt. 1
D e v e l o p m e n t
1.a.
1.b.
2.b.c.d.
2.e.
2.a.
Based on Th 2
motive
Reminder of Th 1
Horn call w/ new answer
2 notes of horn call!
1 note of horn call!!
Theme 2 reminder
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
Based on Th 2
Reminder of Th 1
Based on Th 1
Horn callw/ new answer
2 notes of horn call!
New melody,motive R
Th 1melody R
1 noteof horn call!!
motive is ubiquitous!
Reminder of Th 2
Back to1 note
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
4.a.b.
Theme 2
Closing Th
Theme 1
Bridge
Subdued horns Bassoons! in accompa-niment
Important addition
Yes! It was an oboe. Now it continues w/ a
short cadenza.
motive is ubiquitous!
77
Symphony No. 5, Mvt. 1
C o d a
Long! based mostly on motive some new ideas
introduced
78
Symphony No. 5, Mvt. 1
Exposition Development Recapitulation Coda T1 B
T2 CT T1 B T2 Ct What?
motive
motive
motive
motive

• This movement is UNIFIED like no earlier piece
  had ever been!

Listen to entire piece
79
Symphony No. 5, Mvt. 2

• I contrasting key time out,
  lyrical double theme variations (Why not a
  rondo?)
• A B A B A (?)
  A Coda
  Ths
  A B Mood?
  Instruments?

80
Symphony No. 5, Mvt. 3

• I scherzo (joke) minuet trio form
  triple meter BUT character is rough and
  rollicking, not genteel

A B A
energy level? Perceived tempo? Texture? Dynamic? V
irtuoso double bass
motive R
81
Symphony No. 5Bridge between mvts. 3 4

• Listen for
• timpani motive R
• repeated patterns--high strings
• ambiguous mode (How will this symphony end?)
• C minor? (turmoil, struggle, failure)
• C major? (victory, triumph, overcoming)
• Crescendo at end leads to Mvt 4

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
motive R!
motive Ra la mvt 3
C Major! Triumphant mood
83
Symphony No. 5

• Mvt 1 motive used in every part of sonata
  form
• Cyclicism motive used in Mvts 1, 3, 3-4
  bridge, 4. (It is even obscurely used in mvt
  2!!!)
• Mvts 3 4 tied together by ambiguous bridge

Unified
84
Symphony No. 5Romantic Notions

• 1. Postponement of gratification, emotional
  progression
• 2. Conflict struggle idea of C minor
• 3. Symphony is more highly unified than earlier
  ones
• 4. Symphony deals with emotion, passion

Mvt. 1 Mvt. 2 Mvt. 3 Mvt. 4C
minor C Major
85
LOG

• Beethoven
• String Quartet in C Minor, Op. 18, No. 4, Mvt. 4
• String Quartet movement
• I rondo

String quartet ??
What is the meaning of Op. (opus)?
86
Rondo Form
Beethoven String Quartet in C Minor, Op. 18, No.
4, Mvt. 4
A B A C A
B A Coda aababa ccdcdc
aababa eeff
dev
Unity ? Contrast ?
87
Rondo Form
Beethoven String Quartet in C Minor, Op. 18, No.
4, Mvt. 4
A B A C
A B A aababa
Unity ? Contrast ?
88
Rondo Form
Beethoven String Quartet in C Minor, Op. 18, No.
4, Mvt. 4
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
A n s w e r
A n s w e r
A n s w e r
A n s w e r
Q u e s t i o n
Opening Phrase Incomplete cadence
Closing Phrase Complete cadence
89
Rondo Form
Beethoven String Quartet in C Minor, Op. 18, No.
4, Mvt. 4
A B A C A
B A Coda aababa ccdcdc
aababa eeff Rhythm ? ? ? Major ? ?
? Minor ? ? ? Style ? ?
? Energy ? ? ?
dev
How doesBeethoventreat theupward scales?
Unity ? Contrast ?
Click the record, listen, track theform,
describe points of contrastbetween the A, B, and
C sections.
90
Beethoven Violin Concerto in D Major, Op. 61.

• Third Movement
• Written in 1806
• From his first and second period of compositional
  period.
• Development of a five note motive.

91
Ludwig van Beethoven (1770-1827)
Music
92
LUDWIG VAN BEETHOVEN