Even though Beethoven did not bestow this name to his concerto, he did not deny the militaristic tone of the name. According to Clubbe, “without [the nickname], the Eb major of the concerto, the key of the Eroica, emanates a military tonality, an imperial timbre.” Napoleon and the Emperor both had a sense of sovereignty about them. “Even if Napoleon did not create that glorious world or ever realize that Beethoven had written the Eroica for (and perhaps about) him, so presumably he remained unaware of his role in the emergence of another work of supreme grandeur.” (Clubbe). Napoleon did not appear in Vienna and this dissatisfied Beethoven. He began wondering if his C Minor Mass “could perhaps be dedicated to Napoleon” (Solomon, Beethoven 182).
Music Assessment Task 5 Research Project Sungbum Park Beethoven was viewed as a transitional figure of composer between the Classical and Romantic eras of musical history. During the Classical era, the forms such as the concerto and sonata were more heavily defined and given more specific rules. Since Classical era, the Symphony was generally divided into four roughly equal sections, making the use of sonata form more effective. The Symphony No.5 in C minor Op.67, known as Beethoven’s fifth Symphony was composed by Ludwig van Beethoven during 1804 to 1808. It is the one of the well-known composition in classical music and one of the most frequently played Symphonies.
The length of this movement itself (691 measures) is as long as a whole symphony in the previous generation and it is what made this movement ‘heroic’. Beethoven treated the main melody in this movement like a character in a drama. Beethoven started an unusual trend in the exposition by letting the cello play the pastoral theme which outlines an E-flat major triad. The triple meter is another bizarre trait, yet when it’s combined with the tempo of this movement; it reminds the listener of Deutsche peasant dance. The primary theme (see fig.
In the summer and fall of eighteen zero two, Ludwig Beethoven worked on this magnificent symphony. On the fifth day of April in eighteen zero three, this beautiful symphony was performed for the first time at Vienna’s Theatre an der Wien at an all-Beethoven concert. On the twenty second day of April in eighteen forty-three, the fantastic symphony had it’s first American performance at the New York Philharmonic. Two of many instruments are used for this wonderful symphony: flutes, trumpets, oboes, horns, clarinets, and bassoons. The duration of this delightful symphony is no more than thirty-four minutes long.
Ludwig van Beethoven (17 December 1770– 26 March 1827) Sonata in C minor (‘Pathétique’), Op.13 Beethoven (1770–1827) Grave; Allegro di molto e con brio Adagio cantabile Rondo: Allegro Piano Sonata Op.13 was composed in 1798, during a time when Beethoven realised about his encroaching deafness. This piece soon became one of Beethoven’s most well-known compositions as its air of mystery and sober atmosphere had an immediate appeal to the public. The title of this piece refers to pathetic as sufferings, not the sense of pity. This piece shows resemblance to some piano works written by Mozart, in the same key. However, the way Beethoven had composed Pathetique departs fundamentally from that of his predecessor, with an attitude of defiance and resistance.
When Hector Berlioz wrote his Symphonie Fantastique, or Fantasy Symphony, in 1830, he was greatly inspired by Shakespeare 's work, Hamlet but more specifically, he was swept away by the likes of Irish Actress, Harriet Smithson. Spurred by his strong feeling for her, Berlioz went on to compose a programmatic symphony that tells a story of an artist 's self-destructive passion for a beautiful woman. The symphony comprises of 5 movements: 1. Day-dreams – Passions 2. A Ball 3.
The first theme is melodic, deep and serious. In her melody, performed by violas and cellos. The second theme, despite the three-lobed size, gives the impression of a marching song. Thanks to the powerful sound - when presenting the theme in C major - it seems that this song is sung by more than one person, but by a mass of people. It was this type of song that Beethoven had to hear in his youth.
“In stiller Nacht” is the first song of the second volume and the most popular. Brahms scholars long believed that Brahms composed the melody himself. However, recent research has revealed that he learned the melody in the late 1850s from Friedrich Wilhelm Arnold, an editor of medieval and Renaissance music, collector and arranger of folk songs, and publisher of recent music by Robert Schumann and others. Although the text of “In stiller Nacht” appears to be secular, it is actually based on “Trawer-Gesang von der Noth Christi am Oelberg in dem Garten” (“Song of Mourning over the Distress of Christ in the Garden on the Mount of Olives”) by the Jesuit poet Friedrich Spee (1591-1635). The poem was first published in 1635 and included in
The Poem for Flute and Orchestra (1918) originally written for Georges Barrère demands high lyrical virtuosity from the performer. Technical aspects of performance all should serve to interpret the lyrical characteristic of the piece. Poem was first performed on November 16, 1919 by the New York Symphony Orchestra conducted by Walter Damrosch with Georges Barrère as the flute soloist. The atmospheric opening is heard as a refrain throughout the work, there are sections of dense chromatic language, polymetric dance, and enlivening technique. Henri Dutilleux, Sonatine for Flute and Piano Henri Dutilleux (1916–2013) French composer was appointed professor of composition at the École Normale de Musique in 1961, and at Paris conservatoire in 1970.
From research I have learned a lot about the background of this piece and about Haydn himself. Joseph Haydn wrote music for patron Nikolaus Esterhazy but also wrote pieces and works for sale to the general public. He composed six quartets of Op.33 in the summer and autumn of 1781 for the Viennese publisher Artaria. Haydn said in a letter to Artaria that the quartets were ‘a new and entirely special kind’. A new feature that Haydn included in this quartet was naming the minuet movement in each quartet Scherzo meaning ‘joke’ in Italian.