Beethoven: Man, Music, and Myth
Symphony No. 5 in C minor (1808)
Mvt. 1 Sonata form, Allegro con brio
2 Theme and Variations, Andante
3 Scherzo and Trio, Allegro
4 Sonata form, Allegro
Movement 1
Exposition
[6] Theme 1
[7] Bridge
Theme 2
[8] Closing Theme
Grows organically from knock of fate
motive (Short-short-short-long)
Extremely brief (6 notes); French horn
More lyrical; fate in the accompaniment
Based on knock of fate
Exposition Repeated
Development
[9] Theme 1 and Bridge manipulated, [10] extreme
fragmentation (psychological breakdown) to the point where
strings and winds answer back and forth with 2 notes, then 1
note.
Retransition
Fate motive of the beginning, leads
directly into theme 1
Recapitulation
[11] Theme 1
Oboe cadenza!?
Remainder of T1
Bridge
Bassoons, not horns.
[12] Theme 2
Closing Theme
[13] Extended Coda
[0:30]New theme ! Feels more like Development.
[14] Theme 1
Reappears, pounds out fate cadence.
C-minor
Modulates
E-flat Major
E-flat Major
Unstable
Modulates to
C-minor
C-minor
C-major!
Unstable
C-minor!
Movement 2 Theme and Variations (with 2 themes!)
[15] Theme A
Theme B [1:03] (fate motive embedded),
from lyrical to triumphant
[2:12] Var 1A (changed from lilting
rhythm to even rhythm)
Var 1B [3:06] (small changes, truncated)
[4:16] Var 2A (embellished with more
rhythmic activity / theme appears
against loud, repeated notes / heavily
embellished)
Var 2B [6:13] (long note of fate more
drawn out, more mysterious, truncated)
[16] Var 3A (features winds in minor /
then full orchestra, very similar to
original theme A)
Coda [1:30]
Movement 3 Scherzo and Trio
[17] Scherzo
ababab
a: mysterious,
begins low
b theme: based on
fate
[18] Trio
c c / d c / d c
Fugue-like
treatment.
False-starts at
0:33 and 1:03
joke of the
Scherzo
[1:38] Scherzo
(truncated)
Different
orchestration, pp
marking: sounds
mysterious, rather than
exuberant or
triumphant throughout
[2:54]Transition!
Timpani rumble:
plays the fate
motive. Leads
directly to a
triumphant last
movement
without pause.
Movement 4 Sonata form
Exposition
[19] Theme 1
[0:34] Bridge
[1:00] Theme 2
[1:27]Closing theme
March-like, triumphant
Low horns/bassoons
Fate sped up, lightened
C-major
Modulates
G-major
G-major
Exposition NOT repeated
Development
[1:57] Manipulation of exposition material, especially Unstable
theme 2s fate motive.
[20] Retransition
Recurrence of scherzo material, Brief C-minor
fate motive prominent
modulating to C-major
Recapitulation
[0:32] Theme 1
[1:07] Bridge
[1:36] Theme 2
[2:02] Closing theme builds up tension
C-major
Does not modulate
C-major
C-major
[2:30] Extended Coda
Combines bridge, cadence/codetta material, theme 1. C-major
Accelerates. Pounds out the C-major chords.
Beethoven (1770-1827)
The Man
-1770: Son and grandson of Bonn court musicians
-1787: Possibly met and studied briefly with Mozart in Vienna
-1792: Studied with Haydn in Vienna; death of father
-1796: First symptoms of deafness
- 1801-2: Progressive deafness diagnosed in 1802; October 1802, Heiligenstadt
Testament
for six years now I have been hopelessly afflicted, made worse by senseless
physicians, from year to year deceived with hopes of improvement, finally
compelled to face the prospect of a lasting malady (whose cure will take years or,
perhaps, be impossible). Though born with a fiery, active temperament, even
susceptible to the diversions of society, I was soon compelled to isolate myself, to
live 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 was impossible for me to
say to people, "Speak Louder, shout, for I am deaf". Oh, how could I possibly
admit an infirmity in the one sense which ought to be more perfect in me than
others, a sense which I once possessed in the highest perfection, a perfection such
as few in my profession enjoy or ever have enjoyed. Oh I cannot do it; therefore
forgive me when you see me draw back when I would have gladly mingled with
you. My misfortune is doubly painful to me because I am bound to be
misunderstood; for me there can be no relaxation with my fellow men, no refined
conversations, no mutual exchange of ideas. I must live almost alone, like one who
has been banished
What a humiliation for me when someone standing next to me heard a flute in
the distance and I heard nothing Such incidents drove me almost to despair; a
little more of that and I would have ended my life. It was only my art that held me
back
I hope my determination will remain firm to endure until it pleases the
inexorable Parcae to break the thread. Perhaps I shall get better, perhaps not; I am
ready. - Forced to become a philosopher already in my twenty-eight year, oh, it is
not easy, and for the artist much more difficult than for anyone else.
-1810-12: Trouble in love; Immortal Beloved
Good morning, on July 7
Though still in bed, my thoughts go out to you, my Immortal Beloved,
now and then joyfully, then sadly, waiting to learn whether or not fate
will hear us - I can live only wholly with you or not at all - Yes, I am
resolved to wander so long away from you until I can fly to your arms
and say that I am really at home with you, and can send my soul
enwrapped in you into the land of spirits - Yes, unhappily it must be so You will be the more contained since you know my fidelity to you. No
one else can ever possess my heart - never - never - Oh God, why must
one be parted from one whom one so loves. And yet my life in V is now
a wretched life - Your love makes me at once the happiest and the
unhappiest of men - At my age I need a steady, quiet life - can that be so
in our connection? My angel, I have just been told that the mailcoach
goes every day - therefore I must close at once so that you may receive
the letter at once - Be calm, only by a calm consideration of our
existence can we achieve our purpose to live together - Be calm - love
me - today - yesterday - what tearful longings for you - you - you - my
life - my all - farewell. Oh continue to love me - never misjudge the
most faithful heart of your beloved.
ever thine
ever mine
ever ours
-1814-1818: Custody battle for nephew, Karl;
-1827: Death; funeral attended by 10,000
The Music
-9 Symphonies, 32 piano sonatas, a handful of chamber works, concertos,
vocal and choral works, 1 opera.
-Three periods:
-Early (to 1802): Indebted to classical tradition of Mozart and Haydn
-Middle / Heroic (to 1814): Expansion
-Late: More introverted, intellectual.
-Symphonic ideal
-Rhythmic drive
-Motivic consistency and cyclicism / Organicism
-Psychological progression.
The Myth
IV.
Schillers poem An die Freude:
German
English
O Freunde, nicht diese Tne!
Oh friends, not these tones!
Sondern lat uns angenehmere anstimmen,
Rather, let us raise our voices in more pleasing
und freudenvollere.
And more joyful sounds!
Freude! Freude!
Joy! Joy!
Freude, schner Gtterfunken
Joy, beautiful spark of gods
Tochter aus Elysium,
Daughter of Elysium,
Wir betreten feuertrunken,
We enter drunk with fire,
Himmlische, dein Heiligtum!
Heavenly one, your sanctuary!
Deine Zauber binden wieder
Your magic binds again
Was die Mode streng geteilt;
What custom strictly divided.
Alle Menschen werden Brder,
All men become brothers,
Wo dein sanfter Flgel weilt.
Where your gentle wing rests.
Wem der groe Wurf gelungen,
Whoever has had the great fortune
Eines Freundes Freund zu sein;
To be a friend's friend,
Wer ein holdes Weib errungen,
Whoever has won a devoted wife,
Mische seinen Jubel ein!
Join in our jubilation!
Ja, wer auch nur eine Seele
Indeed, whoever can call even one soul,
Sein nennt auf dem Erdenrund!
His own on this earth!
Und wer's nie gekonnt, der stehle
And whoever was never able to, must creep
Weinend sich aus diesem Bund!
Tearfully away from this band!
Freude trinken alle Wesen
Joy all creatures drink
An den Brsten der Natur;
At the breasts of nature;
Alle Guten, alle Bsen
All good, all bad
Folgen ihrer Rosenspur.
Follow her trail of roses.
Ke gab sie uns und Reben,
Kisses she gave us, and wine,
Einen Freund, geprft im Tod;
A friend, proven in death;
Wollust ward dem Wurm gegeben,
Pleasure was to the worm given,
Und der Cherub steht vor Gott.
And the cherub stands before God.
Froh, wie seine Sonnen fliegen
Glad, as His suns fly
Durch des Himmels prcht'gen Plan,
Through the Heaven's glorious design,
Laufet, Brder, eure Bahn,
Run, brothers, your race,
Freudig, wie ein Held zum Siegen.
Joyful, as a hero to victory.
Seid umschlungen, Millionen!
Be embraced, millions!
Diesen Ku der ganzen Welt!
This kiss for the whole world!
Brder, ber'm Sternenzelt
Brothers, above the starry canopy
Muss ein lieber Vater wohnen.
Must a loving Father dwell.
Ihr strzt nieder, Millionen?
Do you bow down, millions?
Ahnest du den Schpfer, Welt?
Do you sense the Creator, world?
Such' ihn ber'm Sternenzelt!
Seek Him beyond the starry canopy!
ber Sternen muss er wohnen.
Beyond the stars must He dwell.
Seid umschlungen, Millionen!
Be embraced, you millions!
Diesen Ku der ganzen Welt!
This kiss for the whole world!
Brder, ber'm Sternenzelt
Brothers, beyond the star-canopy
Muss ein lieber Vater wohnen.
Must a loving Father dwell.
Seid umschlungen,
Be embraced,
Diesen Ku der ganzen Welt!
This kiss for the whole world!
Freude, schner Gtterfunken
Joy, beautiful spark of gods,
Tochter aus Elysium,
Daughter of Elysium,
Freude, schner Gtterfunken
Joy, beautiful spark of gods
