Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Beethoven symphony no 3 analysis
Analysis of Beethoven's Pathetique sonata
Analysis of beethoven 3
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Beethoven symphony no 3 analysis
Out of all of Beethoven’s one hundred and ten works, he wrote thirty-two piano sonatas. Of those thirty-two piano sonatas, the thirty-first piano sonata was one of the most important and was composed in the year 1821towards the end of Beethoven’s life. It is one of Ludwig van Beethoven’s final sonatas for the piano, given the full name: Piano Sonata No. 31 in A-flat major, op. 110. I am writing about a video performance – found on YouTube – by Richard Goode in 1993. The performance piece is a sonata which is defined by Kerman as “a chamber-music piece in several movements” (Kerman, 427) The thirty-first sonata came to be in an interesting way. Moritz Schlesinger, in the summer of 1819, had made a request to Ludwig van Beethoven. Schlesinger was in search of some music and thought that Beethoven would be perfect for the job. He asked Beethoven to compose the desired music for him and would pay Beethoven in return. The two agreed in the May of 1820 that Beethoven would write twenty-five songs and three sonatas for Schlesinger at the cumulative price of one hundred and fifty ducats. Beethoven quickly finished the songs and made them available to his commissioner. He then began work on the three sonatas when he suddenly came under attack by a disease known as jaundice. This delayed the finishing of the three sonatas which later became well-known as the final sonatas – some of the last works of Beethoven. All three were completed and sent to Schlesinger by the end of 1822. The thirty-first sonata is broken up into three separate movements. The first movement starts at 0:00 in the video – the very beginning. This movement is marked moderato because it is playing at a moderate speed (it is not too fast but not too slow). It beg... ... middle of paper ... ...ten. 7th ed. Boston: Bedford/St. Martin's, 2012. Print. Miller, Carole B. "The Classical Period." MostlyWind. Mostly Wind, n.d. Web. 28 Jan. 2014. . Miller, Carole B. "The Romantic Period." MostlyWind. Mostly Wind, n.d. Web. 28 Jan. 2014. . MrPalika123. “Beethoven - Sonata No. 31 in A-flat major, Op. 110 (Richard Goode).” YouTube. 26 May 2012. Web. 28 Jan. 2014. . Rosen, Charles. Beethoven's Piano Sonatas: A Short Companion. New Haven: Yale UP, 2002. Print. Shotwell, C. M. "Music Traits of the Romantic Period." Augusta State University. Augusta State University, Oct. 2010. Web. 26 Feb. 2014. . Steen, Michael. The Lives and Times of the Great Composers. New York: Oxford UP, 2004. Print.
Beethoven was a political composer. He stubbornly dedicated his art to the problems of human freedom, justice, progress, and community. The Third Symphony, probably Beethoven's most influential work, centers around a funeral march provoking patriotic ceremonies from the French Revolution. Beethoven was a long time admirer of Napoleon Bonaparte. So he dedicated the symphony to Napoleon, but when Napoleon was proclaimed the Emperor of France, he scratched the dedication to Napoleon. This Symphony is cited as the marking end of Beethoven's classical era and the beginning of musical Romanticism. But what of Beethoven after Napoleon? Beethoven's life and music became worse after the Third Symphony was composed because of his reaction to Napoleon becoming Emperor, his deafness, and through his personal and family difficulties.
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London: Macmillan, 1980)9: 708-709
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
Music of the 1700s is often characterized as highly structured and balanced. A favorite form for pieces of many kinds was the sonata form, which relies heavily on the basic movement between different tonalities (especially tonic and dominant or relative major). Ludwig van Beethoven wrote over 30 sonatas for piano alone and used the structure for symphonies and many other instrumental works. Most other composers of the classical time period also used sonata form, and music historians have spent much time discussing why this might be so. Some historians pose this question strictly within a musical world: How did earlier musical structures give rise to sonata form? Others ask what it was in the surrounding historical context that made sonata form appealing.
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
Gabrieli, Giovanni. Sacrae Symphoniae: Sonata Pian e Forte. London: Brass Wind Publications, 1996. M886.G119 S13
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
- Sergei, Bertensson and Jay Leyda. "Second Concerto." Sergei Rachmaninoff. Bloomington, Indiana: Indiana University Press, 2001. 75-96.
Kreis, Steven. "Lecture 16: The Romantic Era." The History Guide. Web. 18 Aug. 2010. .
Bonds, Mark Evan. A Brief History of Music in Western Culture. 1st. New Jersey: Pearson
His compositions are considered to have led to the development of the sonata form. This was still evident late in his career. Piano Sonata No. 62 in E-flat major (Hob. XVI:52) consists of short, balanced melodic phrases of two, four or sometimes six bars. Each melody in the exposition is evenly divided into an antecedent phrase and a consequent phrase; question and answer. This is a typical characteristic of the Classical Period which obsessed over clarity of structure. Similarly, Beethoven’s Piano Sonata No. 1 in F minor Op. 2, No.1 is clearly divided into an exposition, development and recapitulation. Its lucid exposition of melodic material occurs in balanced melodic phrases. Both of these works contain short codas to each section. The fact that Beethoven’s sonata was written one year after Haydn’s, whilst he was still a student of Haydn’s, highlights the influence of Haydn over Beethoven during the early stage of his
13 No. 8 is Daniel Barenboim. He as known as one of the greatest interpreters of Beethoven sonatas, and is famous for classical piano performance. I believe that his interpretation of the Sonata is the best out of the three that I listened to, which doesn’t surprise me considering his credentials. Barenboim does a fantastic job with the dynamical contrasts over the course of the piece. He knows how to make the piece dynamical and suspenseful at the same time and he does this by not necessarily playing too loud until it was clearly instructed to in the score and by developing a musical line by getting louder when the score indicated to play higher notes up the keyboard and to get softer when the music told to do the opposite. His articulations are also fantastic as I know that this piece has trills and mordents in difficult places, but Barenboim executes these ornaments well, as he is a
This sonata is highly unconventional. It begins with a set of themes and variations; not one of the movements is written in a sonata-allegro form. It interchanges the middle movements; a scherzo precedes the slow movement, which happens to be a funeral march. Chopin’s two great sonatas.... ... middle of paper ...
In the 19th century the world experienced many dramatic changes related to politics, economics and culture. Music would never be the same after this period. During these years musicians, influenced by the Romantic movement in literature, neglected the formalism and aims of Classicism (Bohle p1861), and developed Musical Romanticism as a way to express their feelings free of traditional musical structures.
Roughly from 1815 to 1910, this period of time is called the romantic period. At this period, all arts are transforming from classic arts by having greater emphasis on the qualities of remoteness and strangeness in essence. The influence of romanticism in music particularly, has shown that romantic composers value the freedom of expression, movement, passion, and endless pursuit of the unattainable fantasy and imagination. The composers of the romantic period are in search of new subject matters, more emotional and are more expressive of their feelings as they are not bounded by structural rules in classical music where order, equilibrium, control and perfection are deemed important (Dorak, 2000).