music APPRECIATION - week 9
(EBOOK: Chapters 29-31)
lecturenotes_i_and_studyguide.pdf | |
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musical_forms.pdf | |
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sonata-allegro_chart.pdf | |
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MUSICAL EXAMPLES | ||
A humorous analysis of Beethoven's 5th Symphony (MMT. 1); the concepts presented, as a "spoof" of typical sportscasters, are surprisingly accurate! LISTEN TO THIS ONLY AFTER LISTENING TO THE REAL THING!!!! |
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An example of Beethoven's earliest compositional style, CLASSICALLY oriented but already leaning toward chromaticism and expression. His first movement is in the typical Sonata-Allegro formal construction. |
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Beethoven, String Quartet #15 in A minor, OP. 132 (1825), MMT. 1 This quartet (actually his 13th quartet when considering the actual order of composition of his late quartets), is considered to be a clear example of Beethoven's 3rd compositional period, marked by a high degree of chromaticism, advanced contrapuntal skill, and musical complexity, intended for only the most "mature" of listening audiences. This quartet is in FIVE movements. |
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Ludwig Van Beethoven (1770 - 1827), Symphony #9, MMT. 1 (part 1 only), completed in 1824. This is a live performance to give you the feel of an actual concert. This symphony is considered to be Beethoven's most "personal" statement of humanity and is perhaps somewhat "autobiographical" in many respects. It is a good representation of the third, most advanced period of his three compositional styles. | ||
Beethoven, Symphony #9, 2nd MMT., Scherzo. | ||
Beethoven, Symphony #9, 4th MMT, in its entirety (21 minutes). This is the ONLY movement in which Beethoven utilized the four vocal soloists and chorus. The famous Ode to Joy chorus occurs throughout, particularly at about 11:05; the final and very exciting Coda occurs at 19:18. | ||
Joseph Haydn, Concert for Trumpet, 1st MMT., (1796); especially written to show off the use of a newly invented "keyed" trumpet, a brass instrument but with a keyboard similar to a clarinet, which allowed the instrument to perform the additional notes of the chromatic scale (not possible with the currently used "natural" trumpets of the time). The movement has a double exposition; as with many of Haydn's Concertos, parts of the exposition are omitted in the recapitulation section. | ||
Joseph Haydn, Concert for Trumpet, 3rd MMT., (1796); this is the concluding movement of the concerto cited above, and is an Allegro Rondo. The "traditional" rondo form is in five parts (ABACA); this is an extended rondo form, with the orchestra playing an long introduction citing the A and B sections. The trumpet soloist enters playing a seven-part rondo form: ABACABA. This extended form was not as common as the shorter five-part rondo form. To hear and see the concerto 3rd movement performed on a special "keyed" trumpet (an innovation at the time of the composition), CLICK HERE! | ||
Wolfgang Amadeus Mozart, Piano Concerto in G major, K. 453, First Movement (1784). The concerto first movement form is similar to sonata allegro form but with 2 expositions, first with the orchestra, and then with the soloist. Listen for the cadenza near the end of the final closing section. |
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Mozart, Piano Sonata in A Major (k. 331), 3rd. MMT (Rondo alla turca), 1783. A rondo, but in ABCBAB form, from one of his 17 piano sonatas. Note the percussive effects used to create a "march" feel of a drum, particularly in the left hand. This movement is very classical in nature, with clearly defined sections and phrases. The first section is actually in A minor, while the second section is in the parallel major key. This could be one reason for the slightly altered rondo form (by ending with the B section/Coda the sonata can obviously conclude in A major). |
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Mozart, Piano Sonata in A Major (k. 331), 3rd. MMT (Rondo alla turca), recently performed by a four year old child prodigy on the Steve Harvey "Little Big Shots" TV series (this piece begins at 2:25). |
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Haydn, Sonata No. 51 in E Flat Major, Hob. XVI:38 (1780). This is an example of a MONO-THEMATIC Sonata-Allegro form (sometimes used by Hadyn). The second theme (another statement of the first theme but in a different key, begins around 37 seconds into the piece. The Development begins at about 1:30, and the Recapitulation begins around 2:30. Because the movement is based on a single thematic idea, formal structure is sometimes more difficult to perceive. |
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Ludwig van Beethoven, Piano Sonata in C-sharp minor, op. 27, first mmt. (1801) |
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A heavy-metal version of the Beethoven masterpiece cited above. This is truly an "ugly" reality for me, especially after viewing some of the high-praise comments by apparent fans of this monstrosity. Why settle for cheap imitation when the original masterwork is readily available for all of us to enjoy! |
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Beethoven, Appassionata Sonata (1st MMT.), op. 57; note the famed "4-note" motive (sometimes called the "fate" or "knocking" motive), similar to that used in his 5th Symphony, op. 67. He also uses THREE themes in the exposition (instead of the typical masculine and femine theme only), and his coda is best considered as a complete "section" on its own merits. |