Ludwig van Beethoven

1. Ludwig van Beethoven By: Amanda Marse “ I shall seize Fate by the throat; it shall certainly not bend and crush me completely.” (Ludwig van Beethoven-Famous Quotes) Ludwig van Beethoven , 1801

2. Background Ludwig van Beethoven played an important role in the transition of eras. (jpg. 1) His music was inspiring, essentially tragic, compelling, and often times breathtaking; giving it a feeling of romance and power. The music he composed was different from that of other famous composers in the way it was composed, played, and the way that it sounded. He composed music that had emphasis and power despite the great odds that he faced in his life. Beethoven also had many instructors throughout his life that formed him into the great musician and composer we know today. Ludwig van Beethoven changed the course of musical history.

3. Early Childhood (jpg. 2)

4. Musical Beginnings

5. Influential Teachers: • Johann van Beethoven • Gilles van den Eeden • Tobias Feriedrich Pfeiffer • Franz Rovantini • Beethoven as a young man, jpg. 8

6. One of Beethoven’s most influential teachers. Court Organist Became director of the National Theatre Neffe’s training for Ludwig included composition Appointed Beethoven at the age of 11 years to be the assistant Court Organist Beethoven created his first compositions under through the influence of Neefe. Christian Gottlob Neffe (jpg. 9)

7. Vienna Traveled to Vienna in the early 1790’s Studied with Joseph Hayden Beethoven advanced his instrumental skills, writing and composition skills Established himself with the public, especially the nobles Published various arrangements, earned money through his music and increased his social status Eventually became very popular with the upper class Vienna in Beethoven’s time, jpg. 10

8. French Revolution Beethoven’s music was influenced by the French Revolution of 1789 and General Napoleon Bonaparte. Beethoven was inspired by the idealism of freedom and equality. Beethoven composed the Eroica Symphony, eroica means heroic This was also known as Symphony No. 3 General Napoleon Bonaparte, jpg. 11

9. Symphony No. 5 The most famous of Beethoven’s symphonies Like Symphony No. 3, also inspired by the period of time and by a heroic vision Symphony No. 5 begins with four famous notes Sheet music from Symphony No. 5, jpg. 12

10. Symphony No. 5Fist Movement 0:00 Exposition: The famous four-note Motive in C Minor, short, short, short, long notes (long note is at the discretion of the conductor) with two statements followed by pauses. Opening is played very loudly (ff), included were the strings and clarinets, then repeated lower. 0:07 Strings play the opening motive, soft (p), Motive is played by each instrument sequentially. 0:15 There are louder chords that crescendo and violins have a high sustaining note, while the pitch changes the rhythm continues. There is a continuation of the repeating of the opening four-note motive 0:43 French horns play the opening motive in ff, key changes from C minor to E flat major, very soothing before it builds and increases with speed, still keeping with the 3 short, 1 long 1:13 Woodwinds and French horns together descend quickly using the four-note motive rhythm played at the beginning. 1:25 The entire first exposition is repeated, key changes back from E flat to the opening of C minor, pause as the exposition ends before the next piece begins. . 2:50 Opening motive with horns ff followed by strings descends to p using the basic motive. There is a sway between woodwinds and strings leading to powerful repeating chords. 3:22 Development:Horn call with four-note motive of violins in forte, almost like a swaying motion with motive extended. 3:50 Cascades into motive loudly (ff), followed by an oboe playing a short solo. 4:22 The motive uses the whole orchestra, violins playing softly (pp) and flute play as the clarinet joins. Then the whole orchestra joins again. 4:35 Recapitulation:The main theme returns in minor. 4:40 Transition where strings develop the opening motive, gradually crescendo using the whole orchestra ff, followed by a sudden stop. Then the horns play the opening motive ff.

11. Continued… 5.02 Melody is soft alternating of the violins and flutes. Clarinets, bassoons, and French horns, bassoon brings a darkness to the piece, but is followed by a lighter mood. It then halts the motive followed with timpani. 5:23 The melody is passed back and forth several times between strings and woodwinds, crescendo as it makes its way to the Coda, there is a definite feeling of change, almost as if the first movement would end here. The scale is raised to give a more major tone. 5:58 Coda:The timpani maintains the intensity in the rhythm with repeating chords from lower strings plays against the violins. Notes from the bridge motif are played by lower strings and woodwinds while violins are complimenting with rhythm twice as fast. A horn call, using lower strings and bassoons with a violin melody playing p. 6:29 Almost sounds like the piece will begin as the start of the first movement. Notes are sequenced downward with strings and woodwinds while the violins hold the rhythm. 6: 41 Ending, a new theme in music with strings, a short repeating of the 3 short note sequence that returns back to the four-note motive loudly using the entire orchestra. Suddenly is played pp with strings and woodwinds. Moves back to the entire orchestra ending ff with notes played at staccato.

12. Second Movement 0:00 First Theme: The movement starts off with Theme A, A-flat major with a triple meter with violas and cellos, accompanied by bass in pizzicato. Woodwinds bring a rich feeling 0:26 Melody continues with woodwind and alternates woodwinds and strings. The short, short, short, long notes are continued in this movement. 1:00 Second Theme: is also stated in A-flat major with violas. With a four-note motive that is the same as the first. pp the clarinets come in with a rising theme. The brasses hold out the note longer. 1:15 Clarinet theme is taken over by the violins with a crescendo to brass ff; violins come in with the same theme softly with slow chords. 1:42 Violas and cellos play briefly in triple meter, variation is played smoothly. 2:00 The first theme is played with violas and cellos playing a triple meter played smoothly. 2:14 The melody goes back to the first theme of the second movement with a smooth rhythm with long notes from the clarinet. 2:47 Theme B presents, the brass play the theme with excitement. Soft strings and bassoons play, the cello adds a different accompaniment similar to the first movement. There is a change from triplet to quadruplet arpeggios. Clarinets play again with a slight change in notes from the violas. 3:05 The clarinet is more pronounced, but ends with the chords playing pp and quickly repeats notes by the cellos. 3:39 Violins play with clarinets and bassoons in the background helping the violins, but violins carry this section. Fermata ending with strings and woodwinds, seems to act as a bridge to bring the section back together later. 4:15 The theme goes back to the first theme of the second movement still smooth notes that pass from the clarinet to the bassoon and to the flute. Violins repeat the melody softly and take over. 4:34 Flute and oboe play in harmonic thirds, clarinets play. Flute and oboe ascend while clarinets descend, clarinets then ascend while flute and oboe descend. Instruments play a chord progression. 4:47 Melody is played by cellos and basses, pronounced, with powerful repeating chords. Two rising scales that lead to a note an octave higher is held. Changes from legato to staccato as horns play big fanfare.

13. Continued… 5:12 It suddenly becomes pp repeating the string chords and the beginning theme is played by the clarinet then bassoon then flute, followed by a woodwind. The triplet and quadruplet notes compliment this segment and allows for flow to the next section. 5:22 The oboe and flute play together while clarinets play. The clarinet ascends while the oboe and flute descend counteracting each other. The horns speed up and play staccato. 5:41 Flute and oboe play before strings take over and go into a crescendo, skipping rhythm which is done in staccato, violins are still in the background playing melody. The melody become homophonic. 6:12 The basses in the second theme of the movement loudly with timpani. After the strings play softly the woodwinds play staccato. A change from A-flat minor to A-flat major in preparation for the Coda. 7:00 Coda: The tempo increases with a bassoon playing quietly accompanied by strings. The violins and cellos play upward then return to a slow tempo to end the theme. A scale plays moving from each instrument. 7:34 There is a soft overture from the orchestra changing the piece from A-flat major from a-flat minor. 7:51 Playing in a flat major, violas, cellos, and basses rise quickly ff. Soft chords bring the entire orchestra together to end the movement.

14. History of Symphony No. 5

15. Symphony No. 5 (cont.) YouTube - ‪Beethoven's 5th Symphony‬‏ • The first performance of Symphony No. 5 was in Vienna’s Theater an • der Wien in 1808. • It’s popularity was hindered because of this performance • Performed in the cold month of December • Theater was cold due to budget cuts • Not enough rehearsal time due to the cold • The audience was freezing during the performance • Symphony No. 5 was performed again a year and a half later and was • well received at that time.

16. Nature as an Influence Beethoven was inspired by the beauty of nature and its influence on his world and emotions. Symphony No. 6 was inspired by nature. Beethoven was the first composer to give a name to each movement of this symphony, these names were meant to help the listener imagine a scene as the music was played. Symphony No. 6 was also known as Pastorale Symphony, meaning a simple country life.

17. Beethoven’s Personal Influences

18. Beethoven’s Deafness on Music Beethoven’s deafness did not stop him from composing. He continued with his work and wrote some of the world’s greatest and moving music and never heard a single note. His deafness caused great sadness and depression and influenced the pattern of his music. Symphony No. 9 is an example of how his deafness influenced his music. Beethoven used a chorus of singers in this work. (jpg. 5)

19. Learning to Cope with Deafness • Beethoven learned to adapt to his deafness, he never learned to accept it. • As age progressed he became more violent, moody, and unpredictable. • Beethoven contemplated suicide. • He adapted by cutting off the legs to his piano and placed it on the floor in order to feel the vibrations. • The music was full of passion and sadness. (jpg. 13)

20. The Trials in Beethoven’s Life • Beethoven has a domineering and cruel father • His family was plagued with illness and addictions • Beethoven and two younger siblings were the only surviving of seven children • His mother died when he was 7 years old • The death of his mother caused his father to become further involved in alcoholism • Besides his rigorous musical training he had to care for his younger siblings

21. Family Tree Ludwig van Beethoven Grandfather Johann van Beethoven Father Maria Magdalena van Beethoven Mother Ludwig Maria died Anna Maria died Franz Georg died Margareth died Ludwig Kaspar Anton Karl Nicholas Johann (from top, right to left on each row: jpg. 14, jpg. 5, jpg. 15, jpg. 1, jpg. 16, jpg. 17)

22. Musical Summary • One opera, Fidelio • 32 piano sonatas • 10 violin sonatas • 5 cello sonatas • 1 French horn sonata • 16 string quartets • 5 string quintets • 7 piano trios • More than a dozen combinations for wind instruments • Shorter pieces from composites of his other works • 5 string trios • 9 complete symphonies

23. Conclusion Pioneer Survivor Many descriptive words can be used to describe Ludwig van Beethoven: Visionary Hero Perfectionist Musician Composer Timeless Dreamer

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