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Ludwig van Beethoven. By Christopher Thompson. Born D ecember 16, 1770 in Bonn, Germany. Family and Childhood. Born to a musical family Grandfather and Father Strict Father Forced him to practice relentlessly. Teachers and Musical Study. Father Christian Neefe

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ludwig van beethoven

Ludwig van Beethoven

By Christopher Thompson

family and childhood
Family and Childhood
  • Born to a musical family
    • Grandfather and Father
  • Strict Father
    • Forced him to practice relentlessly
teachers and musical study
Teachers and Musical Study
  • Father
  • Christian Neefe
    • Helped him publish first piano variations
  • Mozart
    • Briefly
    • Predicted a bright future
  • Joseph Haydn
  • Johann Georg Albrechtsberger
  • Antonio Salieri
compositions
Compositions

Divided into three periods

first period up to 1802
First Period up to 1802
  • Early Works
    • Piano Sonatas, String Quartets, and Symphonies no. 1 & 2
    • Began to be established as a master composer
  • Began to go deaf
    • Heiligenstadt Testament
slide7
“O you men who think or say that I am malevolent, stubborn or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you and I would have ended my life – it was only my art that held me back. Ah, it seemed impossible to leave the world until I had brought forth all that I felt was within me.”
second period 1802 to 1815
Second Period—1802 to 1815
  • His Works
    • Symphonies Nos. 3 to 8, piano sonatas, two piano concertos, a violin concerto
    • Became more independent in composition style
  • Financially Stable
  • Well-known
  • Symphony No. 3 dedicated to Napoleon Bonaparte
  • Never married
third period to 1827
Third Period– to 1827
  • His Works
    • Missa Solemnis, final piano sonatas and string quartets, Diabelli Variations, and Symphony No. 9
    • Music is more reflective
  • Completely deaf
  • Symphony No. 9
    • Premiered May 7, 1824
    • Received 5 standing ovations
    • Could not hear the applause
death march 26 1827
Death—March 26, 1827
  • Liver failure
  • Funeral attended by an estimated 20,000 people
fur elise
Fur Elise

Bagatelle No. 25 in A minor

composition history
Composition History
  • Written in 1810
  • Discovered by Ludwig Nohl
    • He claims it was dedicated to “Elise”
  • Her identity is unknown
    • Therese Malfatti
    • Elisabeth Rockel
slide14
0:00 Theme A
    • Waltz-like rhythm
    • Conjunct melody
  • 0:42 Theme B
    • Moves to major
    • Arch contour
    • Louder Dynamics
  • 1:05 Theme A
  • 1:46 Theme C
    • Tempo increases
    • Minor key
    • Dissonance
    • Arch contour
    • Crescendos/decrescendos
    • Thick texture
  • 2:16 Theme A to end
symphony no 9 in d minor op 125
Symphony No. 9 in D minor, Op. 125

Second Movement: Scherzo: molto vivace—Presto

composition history1
Composition History
  • Commissioned in 1817
  • Completed in 1824
  • Premiered in Vienna
    • May 7, 1824
  • Received 5 standing ovations
  • First symphony with voices
    • “Ode to Joy”
  • Beethoven could not hear applause
  • Considered his best work
listening guide1
Listening Guide

Symphony No. 9 in D minor, Op. 125—Second Movement

section a
Section A
  • 0:00—Strong rhythmic introduction in all voices
  • 0:04—Melodic line in strings, rhythmic accompaniment in woodwinds, strong crescendo
  • 0:28—Crescendo climax, homophonic
  • 0:39—Melodic rhythm in woodwinds, dance-like feel in strings, crescendos to new section
  • 1:15—All sections rest, return to beginning
  • 1:42—Loud dynamic, all instruments play
  • 2:28—All sections rest, transitions to duet in strings and woodwinds
slide19
2:43—Timbres changes, strong rhythmic drive, timpani enters
  • 3:00—Strings and woodwinds play call and answer
  • 3:28—All sections play and crescendo
  • 3:45—Soft dynamic, woodwinds carry melody, strings provide harmonic counterpart
  • 4:03—Strings play pulsing rhythm, woodwinds carry theme, timpani is heard
  • 4:32—Orchestra rests, call is heard in brass
section b
Section B
  • 4:50—Mood softens, rhythm calms, flutes repeat melodic line, bassoon plays counterpoint
  • 5:03—Strings and woodwinds build melodic line
  • 5:17—French horn repeats theme at 4:50, strings play counterpoint, oboes and bassoons enhance theme
  • 5:48—Dynamics build, all sections play
  • 6:02—Music repeats as at beginning of Section B
  • 7:00—Variation of original melody, tempo slows and Section B ends
section a1
Section A
  • 7:38—Section A returns, rhythmic intensity reappears as at beginning
  • 8:06—Orchestra plays homophonically
  • 8:17—Dynamic drops as strings and woodwinds play
  • 8:25—Strong pulse by strings, woodwinds play dance-like rhythm
  • 8:49—Intensity decreases, orchestra plays short theme
  • 9:09—Woodwinds play dance-like theme, timpani brings dissonance
  • 9:51—Orchestra crescendos into climax
slide22
10:11—Sudden drop in dynamic, rhythm calms, flowing melody
  • 10:29—Rhythmic intensity returns. Section A themes reappear briefly
  • 10:58—Orchestra rests, call in brass, forward motion resumes building to final climax, strong rhythmic chords end the piece
  • 11:33—Ends
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