COURSE GUIDEBOOK The Symphonies of Beethoven Pare IIT Lectures 17-19: Symphony No, $—The Exprnive Meal Fully ced Lectures 20 22: Symphony No. @—The Symphony at Program Lectures 23 & 24: Symphony No, 7—The Symphony at Dance 1-800-TEACH-12 1-800-832-2412 Course No. 733 ‘wwteac2.com Sraquaais u2qoy 105824014 ‘usa0yj90g Jo saruoydurds ayy, COURSE GUIDEBOOK teat Courses Teaching that engages the mind The Symphonies of Beethoven Part III Professor Robert Greenberg The San Francisco Conservatory of Music THE TEACHING Company Ripped by JB-24601Lectures Seventeen-Nineteen ‘Symphony No. 5: The Expressive Ideal Fully Formed Se A B. ‘Lectures seveneen through sinten fcus on Symphony No.5 with references wits disastrous 1808 premiere and an in-depth anciyns of the score We se how Beethover's compositional progress filly ‘matures in tbe musical and expesive content of Sympony No.5, which s conceived asa vehicle fora drama in which ight sed hope ‘wimp over the forces of darkness and despa. Beethoven is evealed ‘san exraodinary and unprecedented master ofthe art of developing tie movements from smal, seemingly inconsequential tives. Symphony No.5 also shows him to havea revolutionary concept of ‘yh a narative element int own ight an yw hey fact nthe ‘generation of drama, We lear how Beethoven, now light years eway ‘rom his clasical era beginnings, has embraced romanticism in his ova nique manner Outline Induction ‘The premiers of Beethoven's Symphonies S and 6 were held in Vienna ‘on December 2, 1808. The concen was beset by problems, many of them of Beethoven's doing. Symphony No. $ in C Minor, Op. 67, movement 1, sonat-allegro form: nays with reference to the WordScoreguide™ and musica examples. Exposition 1, The “Siatement of Purpose” is announced, This is an opening ‘orchestal unison intonig a repeated four-ote motive, the called ate” mative 2 Theme 1 isa theme of beta sythmic power and motvie Simplicity: angry music, fll of dark and deep emotions. ‘Theme |i jagged, raw, and undecoraed. It consis entirely ‘of permutations ofthe four-note “at” motive and ie filled ith teeson-geneatng pregnant pauses (erat) 1, The toni key of C minor, a dark, vagic Key of despair, is also very imporaa is reinforcing the sense of tension ‘3. Theme isa conasting, irc and initly gente theme Ie is heralded by a hor eal based on and analogous fo the opening “Suement of Purposs” and is accompanied by “fat” motives. 4. Ancxtrondinary process of mative development i operative from the opening ofthe exposition its contusion, asthe our-note (©1998 The Teaching Company Limited Farmanhip 1@ >. “ate” motive is developed into an enely new sounding series of thematic hess Development in five pats ‘The melodeyric growth of the expostion is crushed by harmonic dlssonance and melodie fragmentation, 1. Inpars 1-3 there ea powerful turn othe minor (F minor) Past 5 brings back two thunderous hor eal inthe violins. 2 Inpart4 th hom call is progresively fragmented. The cae ‘remains ae single, isolated, pathetic "shords of despair” 3 PartS sees a bral ecansition hat brings the dying movement back tie Recaption 1. A suppressed the 1 and an oboe cadenza remember the hori events ofthe development. The “fe” mative is now without the [power it had in the expostion, 2 Incredibly and gloriously, theme 2 andthe subsequent cadence ‘material appear not in C mince as we would expect ina classical era sontllegro movement, btn atiumphnt C major! ‘Coda in six parts: a development ofthe developmen: section 1. Inparts 1-3 the mode (key) returns to minor andthe process of fragmentation that characterized the development section is here thrown nto revers, as new sounding thematic matenals grow fromthe fragmented hor all 2 Inpart a vigorous, dramatic and entirely new sounding march theme appears In reality itis a farher development ofthe fragmented horn call ‘3. Paris Sand 6 sound respectively, ike another etrmston and nether recapitulation. IL Movement 2, quast-double vations form 7 B ‘This movement is designated “andante con moto” —andante with ‘motion This implies that sa dance, not dire! 1s form san extremely unorthodox version of double variations form. Tn fact movement 2 relly two movements none Tt fetus two atenaing themes 1, "Theme A, abroad and beatfl theme in A fat major, is sceesively varied va elaboration Tht movement i about the uplifting power of C major, ax witnessed by 2 Theme B, alo a lyric theme Theme B, inialy in A lt major is ‘eapformed ito rumphant magnificence by the power of C majo. ‘Strit variational process beats down about ala though the (©1998 The Teaching Company Lite Peni D. gE ‘The cova ends the movernent in A ft major, om a surprisingly ‘vigorous and powerful note for sn ostensibly irc movement The hey of C major seems o be acting as a stimulant to energize theme AoTthis movement. TV. Movement 3, schero A B « Part scherzo 1 1, Ws back! ..C minor is back! Phrase ais an ominous, ising passage in € minor, that funcuons analogously to the “Statement ‘of Purpose ofthe fst movemert. 2 Phrase bisa brat, pounding theme "Hunting Hors of Hades") inthe rhythm of the “ate” motive. C mina s back witha vengeance! Part 2, io 1. Pirse cis brian and farcical geek pasage tat blows avay the darkness of C minor. 2 Phrase isan exuberant clephaine passage forthe ow strings, that indulges in abit of «finger exerciae before ascending oan extended version of the fugue-ike passage. Part 3, scherzo2. No longer brutal, the cher is now a quit, plucked, utery defated bit of C minor nastiness. Ivends with a ‘Gecepive cadence. ‘The ansiion i movement sa slow and exraorinar progression fom darkness o light. ‘¥._ Movement 4, sonat-allegro frm = B. . Exposition: Theme 1 appears inthe fll orchestra in C major Developeent nsx pars (Coda in seven parts ‘VL For Beethoven the fit crystallizes his mature compositional innovations: A B c D. gE ‘The practice of allowing the contet to dictate the frm. ‘The use of motive development sa fundamen technique. ‘The concep of movements as steps na dramatic progression sinilar toacis in an opera or a pla) ‘The use of hythm (divorced from melody) a8 anaraive element. ‘The concept of music as self expeston. (©1998 The Teaching Compay LiniedPaweip a‘