Beethoven Beethoven in Americain America

Ninth SymphonyNinth Symphony1824 – Beethoven was 1824 – Beethoven was

totally deaftotally deafMany had written him off as Many had written him off as

a has-beena has-beenPremier huge successPremier huge success

Ninth SymphonyNinth Symphony Starts as standard Starts as standard

four movementsfour movements FastFast ScherzoScherzo Slow Slow

But thenBut then Choral FinaleChoral Finale

Choral finale added Choral finale added latelate

Revolutionary – had Revolutionary – had never been done never been done beforebefore

Ninth SymphonyNinth Symphony Symphony as a whole hugeSymphony as a whole huge

Each movement lengthyEach movement lengthy Overall sound largeOverall sound large Chorus in finale adds to sense of Chorus in finale adds to sense of

overpowering soundoverpowering sound Sense of vastness, monumental scopeSense of vastness, monumental scope

Ninth Symphony, First MovementNinth Symphony, First Movement

Large sonata formLarge sonata form Big sweeping gesturesBig sweeping gestures At times dense passagesAt times dense passages Quiet beginning – open soundsQuiet beginning – open sounds RecapitulationRecapitulation

Massive sound – contrast with beginningMassive sound – contrast with beginning To some invokes terrorTo some invokes terror

Big codaBig coda

Ninth Recapitulation MetaphorsNinth Recapitulation Metaphors [[the first theme] stands on F#-A-D…for twelve the first theme] stands on F#-A-D…for twelve

long bars (immovable like a terrifying specter, long bars (immovable like a terrifying specter, like the gloomily flaming Earth-Spirit which stood like the gloomily flaming Earth-Spirit which stood before Faust, which he con jured up but could not before Faust, which he con jured up but could not withstand)—until in the twelfth bar—again at the withstand)—until in the twelfth bar—again at the last moment, the last eighth-note—it turns first to last moment, the last eighth-note—it turns first to Eb and three bars later to the tonic, to D minor to Eb and three bars later to the tonic, to D minor to conclude the opening period. To conclude?—conclude the opening period. To conclude?—no, that is not within the power of this troubled no, that is not within the power of this troubled Giant-Spirit. Giant-Spirit. A. B. MarxA. B. Marx

This is the paroxysm of the tempest – the three This is the paroxysm of the tempest – the three apparitions of God on Sinai . . . totally apparitions of God on Sinai . . . totally surrounded by lightning and thunder. . . . we are surrounded by lightning and thunder. . . . we are at the heart of the hurricane. Masses of sound at the heart of the hurricane. Masses of sound collide violently. The winds set themselves up in collide violently. The winds set themselves up in contrapuntal opposition to the strings; and the contrapuntal opposition to the strings; and the lightning bolts intertwine, both from the heights lightning bolts intertwine, both from the heights and depths. and depths. Romain RollandRomain Rolland

Hitherto we have known the opening as Hitherto we have known the opening as pianissimo, and only the subtlety of Beethoven's pianissimo, and only the subtlety of Beethoven's feeling for tone has enabled us to feel that it was feeling for tone has enabled us to feel that it was vast in sound as well as in spaciousness. Now vast in sound as well as in spaciousness. Now we are brought into the midst of it, and instead of we are brought into the midst of it, and instead of a distant nebula we see the heavens on fire. a distant nebula we see the heavens on fire. There is something terrible about this major There is something terrible about this major tonic, and it is almost a relief when it turns into tonic, and it is almost a relief when it turns into the minor as the orchestra crashes into the main the minor as the orchestra crashes into the main theme, no longer in unison, but with a bass theme, no longer in unison, but with a bass rising in answer to the fall of the melody. rising in answer to the fall of the melody. Donald Francis Tovey, Donald Francis Tovey,

And if the thrusting impulse characteristic of tonality and And if the thrusting impulse characteristic of tonality and the aggression characteristic of first themes were not the aggression characteristic of first themes were not enough, Beethoven's symphonies acid two other enough, Beethoven's symphonies acid two other dimensions to the history of style: assaultive pelvic dimensions to the history of style: assaultive pelvic pounding (for instance, in the last movement of the Fifth pounding (for instance, in the last movement of the Fifth Symphony and in all but the "passive" third movement of Symphony and in all but the "passive" third movement of the Ninth) and sexual violence. The point of the Ninth) and sexual violence. The point of recapitulation in the first movement of' the Ninth is one of recapitulation in the first movement of' the Ninth is one of the most horrifying moments in music, as the carefully the most horrifying moments in music, as the carefully prepared cadence is frustrated, damming up energy prepared cadence is frustrated, damming up energy which finally explodes in the throttling, murderous rage of which finally explodes in the throttling, murderous rage of a rapist incapable of attaining release. a rapist incapable of attaining release. Susan McClary Susan McClary

Beethoven Ninth Second MovementBeethoven Ninth Second Movement

ScherzoScherzoABA – Scherzo and Trio FormABA – Scherzo and Trio FormA section expanded – with imitationA section expanded – with imitationTimpani featuredTimpani featured (Think Huntley-Brinkley)(Think Huntley-Brinkley)

Beethoven Ninth Third MovementBeethoven Ninth Third Movement

Lyrical adagioLyrical adagioDouble Theme and VariationDouble Theme and VariationFirst theme – long line, flowing B-flat majorFirst theme – long line, flowing B-flat majorSecond theme – smaller range, tighter Second theme – smaller range, tighter

motive – D majormotive – D major

Ninth Symphony FinaleNinth Symphony FinaleText based on Shiller poem of 1785Text based on Shiller poem of 1785About universal brotherhoodAbout universal brotherhood

Falls into several sectionsFalls into several sectionsOpening – instrumentalOpening – instrumental

Fragments of first three movements heardFragments of first three movements heardRecitative-like passageRecitative-like passageInstrumental variations on Ode to JoyInstrumental variations on Ode to Joy

Baritone enters – “Not these tones, but let us Baritone enters – “Not these tones, but let us sing of joy” sing of joy” Music mirrors opening instrumental recitativeMusic mirrors opening instrumental recitativeSymbolic rejection of earlier movementsSymbolic rejection of earlier movements

Solo voices and chorus alternate with Solo voices and chorus alternate with verses of Schiller’s Odeverses of Schiller’s Ode

New section – Turkish marchNew section – Turkish marchNew Idea – “New Idea – “Seid unschlungen”Seid unschlungen”Old and new ideas put togetherOld and new ideas put togetherLarge codaLarge coda

Beethoven – Grosse Fuge, Op. 133Beethoven – Grosse Fuge, Op. 133

Originally finale of String Quartet Op. 130Originally finale of String Quartet Op. 130Publisher suggested it be published as Publisher suggested it be published as

separate pieceseparate piece

FugueFugue Polyphonic piece based on imitationPolyphonic piece based on imitation

First voice enters with theme (called subject)First voice enters with theme (called subject) Next voice enters with theme – first voice continues Next voice enters with theme – first voice continues

with other material (countersubject)with other material (countersubject) Continues until all voices inContinues until all voices in Fugue then consists of further statements of subject Fugue then consists of further statements of subject

in different keys alternating with passages where no in different keys alternating with passages where no subject is heard (episodes)subject is heard (episodes)

There is no set number of statement of the subject There is no set number of statement of the subject

Grosse FugeGrosse FugeGiant fuge in several sections (unusal for Giant fuge in several sections (unusal for

fugue)fugue)Piece has stark, taut quality to it.Piece has stark, taut quality to it.Not “pretty.” Is it ugly.Not “pretty.” Is it ugly.

Question is the basis for extended Question is the basis for extended philosophical discussion in philosophical discussion in Copying Copying BeethovenBeethoven

Copying BeethovenCopying Beethoven2006 film2006 filmNinth Symphony premier approachesNinth Symphony premier approachesBeethoven needs a copyistBeethoven needs a copyistThe conservatory sends a womanThe conservatory sends a woman

Basis for conflictBasis for conflictFilm raises many gender issuesFilm raises many gender issuesNinth Symphony and Grosse Fuge play Ninth Symphony and Grosse Fuge play

prominent rolesprominent roles