Abstract The paper reveals that what makes Beethoven's NinthSymphony so remarkable is that its composer was deaf when he wrote and performed it. The paper discusses the hasty, ill-timed and imperfect execution of the symphony in Vienna and the critical audience responses to his final symphony. The paper also discusses how other critics, however, received the premiere of the NinthSymphony favorably, demonstrating the deep respect for Beethoven by acknowledging the difficulties associated with staging a live concert while being unable to hear anything.
From the Paper In spite of the optimism surrounding it, staging the premiere in Vienna turned out to be disappointing for the composer. For one, Beethoven could barely conduct his own symphony. His hearing loss was by 1824 so complete as to render his conducting practically useless. Beethoven still took to the stage and engaged in what have been called "over-the-top theatrical gesturing" while musicians paid attention to the timekeeping gestures of the concertmaster Michael Umlauf (Huscher, 2007). Umlauf did not steal the stage from the verable Ludwig von Beethoven, though.
"Ludwig von Beethoven's Ninth Symphony was his last, completed and performed in 1824 in Vienna. Incorporating a Friedrich Schiller poem "An die Freude," ("To Joy"), Beethoven set a theme for one of the most magnificent classical choral compositions. The integration of choral elements into a symphony was wholly unique: the first time a composer had ever undertaken a task so ambitious. The Philharmonic Society of London commissioned the symphony in 1817, and Beethoven took six years to compose it. The symphony undulates, proceeding through moments of restive peace and near-quietude to shockingly loud crescendos. However, what makes Beethoven's Ninth Symphony so remarkable is that its composer was deaf when he wrote and performed it. The composition and premiere of the masterpiece proved an enormous struggle for the hearing-impaired musician."
Abstract This paper is account of Mahler's "Fourth Symphony" as a response and commentary to Beethoven's "NinthSymphony". It looks at Mahler's adoption of the theme of joy in Beethoven's symphony and his grafting it on to a vocal arrangement.
From the Paper "In the chapter titled Ambivalent, Elysium Bonds develops the idea that Mahler's Fourth Symphony is a response to and commentary on Beethoven's Ninth. Whereas Beethoven's Ninth is dense and complex Bondargues Mahler's Fourth is ostensibly spare from an ..."
Abstract This paper reviews Beethoven's classical musical piece the "NinthSymphony". The writer includes a review of places and events this music has been played, included at the Berlin Wall and in Kubrik's "A Clockwork Orange". The paper attempts to describe the musical piece in words and explain its meaning and background, from both a technical and an entertaining viewpoint. The writer believes that Beethoven's Ninth is possibly the best piece of music ever written.
From the Paper "Today, we can only be grateful that Beethoven's music was spared the kind of criticism practised in the 21st century, ?It would have been easy enough to detect revolutionary tendencies in the choral movement of the Ninth Symphony, or irreverence in the scherzos, just as Soviet critics have discovered traces of "bourgeois decadence" in the music of Rachmaninov.? (Grove, Beethoven and His Nine Symphonies) Musical censorship in Beethoven's era seems liberal in comparison to today's standards?or perhaps it is only that criticism was not so advanced in his time."
Abstract This paper defines romanticism and romantic music, describes Beethoven's contribution to music and his innovations, and the ways in which his music linked with romanticism. Examples of some of his major works that depict romanticism are also discussed.
Contents
Romanticism
Beethoven and his Music
Early Music and Loss of Hearing
Early Influences
Different Phases of Beethoven's Music
The Eroica - Beethoven's Third Symphony Beethoven's Sixth Symphony The NinthSymphony Conclusion
From the Paper "Romanticism was an artistic and intellectual movement that originated in the late 18th century as a revolt against "classicism" (and to a lesser extent against ?rationalism.?) It stressed strong emotion, feeling and imagination rather than correctness in form. Romanticism rejected order, calm, harmony, balance, idealization, and rationality that typified Classicism and the 18th century Neoclassicism. The movement took its inspiration in part from the libertarian and egalitarian ideals of the French Revolution. ("Romanticism"-Columbia Encyclopedia, 2000)
In Romantic Music emotion and expression of feelings is given more importance than formal balance and internal order. It became the dominant musical trend in classical music during the 19th century and period between 1800 and 1900 is often referred to as the Romantic Period. While Beethoven is thought to be the first romantic composer, other notable composers who used romanticism in their music include Chopin and Wagner."
Abstract This six-page undergraduate paper offers a detailed analysis of Ludwig von Beethoven's NinthSymphony in D Minor. An introduction and historical background to the work are included, and the symphony is placed within a broad cultural, philosophical, and historical framework. The paper concludes with a technical analysis, and some personal thoughts regarding the work. .
This paper reviews Joseph Brahms' "Symphony No.1" as specifically performed by the Toronto Symphony Orchestra under Conductor Rafael Frunbeck de Burgos, March 22, 2007.
Abstract This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner
From the Paper "The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."
Abstract This paper compares the works of Ludwig van Beethoven and Johann Sebastian Bach. The paper points out that both musicians were great and influential men, but their styles and the way they conducted their lives and their music varied greatly. The works compared and contrasted are the first movement of Beethoven's "Symphony No. 5", belonging to the classical genre of music, and the first movement of Bach's "Brandenburg Concert No. 5", belonging to the late Baroque style. The paper also addresses the composers' tragic lives. To conclude, the author of the paper praises both composers, but ultimately prefers Beethoven's works.
From the Paper "The Brandenburg Concertos were written by Johann Sebastian Bach between the years of 1715 and 1721. There are six different concertos, all of which individually call for a diverse group of soloists in the concertino. In the first movement of the Brandenburg Concerto No. 5, which was written in 1720 and lasts for a period of nine minutes and forty-one seconds, a brilliant use of the harpsichord can be heard by the listener. Bach's intent in writing the Brandenburg Concertos was to show off his ability to write challenging music for any instrument, which he does illustrate greatly in the first movement of the fifth concerto, as well as in all of the others. Johann Sebastian Bach lived from 1685 to 1750 and it is said that everything he did, everything that he wrote was for the glory of God. Bach's tragic life was not unlike Beethoven's in that Bach and his wife Anna had twelve children and eight of them died before they reached the age of five. This was not exactly uncommon for the time, but tragic nonetheless. Bach was the master of counterpoint, which means that he essentially mastered polyphony and the harmonious opposition of two or more independent musical lines. In this first movement of the fifth Brandenburg Concerto, the full orchestra is in competition for the attention of the listener with the concertino."
Tags: concertino, counterpoint, harmony, baroque, romantic, classical, music
Abstract This paper examines the great impact that Beethoven's Choral Symphony had on the genre of the classical symphony. The paper explains how, despite of all the criticisms of the Choral Symphony that continue to this day, in writing it Beethoven helped the genre of classical symphony evolve, translating it from the Classical to the Romantic.
From the Paper "In addition, recent studies on the sketches have been difficult, as some sketches were lost, sold, or found to be out of their original order (Levy 19). It is evident from what has been found and deciphered that Beethoven's original intention was to write two separate symphonies, and the Ninth is what resulted from his simultaneous work on both. Evidently, he intended his two symphonies to consist of a London symphony, which would be instrumental; and a German symphony, setting Schiller's "An die Freude" to a different tune than the one he finally used in the Ninth (Cook 13-14)."
Abstract This essay will examine the relationship between program and music in Eroica. Beginning with a discussion of the advantages and disadvantages of this mode of analysis, the composer's program - and, most especially, the composer's attitude toward the program - will be examined. While the controversies surrounding Eroica will be briefly explored, it will be argued that the program of the symphony is integral to an understanding of its function. In this context, the contradictions evident in the symphony's Second movement - its "Funeral March" (Marcia funebre) - will be seen as a key element in Beethoven's communication of his program celebrating "Heroism" in general as opposed to an heroic individual in particular.
Abstract This paper discusses the life of musician, Ludwig van Beethoven. It discusses his family background, his childhood and his development as a musician. It describes where he studied music and his relationships with his family and his teachers. The paper specifically focuses on the aspects of Beethoven's tragic life and the torment of losing his hearing.
From the Paper "At the end of the premiere of his Ninth Symphony, he had to be turned around to see the monstrous applause, hearing nothing. Realizing the extent of his hearing problem, he began to cry. Beethoven made many attempts to heal his deafness. Seeking help from numerous doctors, he received many different treatments. Much of what the doctors told him would be considered nonsense today. Unable to cure his hearing, Ludwig had no choice but to adapt. He used a rod attached to the sound board of his piano which he bit to feel the vibrations of the instrument. By the year 1814, Beethoven was fully deaf, though in his last year he felt as though he could sometimes slightly hear things."
Abstract The paper labels the 19th century German composer Ludwig van Beethoven a genius, revolutionary and pioneer in the world of music.
The paper describes Beethoven's life and the obstacles he overcame, such as abuse and deafness. The paper also looks at how he became financially independent as a composer and was able to realize his musical vision.
From the Paper "Without qualification, the 19th century German composer Ludwig van Beethoven is called a genius in every textbook and encyclopedia across the world, a true revolutionary and pioneer in the world of music. His career straddles the technical precision and refinement of the Classical era and bridges the gap between this period and the emotional, Romantic era of music, where composers began to feel more free to pour their emotions into their works ("Classical: Musical Context," The Essentials of Music, 2008). Beethoven's body of work would be a marvel even if he had led a relatively happy and quiet life, like the Baroque composer Bach, living in a supportive family and community environment. But Beethoven did not and in spite, or some might say because of his difficult life, he became one of the greatest composers of the Western European music tradition. "He is one of the few artists who genuinely may be considered revolutionary" ("Ludwig van Beethoven," The Columbia Encyclopedia, 2008)."
Abstract This is a review of a classical concert performance and a critique of the programming of this concert by the Toronto Symphony Orchestra (February 16, 2002). This review indicates how the performance was characterized more by its diversity than by its stylistic or thematic unity. This review focuses on this aspect of the performance, and argues that while it is not essential to the success of a concert, the audience's understanding of the reasons behind the programming of a concert can contribute greatly to its success.
Abstract The writer looks at the first symphonies of each of the composers Edward Elgar and Rimsky Korsakov. The writer discusses that similar tools are used by both of the composers, but each creates very different works. The writer notes that although Elgar's music is distinct in many ways from that of Rimsky Korsakov, the two are bound by the lyricism of their works and by their desire to create music that reflected in a profound way their very different homelands.
From the Paper "Edward Elgar and Rimsky Korsakov both created symphonies that were lyrical and lovely and each of which expressed modern musical motifs in very different ways This paper examines the first symphony of each composer examining the ways in which these two near contemporaries used similar tools and rules of composition to create works that are strikingly different from one another. While Nikolai Rimsky-Korsakov would write his First Symphony well within the conventions of the classical symphony, Elgar writing later and with English rather than Continental musical influences at ..."
Abstract The paper reveals that many consider Beethoven to be the greatest composer in the Western music tradition. The paper discusses Beethoven's earlier and later years and describes his famous nine symphonies.
Outline:
Early Life
First Works
Leaves for Vienna
Struggles with Deafness
Last Days
Symphony No. 1
Symphony No. 2
Symphony No. 3
Symphony No. 4
Symphony No. 5
Symphony No. 6
Symphony No. 7
Symphony No. 8
Symphony No. 9
From the Paper "Beethoven (1770-1827) is considered by many as the greatest composer in the Western music tradition. His stature among music composers is such that his name is familiar even to people who do not listen to classical music, while he is also held in the highest esteem by the most discerning connoisseurs of Western classical music. The wide range of his music composition encompasses a variety of genres, including symphonies, concertos, sonatas, string quartets, chamber music and opera, forming a bridge between the classical and romantic eras of musical history."
Abstract This paper looks at how Beethoven brought to the art of music new depths of expressiveness that were not known before his time and also brought new richness of speech to every instrument for which he wrote his symphonies and other musical pieces. In essence, it explains how Beethoven was highly influential in bringing modernity to the art of music and could definitely be seen as a heroic figure in Western music due to his bravery and desire to explore new musical domains.
From the Paper "Beethoven's artistic career seems to have greatly expanded during his second period of creativity. Between 1803 and 1804, a period accentuated by his deafness which seems to have affected his musical output very little, Beethoven produced sonatas for violin and piano and the famous Eroica Symphony, not to mention composing the Fourth, the Fifth and the Pastoral symphonies, the opera Fidelio, the Rasumovsky Quartets, the Fourth and Fifth piano concertos and the Violin concerto. With these works, the musical form was raised to its highest point of development, but more importantly, Beethoven had refined and enriched his own music to where it was now imbued with lyrical poetry, much like the heroic motifs in such poems as "Don Juan" and "Manfred" by Lord Byron. As George R. Marek notes, Beethoven's music during this second period "was marked by heroic elements that were sonorous, pure and simple, but also contained abstract ideas that made it possible for the further development of harmonic music" (58)."
