| Papers [1-15] of 95 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "BEETHOVEN NINTH SYMPHONY": |
|
|
Beethoven's Ninth Symphony, 2009.
A discussion of the struggles involved in Ludwig von Beethoven's composition and premiere of the Ninth Symphony.
1,091 words (approx. 4.4 pages), 1 source, APA, $ 38.95
»
Click here to show/hide summary
Abstract
The paper reveals that what makes Beethoven's Ninth Symphony 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 Ninth Symphony 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."
| |
|
"Ninth Symphony", 2002.
A review of Beethoven's musical composition, the "Ninth Symphony".
1,372 words (approx. 5.5 pages), 10 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper reviews Beethoven's classical musical piece the "Ninth Symphony". 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."
| |
|
Mahler's "Fourth" and Beethoven's "Ninth", 2004.
A comparative analysis of Mahler's "Fourth Symphony" to Beethoven's "Ninth Symphony".
920 words (approx. 3.7 pages), 1 source, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper is account of Mahler's "Fourth Symphony" as a response and commentary to Beethoven's "Ninth Symphony". 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 ..."
| |
|
Beethoven's 9th Symphony, 2002.
Analysis of Ludwig von Beethoven's Ninth Symphony in D Minor.
1,400 words (approx. 5.6 pages), 6 sources, $ 53.95
»
Click here to show/hide summary
Abstract
This six-page undergraduate paper offers a detailed analysis of Ludwig von Beethoven's Ninth Symphony 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. .
| |
|
Beethoven and his Symphonies, 2007.
This paper provides a discussion of Ludwig Van Beethoven's life and his famous nine symphonies.
1,734 words (approx. 6.9 pages), 7 sources, MLA, $ 56.95
»
Click here to show/hide summary
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."
| |
|
Beethoven's and Mahler's Second Symphonies, 1972.
This paper discusses each composer's major works and compares Beethoven's and Mahler's Second Symphonies Discusses.
1,575 words (approx. 6.3 pages), 6 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"A listing of any composer's "major" works runs the risk of deleting the favorites of any given segment of the music-loving public. Nevertheless, it can be said that Beethoven's work fills three periods, the first of which ended about 1800. By then he had composed his first six string quartets, his first 10 piano sonatas, his first four piano trios, his septet, and his first symphony.
The second period began roughly in 1802, at a time when the composer realized he was losig his hearing. He himself, though in anguish, said that he was "making a fresh start.". He then produced one of the subjects of this paper, the Second symphony; the Eroica, Fourth, Fifth, Pastoral, and Seventh symphonies; the Moonlight, Waldstein, and Appassionata piano sonatas; the Fourth and Fifth piano concertos; his one and only opera, Fidelio; his ... "
| |
|
Beethoven's First & Fifth Symphonies, 1999.
Analyzes structures, movements, forms, tonality, innovations, key shifts and instruments; compared to other composers' works.
2,250 words (approx. 9.0 pages), 7 sources, $ 79.95
»
Click here to show/hide summary
Abstract
"Ludwig van Beethoven's composing career began in the last decade of the 18th century and ended with his death in 1827, and thus spanned from the Classical to the Romantic period. In his youth, he studied under F. Joseph Haydn, one of the greatest Classical composers; in his maturity, he anticipated the Romantic style which was later fully realized in the works of Schubert, Schumann, and Berlioz, among others.
From the Paper
"Ludwig van Beethoven's composing career began in the last decade of the 18th century and ended with his death in 1827, and thus spanned from the Classical to the Romantic period. In his youth, he studied under F. Joseph Haydn, one of the greatest Classical composers; in his maturity, he anticipated the Romantic style which was later fully realized in the works of Schubert, Schumann, and Berlioz, among others. Beethoven's wrote only nine symphonies; on its face this seems paltry compared to Haydn and Mozart, who established the Classical symphonic style--between them, they wrote over 150. However, despite the beauty (and often humor) found in Haydn's symphonies and the sheer brilliance of Mozart's, Beethoven single-handedly redefined the form and used it as a means of emotional, as well as musical, expression. This research will examine two of Beethoven's symphonies, his.."
| |
|
The Finale of Beethoven?s Choral Symphony, 2006.
A look at how Beethoven's Choral Symphony helped shape the genre of the classical symphony.
910 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
»
Click here to show/hide summary
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)."
| |
|
Joseph Brahms' "Symphony No.1", 2008.
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.
1,185 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
»
Click here to show/hide summary
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."
| |
|
20th Century American Symphony, 2005.
A study of modern American symphony.
1,015 words (approx. 4.1 pages), 3 sources, MLA, $ 35.95
»
Click here to show/hide summary
Abstract
This is a short essay detailing modern American symphony from Howard Hanson to John Williams. It starts off by stating that the symphony originated from instrumental music and how that gradually led to a symphony orchestra.
From the Paper
"In his first symphony, Piston incorporates much of what he had learned in his life. He has hints of different styles, which is a good example of how broad his studies were. In the finale, there is an energetic rhythm that blends both tradition as well as American optimism. As for all of his symphonies, they end in a grand finale."
| |
|
Toronto Symphony Orchestra, 2002.
A review of a performancy by the Toronto Symphony Orchestra.
1,900 words (approx. 7.6 pages), 3 sources, $ 71.95
»
Click here to show/hide summary
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.
| |
|
Utah Symphony and the Utah Opera, 2006.
A case study of the merger of the Utah Symphony and the Utah Opera.
1,575 words (approx. 6.3 pages), 5 sources, $ 62.95
»
Click here to show/hide summary
Abstract
This paper discusses issues regarding merging separate arts institutions as described in a Harvard Business Case. The paper covers various related topics including the role of communications and the decision-models employed. The paper further addresses the likely stress points in the post merger environment management as well as the question of how the dissimilar business models and artistic product of the two institutions mesh or not mesh.
From the Paper
"Superficially at least the Utah Symphony and the Utah Opera have much in common. Both are performing arts non-profit institutions; both specialize in presenting forms of classical music and both operate in a part of the country far from the mainstream centers of such "high-brow" cultural activities. Peel back a layer or two, however, and it becomes immediately apparent that the two organizations have very different cultures. For starts, opera is as much a theatrical as it is a musical art form. Whereas a symphony gives a concert, an opera company stages a production in which instrumental music plays a major but by no means exclusive role. Indeed, opera is an electric, highly collaborative art form: scenery, costumes, makeup, stage movement, and acting are as instrumental to a production as singing and musical accompaniment. "
| |
|
Mozart's Symphony K-550, 1978.
This paper presents a detailed, technical analysis of all four movements of Mozart's Symphony K-550: Exposition, development, style, melody, form, phrasing. Extensive manuscript references.
1,800 words (approx. 7.2 pages), 0 sources, $ 63.95
»
Click here to show/hide summary
From the Paper
"First Movement: The movement is in sonata-allegro form, and characterized generally by the regular phrasing of its cut-time meter (in 2- and 4-bar groups). The exposition, development, and recapitulation sections are roughly balanced on a ratio of 4-3-5, and the textural qualities of the three sections are basically homophonic-contrapuntal-homophonic (with considerable quasi-contrapuntal decoration of the harmony). Orchestrally, the strings provide the foundation for most of the writing, although the winds are particularly important for their use in the major transitional points of the form. The beginning of the development section (ms. 102-105) and the retransition (ms. 160-166) are ... "
| |
|
Paul Hindemith and his Symphony, 2004.
Analysis and history of Hindemith's "Symphonic Metamorphosis".
2,023 words (approx. 8.1 pages), 4 sources, APA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper examines the man behind the musical work, "Symphonic Metamorphosis". The life of Paul Hindemith is discussed, and the manner in which the music piece was compiled is analyzed. It concludes that "Symphonic Metamorphosis" is an example of the work that has made Hindemith one of the most masterful artisans in musical history.
From the Paper
"Paul Hindemith was born in Hanau, Germany on November 16, 1895. His father, Robert Rudolf, played the zither and was enthusiastic about music. Robert ran away from home at a young age because his father would not let him become a musician and as a result, he decided his own children should have the career he was not permitted to have. He subjected Paul, his brother, Rudolf, and his sister, Toni, to a strict routine of practice and training."
| |
|
Beethoven's Music, 2004.
An analysis of Beethoven's music, focusing on the romantic aspect of the symphonies.
2,635 words (approx. 10.5 pages), 5 sources, MLA, $ 79.95
»
Click here to show/hide summary
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 Ninth Symphony
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."
|
|
|
