Beethoven's piano music: Ode to Joy

  Sonatas

Every sonatas which Beethoven create has its own particular rewards to listener. Such like Pathétique (Op. 13) boomed up the musical world with the unprecedented violence of its expression. The Appassionata (Op. 57) created by Beethoven after he became deaf, and Beethoven said for his creation "Fate by the throat" as himself. Moonlight (or Sonata quasi una Fantasia, Op. 27 No. 2) is certain one of his sonatas which listener liked. Because of the first movement which where can atracted people when they first listen. Ludwig Rellstad, the music critic said that when he listened to the first movement as reflected of the surface of Lake Lucerne.               (Moonlight ; 1st movement)

 The gigantic Hammerklavier Sonata (Op. 106) rarely played because of its immense challenge of its pianist.

   Variations

Another interresting element of Beethoven's music is the variations. 

The variation started in witty works published when he stqrted sat down improved with his beloved keyboard. Like Eroica- (Op.35) and Diabelli Variations (Op. 120).

   Concertos

Finally he has his concertos which representing with the climax of Classical concerto but also serving the models of Romantic concerto. 

   From all of Beethoven's masterpieces, he has his own favourite songs. Those are sonatas. He think that the sonatas which he made are not such a song which can used in one day but throwed in another day. These sonatas are contain all of his mind, what he imagined, what he heaped, and all of these part are nature for him.
   From 32 sonatas which Beethoven's made are the big treasure of human. Beethoven's changed sonata from its old form. Beethoven imposes on the sonata his strong personality creating a new, impressive, form of art, in which his own life, with its joys and sorrows, is projected.
     The fundamental principle of organization of the Beethoven piano sonata is the tonality. We can say that Beethoven perceived tonality as the key to any composition, since it leads to the true understanding of the musical form.
      In what the structural architectonic of the Beethoven piano sonatas is regarded, there are no apparent patterns: out of the thirty-two sonatas written by Beethoven, twelve have four parts, thirteen have three parts and seven have two parts. Another interesting aspect is that of the diversity of de movement types and the order of succession. The sonatas Op. 26, 27, 54, 109 or 110 reveal this total liberty of dealing with the character of the constitutive pats and their order in the sonata form. But, no matter the movements or their order of succession, there can be established a general characteristic of the Beethoven piano sonata (and work in general) can be easily established: his great care to create a easily perceptible connection between the constitutive parts of the sonata.

Opera Fidelio

    For this presentation of material to Beethoven's only opera Fidelio, we have expanded on our new mode of presentation and are introducing with it a new level of in-depth treatment of one particular Beethoven work.

It features a thorough creation history, a compilation of all three versions of the work in table form, a plot description in form of a combination of 'synopsis' and description of the musical content, the libretto text of the 'standard' 1814 version, a collection of comments and criticism of the work as these emerged in music history, a section on interesting topical links and a listing of sources used.

We hope that this thorough introduction to Beethoven's Fidelio provides you with many incentives for further study, listening experiences and, at best, lively stage performances!

   Did you know that many of Beethoven's masterpieces were beheld when he being deaf in 40 years old? He being deaf because he was left by his close's people. He felt desperate and want to suicide. But, then he decide to keep worked however it's being very hard to him. With his deafness, he still composed many masterpiece. And, his attitude being a symbol not to discouraged even if his bigger power has missing. 
   In the end of 1814, Beethoven played Fidelio succesfully. Many of Wina congress's people watching this opera. Out of his succesfull, his hearing being severe. 
   In 1826, Beethoven had a high cold with kidney disease and being his death cause in March 26,1827.
   Here's his masterpieces wich being held when he missing his hearing:
- Fur Elise
- Sinfonia
- Flight of The Bumble Bee
- Mozart Strauss Beethoven
- Mondsheinsonate
- Ode to Joy
- Pathetique
- Minuet In G
- Can You Hear Me 

  Fur Elise 

   This occation, i will tell you what is the most popular Beethoven's masterpiece: Fur Elise or in English means for Elise. 
   Do you know that every big artist like Ludwig van Beethoven always find their experience for inspiration every masterpieces? And Fur Elise is the one of Beethoven's experience. He made this masterpiece and gave the title: Klavierstück in a-Moll or we can called melody for piano in A minor.
   And under the title, Beethoven add the words: "Fur Elise" or for Elise. Beside those words, there are another words,"April 27, as a memory from Ludwig van Beethoven". Beethoven keep this memory in his diary with title: spring in 1810. So, can you imagine who is Elise for Beethoven? 

The Mysteryous Girl

   This melody is very popular and legendary for every people who listen it. However they know the clasical music or not. And for one fact again, this melody was populer because the character of Elise in this melody. Who is Elise exactly? 

   Klaus Martin Kopitz, the art experts from Berlin, has solved the mystery of Elise. 

Few years ago, Kopitz done his book wich the theme is: Beethoven from people side in his era. And of course Kopitz needs some sourches to done his book. So, he search from beethoven's diary, mails, poets, and some memories. He found in his diary women who near him entire his life. And the one of those women is Elisabeth Rockel.

For Elisabeth

   Elisabeth Rockel born in 1793 is the sister of Joseph Rockel, the composer who accompany Beethoven in his opera named: Fidelio. After this opera, Joseph and Beethoven become closer and closer. And of course his sister Elisabeth, who called as Elise become closer to with Beethoven. Elise is a cherfull girl. She is talented in music. And in her maturity she became a singer.

    Spring 1810, Elise moves to Bumberg to work as a singer in theatre in Bumberg. She became famous in Bumberg and has many popular fans too, like E.T.A. Hoffmann. Kokpitz found that in Beethoven's diary there are word said,"as a memory". Kokpitz guess that Beethoven possible will be splited with Ellise. And because they two are closer friend, Beethoven didn't dedicate his masterpice for " Miss Rockler" but "Elise".

The Closer Friend of The Composer

   And insterestingly, Elise herself who told how they two become a closer friends, without any ashamed. Elise told that beethoven want to twit her, "Beethoven never stop to twit me, with hie ordinary style like people from Rhein river."

   Finally, Elise married with Johann Nopomuk Hummel. But, it never broke the relationship between Beethoven and Elise. Elise was visitid Beethoven a few days before his died, March 1827. As a habbit in that era, Elise cut a little of Beethoven's hair for her. And of course Beethoven gave her his last stationary.

    

  It's because i like violin, and i'm trully, madly with violin, now i choose violin and orchestra for discussion this occasion.

 VIOLIN and ORCHESTRA

1. Romance for Violin and Orchestra No. 2 in F major, Op. 50

    Was written in 1789 and published in 1805. This orchestra was written between Romance No.1. And both of two were Beethoven's most popular works.

2. Romance for Violin and Orchestra No. 1 in G major, Op. 40

    This romance is the twin of romance no.2. But written 13 years later than romance no.2. And published in 1803. 

  These romance talk about the lovers in love. Their ashamed to show how much the love to each other. But finally the boy with his courage, told his girl how fallin him with her.  Feels of ashamed, scared, happy, and tight are poured in one violin orchestra.

3.  Violin Concerto in D major, Op. 61

      Was written in 1806 and premiered in 23 December 1806 in the Theater an der Wien in Vienna. This concert is different with those two romance. It is dedicated to his collegue Franz Clement. 

1st movement: Allegro ma non troppo (D major)

2nd movement:  Larghetto (G major)

3rd movement: Rondo. Allegro (D major) 

7. Symphony No.3 in E flat major (Op. 55)

 Also known as Itallian ‘heroic’. Is landmark musical that created of the compposer “middle-period”. Is a widely composed as a mature expression clasical style of the latest eighteen century and also defiding an romantic style of the latest nineteen century. This composed clompeted in 1804 and first perfomed in April 7th,1805.

   1st movement: Allegro con brio

  In ¾ on sonata-allegro form. Open with two E flat major during the whole orchestra, First theme is intreduce by cello, and then fifth bar of melody, and a cromatic note and finish by the violin.  After the first theme is played by various instruments, the movement transitions to a calmer second theme that leads to the development section. The development, like the rest of the piece, is characterized by remarkable harmonic and rhythmic tension due to dissonant chords and long passages of syncopated rhythm. Most remarkably, Beethoven introduces a new melody in the development section, breaking the classical tradition that the development section only works with existing material. The development section leads back into the recapitulation; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord. The movement ends in a long coda that re-introduces the new melody of the development section. Overall, the noble character of the movement has led to its being called a portrait of the hero celebrated by the work.

    2nd movement: Marcia funebre: Adagio assai in C minor

   The second movement is a funeral march in C minor with a trio in C major. The movement contains multiple fugatos, and its solemnity has led to its being used in public funerals.

     3rd movement: Scherzo: Allegro vivace

    The third movement is a lively Scherzo. The trio features hunting calls from the three horns.

     4th movement :  Finale: Allegro molto

    The fourth movement is a set of variations on a theme that Beethoven had used several times before. The theme first was used in the finale of his ballet music for The Creatures of Prometheus (1800), the seventh of 12 Contradanses, WoO 14(1800-1802) and later as a set of piano variations, Op. 35. The themes subsequent use in this symphony has given the Op. 35 set the nickname "Eroica Variations". The variations here are structured in a similar manner to those Op. 35 in that its the bass line of the theme which makes the first appearance and is subjected to a series of strophic variations leading up to the full appearance of the theme itself.

8. Symphony No.4 in B Flat Major (Op. 60)

  is a symphony by Ludwig van Beethoven, written in the summer of 1806. It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the fourth piano concerto were premiered in that same concert.

^{Dedicated to}  Count Franz von Oppersdorff, a relative of Beethoven's patron, Prince Lichnowsky. The Count met Beethoven when he traveled to Lichnowsky's summer home where Beethoven was staying. Von Oppersdorff listened to Beethoven's Symphony No. 2 in D Major, and liked it so much that he offered a great amount of money for Beethoven to compose a new symphony for him. The dedication was made to "the Silesian nobleman Count Franz von Oppersdorf".

^{The Instruments:}

The symphony is scored for flute, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in B flat and E flat, 2 trumpets in B flat and E flat, timpani and strings.

   1st movement: Adagio-Allegro vivace 2/2

    2nd movement: Adagio, 3/4 in E flat major

   It has stacato with the violin, cello, and bass. On the open it sounds slow and soft, but slowly it become hard and fast. Lilke that til the end. It swing like sunset in summer.

   3rd movement: Allegro vivace,3/4

   Sounds like mars. Feelin happy in summer time. Many creature singing, dancing, and playing in summer.

    4th movement: Allegro ma non troppo, 2/4

   At the final, the composer make some fast playing and some crowd noise like crowding people.

9. Symphony No.7 in A major, Op. 92

  This symphony created in 1811, was the seventh of his nine symphonies. He worked on it while staying in the Bohemian spa town of Teplice in the hope of improving his health. It was completed in 1812, and was dedicated to Count Moritz von Fries.

At its debut, Beethoven was noted as remarking that it was one of his best works. The second movement Allegretto was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.

First Movement

The first movement starts with a long, expanded introduction marked Poco sostenuto that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C Major and F Major. From the last episode in F Major, the movement transitions to Vivace through a series of no fewer than sixty-one repeated E's. The Vivace is in sonata form, and is dominated by lively dance-like rhythms (such as dotted rhythms), sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C Major and contains extensive episodes in F Major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two bar motif repeated ten times to the background a four octave deep pedal-point of an E. The critic and composer Carl Maria von Weber is said to have pronounced Beethoven "fit for a madhouse" after hearing this passage.

Second Movement

The second movement in A minor has a tempo marking of Allegretto ("a little lively"), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. The ostinato (repeated rhythmic figure) of aquarter note, two eighth notes and two quarter notes is heard repeatedly. The movement begins with the main melody played by the violas and cellos. This melody is then played by the second violins while the violas and cellos play a second, but equally important, melody, a melody described by George Grover as "a string of beauties hand-in-hand". Then, the first violins take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this climax, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato.

Third Movement

The third movement is a scherzo in F Major and trio in D Major. Here, the trio (based on an Austrian pilgrims' hymn^[5]) is played twice rather than once. This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period, such as his Fourth Symphony and String Quartet Op. 59 No. 2.

Fourth Movement

The last movement is in sonata form. Donald Tovey, writing in his Essays in Musical Analysis, commented on this movement's "Bacchicfury". The coda contains an example, rare in Beethoven's music, of the dynamic marking ƒƒƒ (called forte fortissimo or fortississimo).