Documentatie muziekgeschiedenis

1. De toverfluit MozartDie Zauberflöte (Nederlands: De toverfluit) (KV 620) is een 'Singspiel' in twee bedrijven van Wolfgang Amadeus Mozart naar een libretto van de vrije theaterproducent Emanuel Schikaneder. Het behoort tot de bekendste en vaakst opgevoerde opera's uit het repertoire. In 1792, een jaar na de wereldpremière in Wenen, ging het Singspiel reeds naar Amsterdam ('De Tooverfluyt') en werd daar voor het eerst in Nederland opgevoerd. Het libretto is gebaseerd op talrijke bronnen, waarvan het sprookje "Lulu oder die Zauberflöte" van August Jacob Liebeskind, verschenen in de sprookjesbundel 'Dschinnistan' van de Duitse schrijver Christoph Wieland (1733-1813), de belangrijkste is. De première vond plaats op 30 september 1791 in Wenen, in het Theater auf der Wieden. Die Zauberflöte is één van de weinige populaire sprookjesopera's die de status van meesterwerk hebben behaald en kent talrijke interpretaties. Het werk wordt wel beschouwd als de eerste musical in de muziekgeschiedenis, onder andere vanwege de verschillende themalijnen en een grote mate van afwisseling van scenes en affecten. Prins Tamino gaat voor de weduwe "de Koningin van de Nacht" op zoek naar haar dochter Pamina, die door de priester Sarastro gevangen wordt gehouden. De Koningin van de Nacht draagt Papageno op om Tamino te vergezellen. Net als Tamino is hij op zoek naar zijn vrouwelijke wederhelft. Van de drie dames krijgen ze een toverfluit (voor Tamino) en een klokkenspel (voor Papageno) mee. Ook zullen drie knapen hen begeleiden op de reis.

Als Pamina gevonden wordt, blijkt Sarastro haar weliswaar gevangen te hebben, maar met als doel om haar te bevrijden uit de macht van haar overheersende moeder. Haar moeder beheerst de krachten van de Nacht, maar daarnaast is ze ook uit op de macht van de zevenvoudige zonnekrans. Sarastro heeft die zevenvoudige zonnekrans geërfd van de man van de Koningin van de Nacht. Nu is hij opperpriester van de Tempel van de Wijsheid. Hij laat Tamino, Papageno en Pamina een aantal beproevingen ondergaan om ze te testen of ze in staat zijn een "inwijding" te kunnen doorstaan.

De Koningin van de Nacht probeert eerst nog haar dochter aan te zetten tot moord op Sarastro, maar die doorziet het complot: hij weet alles en de Koningin van de Nacht wordt teruggestuurd naar de Nacht. Papageno faalt bij zijn inwijdingstesten en wordt veroordeeld om eeuwig op aarde te blijven ronddolen: hij vindt zijn bruid Papagena en samen blijven ze voortbestaan in hun vele kleine Papagena's en Papageno's. Tamino en Pamina slagen wel voor de testen en worden ingewijd door tezamen door de poorten des doods te gaan. Tamino en Pamina worden voor eeuwig met elkaar verenigd en gaan deel uitmaken van de ingewijden in de tempel der wijsheid: de Zon komt op en het Licht verdrijft de Duisternis

'Die Zauberflöte' kent talrijke interpretaties. Het stuk werd gecreëerd in de tijd van de Verlichting en de sporen daarvan zijn zeker terug te vinden, b.v. in de symboliek van het licht, maar één van de meest terugkerende, alhoewel zeker niet de enige relevante voor het muziektheater, vertrekt vanuit Mozarts en Schikaneders engagement voor de vrijmetselarij.

Vanuit die zichtwijze beschrijft deze opera enkele inwijdingsrites. Ook de spreuk "sei standhaft, duldsam, und verschwiegen" is een letterlijk citaat uit deze rituelen. Het wordt gezongen door de drie wijze knapen die Tamino zullen helpen op zijn reis. Het feit dat Papageno en Tamino voordat ze de tempel betreden, een zak over het hoofd wordt getrokken, die hen het zicht ontneemt, is ook een directe verwijzing naar het inwijdingsritueel dat wordt uitgevoerd bij de eerste graad van de Vrijmetselarij. De tempel van Zarastro is gelijk een vrijmetselaarstempel. De hoofdgedachte in Die Zauberflöte is: de ontwikkeling van de menselijke psyche volgens esoterische principes, namelijk de animus en anima die op verschillende niveaus tot synthese komen en de androgyne mens vormen. Dit wordt verbeeld in het huwelijk tussen Tamino en Pamina, en het vinden van een vrouw voor Papageno, namelijk Papagena.

De opera speelt zich af op het toneel van het antieke Egypte. Er zijn speculaties dat de vrijmetselarij de inwijdingsriten uit het oude Egypte kent en praktiseert.[1] Daar zijn echter geen directe bewijzen voor. Toch is er een relatie, maar die relatie is bij alle inwijdingsriten in alle culturen en alle tijden te leggen. Het centrale thema bij inwijdingen is het vraagstuk van leven en dood. Neem alleen maar de cultus van Mithras, Mithra en de overeenkomsten met de dood van Jezus en de opstanding van Christus. Het is een vorm van syncretisme. Ieder mens wordt geconfronteerd met een innerlijk gevoel van eeuwigheid en het inzicht dat hij een tijdelijk wezen is. Hoe dan ook, Mozart werd in zijn tijd door veel vrijmetselaren als een verrader van inwijdingsgeheimen beticht.

Isis, Osiris en Horus zijn Egyptische goden. De overeenkomst met respectievelijk de Koningin van de Nacht, de vader van Pamina en Tamino is duidelijk. Minder duidelijk kan de overeenkomst zijn met respectievelijk (1) "natuur", in de hoedanigheid van Maya of nacht, (2) de essentie van de "Geest of het bewustzijn" of dag en (3) het "wezen mens" (zie Lichaam-geestprobleem). De mythe van Osiris vertelt over de doodskist met daarin het lijk van Osiris binnen in een boom. In Die Zauberflötewordt in herinnering gebracht dat de vader van Pamina de toverfluit gesneden heeft uit het binnenste, de ziel, van een duizendjarige eik,[2] terwijl Tamino die toverfluit bespeelt. (Zie ook de begrippen atman en emanatie.)

Het einde van de Opera is de "verlichting", inzicht, wijsheid: de opkomende zon. Het einde van de nacht (illusie) en begin van de dag. Hier ziet men duidelijk de belangrijke thema's: Stärke, Schönheit und Weisheit.

Het koor zingt als slot van de Opera:

Heil sei euch Geweihten!

Ihr dränget durch Nacht.

Dank sei dir, Osiris,

Dank dir, Isis, gebracht!

Es siegte die Stärke

Und krönet zum Lohn

Die Schönheit und Weisheit

Mit ewiger Kron.

Symboliek[bewerken]

Die Zauberflöte kent verschillende lagen van symboliek. Zie ook Vrijmetselaarssymboliek.

MoralismeDeugdzaamheid, oprechtheid, sympathie. Het meest direct in het libretto is de moralistische boodschap te horen: dat de mens hier op aarde een hemelrijk krijgt als hij deugdzaam is door bijvoorbeeld niet meer te liegen. Papageno krijgt van de schikgodinnen een slot op zijn mond nadat hij heeft gelogen. En later in de opera, wanneer Papageno vraagt wat hij zou moeten spreken, zingt Pamina: "De waarheid". De drie knaapjes zingen als wijsheidsleer: "wees geduldig, standvastig en zwijgzaam/verstild". Wanneer Papageno met zijn toverklokkenspel Monostatos en zijn slaven betovert, wordt gezongen: "Kon elke goede man zulk klokkenspel vinden, dan zouden al zijn vijanden zonder moeite verdwijnen. (...) Zonder deze sympathie bestaat er geen geluk op aarde". In de tekst wordt de sleutel al gegeven: het klokkenspel is sympathie. De symboliek van fluit en klokkenspel refereert aan vruchtbaarheid en levenskracht.

Symbolen voor de eigenschappen in de mens zelfOp de poort van de vrijmetselaarstempel staat: "Ken uzelve".

Indien de personages in het libretto letterlijker en/of symbolisch genomen worden, zoals voor de hand ligt, dan opent zich een merkwaardige symboliek. De rollen, de personages, veranderen van mensen in bepaalde eigenschappen van de natuur en van de mens zelf. Op die manier kan de opera inzicht geven in het wezen van de mens zelf. Dit is de methode van de esoterie. Hieronder volgen enkele voorbeelden.

Het symbool Sarastro

Sarastro letterlijk, als naam, verwijst natuurlijk direct naar de naam Zaratoestra. Dat is een indirecte verwijzing naar Zaratoestra als middelaar naar Ahura Mazda. Sarastro, als opperpriester in de tempel van Isis en Osiris, is de plaatsvervanger van de dode Osiris. Bij de komst van Sarastro wordt over wijsheid gezongen: Sarastro IS goddelijke wijsheid. Hij is letterlijk in het libretto: "onze afgod" en doet "het leven zich steeds verheugen in grotere wijsheid". Het koor zingt: "Es lebe Sarastro, der göttliche Weise! Er lohnet und strafet in ähnlichem Kreise."[3] Sarastro staat symbool voor de goddelijke wijsheid die diep in ieder mens (ontwikkeld of niet) aanwezig is.

Het symbool Papageno

Papageno zegt van zichzelf dat hij een natuurmens is, die niet naar wijsheid zoekt en aan slapen, eten en drinken genoeg heeft en een wijfje zoekt. Dat zijn typische dierlijke eigenschappen. Papageno symboliseert het dierlijke in de mens. Papageno is dan ook één met de natuur en in volledige harmonie met de natuur. Hij bespeelt niet voor niets een "Pan"-

fluit. De panfluit in Die Zauberflöte heeft slechts vijf tonen. Dat verwijst naar de vijf zintuigen en het pentagram of de vlammende ster.

Het symbool Monostatos

Letterlijk is "Mono-statos" datgene wat "alleen staat". Het is dus het gevoel van afgescheidenheid van het andere, de mening bijvoorbeeld dat "ik" niet deel uitmaakt van een groter totaal. Dat geldt voor een mens als "ik ben ik" in zijn totaal, maar ook van de identificatie met een deel van de mens (ik ben mijn ego, lichaam, persoonlijkheid, denken, emoties, dierlijkheid, of het kan gelden voor de overtuiging "ik ben een aparte ziel die gebruikmaakt van dit lichaam"). Monostatos is een zwarte Moor. Het onderscheid tussen zwart en wit geeft een dualiteit aan, dus het opdelen van het totaal in paren van tegenstellingen. Vrijmetselaarstempels hebben daarom een zwart-wit geblokte vloer: zie ook het yin-en-yangsymbool[4] voor het idee daarachter. Tegenwoordig is het inzetten van een zwarte operazanger op het toneel een probleem, omdat dit al te gemakkelijk als discriminatie wordt geïnterpreteerd. Het schrikken van Papageno en Monostatos die elkaar als duivel zien, is dus de ervaring van een mens, een mens die in zichzelf de totale tegenstelling ontdekt van de harmonieuze dierlijkheid aan de ene kant en haar afgescheiden "ikheid" aan de andere kant. Egoïsme en dierlijkheid leiden vanzelfsprekend tot perversie (letterlijk in de zin van tegen-natuurlijk). Veelzeggend is de tekst van Papageno als hij van de eerste schrik is bekomen: "Ach, er zijn ook zwarte vogels in de wereld, waarom dan ook niet zwarte mensen?". Monostatos staat dus voor egoïsme ("ego"-isme).

De symboliek van de "slaven".

Monostatos staat aan het hoofd van een aantal slaven. Een slaaf wordt beheerst door een ander. Hij is geen meester over zichzelf. De verslavingen van een mens (of het nu geld, macht, aanzien, alcohol, eten, tabak, drugs, seks, gokken of iets anders is) ontnemen een mens de vrije beschikking over zijn menszijn. Dan wordt de mens slaaf van het object van zijn gehechtheid. Daarom staan de slaven ten dienste van Monostatos (egoïsme), die Pamina (liefde) met kettingen vastlegt wanneer zij wil ontsnappen naar menselijkheid (Tamino) of haar oorsprong (haar moeder).

Het symbool Tamino

Bij het overleg in de wijsheidstempel wordt van Tamino gezegd dat hij deugdzaam, zwijgzaam en weldadig is. Ondanks dat wordt betwijfeld of hij de inwijdingsbeproevingen kan doorstaan. Er wordt opgemerkt dat hij een prins is! Als antwoord zegt Sarastro dat hij méér is dan een prins. Hij is "een mens". Deze dialoog is in eerste instantie gezien de tijdgeest zeer revolutionair, gevaarlijk en not done. Het heeft echter een driedubbele bodem die ons veel kan leren over het symbool "Tamino". In eerste instantie lijkt het een sneer naar de edelen als plezier voor het volk, maar de boodschap daaronder is "Noblesse oblige". Tamino is edel en dient dus zuiverheid uit te stralen, maar het gaat niet om zuiverheid alleen. Menselijkheid gaat daar bovenuit: wijsheid en doorzettingsvermogen. Hij kan pas slagen voor de

beproevingen van de inwijding als hij afstand doet van alles wat hem in het gewone leven aanzien en macht verschaft. Hij zal nederig moeten zijn, opdat elk spoor van ijdelheid in de kiem gesmoord wordt, en hij zal klaar moeten staan ten dienste van anderen. De typische menselijke eigenschappen, het eeuwigheidsgevoel (het woord "eeuwig" komt vaak bij Tamino voor), de zich opofferende liefde (voor Pamina) en de strijd met de dood vergezellen Tamino. Tamino volgt de wijsheidsleer van de knaapjes en niet het fatum van de natuur: de Koningin der nacht en haar schikgodinnen. Tamino symboliseert de "menselijke wijsheid in wording" en alle typische eigenschappen die de mens tot mens maken.

Het symbool Pamina

Pamina is de liefde zelf (letterlijk: Steh auf, erheitre dich, o Liebe!),[3] eerst de liefde voor haar moeder (de Koningin van de Nacht). Daarna vraagt Monostatos Pamina's liefde. Later verklaart Pamina dat ze Sarastro (goddelijke wijsheid) verlaten heeft omdat Monostatos (egoïsme) haar liefde verlangde. Pamina (de liefde of begeertekracht) wordt gevangen gehouden door Monostatos en Sarastro tegelijk: de liefde in de mens wordt beproefd door de keuze tussen enerzijds egoïsme en anderzijds wijsbegeerte. Pamina kiest noch voor Monostatos (zie ook Ahriman), noch voor Sarastro (zie ook Lucifer) maar Pamina verbindt zich met menselijkheid (Tamino dus).

Het symbool van de eenheid Tamino en Pamina

Als beiden, Pamina en Tamino, gezamenlijk door de poorten des doods gaan dan treft hen (letterlijk in het libretto) geen (nood)lot meer! De wijsheidsmens (de eenheid Pamina-Tamino de androgyne mens, integratie van animus met anima) is ontworsteld aan de natuurinvloeden (de koningin der nacht). De Koningin van de Nacht heeft de banden der natuur van haar dochter afgesneden! De maan (schijngestalten in de duisternis: -illusie -onwetendheid) wordt vervangen door de zon (inzicht, verlichting).

Diepere lagen van symboliekHet is duidelijk dat er ook diepere lagen van esoterische symboliek aanwezig zijn. Zie ook de relatie met "mysteriecultus" en bedenk dat zowel Mozart en Schikaneder vrijmetselaren waren van dezelfde loge en daar een alchemistisch[5] laboratorium hadden.

Niet voor niets speelt de opera in Egypte, er is een directe relatie met de mythe van Isis en Osiris. De overeenkomst van Isis met de Koningin van de Nacht ligt voor de hand. De man van de Koningin van de Nacht, de vader van Pamina, is dood: net zoals Osiris dood is. Het hoogtepunt van de Opera is de vereniging van de Tamino en Pamina. Op dat moment zingt Pamina over de maker van de toverfluit, haar overleden vader:

"Es schnitt in einer Zauberstunde, mein Vater, Sie aus tiefstem Grunde der tausendjähr'gen Eiche aus, bei Blitz und Donner, Sturm und Braus. Nun komm und spiel' die Flöte an, sie leite uns auf grauser Bahn." [3]

Een rijkdom aan symboliek ligt in deze zin besloten. Voor het eerst wordt Pamina's vader in positieve zin genoemd (symbolisch als een vader - een geestelijke oorzakelijkheid - zoals ook Osiris dat is). Hij sneed de toverfluit uit het diepste kernhout van de duizendjarige eik (zie Boomheiligdom of de "Levensboom") bij de verhevigde aanwezigheid van de vier elementen. En dat wordt juist op het moment gezongen, wanneer Tamino en Pamina de vuur en waterinwijding ondergaan. Soms wordt dan door hartstocht verterende en vallende mensen in een rode gloed vertoond, terwijl Tamino en Pamina gelijkmoedig en fluitspelend overeind blijven.

De toverfluit, de titel van de opera, blijkt niet van goud maar van levend "hout" en hij wordt in liefde door de levende "adem" bespeeld. Het is het beleven van het leven zelf en dat is "meer dan goud en kronen waard".[3]

MuziekDe opera bevat enkele zeer beroemde aria's, waarvan die van de Koningin van de Nacht ("O zittre nicht, mein lieber Sohn" en "der Hölle Rache kocht in meinem Herzen") door de haast onzingbaar virtuoze coloratuurpartij misschien de bekendste zijn. Als ze goed wordt gezongen is het effect echter elektriserend. Deze aria van de Koningin van de Nacht bevat de op één na hoogst geschreven noot ooit voor een opera: de F3. Alleen de G3 in de opera 'Esclarmonde' van Jules Massenet overtreft deze hoogte. Ook de basaria 'In diesen Heil'gen Hallen' van Sarastro is geliefd, en de 'komische noot'-aria's van Papageno. Maar eigenlijk wordt iedere aria in deze opera beschouwd als een klassieker.

2. Pianoconcert nr. 10 (Mozart)Uit de nota’s ;ABACABA Weens rondo

Es Bes Es c Es

Weens rondoHet Weens, ook wel: Klassiek rondo is een symmetrische muziekvorm, genoemd naar de stad Wenen, de hoofdstad van Oostenrijk. Het werd vooral gebruikt door Oostenrijkse en Duitse componisten. Het is een vorm die binnen de klassieke muziek erg in zwang kwam in het Classicisme (18e eeuw) tot en met de Romantiek (19e eeuw).

De vorm van het Weense rondo bestaat uit een thema in de hoofdtoonaard, waarbij tussen elk thema een ander deel wordt gespeeld, meestal in een andere toonaard. Met een gebruikelijke modulatie kom je dan weer terug in de hoofdtoonaard en het thema, waarna een nieuwe "strofe" begint. Het stuk eindigt met het thema, een coda of een variatie op één van de tussendelen.

Wat het Weens Rondo echter van het Frans rondo onderscheidt is de symmetrie. Waar bij het Franse rondo elke strofe verschillend is, komen deze tussenstukken bij het Weens Rondo terug (behalve het middelste). De vorm wordt dan:

ABACABA(coda) of uitgebreid ABACADACABA(coda) enz.

Een voorbeeld van een Weens rondo is het slotdeel van de 2e piano sonate  van Ludwig van Beethoven.

Het Pianoconcert nr. 10 in Es majeur, KV 365 van Wolfgang Amadeus Mozart is een dubbelconcert voor twee piano's en orkest. Hij schreef het om het te spelen met zijn zus Maria Anna ("Nannerl"). Als jaar van voltooiing wordt 1779 genoemd, aan het eind van zijn Salzburger periode, maar papieronderzoek heeft uitgewezen dat de cadensen voor de beide hoekdelen eerder zijn vervaardigd. Daarom zou het concert tussen augustus 1775 en januari 1777 gedateerd kunnen worden. Jaren later voerde hij het werk nog eens uit in een huisconcert met zijn leerlinge Josepha Barbara von Auernhammer.

OrkestratieHet concert is geschreven voor:

Twee fortepiano's (in de huidige uitvoeringspraktijk vaak twee concertvleugels) Twee hobo's Twee fagotten Twee hoorns Strijkinstrumenten

Door het discours tussen de twee gelijkwaardige piano’s gaf Mozart in dit werk het orkest een relatief ondergeschikte rol.

Onderdelen[bewerken]

Het concert bestaat uit drie delen:

1. Allegro2. Andante3. Rondo: allegro

Piano Concerto No. 10 (Mozart)From Wikipedia, the free encyclopedia

It is not known when Mozart completed this concerto for two pianos in E-flat major, K. 365/316a, but research by Alan Tyson shows that cadenzas for the first and third movements are written in his and his father's handwriting on a type of paper used between August 1775 and January 1777[citation needed]. However, most sources, including Alan Tyson's book "Mozart: Studies of the Autograph Scores" (1987) or more recent Lindeman's "The Concerto: A Research and Information Guide" (2006) indicate that it was composed in 1779. This date was retained on Wikipedia pages for K.365/316a in any other language. It is presumed that Mozart wrote it to play with his sister Maria Anna (“Nannerl”). Years later he performed it in a private concert with pupil Josepha Barbara von Auernhammer.

The concerto was originally scored for the two pianos together with two oboes, two bassoons; two horns; and strings. Mozart later expanded the score with pairs ofclarinets, trumpets and timpani in E flat and B flat. The piece is in three movements:

1. Allegro common time

2. Andante B-flat major 3/43. Rondo: Allegro 2/4

The concerto departs from the usual solo piano concerto with the dialogue between the two pianos as they exchange musical ideas.[1] Mozart divides up the more striking passages quite evenly between the two pianos. Also, the orchestra is rather more quiet than in Mozart's other piano concertos, leaving much of the music to the soloists.

The first movement is lyrical and "wonderfully spacious, as if Mozart is thoroughly enjoying himself and letting his ideas flow freely," as Ledbetter has noted.[2] The middle movement is slow and refined; the orchestra stays in the background behind the pair of playful pianists. The finale is a rondo filled with rhythmic drive and, after passages of lyrical grace, there is an exuberant return to the main rondo theme.

4. Mozart 35ste symfonieUit de nota’sMenuet, dansbare 3/4, grote contrasten luid en snel, tempo menuet zo snel als een scherzo.

BackgroundThe Haffner Symphony did not start its life as a symphony, but rather as a serenade to be used as background music for the ennoblement of Sigmund Haffner. The Mozarts knew the Haffners through Sigmund Haffner's father, also Sigmund Haffner, who had been mayor of Salzburg and who had helped them out on their early tours of Europe. The elder Haffner died in 1772, but the families remained in contact. In 1776, the younger Haffner commissioned a serenade for the wedding of Marie Elizabeth Haffner to Franz Xavier Spath. This work became the famous Haffner Serenade which was so successful that, when the younger Sigmund Haffner was to be ennobled, it was only natural that Mozart was called upon to write the music for the occasion. The request to write music actually came via Mozart's father on 20 July 1782 when Mozart had no spare time. Mozart was "up to his eyeballs with work".[1] Not only was he teaching, but he also had to rearrange the score in his opera Die Entführung aus dem Serail before July 28. In addition to these demands, his proposed marriage to Constanze Weber was threatened by a number of complications, including moving to a house on the Hohe Brücke in Vienna.[2][3] Nevertheless, Mozart worked on the music, and sent it through section by section to his father. What Mozart wrote at this time was a new serenade – a completely different work from the serenade presented four years earlier – with an introductory march and two minuets. According to historical evidence, it is quite possible that Mozart did not actually meet his father's deadline to have the music completed by Sigmund Haffner's ennoblement. As shall be seen in the following discussion, Mozart later reworked this music into what we now know as the Haffner Symphony.

At the end of December 1782, Mozart decided to present music from the new Haffner serenade at a concert. After asking his father to send the score of the serenade back again, Mozart was amazed at its quality, given the fact that it was composed in so short a time.[4][5] He set to work to make a number of alterations to the score in order to convert the new Haffner serenade into the Haffner symphony. These alterations included dropping the introductory march (K. 385a) and one

of the minuets. In addition, the repeat signs were removed from the end of the first movement's exposition. Mozart also gave the Haffner Symphony a fuller sound by adding two flutes and two clarinets to the woodwind section of the first and last movements. These added woodwind parts are not new melodic material, but simply a doubling of octaves with the woodwinds.[6][7]

The Haffner Symphony, as we know it today, received its first performance on March 23, 1783 at the Vienna Burgtheater.[8][9] At the concert, Mozart opened matters with the first three movements of this symphony, an aria from Idomeneo (described in his letter to his father of March 29 that year as his Munich opera), a piano concerto, a scena (a genre related to the concert aria), the concertante movements of one of his recent serenades, his piano concerto K. 175 (with a new finale), and another scena (from an opera he had composed for Milan); at this point he improvised a fugue "because the Emperor was present" and then two sets of variations (K. 398 on an aria by Paisiello and K. 455 on an aria by Gluck). After this, Madame (Aloysia) Lange sang his new rondo (K. 416?) and then to finish the concert, the last movement of the Haffner Symphony.[10][11][12]

The performance of the Haffner Symphony at this concert, nonetheless, proved very successful. Cuyler (1995) classifies the Haffner, Linz (No. 36) and Prague (No. 38) symphonies, as "three symphonies that transcend all his former symphonic works."

The autograph manuscript currently resides in the archives of the Morgan Library & Museum Library in New York City.[13]

InstrumentationThe symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D and G, 2 trumpets in D, timpani, and strings.[14]

Analysis by key and movementsThe key[edit]

The Haffner Symphony is in the key of D major.[15] Mozart's choice of key for the Haffner Symphony is interesting according to Cuyler, because "the key of D major, which was so felicitous for the winds, served Mozart more often than any other key, even C, for his symphonies,"[16] including the Paris (No. 31) and Prague (No. 38) symphonies.

Movements[edit]

The symphony is in four movements:

1. Allegro  con spirito, 4/4

2. Andante , 2/4

3. Menuetto , 3/4

4. Presto , 2/2

I. Allegro con spirito[edit]

When communicating with his father Leopold, Mozart stated that this movement was to be played with fire.[17] The movement is in sonata form with a short development section. The exposition commences with no introduction with all instruments in unison, this opening motive is quite powerful – the result of cleverly using sharp dotted rhythms to arrest the listener's attention.[18] The second subject is similar in melodic material and rhythm to the first subject, recalling the monothematic sonata movements of Haydn (e.g. Symphony No. 104).

Mozart places no repeat signs at the end of the exposition. This goes against the standard sonata form convention of the day, but is something that he also does in the three big symphonies which precede the Haffner (No's. 31, 33 and 34).[19]

The development begins with an A unison as a transition from A major to D minor (bars 95–104). After three beats silence, Mozart shifts from the dominant of D minor to an F♯ chord, and then begins a series of rapid chord changes, namely – F♯7 (bar 106), B (bar 109), B minor (bar 110), C♯7 (bar 110). Finally, using C♯7 as the dominant for F♯ minor, Mozart

briefly delves in this key (bars 111–120) before using a string of consecutive dominant 7ths (bars 120–129) to work back to the dominant 7th of D major in preparation for the recapitulation. The recapitulation is similar to the exposition with the exception of expected differences in the transition passage. This movement closes with a short four-bar coda.

II. Andante

The G major second movement provides a welcome relief with its slow, graceful melodies announced by the woodwind section. The movement is in an abridged sonata form. Instead of a development, a brief chorale-like passage is presented by the woodwinds. The rhythmic structures of the first subject theme and the second subject theme provide a subtle, but excellent contrast to each other. Whilst both themes are quite similar in character, the first subject theme has a slow-moving accompaniment based upon sixteenth notes, whereas the second subject theme has a busier accompaniment of thirty-second notes. The brief, chorale-like passage which replaces the development is clearly punctuated by the use of syncopated accompaniment by the violins and violas. This movement has been summarized by some as being delicate and elaborate, but definitely relaxing.[20][21]

III. Menuetto

The D major minuet provides a bright change of atmosphere from the previous slow, serious "Andante" movement. One may notice when listening to this movement the constant tug between two main chords – the tonic and dominant keys. Only three times do we see chords other than the tonic or dominant.

Also notable is that the dynamics for the whole "Menuetto" is marked forte. However, in both instances where chord IV and vi appear, Mozart marked these sectionspiano. These changes produce a pleasant contrast, both melodically and dynamically.

Leading straight on from the "Menuetto", the "Trio" provides a complement to the character of this "Menuetto". As indicated by Mozart in the score, the "Trio" immediately follows the "Menuetto" without a moment of silence. Stepping up into the key of A major, it soon becomes apparent that the "Trio" is also in Ternary form, like the "Menuetto". One may note the fact that no sections of the "Trio" are marked as forte. All is marked as piano, with the exception of bars 33–36, and 43–44, where Mozart has indicated a small crescendo. Perhaps to supplement the fact of any clear contrast in dynamics, Mozart has freely used sforzandos throughout the "Trio". The same type of suspense and resolution is present in the "Trio" as that found in the "Menuetto". In fact, Mozart takes a step further in the "Trio" by adding a pedal note on the dominant. This dominant pedal then subtly slips back into the tonic by means of a chromatic B sharp. When comparing the character of the "Menuetto" with that of the "Trio", a number of individual "personalities" are apparent. The "Menuetto" is brighter and lighter; whereas the "Trio" creates a more flowing effect. Also notable is that Mozart used chromaticism freely in the "Trio", but limited its use within the "Menuetto".

IV. Presto

The last movement, labeled "Presto", maintains just as much fire as the first movement. According to Steinberg,[22] and Ledbetter,[23] this "Presto" movement not only bears a similar atmosphere to the overture to Le Nozze di Figaro, but also provides a reminiscence of Osmin's comic aria "O wie will ich triumphieren" from Die Entführung aus dem Serail. This opera was first performed just two weeks before the composition of this finale. Hence, it may explain why there exist such similarities. When providing his father, Leopold, with performance instructions for the "Presto", his advice was that this movement should be played "as fast as possible".[24]Although the "Presto" begins at a quiet, brisk pace, the listener is immediately arrested by three beats of silence, followed by the full orchestra performing at a clear forte level in bar 9. Such musical surprises appear throughout this movement. Like the first movement, this movement is in the key of D major, and the form of the "Presto" movement is clearly in sonata-rondo form. Permeated with silences, rapid dynamic shifts, and a bright grace-note passage near the closing of the movement, one may expect the unexpected.

LengthThe Haffner Symphony usually runs somewhere around 20 minutes in length. A recording by George Szell with the Cleveland Orchestra (Sony SBK 46333) runs 19:11; one by Iona Brown with the Academy of St. Martin in the Fields (Haenssler CD 94.003) is 21:09; and one by Sir Neville Marriner also with the same ensemble (Philips 420 486-2) runs 21:34. Karl Böhm's acclaimed 1960 recording with the Berlin Philharmonic (Deutsche Grammophon 00289 477 6134), by contrast, runs 17:47.

Wolfgang Mozart Born January 27, 1756, Salzburg, Austria Died December 5, 1791, Vienna, Austria Symphony No. 35 in D Major, K. 385 (Haffner) Mozart originally composed this work as a serenade in July and August of 1782; he revised it the following year, adding flutes and oboes, and conducted the premiere of the work in its final form, as a four-movement symphony, on March 23, 1783, in Vienna. The score calls for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, with timpani and strings. Performance time is approximately seventeen minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Symphony no. 35 were given at Orchestra Hall on November 26 and 27, 1915, with Frederick Stock conducting. Our most recent subscription concert performances were given on May 20, 21, 22, and 25, 2004, with Daniel Barenboim conducting. The Orchestra first performed this symphony at the Ravinia Festival on August 7, 1941, with Pierre Monteux conducting, and most recently on July 16, 1981, with Neville Marriner conducting. The Chicago Symphony Orchestra recorded Mozart’s Symphony no. 35 for video in 1986 with Sir Georg Solti conducting for Sony. Wolfgang Mozart and Sigmund Haffner were born in Salzburg the same year. Although they were childhood friends, their families moved in different circles. The Mozarts were musicians, entertainers—at first Salzburgers thought them no more than a troupe of show-business people, led by Papa Leopold, a highly regarded violinist and teacher, who was driven by the exceptional talents of his daughter and son to become the ultimate stage father. The Haffners were among the town’s wealthiest, most prominent, and most distinguished families—Sigmund Haffner, Sr. was a successful wholesaler and the former mayor of Salzburg—although it’s the serenade and symphony that Mozart wrote for them that made the family internationally famous into our own century. When Maria Elisabeth (“Lisl”) Haffner announced her plans to marry Franz Xaver Späth, a local shipping agent, in July of 1776, Sigmund asked Mozart to provide the music for his sister’s nuptials. Mozart complied with a grand orchestral work, which was performed on the eve of the wedding and is known today simply as the Haffner Serenade. In the summer of 1782, after the composer had happily abandoned Salzburg for the more sophisticated and competitive Vienna (the world’s greatest musical marketplace at the time), he was commissioned to write a second serenade for the Haffner family, this time to honor Sigmund Junior’s elevation to a position of nobility. Mozart was terribly pressed for time—“I am up to my eyes in work,” he wrote to his father on July 20—because he had other deadlines to meet and was moving to a new house in preparation for his own marriage. He took the assignment anyway, proudly picking a key (Leopold’s “preferred” key of D major) that would please his father, since his choice of wife did not. Mozart was still writing the serenade when Sigmund was ennobled on July 29, adding “von Imbachhausen” to his name. Two days later, he informed his father that he was unable to “scribble off inferior stuff” and that the piece would be done in a day or two. The work was completed sometime before Wolfgang and Constanze Weber’s wedding on August 4, and although we don’t know when it was finally performed, by August 24 Leopold had seen the score and given his approval. (Constanze wasn’t so lucky; Leopold persisted in thinking her an inferior match for his son.) In December, Mozart wrote to his father, asking him to send a copy of the new Haffner score (he was planning his Lenten concert programs). When it finally arrived that February (it was Leopold’s delay, not that of the postal service), Wolfgang wrote back at once, “My new Haffner symphony has positively amazed me, for I had forgotten every single note of it. It must surely produce a good effect.” Nonetheless, Mozart wasn’t entirely satisfied, and that

winter he revised the score, adding pairs of flutes and clarinets to the first and last movements. (He also dropped the march that originally opened and closed the serenade.) When he conducted the “new” symphony in Vienna on March 23, it apparently did make a good effect, although Mozart’s own report to his father deals primarily with His Majesty the Emperor, who uncharacteristically stayed for the entire concert—“and how he applauded me!” Mozart wrote—and contributed 25 ducats to demonstrate his support. (The box office take that night was an impressive 1,600 gulden; Mozart’s own profit, according to the calculations of his biographer Maynard Solomon, was probably close to 1,400 gulden—more than half his earnings for the entire year.) The Haffner Symphony, as we now call it, is a transitional work in Mozart’s career. It was designed as party music for Salzburg and then transformed into a symphony for Vienna, the great music center where Mozart had moved, a safe distance from his meddling father and the “coarse, slovenly, dissolute court musicians” of his hometown. From the very first measures, with their urgent call to attention, the symphony is serious business—far too ambitious and commanding to serve as background music for even the most important society event. The entire movement is permeated, measure after measure, by the leaping octaves and dashing rhythms of the initial figure–it’s a brilliant, witty, enthralling essay in the art of development. (The way Mozart lets one idea dominate this Allegro is surely indebted to his study that year of the newest string quartets by Joseph Haydn, the master of building whole movements from just a single theme.) This is music of immense variety and drama, crackling energy, and tireless invention. The andante and minuet that follow seem at first glance like a flashback to courtly Salzburg. But in both of these movements—one all elegant manners and grace, the other the epitome of formality—Mozart gets everything right, down to the tiniest of details, raising period pieces to art. The bustling finale is an exercise in speed and precision (Mozart said it should “go as fast as possible”) that surely raised an eyebrow chez Haffner as well as on the Viennese concert stage. A postscript. Although the Haffner family was twice blessed by the greatest composer of his day, neither Marie Elisabeth nor Sigmund lived to see their name immortalized. Lisl died in 1784, after just eight years of marriage to Mr. Späth, and her brother died four years later at thirty-one—four years before his good friend Mozart. Phillip Huscher is the program annotator for the Chicago Symphony Orchestra. © by the Chicago Symphony Orchestra. All rights reserved. Program notes may not be reproduced; brief excerpts may be quoted if due acknowledgment is given to the author and the Chicago Symphony Orchestra. These notes appear in galley files and may contain typographical or ot.

Beethoven Symphony 5

Symphony No. 5 (Beethoven)From Wikipedia, the free encyclopedia"Beethoven's Fifth" redirects here. For the movie, see Beethoven's 5th (film). For Beethoven's 5th piano concerto, see Piano Concerto No. 5 (Beethoven).

The coversheet to Beethoven's 5th Symphony. The dedication to Prince J. F. M. Lobkowitz andCount

Rasumovsky is visible.

The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written between 1804–1808. It is one of the best-known compositions in classical music, and one of the most frequently played symphonies.[1] First performed inVienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmanndescribed the symphony as "one of the most important works of the time". The symphony consists of four movements. The first movement is Allegro con brio; the second movement is Andante con moto; the third movement is a ScherzoAllegro; the fourth movement is Allegro.

It begins by stating a distinctive four-note "short-short-short-long" motif twice: (  listen (help·info))

The symphony, and the four-note opening motif in particular, are known worldwide, with the motif appearing frequently in popular culture, from disco versions to rock and roll covers, to uses in film and television.

Since the Second World War it has sometimes been referred to as the "Victory Symphony".[2] "V" is the Roman character for the number five; the phrase "V for Victory" became well known as a campaign of the Allies of World War II. That Beethoven's Victory Symphony happened to be his Fifth (or vice versa) is coincidence. Some thirty years after this piece was written, the rhythm of the opening phrase – "dit-dit-dit-dah" – was used for the letter "V" in Morse code, though this is probably also coincidental.[3]

The BBC, during World War Two, prefaced its broadcasts to Europe with those four notes, played on drums.[4][5][6]

HistoryDevelopment

Beethoven in 1804, the year he began work on the Fifth Symphony. Detail of a portrait by W. J. Mähler

The Fifth Symphony had a long development. The first sketches date from 1804 following the completion of the Third Symphony.[7] However, Beethoven repeatedly interrupted his work on the Fifth to prepare other compositions, including the first version of Fidelio, the Appassionata piano sonata, the three Razumovsky string quartets, the Violin Concerto, theFourth Piano Concerto, the Fourth Symphony, and the Mass in C. The final preparation of the Fifth Symphony, which took place in 1807–1808, was carried out in parallel with the Sixth Symphony, which premiered at the same concert.

Beethoven was in his mid-thirties during this time; his personal life was troubled by increasing deafness.[8] In the world at large, the period was marked by the Napoleonic Wars, political turmoil in Austria, and the occupation of Vienna byNapoleon's troops in 1805.

Premiere[edit]Main article: Beethoven concert of 22 December 1808

The Fifth Symphony was premiered on 22 December 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself on the conductor's podium.[9] The concert lasted for more than four hours. The two symphonies appeared on the program in reverse order: the Sixth was played first, and the Fifth appeared in the second half.[10] The program was as follows:

1. The Sixth Symphony2. Aria: Ah! perfido, Op. 653. The Gloria movement of the Mass in C major4. The Fourth Piano Concerto (played by Beethoven himself)5. (Intermission)

6. The Fifth Symphony7. The Sanctus and Benedictus movements of the C major

Mass8. A solo piano improvisation played by Beethoven9. The Choral Fantasy

Beethoven dedicated the Fifth Symphony to two of his patrons, Prince Franz Joseph von Lobkowitz and Count Razumovsky. The dedication appeared in the first printed edition of April 1809.

Reception and influenceThere was little critical response to the premiere performance, which took place under adverse conditions. The orchestra did not play well—with only one rehearsal before the concert—and at one point, following a mistake by one of the performers in the Choral Fantasy, Beethoven had to stop the music and start again.[11] The auditorium was extremely cold and the audience was exhausted by the length of the program. However, a year and a half later, publication of the score resulted in a rapturous unsigned review (actually by music critic E. T. A. Hoffmann) in the Allgemeine musikalische Zeitung. He described the music with dramatic imagery:

Radiant beams shoot through this region's deep night, and we become aware of gigantic shadows which, rocking back and forth, close in on us and destroy everything within us except the pain of endless longing—a longing in which every pleasure that rose up in jubilant tones sinks and succumbs, and only through this pain, which, while consuming but not destroying love, hope, and joy, tries to burst our breasts with full-voiced harmonies of all the passions, we live on and are captivated beholders of the spirits.[12]

Apart from the extravagant praise, Hoffmann devoted by far the largest part of his review to a detailed analysis of the symphony, in order to show his readers the devices Beethoven used to arouse particular affects in the listener. In an essay titled "Beethoven's Instrumental Music", compiled from this 1810 review and another one from 1813 on the op. 70 string trios, published in three instalments in December 1813, E.T.A. Hoffmann further praised the "indescribably profound, magnificent symphony in C minor":

How this wonderful composition, in a climax that climbs on and on, leads the listener imperiously forward into the spirit world of the infinite!... No doubt the whole rushes like an ingenious rhapsody past many a man, but the soul of each thoughtful listener is assuredly stirred, deeply and intimately, by a feeling that is none other than that unutterable portentous longing, and until the final chord—indeed, even in the moments that follow it—he will be powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound....[13]

The symphony soon acquired its status as a central item in the orchestral repertoire. It was played in the inaugural concerts of the New York Philharmonic on 7 December 1842, and the [US] National Symphony Orchestra on 2 November 1931. It was first recorded by the Odeon Orchestra under Friedrich Kark in 1910. The First Movement (as performed by the Philharmonia Orchestra) was featured on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[14] Groundbreaking in terms of both its technical and its emotional impact, the Fifth has had a large influence on composers and music critics,[15] and inspired work by such composers as Brahms, Tchaikovsky (his 4th Symphony in particular),[16] Bruckner, Mahler, and Berlioz.[17]

InstrumentationThe symphony is scored for piccolo (fourth movement only), two flutes, two oboes, two clarinets in B♭ and C, two bassoons, contrabassoon or double bassoon (fourth movement only), two horns in E♭ and C, two trumpets, three trombones (alto, tenor, and bass, fourth movement only), timpani (in G-C) and strings.

Form[edit]

A typical performance usually lasts around 30–40 minutes. The work is in four movements:

First movement: Allegro con brio[edit]The first movement opens with the four-note motif discussed above, one of the most famous motifs in Western music. There is considerable debate among conductors as to the manner of playing the four opening bars. Some conductors take it in strict allegro tempo; others take the liberty of a weighty treatment, playing the motif in a much slower and more stately tempo; yet others take the motif molto ritardando (a pronounced slowing through each four-note phrase), arguing that the fermata over the fourth note justifies this.[18] Some critics and musicians consider it crucial to convey the spirit of [pause]and-two-and one, as written, and consider the more common one-two-three-four to be misleading.[19] To wit:

About the "ta-ta-ta-Taaa": Beethoven begins with eight notes. They rhyme, four plus four, and each group of four consists of three quick notes plus one that is lower and much longer (in fact unmeasured). The space between the two rhyming groups is minimal, about one-seventh of a second if we go by Beethoven's metronome mark; moreover, Beethoven clarifies the shape by lengthening the second of the long notes. This lengthening, which was an afterthought, is tantamount to writing a stronger punctuation mark. As the music progresses, we can hear in the melody of the second theme, for example (or later, in the pairs of antiphonal chords of woodwinds and strings), that the constantly invoked connection between the two four-note units is crucial to the movement. ... The source of Beethoven's unparalleled energy here is in his writing long sentences and broad paragraphs whose surfaces are articulated with exciting activity. Indeed, we discover soon enough that the double "ta-ta-ta-Taaa" is an open-ended beginning, not a closed and self-sufficient unit (Misunderstanding of this opening was nurtured by a nineteenth-century performance tradition in which the first five measures were read as a slow, portentous exordium, the main tempo being attacked only after the second hold.) What makes this opening so dramatic is the violence of the contrast between the urgency in the eighth notes and the ominous freezing of motion in the unmeasured long notes. The music starts with a wild outburst of energy but immediately crashes into a wall. Seconds later, Beethoven jolts us with another such sudden halt. The music draws up to a half-cadence on a G-major chord, short and crisp in the whole orchestra, except for the first violins, who hang on to their high C for an unmeasured length of time. Forward motion resumes with a relentless pounding of eighth notes.[20]

The first movement is in the traditional sonata form that Beethoven inherited from his classical predecessors, Haydn and Mozart (in which the main ideas that are introduced in the first few pages undergo elaborate development through many keys, with a dramatic return to the opening section—the recapitulation—about three-quarters of the way through). It starts out with two dramatic fortissimo phrases, the famous motif, commanding the listener's attention. Following the first four bars, Beethoven uses imitations and sequences to expand the theme, these pithy imitations tumbling over each other with such rhythmic regularity that they appear to form a single, flowing melody. Shortly after, a very short fortissimo bridge, played by the horns, takes place before a second theme is introduced. This second theme is in E♭major, the relative major, and it is more lyrical, written piano and featuring the four-note motif in the string accompaniment. The codetta is again based on the four-note motif. The development section follows, including the bridge. During the recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a massive coda.

Second movement: Andante con moto[edit]The second movement, in A♭ major, the subdominant key of C minor's relative key (E-flat major), is a lyrical work indouble variation form, which means that two themes are presented and varied in alternation. Following the variations there is a long coda.

The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, and violins, with a triplet arpeggio in the violas and bass. A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second

notes in the violas and cellos with a counterphrase running in the flute, oboe, and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos and a coda to close the movement.[21]

Third movement: Scherzo. Allegro[edit]The third movement is in ternary form, consisting of a scherzo and trio. It follows the traditional mold of Classical-era symphonic third movements, containing in sequence the main scherzo, a contrasting trio section, a return of the scherzo, and a coda. However, while the usual Classical symphonies employed a minuet and trio as their third movement, Beethoven chose to use the newer scherzo and trio form.

The movement returns to the opening key of C minor and begins with the following theme, played by the cellos and double basses: (  listen (help·info))

The opening theme is answered by a contrasting theme played by the winds, and this sequence is repeated. Then the horns loudly announce the main theme of the movement, and the music proceeds from there.

The trio section is in C major and is written in a contrapuntal texture. When the scherzo returns for the final time, it is performed by the strings pizzicato and very quietly.

"The scherzo offers contrasts that are somewhat similar to those of the slow movement in that they derive from extreme difference in character between scherzo and trio ... The Scherzo then contrasts this figure with the famous 'motto' (3 + 1) from the first movement, which gradually takes command of the whole movement."[22]

The third movement is also notable for its transition to the fourth movement, widely considered one of the greatest musical transitions of all time.[23]

Fourth movement: Allegro[edit]The fourth movement begins without pause from the transition. The music resounds in C major, an unusual choice by the composer as a symphony that begins in C minor is expected to finish in that key.[24] In Beethoven’s words:

Many assert that every minor piece must end in the minor. Nego! ...Joy follows sorrow, sunshine—rain.[25]

The triumphant and exhilarating finale is written in an unusual variant of sonata form: at the end of the developmentsection, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the "horn theme" of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the third "dance" movement was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is unknown whether Beethoven was familiar with this work or not.[citation needed]

The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form. Towards the end the tempo is increased to presto. The symphony ends with 29 bars of C major chords, played fortissimo. In The Classical Style, Charles Rosen suggests that this ending reflects Beethoven's sense of Classical proportions: the "unbelievably long" pure C major cadence is needed "to ground the extreme tension of [this] immense work."[26]

It was shown recently that this long chord sequence was a pattern that Beethoven borrowed from the Italian composer Luigi Cherubini, whom Beethoven “esteemed the most” among his

contemporary musicians. Spending much of his life in France, Cherubini employed this pattern consistently to close his overtures, which Beethoven knew well. The ending of his famous symphony repeats almost note by note and pause by pause the conclusion of Cherubini’s overture to his opera Eliza, composed in 1794 and presented in Vienna in 1803.[27]

Influences[edit]

The 19th century musicologist Gustav Nottebohm first pointed out that the third movement's theme has the same sequence of intervals as the opening theme of the final movement of Mozart's famous Symphony No. 40 in G minor, K. 550. Here is Mozart's theme: (  listen (help·info))

While such resemblances sometimes occur by accident, this is unlikely to be so in the present case. Nottebohm discovered the resemblance when he examined a sketchbook used by Beethoven in composing the Fifth Symphony: here, 29 measures of Mozart's finale appear, copied out by Beethoven.[28][need quotation to verify]

LoreMuch has been written about the Fifth Symphony in books, scholarly articles, and program notes for live and recorded performances. This section summarizes some themes that commonly appear in this material.

Fate motifThe initial motif of the symphony has sometimes been credited with symbolic significance as a representation of Fate knocking at the door. This idea comes from Beethoven's secretary and factotum Anton Schindler, who wrote, many years after Beethoven's death:

The composer himself provided the key to these depths when one day, in this author's presence, he pointed to the beginning of the first movement and expressed in these words the fundamental idea of his work: "Thus Fate knocks at the door!"[29]

Schindler's testimony concerning any point of Beethoven's life is disparaged by experts (he is believed to have forged entries in Beethoven's conversation books).[30]Moreover, it is often commented that Schindler offered a highly romanticized view of the composer.

There is another tale concerning the same motif; the version given here is from Antony Hopkins' description of the symphony.[7] Carl Czerny (Beethoven's pupil, who premiered the "Emperor" Concerto in Vienna) claimed that "the little pattern of notes had come to [Beethoven] from a yellow-hammer's song, heard as he walked in thePrater-park in Vienna." Hopkins further remarks that "given the choice between a yellow-hammer and Fate-at-the-door, the public has preferred the more dramatic myth, though Czerny's account is too unlikely to have been invented."

In his Omnibus television lecture series in 1954, Leonard Bernstein has likened the Fate Motif to the four note coda common to classical symphonies. These notes would terminate the classical symphony as a musical coda, but for Beethoven they become a motif repeating throughout the work for a very different and dramatic effect, he says.[31]

Evaluations of these interpretations tend to be skeptical. "The popular legend that Beethoven intended this grand exordium of the symphony to suggest 'Fate Knocking at the gate' is apocryphal; Beethoven's pupil, Ferdinand Ries, was really author of this would-be poetic exegesis, which Beethoven received very sarcastically when Ries imparted it to him."[18] Elizabeth

Schwarm Glesner remarks that "Beethoven had been known to say nearly anything to relieve himself of questioning pests"; this might be taken to impugn both tales.[32]

Beethoven's choice of keyThe key of the Fifth Symphony, C minor, is commonly regarded as a special key for Beethoven, specifically a "stormy, heroic tonality".[33] Beethoven wrote a number of works in C minor whose character is broadly similar to that of the Fifth Symphony. Writer Charles Rosen says,

Beethoven in C minor has come to symbolize his artistic character. In every case, it reveals Beethoven as Hero. C minor does not show Beethoven at his most subtle, but it does give him to us in his most extroverted form, where he seems to be most impatient of any compromise.[34]

Repetition of the opening motif throughout the symphony[edit]It is commonly asserted that the opening four-note rhythmic motif (short-short-short-long; see above) is repeated throughout the symphony, unifying it. "It is a rhythmic pattern (dit-dit-dit-dot*) that makes its appearance in each of the other three movements and thus contributes to the overall unity of the symphony" (Doug Briscoe[35]); "a single motif that unifies the entire work" (Peter Gutmann[36]); "the key motif of the entire symphony";[37] "the rhythm of the famous opening figure ... recurs at crucial points in later movements" (Richard Bratby[38]). The New Grove encyclopedia cautiously endorses this view, reporting that "[t]he famous opening motif is to be heard in almost every bar of the first movement—and, allowing for modifications, in the other movements." [39]

There are several passages in the symphony that have led to this view. For instance, in the third movement the horns play the following solo in which the short-short-short-long pattern occurs repeatedly:

In the second movement (at measure 76), an accompanying line plays a similar rhythm (  listen (help·info)):

In the finale, Doug Briscoe (cited above) suggests that the motif may be heard in the piccolo part, presumably meaning the following passage (  listen (help·info)):

Later, in the coda of the finale, the bass instruments repeatedly play the following (  listen (help·info)):

On the other hand, some commentators are unimpressed with these resemblances and consider them to be accidental. Antony Hopkins,[7] discussing the theme in the scherzo, says "no musician with an ounce of feeling could confuse [the two rhythms]", explaining that the scherzo rhythm

begins on a strong musical beat whereas the first-movement theme begins on a weak one. Donald Francis Tovey [40]  pours scorn on the idea that a rhythmic motif unifies the symphony: "This profound discovery was supposed to reveal an unsuspected unity in the work, but it does not seem to have been carried far enough." Applied consistently, he continues, the same approach would lead to the conclusion that many other works by Beethoven are also "unified" with this symphony, as the motif appears in the "Appassionata" piano sonata, the Fourth Piano Concerto (  listen (help·info)), and in the String Quartet, Op. 74. Tovey concludes, "the simple truth is that Beethoven could not do without just such purely rhythmic figures at this stage of his art."

To Tovey's objection can be added the prominence of the short-short-short-long rhythmic figure in earlier works by Beethoven's older Classical contemporaries Haydnand Mozart. To give just two examples, it is found in Haydn's "Miracle" Symphony, No. 96) (  listen (help·info)) and in Mozart's Piano Concerto No. 25, K. 503 (  listen (help·info)). Such examples show that "short-short-short-long" rhythms were a regular part of the musical language of the composers of Beethoven's day.

It seems likely that whether or not Beethoven deliberately, or unconsciously, wove a single rhythmic motif through the Fifth Symphony will (in Hopkins's words) "remain eternally open to debate."[7]

Use of La FoliaFolia is a dance form with a distinctive rhythm and harmony, which was used by many composers from the Renaissance well into the 19th and even 20th century, often in the context of a theme and variations.[41] It was used by Beethoven in his Fifth Symphony in the harmony midway through the slow movement (bar 166–177).[42] Although some recent sources mention that the fragment of the Folia theme in Beethoven's symphony was detected only in the 90s of the last century, Reed J. Hoyt analyzed some Folia-aspects in the oeuvre of Beethoven already in 1982 in his "Letter to the Editor", in the journal College Music Symposium 21, where he draws attention to the existence of complex archetypal patterns and their relationship.[43]

Trombones and piccolosWhile it is commonly stated that the last movement of Beethoven's Fifth is the first time the trombone and the piccolo were used in a concert symphony, it is not true. The Swedish composer Joachim Nicolas Eggert specified trombones for his Symphony in E♭ major written in 1807,[44] and examples of earlier symphonies with a part for piccolo abound, including Michael Haydn's Symphony No. 19 in C major, composed in August 1773.

Textual questionsThird movement repeatIn the autograph score (that is, the original version from Beethoven's hand), the third movement contains a repeat mark: when the scherzo and trio sections have both been played through, the performers are directed to return to the very beginning and play these two sections again. Then comes a third rendering of the scherzo, this timenotated differently for pizzicato strings and transitioning directly to the finale (see description above). Most modern printed editions of the score do not render this repeat mark; and indeed most performances of the symphony render the movement as ABA' (where A = scherzo, B = trio,and A' = modified scherzo), in contrast to the ABABA' of the autograph score.

The repeat mark in the autograph is unlikely to be simply an error on the composer's part. The ABABA' scheme for scherzi appears elsewhere in Beethoven, in the Bagatelle for solo piano, Op. 33, No. 7 (1802), and in the Fourth, Sixth, and Seventh Symphonies. However, it is possible that for the Fifth Symphony, Beethoven originally preferred ABABA', but changed his mind in the course of publication in favor of ABA'.

Since Beethoven's day, published editions of the symphony have always printed ABA'. However, in 1978 an edition specifying ABABA' was prepared by Peter Gülkeand published by Peters. In 1999, yet another edition by Jonathan Del Mar was published by Bärenreiter[45][46] which advocates

a return to ABA'. In the accompanying book of commentary,[47] Del Mar defends in depth the view that ABA' represents Beethoven's final intention; in other words, that conventional wisdom was right all along.

In concert performances, ABA' prevailed until fairly recent times. However, since the appearance of the Gülke edition conductors have felt more free to exercise their own choice. The conductor Caroline Brown, in notes to her recorded ABABA' performance with the Hanover Band (Nimbus Records, #5007), writes:

Re-establishing the repeat certainly alters the structural emphasis normally apparent in this Symphony. It makes the scherzo less of atransitional make-weight, and, by allowing the listener more time to become involved with the main thematic motif of the scherzo, the side-ways step into the bridge passage leading to the finale seemsall the more unexpected and extraordinary in its intensity.

Performances with ABABA' seem to be particularly favored by conductors who specialize in authentic performance (that is, using instruments of the kind employed in Beethoven's day). These include Brown, as well as Christopher Hogwood, John Eliot Gardiner, and Nikolaus Harnoncourt. ABABA' performances on modern instruments have also been recorded by the New Philharmonia Orchestra under Pierre Boulez, the Tonhalle Orchester Zurich under David Zinman, and the Berlin Philharmonic Orchestra under Claudio Abbado.

Reassigning bassoon notes to the horns[edit]In the first movement, the passage that introduces the second subject of the exposition is assigned by Beethoven as a solo to the pair of horns.

At this location, the theme is played in the key of E♭ major. When the same theme is repeated later on in the recapitulation section, it is given in the key of C major. Antony Hopkins wrote,[7] "this ... presented a problem to Beethoven, for the horns [of his day], severely limited in the notes they could actually play before the invention of valves, were unable to play the phrase in the 'new' key of C major—at least not without stopping the bell with the hand and thus muffling the tone. Beethoven therefore had to give the theme to a pair of bassoons, who, high in their compass, were bound to seem a less than adequate substitute. In modern performances the heroic implications of the original thought are regarded as more worthy of preservation than the secondary matter of scoring; the phrase is invariably played by horns, to whose mechanical abilities it can now safely be trusted."

In fact, even before Hopkins wrote this passage (1981), some conductors had experimented with preserving Beethoven's original scoring forbassoons. This can be heard on many performances including those conducted by Caroline Brown mentioned in the preceding section as well as in a recent recording by Simon Rattle with the Vienna Philharmonic. Although horns capable of playing the passage in C major were developed notlong after the premiere of the Fifth Symphony (according tothis source, 1814), it is not knownwhether Beethoven would have wanted to substitute modern horns, or keep the bassoons, in the crucial passage.

There are strong arguments in favor of keeping the original scoring even when modern valve horns are available. The structure of the movement posits a programatic alteration of light and darkness, represented by major and minor. Within this framework, the topically heroic transitional theme dispels the darkness of the minor first theme group and ushers in the major second theme group. However, in the development section, Beethoven systematically fragments and dismembers this heroic theme in bars 180–210. Thus he may have rescored its return in the recapitulation for a weaker sound to foreshadow the essential expositional closure in minor. Moreover, the horns used in the fourth movement are natural horns in C, which can easily play this passage. If Beethoven had wanted the second theme in the horns, he could have had the horns resting for the previous bars to give them time to switch instruments, and then written

"muta in c," similar to his "muta in f" instruction in measure 412 of the first movement of Symphony No. 3.

Symphony No. 6 (Beethoven)From Wikipedia, the free encyclopedia"Pastoral Symphony" redirects here. For other uses, see Pastoral Symphony (disambiguation).

Part of a sketch by Beethoven for his Symphony No. 6

The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German Pastoral-Sinfonie[1]), is a symphony composed by Ludwig van Beethoven, and completed in 1808. One of Beethoven's few works containing explicitly programmatic content,[2] the symphony was first performed in the Theater an der Wien on 22 December 1808[3] in a four-hour concert.[4]

Background

Portrait of Beethoven in 1804, when he had been working on the Sixth Symphony for two years.

Beethoven was a lover of nature who spent a great deal of his time on walks in the country. He frequently left Vienna to work in rural locations.

The first sketches of the Pastoral Symphony appeared in 1802. It was composed simultaneously with Beethoven's more famous—and more fiery—Fifth Symphony. Both symphonies were premiered in a long and under-rehearsed concert in the Theater an der Wien in Vienna on 22 December 1808.

The composer said that the Sixth Symphony is "more the expression of feeling than painting",[5] a point underlined by the title of the first movement.

InstrumentationThe symphony is scored for piccolo (fourth movement only), 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in F and B flat, 2 trumpets in C and E flat (third, fourth, and fifth movements only), 2 trombones (alto and tenor, fourth and fifth movements only),timpani (fourth movement only), and strings.

FormThe symphony has five movements, rather than the four typical of symphonies of the Classical era. Beethoven annotated the beginning of each movement as follows:

Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the countryside): Allegro ma non troppo

Szene am Bach (Scene by the brook): Andante molto mosso

Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro

Gewitter, Sturm (Thunder. Storm): Allegro

Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd's song; cheerful and thankful feelings after the storm): Allegretto

The third movement ends on an imperfect cadence that leads straight into the fourth; the fourth movement leads straight into the fifth without a pause. A performance of the work lasts about 40 minutes. Beethoven wrote a short descriptive note at the head of each movement.

First Movement: Allegro ma non troppo'Awakening of cheerful feelings on arrival in the countryside.'The symphony begins with a placid and cheerful movement depicting the composer's feelings as he arrives in the country. The movement, in 2/4 meter, is in sonata form, and its motifs are extensively developed. At several points Beethoven builds up orchestral texture by multiple repetitions of very short motifs. Yvonne Frindle commented,[6] "the infinite repetition of pattern in nature [is] conveyed through rhythmic cells, its immensity through sustained pure harmonies."

The following audio of the first movement was recorded in London by the BBC Symphony Orchestra under the direction of Arturo Toscanini:

Second Movement: Andante molto mosso[edit]

Cadenza of bird calls in second movement; bird species are noted in German. Click to enlarge.

'Scene by the brook.'This movement, titled by Beethoven "By the brook," is in 12/8 meter; the key is B flat major, the subdominant of the main key of the work. The movement is in sonata form.

At the opening the strings play a motif that clearly imitates flowing water. The cello section is divided, with just two players playing the flowing-water notes on muted instruments, with the remaining cellos playing mostly pizzicatonotes together with the double basses.

Toward the end of the movement there is a cadenza for woodwind instruments that imitates bird calls. Beethoven helpfully identified the bird species in the score: nightingale (flute), quail (oboe), and cuckoo (two clarinets).

The following audio of the second movement was recorded in London by the BBC Symphony Orchestra under the direction of Arturo Toscanini:

Third Movement: Allegro[edit]'Merry gathering of country folk.'This is a scherzo in 3/4 time, which depicts country folk dancing and revelling. It is in F major, returning to the main key of the symphony.

The form of the movement is an altered version of the usual form for scherzi, in that the trio appears twice rather than just once, and the third appearance of the scherzo theme is truncated. Perhaps to accommodate this rather spacious arrangement, Beethoven did not mark the usual internal repeats of the scherzo and the trio.Theodor Adorno identifies this scherzo as the model for the scherzos by Anton Bruckner.[7]

The final return of the theme conveys a riotous atmosphere with a faster tempo. The movement ends abruptly, leading without a pause into the fourth movement.

The following audio of the third and fourth movements was recorded in London by the BBC Symphony Orchestra under the direction of Arturo Toscanini:

Fourth Movement: Allegro[edit]

'Thunder. Storm.'The fourth movement, in F minor, depicts a violent thunderstorm with painstaking realism, building from just a few drops of rain to a great climax with thunder, lightning, high winds, and sheets of rain. The storm eventually passes, with an occasional peal of thunder still heard in the distance. There is a seamless transition into the final movement. This movement parallels Mozart's procedure in his String Quintet in G minor K. 516 of 1787, which likewise prefaces a serene final movement with a long, emotionally stormy introduction.[8]

Fifth Movement: Allegretto[edit]'Shepherd's song. Happy and thankful feelings after the storm.'[9]

The finale is in F major and is in 6/8 time. The movement is written in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. Like many classical finales, this movement emphasizes a symmetrical eight-bar theme, in this case representing the shepherds' song of thanksgiving.

The coda starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus "storm instruments"), with the first violins playing very rapid triplet tremolo on a high F. There follows a fervent passage suggestive of prayer, marked by Beethoven "pianissimo, sotto voce"; most conductors slow the tempo for this passage. After a brief period of afterglow, the work ends with two emphatic F major chords.

9de symphonie van BeethovenUit de nota’s

Tweede deel snel deeel , scherzo, op hol geslagen menuet. ¾ maatDerde deel traag deel

Beethoven vond dat deze symph te kort schoot voor wat hij wou zeggen, dus een zanger erbij,

Hij doet dit voor een bepaald doel. SSymfonie nr. 9 (Beethoven)De Negende Symfonie in d mineur, Op. 125 van Ludwig van Beethoven geldt als een hoogtepunt in het landschap van de klassieke muziek en ver daarbuiten. Acht jaar na zijn achtste voltooide hij deze symfonie eind 1823 of begin 1824, toen hij al volledig doof was. De première vond plaats op 7 mei 1824 in hetKärntnertortheater te Wenen.

Het getal is welhaast zijn eigennaam, maar het werk wordt ook de Koorsymfonie genoemd. De oorspronkelijke Duitse titel die de componist aan zijn schepping meegaf, biedt een aardige impressie van zijn ambitie en pretentie: "Sinfonie mit Schlusschor über Schillers Ode An die Freude für großes Orchester, 4 Solo und 4 Chorstimmen componiert und seiner Majestät dem König von Preußen Friedrich Wilhelm III in tiefster Ehrfurcht zugeeignet von Ludwig van Beethoven, 125 tes Werk". Het is een symfonie met koorfinale op Schillers ode An die Freude voor groot orkest, vier solisten en vier koorstemmen, gecomponeerd en aan zijne Majesteit de koning van Pruisen Frederik Willem III opgedragen door Ludwig van Beethoven, opus 125. Het handschrift, het origineel, van de negende symfonie bevindt zich in de Staatsbibliothek zu Berlin. Men kan dit handschrift online bekijken op een website van deze bibliotheek.

Het werk kenmerkt zich door de grote dynamiek, de krachtige gevoelsuitingen in nauwelijks waarneembaar kleine stiltes en in overweldigend grote gebaren. De romantische muziek weerspiegelt al het lijden van de kunstenaar, zijn woedendste wanhoop maar ook zijn dromen, dankbaarheid en durf. De genoemde vier solisten hebben de partijen van sopraan, alt, tenor en bariton. De koren zijn sopraan, alt, tenor en bas. Beethoven

programmeerde de muziek voor de koren op een nieuwe manier, alsof het muziekinstrumenten waren.

De negende symfonie was de laatste die Beethoven voltooide. De plannen voor de tiende waren halverwege toen hij drie jaar later in 1827 overleed. Hierna ontstond het 9e Symfonie-syndroom.

De ode An die Freude (lofzang op de vreugde) is een gedicht van de Duitse dichter Friedrich von Schiller uit 1785. Beethoven nam er enkele regels uit over in het vierde en laatste deel van de symfonie. Deze muziek werd in 1972 op uitnodiging van de Raad van Europa door Herbert von Karajan van nieuwe arrangementenvoorzien voor gebruik als het Europese volkslied.[1]

OntstaanVermoedelijk zette Beethoven in 1818 de eerste noten op papier. Reeds in 1793 wilde hij het gedicht van Schiller op muziek zetten, maar alle sporen van die poging zijn verloren gegaan. In 1817 gaf de Philharmonic Society of London (thans de Royal Philharmonic Society) hem de commissie voor een symfonie. Het thema voor het scherzo in het tweede deel is terug te vinden in een fuga die hij in 1815 had geschreven.

PremièreDe eerste uitvoering van het werk was Beethovens eerste publieke optreden in twaalf jaar tijd. De zaal zat tot de nok toe vol. Beethoven stond zelf naast de dirigent. Het orkest had echter de aanwijzingen gekregen alleen op de dirigent te letten. Er volgden vijf uitbundige staande ovaties, waarbij zakdoeken en hoeden de lucht in gingen zoals nimmer vertoond. Hij kon het applaus niet horen, maar toen hij zich vier of vijf maten te laat omdraaide heeft hij het wel gezien. De politie moest er aan te pas komen om de zaal uiteindelijk te ontruimen.

Later volgden er wel kritische noten. Sommige dissonanten in de compositie vond men ongepast, het orkest had te weinig gerepeteerd en de uitvoering was onder de maat.

De eerste gedeeltelijke uitvoering in Nederland vond in 1838 plaats in Felix Meritis in Amsterdam onder leiding van Johannes van Bree, "wel eene voortreffelijk gelukte uitvoering van dit reusachtig werk", aldus de recensent van het Algemeen Handelsblad. De eerste volledige uitvoering was onder leiding van Van Bree in 1848.

Inhoud De symfonie bestaat uit vier delen, als volgt:

1. Allegro ma non troppo, un poco maestoso2. Molto vivace3. Adagio molto e cantabile4. Presto/recitative - Allegro ma non troppo/recitative -

Vivace/recitative - Adagio cantabile/recitative - Allegro assai/recitative - Presto/recitative: "O Freunde" - Allegro assai: "Freude, schöner Götterfunken" - Alla marcia - Allegro assai vivace: "Froh, wie seine Sonnen" - Andante maestoso: "Seid umschlungen, Millionen!" - Adagio ma non troppo, ma divoto: "Ihr, stürzt nieder" - Allegro energico, sempre ben marcato: "Freude, schöner Götterfunken" / "Seid umschlungen, Millionen!" - Allegro ma non tanto: "Freude, Tochter aus Elysium!" - Prestissimo: "Seid umschlungen, Millionen!"

Eerste deelIn de eerste noten komen de violen op met het thema in d kleine terts. Aanvankelijk verloopt het sonataschema nog pianissimo. Dit thema komt later spetterend fortissimo terug in D grote terts. Niet eerder schreef Beethoven voor een kwartet van hoorns. In dit deel lijkt het stuk rond te zweven in een grote lege ruimte waarin de wereld gevormd wordt en waarop het noodlot toeslaat.

Tweede deelOp een levendige manier komt en passant het originele d-mineurthema terug in het scherzo. Op de helft van het deel stopt de muziek even om het daarna te herhalen met wat variaties. Het deel heet Molto vivace maar is in feite een van de grootste Scherzi ooit geschreven door Beethoven. Bijzonder is de rol van de hoorn die op sommige momenten zelfs boven de strijkers uitkomt.

Derde deelVerschillende majeurakkoorden wisselen elkaar af, in 4/4- naar 12/8- en ten slotte 3/4-maat. De laatste variatie wordt onderbroken door fanfares met het volledige orkest, die eenzaam maar zelfverzekerd worden beantwoord door de eerste violen. Het thema van dit deel is zangerig zoals het cantabile al aangeeft. De strijkers maken samen een melodie die heel langzaam sterker wordt terwijl de fluiten ertussendoor spelen. Ongeveer op de helft nemen de fluiten de hoofdrol over en herhalen het thema met een iets hogere klank waarbij de strijkers eerst zacht meespelen en daarna de hoofdrol weer overnemen. Bijzonder in dit deel is de prominente rol van de hoorn die eerst zo nu en dan iets laat horen, maar dan als de fluiten aan de beurt zijn geweest de aandacht vraagt voor een mooie toonladder van boven naar beneden.

Vierde deelHet laatste deel is als het geheel, een geheel in vier delen. Een inleiding, een scherzo, een afwachtend intermezzo en ten slotte de uitbarsting. Na een waterval over alle toonladders is het plotseling muisstil. Dan zet de bariton in met de drie regels die Beethoven zelf toevoegde ter inleiding op het gedicht van Schiller:

Duits origineelO Freunde, nicht diese Töne!Sondern laßt uns angenehmereanstimmen und freudenvollere.Freude! Freude!

Nederlandse vertalingO vrienden, niet deze tonen!Laat ons liever aangenamereaanzetten en vreugdevollere.Vreugde! Vreugde!

UitvoeringDe complete symfonie duurt langer dan een uur. Een normale uitvoering kan tot 70 minuten in beslag nemen. Een uitvoering vergt relatief veel van alle uitvoerenden, de musici, de solisten en de koorleden. Sommige dirigenten hebben wel eens getracht de druk van de ketel te nemen door het tempo naar beneden bij te stellen. Dat wordt door anderen echter zelden gewaardeerd.

InvloedJohannes Brahms citeert uit de finale in zijn eerste symfonie. Het werk heeft echter ook een plaats buiten de concertzaal, in boeken en films, sport en computerspellen.

Het finale deel werd als volkslied gespeeld door het verenigde team van Oost- en West-Duitsland bij de Olympische Zomerspelen van 1956, 1960 en 1964.

In A Clockwork Orange van Anthony Burgess uit 1962 gaat hoofdpersoon Alex op tilt bij het horen van de machtige donder in bepaalde passages. Voor de verfilming door Stanley Kubrick uit 1971 produceerde Wendy Carlos een elektronische versie.

Vanaf de vroege 20e eeuw zijn er bijzondere uitvoeringen op grammofoonplaat vastgelegd. Het werk kan ook a capella worden uitgevoerd, of op gitaar. Sinds een tiental jaren worden losse fragmenten ook als ringtone op mobiele telefoons gehoord.

Beethoven sonate 26Weinig informatie, er gebeurt bijna niets ,kenmerkend late beethoven.

Piano Sonata No. 26 (Beethoven)From Wikipedia, the free encyclopedia

First two bars of the piece, indicating the syllables 'Le - be wohl' over the three-note theme

Ludwig van Beethoven's Piano Sonata No. 26 in E-flat major, Op. 81a, known as the Les Adieux sonata, was written during the years 1809 and 1810.

The title Les Adieux implies a programmatic nature. The French attack on Vienna, led by Napoléon Bonaparte in 1809, forced Beethoven's patron, Archduke Rudolph, to leave the city. Yet, there is some uncertainty about this nature of the piece — or at least, about the degree to which Beethoven wished this programmatic nature would be known. He titled the three movements "Lebewohl," "Abwesenheit," and "Wiedersehen," and reportedly regarded the French "Adieux" (said to whole assemblies or cities) as a poor translation of the feeling of the German "Lebewohl" (said heartfully to a single person) (Kolodin, 1975). Indeed, Beethoven wrote the syllables "Le-be-wohl" over the first three chords.[1]

On the first 1811 publication, a dedication was added reading "On the departure of his Imperial Highness, for the Archduke Rudolph in admiration".

An average performance of the piece lasts about 17 minutes. The sonata is one of Beethoven's most challenging sonatas because of the mature emotions that must be conveyed throughout it. It is also the bridge between his middle period and his later period and is considered the third great sonata of the middle period.

FormThree movements of this sonata originally written in German and French, and the last two movements are described in German because of the unusual tempo. The translation in English shown in italic as below:

1. Das Lebewohl (Les Adieux - The Farewell): Adagio - Allegro2. Abwesenheit (L'Absence - The Absence): Andante espressivo (In gehender Bewegung, doch mit

viel Ausdruck - In walking motion, but with much expression)3. Das Wiedersehen (Le Retour - The Return): Vivacissimamente (Im lebhaftesten Zeitmaße - The

liveliest time measurements)

Das Lebewohl[edit]

The sonata opens in a 2/4 time Adagio with a short, simple motif of three chords, over which are written the three syllables Le-be-wohl ('Fare-thee-well'). This motif is the basis upon which both the first and the

second subject groups are drawn. As soon as the introduction is over and the exposition begins, the time signature changes to split C (alla breve) and the score is marked Allegro. The first movement oscillates between a turbulent first subject which portrays deep disturbance and a second subject which is more lyrical in nature and gives the impression of reflections. The rhythmic figure of two short notes and a longer note which is used repeatedly in the first subject is developed inexorably through the 'development' section with rich harmonies and discords which are harmonically closer to the later period of Beethoven's compositions than the middle for their intellectual penetration. The movement has a surprisingly long coda which occupies about three-tenths of the movement's length. The coda encompasses both the subjects in a display of powerful mastery over composition. Typically the movement played properly with repeats lasts a little over 7 minutes.

Abwesenheit

The Andante Espressivo is harmonically built on variations of the diminished chord and the appoggiatura. The movement is very emotional and is often played with a lot of rubato. A lot of the subject matter is rhythmically repeated consecutively as well as sectionwise. This seems to be for emphasizing the feelings of uncomfortable solitude with a fear that there will be no return. The arrival of the dominant seventh chord at the end of movement signals the return to the tonic key, but remains unresolved until the triumphant appearance of the main theme in the final movement. Typically the movement lasts just under 4 minutes.

Das Wiedersehen

The finale, also in sonata form, starts joyfully on the dominant, B flat, in 6/8 time. After the startling introduction, the first subject shows up in the right hand and is immediately transferred to the left hand, which is repeated twice with an elaboration of the arrangement in the right hand. Before the second subject group arrives, there's one remarkable bridge passage, introducing a phrase that goes from G flat major to F major, first through distinctive forte arpeggios, then in a more delicate, finepiano arrangement.