beethoben symphony no 9 choral

• msut be remembererd that beethoven bridged two eras of music

• repected by ecvery subsequent composer

structure

• took classical conventions and expanded them

• - beethoven was huegly influential to later composers

• expanded and infused them with romantic , expressive sensibilities ]lobegr and more complex -

• more adventurous w tonality and horminy

• ]often used largr orchestra

• instruments nt used in the classical symphony

• had a sense of narrative and drama

  beethovens 9th symphony - long and complex work (70 mins) in 4 movements

• 1 allegro in d minor

• 11 scherzo in d minor

• 111- scherzo in d monor (trio in d major)

• vi- finale w multiple sections starts in dm ends in d - tonic resoloutio,

  movement 1 - dramatic allegro - inetersting interpretation of sonata form that intrigues open piannisimo section through the final coda

• begins w mysterioys tremolo - falling 4th/5th in vln1 which gradually gathers

• key is a/am by implications of bear 5y

• d minor not firmly established until bar 17

• main theme is presented in both major and minor versions

• pace of harmonic change reletivley slow - adds solemnity to the content

• development - includes triple fugue and the thematic material approached in multiple ways

• great variety in figuration - lots of motivic ideas evidengt

• structure not clearly defined as prior workds

• no distinctions between sections

• third symphony - eroicica - coda is like a complete development section

• BEETHOVEN REVESRES USUSLA ORDER OF MOVEMENT 1 AND 3

  Movement 2 - scherzo - molto vivace

• written in tripe time - but w accents that make it sound quadruple

• tuning of timps and octave apart - offbeat and disrupt metre - hemiola feel

• trio introduces the trombones for the first time in the movement

• movement 3 - adagio movement

• - loosely in double variation from romantiv in spirit

• main harmonic changed only noted in modulatory sections

  movement 4 - allegro /andante / allegro

• includes satb vocal soloists and choir

• first tme voices had ever been heard in a symphony ( later comps berilox, lizt and mahler - used vouces in some of theor symohonies

• HUGE rondo finale

• intricate movement beethoven ever wrte

• dissonant openin

• quotes from prior movements

• earlier ideas are dismised by recitative kuje grumbling in cello/double bass

• bass solo sings beethovens wors ‘o friends not these sounds’ - triumphant appeak ti brotehrhoiod

• choral ‘ode to joy - double fugue and extended coda

  UNUSUAL OVERALL tructure

• violent and dissonant beginning - shriek of pain

• lower strings are given number f quasi - operatic’ passages - brief remindedrs of materials from the three preceeding movements

• solo baritne delivering similar phrases - gradually w chorus being included in the texture

• orchestral exposition of teh amin theme in four stanzas

• reminder of the opening dissonat passages

• bass recitative

• oorchestral/choral section - ‘joy’ tjeme including an instrumental section which is a double fugue

• new theme for chorus and orchestral

• doube fugue utilizing bith themes

• complex extended coda sect