Beethoven late style is marked by a renewed concern for a variety of formal plans. A certain serenity finds its way into his music. The impatient and heroic striving of the middle period gives way to eccentric and meditative pieces. He wrote some outstanding examples of the fugue, theme and variations, and sonata form during his late period. His late string quarters and piano sonatas rank among his very best works. Our recorded anthology contains a much celebrated work from late in Beethoven’s career, the first movement of his op. Piano Sonata Number 31 (CD2, #10) this piece features a blurring of Classical structural lines throughout. The contrasting themes are not introduced as conflicting material that need to be repeated, developed, and resolved by the end of the movement. Instead, they are invitations to contemplation. Once the heroic journey commences, there is no looking back. Without repeating the exposition, the development section, which simply repeats the opening motive in different keys, is made to inspire the listener to deeper and deeper thought. This movement consists of yearnings, which appear to transcend worldly matters, and of questions that remain unanswered. His Eroica Symphony seems full of confident certainty; the opus 110 piano sonata seems ready to embrace unfulfilled yearnings for
answers to questions so vague that each listener will enter into a personal, subjective relationship with the work. This situation marks the goal of the absolute autonomous artwork. CUANDO ESCUCHES LA CANCION VE A LA PAG 189,190 Y 191 DONDE EXPLICAN LA CANCION. The second movement is a very fast scherzo in F minor. The last movement begins with a slow introduction that is full of instrumental recitatives, which lead into fugues and other decidedly emotional “arioso” melodies. The pieces end with flashy A, Mayor arpeggios moving from high to low notes the piano and back. It is essentially a formal structure. The symphony No. 9 provides Beethoven’s most optimistic statement from the late years of his career. Written in 1824, this piece requires not only a large symphony orchestra but also a chorus and vocal soloist. The overall aim of this finale is a rousing musical call for universal brother-hood. For Beethoven, the symphony changed in terms of its seriousness and social purpose from the days when his teacher Haydn was writing symphonies. Beethoven viewed the symphony as a means of communicating something profound to his times and to posterity. He didn’t write symphonies for social occasions, as his teacher had done. The effect of this different attitude toward the genre is that Haydn composed more than 100 symphonies. In a career of comparable duration, Beethoven wrote only nine. Another reason for the change of Beethoven’s attitude is that he did not have to write many symphonies in order to make a handsome living while Haydn wrote symphonies for a living not to communicate weighty ideas to prosperity.
- Spring '08
- Music, Beethoven, Wolfgang Amadeus Mozart, Haydn