1. Beethoven: The Composer as Hero

2. Beethoven Changes How We Think about Music

3. 18th-c. music becomes expressive by “play” with expectation, predictablility

4. 1 2 3 4 5 6 7 8........................................ 18th-c. music becomes expressive by “play” with expectation, predictablility

5. I. Beethoven: Musical Iconoclast A. Begins Work off-tonic and with Dissonance B. Expands use of Dissonance C. Pioneers “Metrical Dissonance” D. Begins Concerto with Cadenza E. Demands Extreme Virtuosity of Performers F. Elevates Concept over Realization in Sound G. Recalls earlier movement (5th finale): Introduces Psychological Element J. Replaces Minuet with Scherzo K. Includes fierce, aggressive, “angry” within expressive range L. Uses motives (rather than complete melody) as conceptual unit I. Uses Voices in Symphony H. Music presents problems or intellectual challenges

6. II.Beethoven’s Intellectual Legacy= changes how we think about music A. Composing = Central Musical Activity

9. II. “Beethoven Hero”: The Intellectual Legacy A. Composing = Central Musical Activity B. Forges Ideal of the Autonomous Artwork

10. III. Biography A. Overview (see Wright) B. Beethoven’s Compositions 9 Symphonies 5 Piano Concertos + 1 Violin Concerto 16 String Quartets 32 Piano Sonatas C. The Three Creative Periods 1st Period (to 1802): “Early or Classical” 2nd Period (1802-1813) “Middle or Heroic” 3rd Period (1814-1825) “Late”

11. IV.Beethoven Symphony #7 in A Major Fourth Mvmt. (finale)

13. 1st ThemePt 11st Theme Pt2 tr 2nd Theme Closing theme __... March-like Exposition Obsessive 2-note motive Stormy Minor key Development All themes except 1 st Theme Pt.2 Developed Recapitulation 1st ThemePt 11st Theme Pt2tr 2nd Theme Closing theme Coda 1 st theme Pt1 Developed Further climaxing with Pt2

14. III. Biography A. Study Wright with Care