Musical Style and Innovations Musical Style and Innovations Beethoven is viewed as a transitional figure between the Classical and Romantic eras of musical history. Above all, his works distinguish themselves from those of any prior composer through his creation of large, extended architectonic structures characterized by the extensive development of musical material, themes, and motifs, usually by means of "modulation", that is, a change in the feeling of the home key, through a variety of keys or harmonic regions. Although Haydn's later works often showed a greater fluidity between distant keys, Beethoven's innovation was the ability to rapidly establish a solidity in juxtaposing different keys and unexpected notes to join them. This expanded harmonic realm creates a sense of a vast musical and experiential space through which the music moves, and the development of musical material creates a sense of unfolding drama in this space.
These two entities, in the telling and re-telling of the Eroica story, have become inseparable and it is only recently that the extent and significance of this association has been scrutinized.
Our knowledge of the Bonaparte connection originates from Ferdinand Ries, friend and student of Beethoven. In Beethoven composed his Music essay on beethovens heroic style symphony now known as the Sinfonia Eroica in Heiligenstadt, a village about one and a half hours from Vienna In writing this symphony Beethoven had been thinking of Buonaparte, but Buonaparte while he was First Consul.
At that time Beethoven had the highest esteem for him and compared him to the greatest consuls of ancient Rome. Whether or how the intervening gap was to be filled out I do not know. I was the first to tell him the news that Buonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, "So he is no more than a common mortal!
Now, he too will tread under foot all the rights of man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!
Ries, This account has been a staple of Beethoven lore for more than a century. Whether or not the events transpired precisely as Ries relates we shall never know.
That he tore up the title page upon hearing bad news and ever after hated Napoleon and all things French, is a bit simplistic.
Where did Beethoven come upon the notion of a Bonaparte symphony? Ferdinand Ries, anonymous In the past, one need not search for the impetus for it was provided by Anton Schindler, occasional friend and personal secretary of Beethoven in his later years.
Schindler, in his biography of Beethoven, states His salon was frequented by distinguished persons of all ranks among whom was Beethoven, who had already expressed great admiration for the First Consul of the Republic.
The suggestion was made by the General that Beethoven should honor the greatest hero of the age in a musical composition. The idea soon became a reality which the master, having battled with his political scruples, gave to the world under the title Sinfonia Eroica.
The first idea for the symphony is said to have gone out from General Bernadotte, the French Ambassador in Vienna, who esteemed Beethoven very highly. Schindler goes on to say of the rending of the title page The fair copy of the score with the dedication to the First Consul of the French Republic, which consisted of the two words Napaleon Bonaparte, was ready to be given to General Bernadotte for transmission to Paris, when the news was received in Vienna that Napaleon had proclaimed himself Emperor of the French.
The news reached the composer through Prince Lichnowsky and Ferdinand Ries.
No sooner had he heard the news than he seized the score, tore off the title page and threw it on the floor. Schindler, Schindler would seem to reasonably explain the conception of a Bonaparte symphony and tantalize us with its near delivery to the French Embassy except for one detail.
He had been an annoyance to the Viennese since his arrival and his office as Ambassador lasted a mere few months. Or, as Sir George Grove so succinctly put it, "A soldier like Bernadotte was not likely to know or care about music".
It should be noted that Schindler had not met Beethoven until so his accounts of events prior to that were second hand at best. Interestingly though, a year before Beethoven began work on the Eroica, an incident occurred that invites more questions about a Napoleon dedication.
Franz Hoffmeister, a publisher, proposed to Beethoven that he write a sonata honoring Napoleon and the revolution. None the less, this invites the question, could Beethoven vehemently reject the proposal of a Bonaparte sonata and a year later turn out a symphony in his honor?
The historical record does not provide any credible evidence that the stimulus for a Bonaparte symphony was by way of suggestion.
This leaves us conclude the notion was entirely his own. While this may seem to be a reasonable assumption we should bear in mind that Beethoven did not feel an entirely unconditional admiration for the French leader and vacillated between devotion and dislike.
Maynard Solomon has arrived at more pragmatic explanation for the Napoleon dedication. It concerns plans on Beethovens part to move to Paris. When the Paris trip was clearly not going to materialize, Beethoven may well have realized it would not be a good idea to stick around the Austro-Hungarian Empire, having dedicated a symphony to the newly proclaimed Emperor of France.
Particularly when relations with the French were deteriorating. Franz Joseph Max, Prince Lobkowitz, anonymous Additional evidence, supporting this practical explanation, comes to us again, from Ferdinand Ries who wrote to Simrock, the publisher, on October 22,that He will sell the symphony to you for Gulden.
It is in his estimation the greatest work which he has written until now. Beethoven played it for me recently, and I believe that heaven and earth must have trembled at this performance.Rodriguez 1 Maria Rodriguez Dr. Zavlunov Special Topics: Music & Politics 18 October Beethoven’s Congress Compositions and Mock-heroic Style During the progression of this course, we have tried to analyze the ethical and moral implications of Art.
Through discussion we’ve made attempts at fleshing out certain motivations that fuel the actions of composers. Music Essay on Beethoven's Heroic Style Words | 8 Pages. Loh 1 Ms Yang Tien Music Historical Overview 3rd September Beethoven and the heroic style Early eighteenth century marked the beginning of the middle period, which was said to be the most productive period out of his three compositional periods as some of his most magnificent works were produced during this time (Lockwood, ).
The Classical Music Period in which Mozart lived allowed him to fully develop his own unique musical style and Mozart’s life, although shortened by his early death, influenced many musicians.
With his extraordinary genius and emotional compositions, Mozart’s . The Three Periods of Beethoven (jump to Second Period or Third Period) His chamber music for strings consists of several duet sonatas of which the Op.
24 violin sonata is the most popular The careful attention to dynamic shading is also an essential element to Beethoven's style. Styles Of Beethoven And Mozart Music Essay. Print personality.
Mozart’s style was more typical lyric-dramatic start. The style of Beethoven – was the embodiment of heroic pathos of struggle. It is difficult to overestimate their contribution and influence on the development of classical music.
Masters of this style sought to clear. The Project Gutenberg EBook of Darkwater, by W. E. B. Du Bois This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever.