Beethoven Outline

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Beethoven : Ludwig Von Beethoven is one of the most influential classical composers, an important figure in both classical and romantic music. Beethoven was born in Bonn, Germany in 1770. He was brought up in a harsh environment, coping with his alcoholic father and supporting his mother and two younger brothers. At 17 he went to Vienna to play for Mozart, he was impressed to say “Keep an eye on him, he will make a noise in the world someday.” Later he went back to study with Haydn but things did not work out between those two because of his independent spirit. Beethoven didn’t have a real patron, but his music was paid for by the nobility of Vienna. After he began to grow deaf, but he still continued to compose, conduct and perform even…show more content…
* Mozart is known for his great melodic ideas, his melodies are simple, elegant and songful. * The three works of Op. 10 are in C minor, F major and D major. The first was begun in 1795 and the third completed by July 1798. Published in September, 1798, by Eder in Vienna, the set is dedicated to Countess Anna Margarete von Browne, whose husband, Count Johann von Browne (1767-1827), was one of Beethoven's chief early patrons. The First movement starts out with an upbeat but without a crescendo, imitating the Mannheim Rocket. One of the most important part of this pieces is the monothematic idea that is used. The 4 notes in the beginning (D, C,B, A) is widely used all over the piece, such as the end of bar 10. Look at the first three bars it contains: 1) Octaves (meaning there are no harmonies, just the same notes played at the same time: first there are three D:s, then three C#s, etc.) 2) There is only one voice 3) Short notes, which is called…show more content…
I like how Beethoven changes the style of the piece instantly at the end of 22. It’s a pretty melody, bubbly, almost childish. This is typical of this movement. The music turns and twist, it’s surprising and entertaining, exciting and energetic – without no real melodies or themes. Another example would be how on measure 128 the beginning of the piece is repeated but in a minor key, right after the long fermata, it changes in to a major key B flat major. At bar 35 the key D+ now modulates in to the dominant key A+, then after at 60 the key changes in to A-.After measure 66 there are different variations of the 4 note motif Beethoven likes to use the subdominant key in this case G+ in a special place, and you can see that he uses it very well close to the beginning of the coda. Like parts of a forest illuminated by the shifting sunlight that peaks through a cloudy sky, this proto-Impressionist piece repeats its quiet yet enchanted melody, with variations in pitch and length. The constant triplet figure in sixteenths in the beginning is found throughout the majority of the
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