First Movement of Beethoven's Symphony No. 3 Essay

Roy Harris’s Symphony No. 3 contains one movement but is identified in five sections; Tragic, Lyric, Pastoral, Fugue – Dramatic, and Dramatic-Tragic, according to allmusic.com. The duration of the piece is about 17 minutes and 12 seconds long. The orchestra starts out with violins from the Strings group of instruments creating a soft harmony and a lower pitch, this is called the “Tragic” section of this musical piece. The next section is called “Lyric”, in the beginning of the section you can begin to hear some of the Brass instruments join in with the violins and creates a broad melody. The horns and strings become louder leading into the next section – “Pastoral”. This section is the longest of the five, the woodwinds instruments enter this

The first movement of Symphony No. 7 is noted for its long ascending scales as well as its applied dominants relative to its C major and F major modulations. The Introduction begins with a short A chord from the full orchestra. After eight bars, the piece has briefly entered the key of F major already and is now accompanied by scales of two octaves which begin softly, similar to the way a person creeps up and down a staircase. These scales repeat, gradually becoming louder and more extravagant. The third theme

“Symphony No. 9”, better known as “Ode to Joy”, was written by Beethoven in the years 1822 to 1824. The performing forces in this piece are an orchestra, four vocalists, and a chorus. The genre of the piece is symphony. The piece is comprised of four movements. The first movement is in Allegro form. While the second movement is in Scherzo form. The third movement is in Adagio form. Finally, the fourth and final movement is in Recitative form. The key for Beethoven’s ninth symphony is D minor. The tempo changes frequently throughout Beethoven’s symphony, “Ode to Joy”. In the first movement the tempo is allegro. During the second, the tempo is molto vivace. In the third movement the tempo is adagio molto e cantabile. Then, in the fourth and final movement the tempo changes a couple of times. The tempos that appear in the fourth movement are presto; allegro molto assai (Alla marcia); andante maestoso;

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.

Mozart begins a harmony on a Major sixth chord and leads into a V with a seventh chord, giving a dominant to tonic feel. He further gives this effect by leading into another V with the augment sixth German chord that has been filled out with a perfect fifth and a major third above the A♭ bass. Though the augmented sixth chord is voiced unorthodoxly, it gives the same effect.

Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.

The third movement lead straight into the fourth, and that lead into the fifth movement without missing a beat. The fifth and last movement of this symphony is in sonata rondo form, which is a blend of the two. A rondo is when the first theme, A, repeats several times with other music (B, C). This form then also shares characteristics of the sonata, so it has a development section as well that is common in sonata

The fourth movement is titled “thunderstorm” and is a romantic movement. It is in episodic form (a format of the romantic period). It is extremely programmatic. The movement depicts a thunderstorm through the use of the timpani that creates the rumble of the thunder and the punctuated sforzando chords that create a harsh lightning (for example in bar 21). These programmatic features are romantic traits and show Beethoven’s ability to push the boundaries of the style he was contained to. The use of percussion and brass in a dominant role is also a romantic feature. There are multiple dramatic dynamic changes throughout the movement ranging from pianissimo to fortissimo, which is unusual for the classical period. The movement also exercises dissonance and the melody is unresolved, a

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

a)The "Beethoven Concerto"s and Op. 37's Placement in the Genre and as a continuation of Mozart's Style

Rondo Op.51 No.1 in C major by Beethoven • Rondo: a musical form characterized by a repeated theme that alternate with other themes • Opus: a number given chronologically order the works of a composer • This rondo was composed between 1796 and 1797. • About the composer and period: Beethoven, Ludwig van (1770-1827) • Period: Classical (1750-1820)/early Romantic (about 1820/30s-1910) • Nationality: German • Contemporaries: Haydn, Mozart, Clementi • Works included: • 32 piano sonatas (including the 'Pathetique'; the 'Moonlight'; the 'Appassionata'); bagatelles, 6 sonatinas • 9 symphonies - including the 'Eroica' (3rd); 'Pastoral' (6th); the 'Choral' (9th) • chamber music - including 9 piano trios, 5 cello and piano sonatas

Both Haydn's and Beethoven's first movements are composed in sonata form, with an exposition stated in the opening that is then developed and recapitulated. The size of Haydn's opening movement is somewhat smaller than Beethoven's, whose opening exposition itself seems larger than life. Haydn's first movement is roughly six minutes long, and the length of Beethoven's first movement only exceeds Haydn's by about a minute and a half to two minutes.

The first movement of Beethoven’s 9th is quick, driving forward and at times giving the feeling of rushed urgency, while maintaining a composed majesty beneath the surface. This is reflected in the original tempo marking of allegro ma non troppo, un poco maestoso, meaning literally “quickly but not too fast, a little majestic”. The movement begins with a the strings playing intervals over a quiet string tremolo, reminiscent of an orchestra tuning themselves before a performance. This crescendos to a loud and bombastic introduction of the first movement’s main theme and the introduction of the brass section. The first movement also makes heavy use of dynamic contrast, with large crescendos that swell in time with the music and diminuendos that quickly reign in the impressive power of the full symphony orchestra. The first movement also follows a traditional sonata form, with the main theme having variations throughout the roughly 18 minutes of play time. Personally, I found the ending of the first movement