TAPE 3 HU 04: Beethoven Unit Listening Notes
Selection
1 - Piano Concerto No. 5 in Eflat Major, Op. 73, "Emperor" (38
min)
Performers: Claudio Arrau,
piano; Staatskapelle Dresden, Sir Colin Davis, cond.
(Philips
416 215-2)
Beethoven section of the Classical Music Archive Scroll down to find it. (streaming mp3)
Themes are given for those who are interested in following the form, but it is more important that you follow the interaction of the soloist and the orchestra. Who introduces the themes? Who develops them? Who carries the melody? Who decorates the melody? Who provides the accompaniment? (NB: It's not always the orchestra.) A concerto can be described as a cooperation between soloist and orchestra, or as a competition or struggle between them. Which seems more appropriate here?
Since the orchestra
is a large group, organized on many different levels, you may want to consider the
ways in which it might represent a society. Who would the conductor represent? The composer? What would Hobbes think of this analogy? Is there a kind of social
contract at work here, in which the individual players give up their right to
interpret the music the way they might prefer in order to participate in a more powerful kind of
expression? What would
The soloist in a concerto is, of course, an individual. Beethoven himself would have taken the solo part in the first performances of his concertos. With this in mind, what can this concerto tell you about what Beethoven thought of the individual's role in society? Does the piano seem heroic? rebellious? inventive? Does the orchestra seem benign or oppressive? Does it fight the soloist or does it seem to be inspired by him? How does this reflect the romantic admiration for the individual genius?
In order to appreciate the first movement of this concerto better (and to have better insight into the above questions), you should know that it was customary in Beethoven's time for a concerto to open with the full orchestra introducing all the themes. The soloist would then repeat and develop the themes, accompanied by and frequently interrupted by the orchestra. Near the end of the movement the orchestra would pause and the soloist would improvise a cadenza, displaying both his dexterity in playing rapid runs and arpeggios and his ingenuity in weaving in themes from the concerto. Beethoven breaks with convention by opening this concerto with a cadenza-like passage. At the usual spot for the cadenza he specified in the score that the performer should not improvise, but instead play Beethoven's written-out cadenza, which incorporates the orchestra.
Those who go on to listen to the second and third movements should be forewarned of another formal innovation: Beethoven does not pause between the second and third movements. Still, the change in character between the movements should make the transition obvious. The second movement is quiet and introspective, while the third is a boisterous rondo. What features of the third movement remind you of the first movement? When does the piano enter? What features of the concerto as a whole remind you of the "Pathetique" Sonata?
Selection
2 - "Credo" from the Missa Solemnis in D,
Op. 123 (17-18 min)
Performers: The Monteverdi Choir and
the English Baroque Soloists, John Eliot
Gardiner, cond.
(Archiv D100048)
Beethoven section of the Classical Music Archive (Real Audio)
(Click on number 3 for the credo)
Beethoven began work
on this mass in 1819, intending it for the installation of his pupil and patron
Archduke Rudolph of
How does Beethoven match the music to the sense of the text? What portions are penitential? What parts are triumphant? What musical themes return? Is this music appropriate for a religious service? Why or why not? Is Beethoven more interested in drama or theology? How much time does Beethoven spend on the last phrase of the text? Why?
Do you agree with either of the following comments? About the Mass as a whole, Donald Tovey says Beethoven "brings out an overwhelming and overwhelmed sense of the Divine glory, with which he invariably and immediately contrasts the nothingness of man." About the last part of the Credo, Joseph Kerman says "Most of the words are sung only once, by a single voice in the choir. Meanwhile the other voices exclaim 'Credo, credo' again and again. Sheer intensity of belief, Beethoven seems to be saying/ outweighs belief in any particular proposition."
The text is given below. If you have trouble following the Latin, the tempo changes may help you keep track of where you are: allegro is fast, adagio is slow, andante is in between, "ma non troppo" means "but not too much," and "con moto" means "with motion."
Credo in unum Deum, Patrem
omnipotentem, I believe in one God, the Father almighty,
maker of
factorem coeli et terrae, visibilium omnium et
heaven and earth, and of
all things visible and
invisibilium. Credo (Et) in unum Dominum invisible. (And) I
believe in one Lord Jesus Christ,
Jesum Christum, Filium Dei unigenitum, et ex
the only-begotten Son of
God, born of the Father
patre natum
ante omnia saecula; Deum de
deo, before all ages; God
of God, light of light, true God
lumen de lumine. Deum
verum de deo vero; of true God; begotten not made; of one
being with
genitum non factum; consubstantialem Patri, per
the
Father, by whom all things were made; who for
quern omnia
facta sunt; qui propter nos homines
us men and our
salvation came down from heaven;
et propter nostram salutem descendit de coelis.
Et incarnatus est de Spiritu sancto ex Marie And was incarnate by the Holy Spirit, of
the
Virgine: Virgin Mary;
Et homo factus est. . ." , And was made man.
Crucifixus etiam
pro nobis, sub Pontio Pilato, He was crucified
also for us, suffered under Pontius
passus et sepultus est. Pilate, and was
buried.
Et resurrexit tertia die secundum Scripturas, And he rose again on the third day according to the
Scriptures,
Et ascendit in coelum; sedet ad dexteram Dei and ascended into heaven; he sits at the
right hand
Patris; et iterum
venturus est cum gloria judicare of God the Father; and he shall
come again with
vivos et mortuos;
cujus regni non erit finis. glory to judge the living and the dead; and his
kingdom shall have no end.
Allegro ma non troppo
Credo (Et) in Spiritum sanctum Dominum et (And) I believe in the Holy Spirit, the Lord and
vivificantem; qui ex Patre Filioque procedit; giver of life; who proceeds from the Father and
qui cum Patre et Filio simul adoratur et glorifi- Son; who with the Father and Son together is
catur; qui locutus est per Prophetas: et in unam worshipped and glorified; who spoke through the
sanctam catholicam et apostolicam ecclesiam. prophets; and in one holy catholic and apostolic
Confiteor unum baptisma in remissionem pecca- church. I believe in one baptism for the forgiveness
torum, et expecto resurrectionem mortuorum, of sins and I look for the resurrection of the dead,
Allegretto ma non troppo — Allegro con moto - Grave
et vitam venturi saeculi. Amen. and the life of the world to come. Amen.