Beethoven

For many generations, music aficionados have identified a lyrical intensity and near-spiritual calm in many of Beethoven’s slow movements, for which various authors have coined the term “Hymnic Adagio.” However, the hymn-like expressive slow movements so often associated with Beethoven, and emulated by his musical successors, did not completely originate with him. I propose that Beethoven’s intensive cultivation of the Hymnic Adagio had its origins in the string quartets of Joseph Haydn. In particular, Haydn’s Sun Quartets, Opus 20, of 1772, which Beethoven was known to have studied in depth, and two other quartet sets of Haydn from around the same time (his Opus 9 and 17), were influential. Through comparison of specific movements, I show that particular slow movements from Haydn’s quartets, especially the ones from the late 1760s and early 1770s, greatly influenced Beethoven as he sought to achieve greater and more profound musical expression in his movements in adagio tempo.

El revival arcaizante que recorrió las cortes europeas en la Edad Moderna popularizó la cita de la gaita en la música culta. Algunos autores (Winternitz, Leppert, Oberlander) han descrito el aluvión que hubo entonces de reflexiones gaiteras, atribuyéndolo al uso del folklore en el marco del esplendor barroco y galante. Sin embargo hay motivos para considerar un acusado desnivel en esta moda y establecer una causalidad correlativa.
  Nuestro trabajo pretende en primer lugar esclarecer cómo en composiciones muy significativas la gaita no fue tomada al azar—a modo de amable pincelada o complicidad con el mundo campesino—, sino que realmente figura en algunas celebérrimas páginas de la historia de la música. Así sucede con citas textuales del instrumento provenientes de Corelli en el Concierto de Navidad, de Vivaldi en Las Cuatro Estaciones, de Bach en el Oratorio de Navidad, de Handel en El Mesías (en dos ocasiones), de Mozart en Bastián y Bastiana, de Beethoven al inicio de la Sinfonía Pastoral, de Brahms en la Serenata nº 1 o de Grieg en Peer Gynt. Varias de estas obras se enmarcan en el contexto bíblico de la Adoración, pero no todas, y la raíz última de tan singular concentración apenas ha sido estudiada. Con certeza nunca, ni antes ni después de esta época, recibió la gaita tan insignes homenajes por parte de los compositores de escuela.
  En segundo lugar el presente estudio propone como teoría explicativa la cercanía de los compositores al mundo rural (omnipresente hasta hace un siglo) y a la gaita (aún universal en la Europa dieciochesca). Aquéllos habrían escuchado ocasionalmente melodías populares de gran belleza y fuerza inherente; reconociendo, como excelentes músicos que eran, su potencial estético, las habrían adoptado en fragmentos capitales de su producción sin declararlo (como era normal entonces). Así se desprende de relevantes confesiones de Telemann, Mendelssohn o Bartók. El análisis de partituras y sonoridades específicas refuerza esta hipótesis.

This article discusses the aetiology and evolution of musical structure, specifically the sonata-form exposition, from a memetic perspective. It regards established musical forms as replicated schemata arising from the conglomeration of foreground-level memes, the resultant archetypes (structural memes or Memesätze) being replicated (reinstantiated) by different collections of functionally analogous (allelic) memes. After a discussion of the theoretical background — including the top-down/bottom-up generative dichotomy as it applies to form, and some attributes of memes affecting conglomeration — three sonata expositions, by Haydn, Mozart and Beethoven, are discussed as specific evidence in support of the general hypotheses advanced.

Most of us can recall chuckling, or even laughing out loud, at a humorous musical passage and perhaps recalling how much that experience increased our enjoyment of the music. This study focuses on humour in the instrumental works of Haydn, Mozart, and Beethoven: composers who have been singled out by contemporary and modern scholars for their ingenuity and mastery of the Classical style. In the most general sense, musical humour arises when composers play with established conventions of musical discourse by writing something incongruous according to the stylistic context.
Chapter 1 demonstrates how historical critics understood the role of contrast in examples of musical humour and wit. It then surveys many recent music-theoretical discussions of musical humour, before briefly introducing how elements of contrast, “valence shifts,” and “opposition” are involved in musical humour from the Classical period. This study’s analytical and theoretical approach to musical humour draws on recent studies of musical humour, form, and communication in the Classical style, as well as concepts from recent linguistic theories of humour.   
Chapter 2 introduces the two primary strategies Classical instrumental composers employed to create musical humour: “opposition” and “excess.” Chapters 3 and 4 discuss a wide range of musical examples to explore how composers deployed formal functions and musical topics to produce humour. These discussions provide a sense of the wide range of effects that fall under the umbrellas of opposition and excess.
Chapter 5 concludes by briefly examining some performance applications of this study and suggesting some further potential sources of musical humour.

From the Romantic era onwards music has been seen as the most quintessentially temporal art, possessing a unique capacity to invoke the human experience of time.  Through its play of themes and recurrence of events music has the ability to stylise in multiple ways our temporal relation to the world, with far-reaching implications for modern conceptions of memory, subjectivity, personal and collective identity, and history.  Time, as philosophers, scientists and writers have found throughout history, is notoriously hard to define.  Yet music, seemingly bound up so intimately with the nature of time, might well be understood as disclosing aspects of human temporality unavailable to other modes of inquiry, and accordingly was frequently granted a privileged position in nineteenth-century thought.  For if this age understood time, it was through a melody.
  This book examines the multiple ways in which music may provide insight into the problematics of human time.  Whether in the purported timelessness of Beethoven’s late works or the nostalgic impulses of Schubert’s music, in the use of music by philosophers as a means to explicate the aporias of temporal existence or as medium suggestive of the varying possible structures of time, as a reflection of a particular culture’s sense of historical progress or the expression of the intangible spirit behind the course of human history, each of the book’s chapters explores a specific theme in the philosophy of time as expressed through music.  They chart the development across the course of the nineteenth century of music’s capacity to convey the manifold nuances of time, revealing how music would finally become seen as the ideal instantiation of time and human existence itself.  At once historical, analytical, critical, and ultimately hermeneutic, it provides both fresh insight into many familiar nineteenth-century pieces and a rich theoretical basis for future research.

"Two works (Treber, Denton 2010; Luong, Montreal 2012) have recently reconsidered the collection of papers about opus 90 by Schenker and Elias housed in the Ernst Oster Collection, New York.
Vivian Luong examines the question of Schenker's concepts of performance and analysis, using Agawu's and Smith's definitions of ambiguity and incorporating revisionist Schenkerian theories of multiple analytical and performance interpretation. Her research on Schenker ́s conflicting graphs and annotated scores outlines two critical passages: the exposition ́s transition and the development ́s end. The ambiguity of the placement of the subordinate theme (mm. 45 or 55?) in Schenker's graphs is supported by a consideration of Caplin's formal functions.
On the other hand, Luong's explanation of the transition ignores the Eb (mm. 37-38) in the enharmonic reinterpretation of Bb (mm. 37-44) and underestimates the „few textural changes“ in the recapitulation. Why does the transition begin at the distance of a third (mm. 24/167) and land at the distance of a fifth (mm. 45/188)? I will insert my analysis (Hamburg 2012) here, integrating tools of historical and systematical German-speaking theory, and then compare my results for the first movement with Schenker's ambiguity among “apparent tripartite organization” and “underlying two-part interrupted structure”.
Stefan L. Treber embeds his Schenkerian analysis in a biographical-historical frame: according to Schindler/Krones, a program could explain the two-movement-structure of opus 90. My approach renounces to any non-musical references but the category of Historicism in art applied to Beethoven's harmonics. It extends the definition of enharmonischer Wendepunkt (Besseler 1955, Bahr 2005), reflects on funktionale Mehrdeutigkeit (s. Holtmeier 2011) and opens to a multi-level interpretation of subthematics:
1) Single ton: Distinctiveness principle, autonomous and integrated tone, signum (Hohlfeld) 2) Several tones: Tonfolge (“ton succession”), model(s), paradigm
3) Abstraction: Formel (Dahlhaus/Hohlfeld?), Vehikel (Sprick 2011).
This path conducts to a coherent large-form including both movements of the sonata."

In this anniversary year, many orchestras saturate their seasons with Beethoven's complete symphonies. The University of Kansas' 2020 Beethoven Cycle, by contrast, features two "unheard" symphonies of Beethoven, each comprising four movements in the classical format, with one movement selected from each of the first eight symphonies. This article discusses the surprising cohesiveness and organicity of the two "new" works and shows that they recreate sensibilities of the early nineteenth century. By embracing the flexible performance expectations of Beethoven's contemporaries, our symphonic experiment offers an alternative to encyclopedic presentations of museum "masterpieces," which largely resulted from Romantic and modernist aesthetics.

Charged with the task of confirming the new key in the exposition and resolving to the home key in the recapitulation, the second theme group performs perhaps the defining actions of any sonata form. Although Classical works provide many instances of a clear beginning to this crucial part of the form, in a significant proportion of works the beginning of the second theme (ST) cannot be so easily discerned, especially in works from Beethoven’s middle and late periods. Consequently, debate continues to surround the issue, particularly in the work of James Hepokoski and Warren Darcy and that of William E. Caplin. The problem is that no matter how powerful a single rule may be, no rule by itself can identify all those locations which may be considered an ST beginning. For this reason I contend that there are several indications which contribute to its expression. One may therefore understand the initial ST of a movement to be a synthesis of musical signals which, taken together, allow a passage to be perceived as the first syntactically complete set of formal functions (at the very least, a beginning and end) which centres on the secondary key of the movement. Not all signals appear with every initial ST, nor are they necessarily in their clearest state when they do appear: an ST may still be expressed when some of the most familiar signals are considerably weakened or even absent. Consequently, STs have many possible degrees of expression, obviating the need to decide between all-or-nothing levels of expression in cases that seem to hover somewhere between the two. Moreover, this spectrum of possibilities allows us to understand how STs, and sometimes entire ST groups, may be engaged in a dynamic process which seeks to compensate for weaknesses in the ST’s expression, a phenomenon I call an ST process.

Despite the ubiquity of sentence form in the classical repertoire, its great importance remains underappreciated in music scholarship. In this article, I widen the form’s definition by re-examining William E. Caplin’s three components of presentation, continuation, and cadential, and by offering a more flexible definition that minimally consists of a single basic idea and a continuation. This broad outline, which I call the sentential idea, is intended to emphasize the similarity of all such structures and to demonstrate that a sentence need not occur as a Schoenbergian theme, but may assume virtually any formal function within a movement.

This Part 2 describes the various structures of melodies as more complex versions of the metrical structures discussed in Part 1. In this way, the metrical structure and the grouping structure will be integrated into one theoretical entity.

In Chapter 5, the various structure of phrases will be understood as roughly being metrical unit. By returning to the metrical structure for analysis, the various irregular structures are clearly understood as the result of a kind of compositional technique.

In Chapter 6, the details of various phrases will be understood as a combination of metrical structures, as a complication of metrical structures. The way to create such combinations is through syncopation.

Preface: Toward the end of the eighteenth century, such great minds as Mozart and Beethoven entertained the notion that string trios might someday rival or eclipse string quartets. The quartet had grown from being mainly fluff to a vehicle for immortal masterpieces in only 15 years, and the string trio offers advantages in the chamber music virtues of frugality, simplicity, transparency, and equality. (In a violin, viola, cello trio, no one is a "second" anything, and the viola is an important melody instrument.) But few string trios were written in the nineteenth century, and these mostly at the lighter end of the classical music spectrum or in the antique style. Some older reference books give the impression that the form is well suited to children and amateurs, but for professionals, the repertoire is very small. That would tend to discourage artists from exploring the literature, and a shortage of expert players would, in turn, deter composers from writing new trios. Meanwhile, the string quartet has become the most evolved and perhaps the most subtle and profound of art forms. String quartet audiences have risen over the years, and major composers commonly write several string quartets each and list them among their "important works." Talented and well-trained performers are arriving in the U.S. from Eastern and Central Europe and East Asia in great numbers, and the annual output of American conservatories is immense and seems equal to any technical challenge. For performers, regrettably, the supply has grown faster than the demand, but for audiences, this surely is the golden age of string quartets. Why did trios languish? Evidently, it was difficult to write nineteenth-century Romantic music for only three voices. The tradition of four-voiced chords has been strong in western music for 500 years, and it takes more than usual skill to achieve tonal complexity with just three voices. The gorgeous chords and dramatic modulations which sustained Romanticism were too taxing for most composers and performers of string trios, and grandiosity and bombast are more easily achieved by other means. But things have changed: During the twentieth century, we became more accepting of linear, less chordal textures, and music with no tonality at all. We may have a fuller appreciation now of the Age of Enlightenment and its clarity and restraint. For the forward-looking, the timbral possibilities of the contrabass and electric instruments are intriguing. Less is more, small is beautiful, to put a large ensemble on an airplane is an extravagance in hard times, and the string trio is poised for a resurgence. The advent of the internet and digital data formats have created niche marketing opportunities even as the traditional publishers of records and sheet music have fallen prey to the mass-market orientation of the giant entertainment conglomerates. Perhaps Mozart and Beethoven were onto something after all. I hope that this compendium will demonstrate that the string trio literature is large, growing rapidly, and in interesting directions. A review of where we have been may be helpful in deciding where to go next.

Im Zentrum der Studie steht die Verwendung des Chorals protestantischer Provenienz als kompositorisches Idiom in der Symphonik des 19. Jahrhunderts mit besonderer Berücksichtigung der Finalgestaltung. Anhand der "Reformationssymphonie" von Felix Mendelssohn Bartholdy und der Religions- und Kulturpolitik in Preussen in der ersten Hälfte des 19. Jahrhunderts werden einige Eigentümlichkeiten in der noch ungeschriebenen Geschichte des symphonischen Chorals beleuchtet. Jene schlichten Melodien, unisono oder im Kantionalsatz, erhalten als musikalisches Erbe der Reformation im 19. Jahrhundert eine fundamentale Bedeutung für die Musik auch außerhalb des Kirchenraums. Vor dem Hintergrund der gleichzeitigen ästhetischen Erhöhung der Instrumentalmusik am Ende des Jahrhunderts markieren die strukturellen Eigenheiten in der Faktur des Chorals als distinktes kompositorisches Idiom somit auch den Übergang vom Liturgischen und Geistlichen hin zum Charakteristischen und Programmatischen.

The study focuses on the use of the chorale of Protestant provenance as a compositional idiom in 19th century symphonic music, with special attention to the design of finale. With reference to the "Reformation Symphony" by Felix Mendelssohn Bartholdy and the religious and cultural politics in Prussia in the first half of the 19th century, some peculiarities in the still unwritten history of the symphonic chorale are illuminated. Those simple melodies, in unison or four-part setting, are given fundamental importance for music outside the church as well, as a musical legacy of the Reformation in the 19th century. Against the background of the simultaneous aesthetic elevation of instrumental music at the end of the century, the  peculiarities in the structure of the chorale as a distinct compositional style thus also mark the transition from the liturgical and sacred to the characteristic and programmatic idiom.

In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity.

Somewhat counter-intuitively, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights.

The book's theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates over relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.

“The classics are back. Naomi Waltham-Smith lifts the critical analysis of style to the next level with the freshest and most radical reimagining of the classical masters we have seen in a long time. In prose of fire and fervor, Waltham-Smith puts Haydn, Mozart, and Beethoven in the ring with Badiou, Agamben, and Nancy and raises the stakes in what it means for music to be human. A performance of dazzling intellectual virtuosity.”—Michael Spitzer, University of Liverpool

“Do not enter these pages expecting to find the Viennese Classical Style of your peers. Brace yourself instead for a complete repurposing of every element of that style and of almost everything that has been said about it.  Nothing is lost on Naomi Waltham-Smith, and it is exhilarating to watch her wrest this music from its perceived foundations and urge it into the teeming vortex of her critical imaginary.”—Scott Burnham, Graduate Center, City University of New York

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Scholars have addressed the tendency of U.S. symphony orchestras to perform the works of relatively few composers. While many highlight this phenomenon, others note that the nature and extent of this conformity can shift over time, as reliance on the works of certain composers decreases and allows the works of newly heralded composers to be heard. Drawing on the work of DiMaggio and others, we derive hypotheses about field-level factors influencing both phenomena. We analyze more than 86,500 performances given by twenty-seven major U.S. symphony orchestras between 1842 and 1969. Our findings indicate that three factors spur the introduction of new composers into orchestral repertoires: the increased performance capabilities of symphony orchestras, the expanded resources for new music, and the proliferation of music programs among U.S. colleges and universities. We also find that one of these factors reduces the conformity of orchestral repertoires: the increased performance capabilities of orchestras. Our exploratory analyses, then, offer lessons about the organization of the musical canon.

Ludwig van Beethoven's Sonatas for Piano and Violoncello have been somewhat neglected in terms of published study. The early sonatas have received far less attention than they deserve, a deficiency often attributed to the portrayal of Beethoven's early compositions as "forerunners of later greatness". Chapter one provides a background to the development of the cello, the origins of Beethoven's piano and cello sonatas, and a general discussion of the composer's stylistic periods. The sonatas are then examined; specifically, the combination of the piano and the cello, and the form and structure of the pieces.

Il mito di Beethoven prende corpo negli ambienti in cui Biagio Marin visse e si formò, fra Gorizia, Trieste, Firenze e Vienna nei primi decenni del Novecento, finendo per costituire un importante elemento d’ispirazione della sua stessa opera poetica.

A precis of the book, The Hallelujah Effect, with an overview of its three sections.

Or the problem with publications...  accepted for one journal, too long, remanded to the proceedings where length is no trouble.  Postprint from this occasion.  Anticipate truncation.

Shortly after Beethoven’s death, several of his closest associates provided performance indications for editions of his works. Previous discussions of Carl Czerny’s and Ignaz Moscheles’s metronome marks for Beethoven’s piano sonatas have highlighted the importance of these indications for our understanding of the intended performance practice of these works. Nevertheless, the provenance and meaning of these metronome marks have remained unclear, which has led to some confusion in the literature.

By presenting new evidence, including the discovery of what are most likely the metronome marks intended for the missing sonatas from the first ‘complete’ edition by Tobias Haslinger, the article presents a more complete overview of the indications in these editions, as well as their chronology. In addition, it also discusses to what degree the editors seem to have influenced each other, which indications are most likely representative of Beethoven’s intended speeds, as well as why the metronome fell out of favour later in the nineteenth century. Finally, it discusses the meaning of these metronome marks for modern performers, and how these editions give options to disentangle the author from the text.

Aproximación al Romanticismo musical en Los pasos perdidos. Este artículo analiza la relación entre el argumento de la novela y las referencias musicales románticas, específicamente a través de los compositores Donizetti y Beethoven. La idea de poeta romántico que expuso Schiller se revela en Carpentier tanto en el poeta ingenuo como en el sentimental.


Abstract Approach to the musical Romanticism in Los pasos perdidos. This work analyzes the relationship of the plot of the novel and the romantic musical references, specifically through the composers Donizetti and Beethoven. The idea of the romantic poet explained by Schiller is revealed in Carpentier both in the naïve and the sentimental poet.

This paper compares and contrasts two symphonies from two different periods.
The first symphony I picked is ‘Symphony No. 25 in G minor’ by Wolfgang Amadeus Mozart, and he composed this piece in 1773.
The second symphony I picked is ‘Symphony No. 8 in F major’ by Ludwig van Beethoven. He composed this symphony in 1812.
This paper summarizes some general analysis for two symphonies and provides a detailed analysis on how Mozart and Beethoven apply the sonata-allegro form on their first movements. Besides, this paper will discuss the related social setting of two symphonies, and how those social factors affect their musical technique.

This article aims to shed light on the complex relationship between music analysis and performance practice, taking hypermetric analysis, in particular hypermetric ambiguity, as a case in point. In many studies dealing with metre above the bar level, one encounters a prescriptive approach to performance where analytical insights are considered to determine the range of possibilities for the musician. Even in cases of hypermetric ambiguity, analysts tend to advise the musician to decide in favour of one preferred analytical reading and, thus, to resolve ambiguity. The present essay is organized into three parts: based on an essentially cognitive theory of metre presented in part one, the second part examines hypermetric ambiguity in the final movement of Beethoven's »Tempest Sonata« op. 31,2. Conflicting readings of this movement and hence ambiguity largely result from fundamental differences regarding both the underlying theoretical notion of metrical accent and the importance ascribed to various factors for metric analysis. Part three deals with various problems that go hand in hand with the prescriptive approach to performance. It is argued that analytical suggestions about how to perform a composition adequately are of relatively little value, so long as it remains unclear what a metric accent is and to what extent a metrical structure can be influenced by other types of accents (e.g., dynamic, agogic or tonal). A further difficulty is that analysts either rarely specify the means for realizing a proposed analytical reading or simply advise the performer that certain points in time should be played louder in order to make them heard as metrically accented, thus suggesting that dynamic accents automatically coincide with metrical ones.

Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. As author Mark Ferraguto argues, understanding this music depends on appreciating the relationships that it both creates and reflects. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies. More: https://global.oup.com/academic/product/beethoven-1806-9780190947187?q=Beethoven&lang=en&cc=us#

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially.
James Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels.
Burgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually.
In this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.""

Статья посвящена переходу от классического понимания музыки как структурированного «языка чувств» к субъективному
пониманию музыкальной выразительности. Рудименты барочной традиции (в том числе tempi ordinari) перестали воспри-
ниматься музыкантами 1820-х гг. Для Бетховена, как композитора переходной эпохи, слова, фиксирующие темп, характер и
образность музыки, всегда были важны, но в произведениях позднего периода они составляют самостоятельный смысловой
слой. Иногда авторские обозначения настолько многослойны и внутренне противоречивы, что их точное воспроизведение
вряд ли возможно в реальности. Выражаемое переносится в сферу невыразимого — воображаемых виртуальных звучаний.
--
The article is devoted to the transition from the classical understanding of music as a structured «language of feelings» to the subjective
understanding of musical expressiveness. The rudiments of the Baroque tradition (including the tempi ordinari) were no longer
perceived by the musicians of the 1820s. For Beethoven, as a composer of the transition era, words that fix the tempo, character and
imagery of music were always important, but in the works of the later period they form an independent semantic layer. Sometimes
the author's designations are so multi-layered and internally contradictory that their exact reproduction is hardly possible in reality.
The expressed is transferred to the sphere of the inexpressible, to the sphere of imaginary virtual sounds.

With this study the author «opened up a previously locked door of Beethoven research» (Martin Geck). The book presents conclusive answers to questions that had occupied critics for more than a century. It makes clear what exactly Beethoven and his contemporaries meant by the term «heroic». It proves that the «heroic-allegorical ballet» The Creatures of Prometheus is a key work for an understanding of the Eroica, and shows
that Beethoven associated the First Consul of the French Republic, Napoleon Bonaparte, with the mythical figure of the Titan Prometheus. The book draws on interdisciplinary researches in the areas of Greek Mythology, Napoleonic History and Comparative Literature.

A pedido de vários colegas envio mais um tema "clássico": Ode to Joy também conhecido por Hino da Alegria.
Escolhi uma obra que é muito conhecida e que pode ser tocada e/ou cantada facilmente por alunos iniciantes.
À semelhança de outros temas fiz pequenas alterações tanto a nível rítmico como melódico para facilitar a sua execução.
Desci um tom relativamente ao original (de Ré para Dó) para evitar notas acidentadas.
Faço algumas sugestões ao longo do vídeo relativamente aos executantes tendo em conta a dinâmica do tema.
Este pequeno excerto da Obra 9ª Sinfonia pode ser um pretexto para falar em assuntos como: música clássica; História da música e os seus grandes compositores; dinâmica (forte, piano, etc); mudança de andamento, etc...

The article reviews the evidence relating to Bellini’s knowledge of Viennese classical music, from
the years of his training to his last stay in Paris. The material examined includes documents that are already
known and others that are little or not known. Among these, the transcription, made in Naples around 1824,
of a piece from Mozart’s cantata Davide pentito, and the fragments of Mozart’s and Beethoven’s sonatas found
in the Bellini’s working papers (‘studi giornalieri’) used in Paris in 1834-35. A further piece sheds possible
new light on the relationship between Bellini and Chopin. In light of the facts examined, the article concludes
that the stay in Paris was an opportunity for Bellini to enrich a path of knowledge characterized by constant
curiosity towards new experiences.