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Beethoven: The Heroic Period

Beethoven: The Heroic Period.

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Beethoven: The Heroic Period

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  1. Beethoven:The Heroic Period

  2. [across the top]Nb: 1 Cues for the other instruments are to be written into the first violin partSinfonia GrandeIntitulata Bonaparte[1]804 im Augustdel Sigr.Louis van BeethovenGeschriebenauf BonaparteSinfonia 3 Op. 55[at the bottom]Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario

  3. [across the top]Nb: 1 Cues for the other instruments are to be written into the first violin partSinfonia Grande [written by copyist]Intitulata Bonaparte [scratched out violently, made a hole] [1]804 im Augustdel Sigr. [written by copyist]Louis van Beethoven [written by copyist]Geschrieben [in pencil, in Beethoven’s own hand] auf Bonaparte [in pencil, in Beethoven’s own hand] Sinfonia 3 Op. 55[at the bottom]Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario

  4. Beethoven’s expansion of sonata formin the Third Symphony

  5. Opening two chordsDeceptively simple theme for four measures

  6. Repeat of opening theme, ffThree-note transition figure in woodwinds (oboe, clarinet, flute)

  7. Second theme, alternating between woodwinds and strings

  8. Extended crescendo, from pp to ff, coupled with increasing note values and expansion of range

  9. Rhythmic energy, typical of Beethoven’s “heroic” works

  10. New theme introduced in the development section

  11. Horn entrance at “wrong” time, creating unexpected dissonance, immediately before recapitulation

  12. “Apparent” ending of the movement, but then Beethoven slides down three notes to begin a greatly expanded coda, a “second development”

  13. The real end of the first movement

  14. Second movement: Marcia funebreC minor again—Beethoven’s “key of tragedy”

  15. Third movement: Scherzo, beginning

  16. Trio – begun by the horns

  17. Acceleration, drive to the end

  18. Finale [begins with prolonged dominant harmony]Introduction and theme

  19. Fugal treatment of theme. Counterpoint becomes important in Beethoven’s middle period, and even more so in his late works.

  20. Closing chords, similar to opening chords of first movement, and chords that end each of the movements.

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