Theme and Variations form based on - PowerPoint Presentation

Slide1

Theme and Variations form based on

two

themes instead of one

very complex and lacks the clearly sectionalized variations found in Schubert and Mozart

Beethoven’s variations

are much looser and integrated into a more continuously structured movement

Watch the

youtube

graphic score and describe the musical features of Theme 1 and 2Slide2

Very lyrical

Quiet and reflective

Lots of dotted rhythms

Played be violas and cellos accompanied by pizzicato basses, woodwinds continue the theme

Soft

Theme 1

Theme

1 (0.00)Slide3

Even more rhythmic

Clarinet and Bassoon present the theme accompanied by a triplet theme in the violas

Becomes triumphant and majestic played by the trumpets, horns and full orchestra in the key of C major (1.42)

Theme

2

Theme

2 (1.17) Slide4

What changes and contrast does Beethoven use in his first variation?

Variation 1 (2:35)Slide5

What changes and contrast does Beethoven use in his first variation?

Theme 1 –

Faster notes again-quadruplet rhythmic patternForm is freer and longer

Variation 1Slide6

What changes and contrast does Beethoven use in his second variation?

Variation 2 (4:59)Slide7

What changes and contrast does Beethoven use in his first variation?

Theme 1 –

Faster notes Smoothing out previously dotted notes

Other strings and winds accompany and join in variation process

First violins have a section by themselves and then Cellos and Basses play a very extroverted version of the theme (now not soft for the first time) (5:48)

Theme 2 – Violas now have quadruple pattern

Variation 2 (4:59)Slide8

Played by the woodwinds – up till now it was played by the strings only so they finally get a turn to play by themselves

Supported by the strings

Key change to a minor

Variation 3 (8.19)Slide9

Variation 4 (10:14)

Solo Bassoon

CODA/Variation 5 (11:23)

Mysterious with the woodwinds playing very softly

Built up over repeated tonic chords

Ending

strong and positive in typical Beethoven style

Variations 4 & 5Slide10

Movements III and IV

What would be the typical

structure of the III movement in a symphony by Mozart or Haydn?Why was the trio in a symphony called a trio? What did Beethoven do that was unusual in the III movement?

Describe how the theme from the scherzo links back to the original motif?

What would typically happen in the Trio section

What does the musical term

fugato mean? How does Beethoven use the fugato in his trio section?Give examples of how Beethoven break the rules established by Mozart

and Haydn during the repeat of the A sectionWhat makes the transition between Movements III and IV one of the ‘most remarkable moments in music’?

How does Beethoven move from darkness to light?

How does Beethoven extend the last movement?Slide11
Slide12

KEY DIFFERENCES

between Mozart & Haydn v Beethoven

Obvious differences arethe size and nature of the orchestrasexpansion

of dynamic

range

the

much greater lengththe transformation of the third movement into a much faster Scherzo (together with its change of scoring detail, e.g. pizzicato, in its repeat) its extensive link and lack of break before the 4th movement. The opening of the last movement of the Beethoven Symphony, following the long build-up, offers a striking example of the effect which a minor/major contrast can make.

the first movement, in particular, offers early opportunities to hear a new approach, e.g. it does not open with a theme expressed in clearly-balanced 4 + 4-bar phrases – the stop-start pauses signal a more ‘motivic’ technique; two unison horns at bar 59 are given a prominent thematic role.

Beethoven’s modulations range far more widely (for effect in their own right, but also to sustain the greater length of the movements).Slide13

There are strong underlying similarities of structure: the number and nature of movements, the use of Sonata Form,

Menuet (Scherzo) and Trio and repeats. Both second movements use variations (though Beethoven’s are much looser and integrated into a more continuously structured movement). The harmonic language, in terms of tonic/dominant and use of cadences is there, but Beethoven’s modulations range far more widely (for effect in their own right, but also to sustain the greater length of the movements). The famous repeated perfect cadences at the end of Beethoven’s last movement might well be compared

with some of Mozart’s repetitions – not as many, but emphatic and, judged in accordance with overall proportions, similar in their intentions of confirming finality.

KEY DIFFERENCES

between Mozart & Haydn v BeethovenSlide14

Useful Sites

http://www.npr.org/templates/story/story.php?storyId=

5473894http://legacy.earlham.edu/~tobeyfo/musictheory/Book1/FFH1_CH7/7C_Beethoven5.html

https://en.wikipedia.org/wiki/Symphony_No._5_(

Beethoven

)