History of Western Music (Music 330B)

Review Outline for Midterm No. 1 (Spring Semester 2009)

This is only an outline, and many details must be filled in from the textbooks and the anthology.

The format of the exam will consist of multiple choice, identifications, short questions, and three listening extracts with a question tied to one of them.

Note: NAWM=Norton Anthology of Western Music.

Here are the numbers from NAWM that you will need to know for the exam: nos. 93–96, 98, 100–103, 104a, 106–110 (that is, omitting nos. 97, 99, 104b–d, 105).

I. Europe in the Mid- to Late-Eighteenth Century.

A. International Musical Style (Vienna as an example):

1. Imperial poet: Pietro Metastasio (Italian).

2. Composers included Johann Adolf Hasse and Christoph Willibald Gluck (German).

3. Manager of the Court theaters: Count Giacomo Durazzo (Italian).

4. "opÈra comique" also very popular (French).

B. Public Concerts.

1. decline of private patronage (princes and the church)

2. changed the way musicians earned their income

C. Publishing.

1. exceptional prior to 1750

2. part of a musician's income by the end of the century

3. increasing market for amateur musicians

4. also part of the expanding economy, growing middle class, and increased leisure time

D. Musical Taste and Style.

1. move away from contrapuntal complexity

2. preference for a vocally conceived melody in short phrases over a spare accompaniment

3. music should be universal (not national) and immediately pleasing ("natural")

E. Terms for styles.

1. "galant" style

2. "empfindsam" style (German for "sentimental style")

3. "Classic" period — term for this style from 1730 to 1815

F. Musical Characteristics.

1. Melody:

a. new style features periodic phrasing — musical ideas are articulated through distinct phrases

b. key component to these phrases is that they work as "antecedent" and "consequent" (question and answer) phrases

c. cadence points become more pronounced and more frequent

2. Harmony:

a. Harmonic change (periodicity) slows down

b. to compensate there is more surface activity

3. Form: "Each segment of music was immediately recognizable as a beginning, middle, or ending gesture." (484)

4. Greater contrasts.

a. "Baroque composers sought to convey a single mood."

b. Instead of one motive spun out, there are several melodies that, within the same piece, contrast with each other, even within the same melody.

II. Reform trends in Italian opera ca. 1700.

A. Two important figures: Apostolo Zeno (1668–1750) and Pietro Metastasio (1698–1782).

1. Motivation came from a new generation of poets.

2. Inspiration: back to the Greeks, especially Aristotle.

3. One reform was to purge the comic element, thus effectively creating the genre of "opera seria."

4. Two consequences:

a. the creation of a companion genre, "opera buffa"

b. the use of the "intermezzo": in the 18th century this refers to a comic piece that was performed between the acts of an "opera seria"

B. Basic form: "aria da capo" (ritornello form) — stays the same.

III. Italian Comic Opera ("opera buffa").

A. "Opera buffa" is a self-contained genre, by 1709.

1. Full-length opera with six or seven principals. No use of castrato, less scenery, no chorus.

2. Unlike stylized emotions uttered by historical figures in opera seria, these were characters the audience could identify with.

3. Characters based on "commedia dell'arte."

B. Intermezzo.

1. The first Intermezzos show up in Naples by 1720.

2. "Intermezzo": something that goes between something else — here a work to be performed between acts of an opera seria.

3. Typical form: usually 2 or 3 characters, old (lecherous) man vs. young (sharp) woman (as in "commedia dell'arte").

4. Plots self-contained — does not lead to a crisis that must be resolved in the next Intermezzo.

5. As in opera seria, a series of recitative and arias, but also with a duet at the end.

C. Giovanni Battista Pergolesi (1710–36).

1. "La serva padrona" was an intermezzo written by Pergolesi for his own opera seria, "Il prigionier superbo" ("The Prideful Prisoner"), both works first performed 5 September 1733.

2. Characters.

a. The story of a serving girl (Serpina, "little serpent") who outsmarts a wealthy old man into marrying her (Uberto).

b. Characters have their roots in the "commedia dell'arte": the scheming servant and the greedy old merchant.

c. Also a mute role, Vespone ("large wasp").

3. Intermezzo II.

a. Serpina in league with Vespone scheme to trick Uberto into marrying her.

b. She announces that she has found a suitor, and that he will miss her when she is gone (her aria).

c. In the recitative that follows, Uberto, left alone, wonders if he might be attracted to her after all (recitative).

d. Aria: Uberto is confused over his newfound feelings.

e. Ultimately he proposes, and final duet is about their pending happiness.

4. "Son imbrogliato io gi‡" (NAWM 93).

IV. Opera seria.

A. Apostolo Zeno (1668–1750).

1. Reforms:

a. takes comic elements out of serious opera

b. convention of exit aria

c. emphasis on historical subjects

2. Served Charles VI in Vienna as Imperial Poet from 1718–29.

B. Pietro Metastasio (1698–1782).

1. He took Zeno's reforms and polished them.

2. Although he wrote only 28 texts, they were set again and again

a. about half of them more than 30 times ("Artaserse" more than 80 times)

b. not word for word; a composer might have another poet modify the text.

3. Two-stanza aria texts set the standard.

4. In 1729 Metastasio replaced Zeno as Imperial Poet to Charles VI in Vienna.

5. Enlightenment ideals: "to promote morality through entertainment and to present models of merciful and enlightened rulers" (490)

C. Johann Adolf Hasse (1699–1783).

1. One of the most successful composers of Italian opera.

2. "Cleofide" (premiered 13 September 1731) — based on Metastasio text, although about half the aria texts are not by Metastasio.

3. "Digli ch'io son fedele" (NAWM 94).

4. Faustina Bordoni (1700–1781) — soprano.

V. Opera in Other Languages.

A. OpÈra comique.

1. Tended to use simple popular tunes ("vaudevilles").

2. Spoken dialogue between the songs.

3. By the end of the century, serious plots based on social issues — especially after the French Revolution ("rescue operas").

B. "Querelle des bouffons" ("War of the Comic Actors," 1752–54).

1. The performance of "La serva padrona" by a traveling Italian troupe in 1752 began a French craze for Italian opera.

2. It provoked a response from partisans of French opera and a counter-response from those who thought Italian opera superior.

3. This led to a war of words in the French newspapers and various pamphlets.

4. Jean-Jacques Rousseau (1712–1778), better known as a philosopher, sided with the Italian..

5. At this time, Rousseau tried his hand at a French opera along the lines of the principals of Italian opera.

a. "Le devin du village" (1752).

b. Modeled on the style of the Italian "intermezzo."

C. Ballad Opera.

1. Very popular in London for about ten years

2. Begins with "The Beggar's Opera" (1728)

a. text by John Gay (1685–1732)

b. music arranged by Johann Christoph Pepusch (1667–1752)

c. premiere 29 January 1728, ran for 61 performances

3. Characteristics:

a. Usually comic or satirical.

b. The "airs" use popular songs set with new words appropriate to the action.

c. The story moves forward with spoken dialogue.

d. The plots invariably concern low-lifes.

e. Could also parody "opera seria" conventions.

4. Enthusiasm waned by mid 1730s, although a German translation of one them led to the establishment of Singspiel (1747).

5. NAWM 95.

D. Singspiel.

1. Essentially the German counterpart to "opÈra comique."

2. Simple tunes with spoken dialogue between them.

3. The form became more sophisticated toward the end of the century — Mozart wrote several works, including "The Magic Flute" (1791).

VI. Gluck and Reform Opera.

A. The need for reform.

1. Francesco Algarotti (1712–64) — "Essay on Opera."

2. Giacomo Durazzo (1717–94) — director of the theater in Vienna.

3. Raniero de Calzabigi (1714–95) — librettist.

4. Christoph Willibald Gluck (1714–1787) — composer.

B. Orfeo ed Euridice (1762).

1. First collaboration of Calzabigi and Gluck.

2. Gluck gave Calzabigi much of the credit for the reforms.

3. These reforms are spelled out in the Preface to the published score of their next collaboration, "Alceste" (premiered 1767, published 1769).

a. no superfluous ornaments

b. no "da capo" arias

c. overture anticipates the drama

d. less distinction between aria and recitative

4. Also: use of chorus and ballet.

5. NAWM 96 (Act II, beginning).

6. Gluck went to Paris in 1773 and writes operas for the French.

VII. Song and Church Music. [NOT COVERED.]

VIII. Instruments and Ensembles.

A. Rise of Instrumental Music.

1. New musical style in opera was adapted for instrumental works.

2. Instrumental music becomes more independent and gains prominence.

B. Role of Instrumental Music.

1. With the increase of the middle class, there were more talented amateurs who wanted music to play.

2. The newly-invented piano becomes the preferred keyboard instrument by the end of the century.

3. Music composed for melody instrument and keyboard.

4. Ensembles of three to five instruments, from which the string quartet becomes dominant.

C. The Orchestra.

1. Typically strings with winds and brass "ad libitum."

2. Smaller size: Haydn's orchestra was 20–25.

3. Size and instrumentation becomes standardized towards the end of the century.

D. Keyboard instruments.

1. Harpsichord.

2. Clavichord.

3. Piano.

IX. Domenico Scarlatti (1685–1757).

A. Most important accomplishment: some 555 surviving keyboard sonatas, probably written as part of his service to Maria Barbara (daughter of King John V, King of Portugal).

B. Only thirty were published during his life, his "Essercizi per Gravicembalo" (1738).

C. Form for many of the sonatas is rounded binary, but the structure is larger and new keys are established and dwelt on.

D. Sonata in D Major, K. 119 — NAWM 98.

X. Carl Philipp Emanuel Bach (1714–1788).

A. Most famous and prolific of the sons of J. S. Bach.

1. In 1738 he was invited to join the royal court of the future Frederick II of Prussia.

2. When Telemann died in 1767, Bach applied for his position in Hamburg and took it up in 1768.

3. Died 14 December 1788.

B. Best known for instrumental music, orchestral and keyboard.

1. Style: abrupt changes of mood, so well suited to the clavichord.

2. "Empfindsam style": sentimental style, intimate, subjective kind of music.

3. Among later works, his collections of keyboard music for "Kenner und Liebhaber" (connoisseurs and amateurs). — sonatas, rondos, free fantasias. Six collections (1779–1787).

C. "Essay on the True Art of Playing Keyboard Instruments" (1753).

1. Very influential book.

2. Guide to mid-18th century performance practice.

XI. Giovanni Battista Sammartini (ca. 1700–1775).

A. Italian composer, resident in Milan.

1. Very esteemed during his life and wrote many dramatic works, also liturgical works.

2. Best known today for his instrumental music.

3. Prolific, about 450 works, of which (unusual for the time) there are 77 symphonies and 200 ensemble sonatas.

4. Very popular and therefore influential.

5. Met and influenced J. C. Bach (1754–62), Luigi Boccherini (1765), and even Mozart (1770).

B. From his earliest symphonies, the music is established as an independent genre (i.e., not the overture to an opera).

1. Three style periods.

a. Early (1724–39): hybrid, Baroque and Classical

b. Middle (1740–58): early classical

c. Late (1759–74): later classical idiom.

2. Symphony No. 32 in F Major (J-C 36) — NAWM 100 (first movement).

XII. Johann Stamitz (1717–1757).

A. Mannheim School.

1. Begins with Elector Carl Theodor (1742–99).

2. Already an orchestra, but he enlarged it.

B. Stamitz was in Mannheim by 1742.

1. First violinist by 1743.

2. By 1746, Konzertmeister and highest paid musician.

3. 1754–5 on leave in Paris.

4. Died 1757 (cause unknown).

5. 58 symphonies, 10 orchestra trios, with chamber music.

C. Style of these symphonies derived from Italian symphonies (Sammartini among others).

1. Basic characteristics:

a. melodic style

b. crescendo (Mannheim roller, not "steamroller")

c. thematic differentiation

d. treatment of winds

2. Mannheimers went beyond in terms of polish.

3. Also: added Minuet and added weight to final movement.

4. Symphony in E-flat Major, Op. 11, no. 3 ("La melodia germanica"), published after death, composed mid 50s (NAWM 101 — first movement).

XIII. Johann Christian Bach (1735–82). Known to his contemporaries as the "London" Bach.

A. Studied with his father, then C. P. E. Bach.

1. In Italy by 1754, where he wrote operas.

2. In London by 1762, where he remained for the rest of his life, writing operas and instrumental music.

3. Befriended the young Mozart when he was in London as a child prodigy (1764–5), and Mozart absorbed many aspects of his style.

B. Exemplifies the "style galant" in melodic style as well as form.

1. Concerto in E-flat Major, Op. 7, no. 5 (published 1770) — NAWM 102 (first movement).

2. Typical three-movement form (as in the Baroque): fast — slow — fast.

3. Structure is a combination of ritornello form and sonata form.

XIV. Joseph Haydn (1732–1809).

A. Early Years.

1. In Vienna by April or May 1740, where he stayed for the next 20 years.

2. By 1753 accompanist and valet to Nicola Porpora (1686–1768).

3. C. P. E. Bach an important influence, both through his treatise and his keyboard works.

4. By 1755 he had contacted his own patrons, and by 1759 (or 1758) he was appointed music director to Count Morzin.

5. Remained with him until 1761 (or 1760), when he became Kapellmeister to Prince Esterh·zy.

B. Haydn and the Esterh·zys.

1. Appointment to the service of Prince Paul Anton Esterh·zy by May 1761 (date of contract; may have begun earlier).

2. Paul Anton died in 1762 and was succeeded by his brother Prince Nikolaus (1714–90).

3. Hired as Vice-Kapellmeister.

4. Took up residence in "Eszterh·za" and became Kapellmeister in 1766.

5. Essentially a glorified servant: must compose to order, could not give away or sell copies of his music, or compose for someone else without permission.

6. The baryton (the prince's instrument).

C. Haydn and the String Quartet.

1. Not required for Esterh·zy.

a. Before 1780 on commission, after 1780 for publication.

b. Many of his most important stylistic advances are found here.

2. Op. 33 (1781). Six quartets ("in a quite new special manner").

a. First quartets after a ten-year gap.

b. Equality throughout the ensemble, not dominated by first violin. Many contrapuntal devices.

c. Also approach to minuet movement, here called "scherzo" referring to character (term would later indicate a faster tempo.

d. Op. 33, no. 2 ("The Joke") — NAWM 103 (fourth movement).

D. Haydn and the Symphony.

1. Earliest symphonies written for Count Morzin.

a. three movements after Italian models

b. numbering of symphonies not necessarily chronological

c. chronological ordering can be difficulty to determine

2. Esterh·zy symphonies.

a. by 1760s, writing four-movement symphonies with minuet and trio

b. often with wind instruments

c. "Sturm und Drang" symphonies (1768–72) — emotional extremes, use of minor keys

3. Haydn had more flexibility during the 1780s, and a more public aspect of Haydn's life begins:

a. more works written for publication, especially string quartets (beginning with Op. 33)

b. more opportunities for travel (he met Mozart in Vienna in the mid 1780s)

c. invitations to compose symphonies

4. Two important commissions:

a. the "Paris" symphonies, nos. 82–87 (1785–86)

b. the "London " symphonies (1791–95)

5. Symphony No. 92, "Oxford" (NAWM 104).

a. Composed in 1789 along with nos. 90–91.

b. Played at the time when Haydn received an honorary doctorate in July 1791.

c. Approach to sonata form: Koch (pp. 510–13) and Kollman (see Weiss & Taruskin).

6. In 1790, the Prince died and his successor, Prince Anton, disbanded the orchestra and retained only Haydn and the concertmaster.

a. Johann Peter Salomon, German-born violinist, and concert manager, from London, showed up at Haydn's door in late 1790.

b. In London from 1 January 1791 to the end of June 1792 (Symphonies 93–98).

c. Also a second trip, February 1794 to August 1795 (Symphonies 99–104).

E. Haydn's Vocal Music.

1. New Prince, Nicholas II (1794), wanted to reestablish orchestra.

2. New obligations: one Mass every year (1797–1802) for the name day of the Princess (8 September). Six Masses.

3. Also two late oratorios.

a. The Creation (1798) and The Seasons (1801).

b. Inspired by Handel oratorios, first heard by Haydn during his first trip to England.

XV. Wolfgang Amadeus Mozart (1756–1791).

A. Child prodigy.

1. Born 27 January 1756 in Salzburg (Austria).

2. Leopold and Anna Maria had seven children, only two of which lived to maturity — the fourth, Maria Anna ("Nannerl"), and the seventh, Wolfgang.

3. His gifts were apparent early when he learned some of his sister's pieces at the age of four.

4. First pieces written out by his father.

5. First public appearance at Salzburg University in September 1761.

B. Tours.

1. His father used the opportunity to build up the family income but also to pave the way for a later court appointment — took him on tour when he was eight.

2. Grand tour: June 1763–November 1766, including nearly 15 months in England (J. C. Bach) and many points in-between.

3. Some other journeys, much shorter, also to Italy.

4. As a result, Mozart mastered all the prevailing styles at a young age and was writing masterly works in his teens.

C. New Archbishop: Colloredo, enthroned in 1772.

1. Did not allow Mozart as much freedom to travel as his predecessor.

2. Also coincided when he was no longer marketable as a prodigy.

3. Now a court musician; also did not like being treated as a servant.

4. A trip to Paris in 1777–79 did not result in a post.

5. Finally he was dismissed from his position in 1781, when the Archbishop was in Vienna with his entourage.

D. Mozart in Vienna.

1. Free-lance musician: taught lessons, composed on commission, gave concerts. Haydn never had to do this.

a. Piano Sonata in F Major, K. 332.

b. written for students, also for publication — this sonata was published as part of a set of three, Op. 6 (1784)

2. The "Haydn" Quartets.

a. Under the direct inspiration of Haydn's Op. 33, Mozart began a set of six quartets, completed in 1785.

b. Played in the presence of Haydn and Mozart's father (who was visiting).

3. For Mozart to give a concert in Vienna, he had to be his own impresario: selling tickets, contracting the musicians, conducting the rehearsal; composing and copying the music.

4. Mozart's most successful period was 1784–86, with a series of concerts featuring himself as soloist in newly written piano concertos — eleven concertos in three years.

a. Piano Concerto in A Major, K. 488 (2 March 1786) — NAWM 106 (first movement).

b. Aria form superimposed over sonata form, as in the J. C. Bach concerto.

E. Mozart and Opera.

1. Emperor Joseph II.

a. After a co-regency with his mother, reigned 1776–90 (death).

b. Established a German National Opera in 1778 (reforms from 1776), closed in 1783.

c. Mozart wrote his first opera for Vienna in German, "Die Entf¸hrung aus dem Serail" (1782).

d. Singspiel: spoken dialogue between numbers.

e. Preference for Italian Opera in Vienna and especially for "opera buffa" (personal preference of the Emperor).

r. Reestablished Italian opera troupe in 1783.

2. Mozart's next commission was for "Le nozze di Figaro" (1786).

a. Written with Lorenzo da Ponte (1749–1838), court poet and one of the most skilled of the day.

b. Only nine performances in Vienna, but a tremendous success in Prague.

c. This led to the commission of "Don Giovanni" for Prague (29 October 1787; Vienna 7 May 1788 with added music). Also with da Ponte.

d. Last "opera buffa" with da Ponte: "CosÏ fan tutte" (1790), closed within a week because of the death of Joseph II.

e. "Die Zauberflˆte" (1791), German Singspiel, written for a theater on the outskirts of Vienna: different theater, different approach.

F. "Don Giovanni" (Prague, 29 October 1787).

1. Introduction (NAWM 107): Leporello pacing — struggle — Commendatore — death.

2. Music mirrors the drama every step of the way; comic and dramatic happen simultaneously; large-scale key organization

3. Coherent key scheme: F major — F minor.

G. Mozart and Sacred Music

1. Various Masses throughout his years in Salzburg (to ca. 1780).

2. Few works in Vienna, all unfinished.

a. Mass in C Minor, K. 427 (1782).

b. Requiem Mass, K. 626 (unfinished at his death).

3. Died 5 December 1791.

XVI. The French Revolution.

A. Inspired in part by Enlightenment ideas of equality, human rights, and social reform.

1. First phase (1789–92) — National Assembly.

2. Second phase (1792–94) — "Reign of Terror."

3. Third phase (1794–99) — more moderate.

B. NapolÈon Bonaparte (1769–1821) — one of the greatest military leaders of all time.

1. A war hero, he seized power and began a new regime — becoming First Consul of the Republic in 1799.

2. Crowned himself Emperor in 1804.

3. Expanded France's political dominance in Europe through military victories.

4. Also reformed the French government, making it more efficient, along with laws ("Code NapolÈon").

5. A failed military campaign in Russia led to his defeat and abdication in 1814.

C. Congress of Vienna (September 1814 to June 1815).

1. Assembly to decide on the territorial divisions following the downfall of NapolÈon.

2. Interrupted in February 1815 by NapolÈon's escape from Elba.

a. roused an army in Paris

b. defeated at the Battle of Waterloo (15 June 1815)

3. France was deprived of all the territory won by NapolÈon.

4. Reestablished a balance of power between the countries.

5. The result was a peace and stability for the next 40 years.

XVII. Beethoven in his time.

A. Vienna dominated the musical scene for about 50 years (1780–1830) — then shifted to Paris (shift mostly during the 1820s).

1. Why Vienna? The Habsburgs were at the height of their power and influence.

2. Austria was central to Germany, Italy, Hungary, and the lands that would later become Czechoslovakia.

B. Shift in patronage.

1. Aristocratic patrons had kept orchestras and resident composers (Haydn in Esterh·zy).

2. In Vienna, a series of costly wars made necessary the shift to patrons from the lower levels of aristocracy and rising middle-class merchants.

3. Mozart was caught in the middle of this change and was only able to make it work to his advantage for a while.

4. Haydn never broke his ties completely with the Esterh·zy family (but that was the past).

5. Beethoven knew all of this when he set out for Vienna in 1792.

C. Vienna in 1800.

1. Population 250,000.

a. Supported 200 makers of musical instruments (130 of which were of pianos).

b. Comparison: same proportions in New York City = 6000 makers.

2. About a dozen publishers, with press runs of about 300.

a. music was expensive

b. lending libraries, manuscript copies.

XVIII. Beethoven: Career Overview.

A. Beethoven as central figure.

1. Perhaps the most celebrated figure in Western music. By the age of 35 he was the most famous composer in Europe.

2. Many subsequent generations of composers, German as well as non-German, felt they were building on his legacy.

B. Born 1770 in Bonn (baptized December 17).

1. Beethoven was born into a system of aristocratic patronage — his career moves and his choice of what to compose would be affected by this for a good part of his life.

2. He played keyboard and viola in the court orchestra, and he heard lots of recent music as it came through Bonn.

3. He also realized that, if he was to have any future, he would have to leave Bonn and establish himself in Vienna.

4. He left Bonn for good in 1792. Haydn (whom Beethoven had already met when he passed through on his way to London) would be one of his principal teachers.

C. Consolidates reputation first as a virtuoso, then as composer.

1. First publications in 1795, piano dominated, with significant dedications.

2. Akademies — public concert for the performer's own benefit.

D. Also consolidating his mastery of the high classical style.

1. With these first publications, Beethoven is already the master of Mozart's and Haydn's techniques, and his works can be analyzed exactly as theirs with regard to sonata form.

2. His personal style is apparent almost from the beginning, especially with works in C Minor, always an emotionally charged key for Beethoven.

E. Beethoven's Three Styles — recognized as early as 1828.

1. First period to about 1802 — consolidated his style.

2. "Heroic" period or decade (1803–12). Many works written at high speed, including some of his best known ("Eroica" Symphony, "Appasionata" Sonata).

3. Finally, a late period (1813–18), low productivity because of family problems (of his own doing), and final works (1820–26) which included the Symphony No. 9.

4. Died March 1827.

XIX. Early Period.

A. Important works include two piano concertos (published in reverse order of composition), two symphonies, six string quartets.

B. Highest concentration of piano sonatas (nos. 1–18 out of 30; Op. 2 to Op. 31), all written before 1802 (Op. 31 is dividing line).

C. Sonata in C Minor, Op. 13 (1797–8; published 1799) — NAWM 108 (third movement).

XX. "Heroic" decade.

A. Beethoven's "new style."

1. Letter to publisher (18 October 1802): "I have composed two sets of Variations, one of which consists of eight variations [Op. 34], the other of thirty [Op. 35]. Both have been worked out in an entirely new manner, each in another different way."

2. "Heiligenstadt" Testament (Summer 1802).

a. A crisis linked directly to his deafness, which he could no longer deny, the first signs apparent as early as 1796 (based on a comment within the letter).

b. Crisis may have been a spur to creativity.

B. Symphony No. 3 in E-flat Major, Op. 55 ("Eroica").

1. Summer of 1803: intensive work on the "Eroica."

2. Originally entitled "Bonaparte."

3. Prince Lobkowitz brought exclusive rights for a period, and the work was not published until 1806 (hence the relatively late opus number).

4. NAWM 109 (first movement).

C. Trajectory of the "Heroic Decade."

1. Through 1808, tremendously productive.

2. 1809–1812. Dissolution of heroic style.

XXI. Late Period.

A. After the "Heroic" Decade.

1. "Immortal Beloved" — compositional crisis may have precipitated another crisis.

2. Dramatic fall off in productivity — seems not to know how to develop his style further.

3. Ironically, this period was the height of Beethoven's popularity: only 11 public concerts in Vienna, but nearly half in 1814.

4. On the other hand, this success led to the revision and revival of "Fidelio" (23 May 1814).

5. Beethoven begins to produce again in 1814–16.

B. Characteristics of the Late Style.

1. Return to proportions of earlier works.

2. Renewed interest in theme and variations.

3. New emphasis on contrapuntal techniques: Fugue

4. Other aspects.

a. Improvisatory passages (recitative-like for connecting movements).

b. Folk-like tunes ("Ode to Joy" in Symphony No. 9)

5. Searching for new ways to balance entire work.

a. "Eroica" unbalanced, with everything concentrated in first movement.

b. Op. 131 is Beethoven's greatest achievement in this respect.

C. Late Quartets.

1. Five works, begun with a commission from Prince Galitzin in November 1822 for three works. But once motivated, the effort spilled over into two additional ones.

2. Other works to finish first: Missa Solemnis in 1823; premier of Symphony No. 9, May 1824.

3. Op. 127 in E-flat Major (February 1825). Op. 132 in A Minor (July 1825). Op. 130 in B-flat Major (November 1825). Op. 131 in C-sharp Minor (July 1826). Op. 135 in F Major (October 1826). New finale to Op. 130 (November 1826).

4. Two uses of fugue: culminated gesture, as in the original version of Op. 130; relaxing as in Op. 131 — Beethoven exploring the possibilities in a multi-movement work.

D. Op. 131 (NAWM 110 — movements i and ii).

1. Brings together all the aspects of Beethoven's late style: fugue, theme and variations, integration of total piece, popular style, and sonata form.

a. Movt. i: Fugue — relaxed, static form (Beethoven's goal is to shift the dramatic weight to the conclusion).

b. Movt. ii: Sonata form without development — a bit of drama but not too much.

c. Movt. iii: Recitative, almost improvisatory, to get us from D Major to A major.

d. Movt. iv: Theme and variations.

e. Movt. v: Scherzo — comic relief.

f. Movt. vi: Slow introduction.

g. Movt. vii: Finale in sonata form.

2. Integration of all elements, tonal and motivic.