Beethoven straddled both the Classical and Romantic periods, working in genres associated with Wolfgang Amadeus Mozart and his teacher Joseph Haydn, such as the piano concerto, string quartet and symphony, while on the other hand providing the groundwork for other Romantic composers, such as Hector Berlioz and Franz Liszt, with programmatic works such as his Pastoral Symphony and Piano Sonata "Les Adieux".[2] Beethoven's work is typically divided into three periods: the "Early" period, where he composed in the "Viennese" style; the "Middle" or "Heroic" period, where his work is characterised by struggle and heroism, such as in the Eroica Symphony, the Fifth Symphony, the Appassionata Sonata and in his sole opera Fidelio; and the "Late" period, marked by intense personal expression and an emotional and intellectual profundity. Although his output greatly diminished in his later years, this period saw the composition of masterpieces such as the late string quartets, the final five piano sonatas, the Diabelli Variations, the Missa Solemnis and the Ninth Symphony.[3]
Daverio has argued that Schumann's piano quintet was influenced by Schubert's Piano Trio No. 2 in E-flat major, a work Schumann admired. Both works are in the key of E-flat, feature a funeral march in the second movement, and conclude with finales that dramatically resurrect earlier thematic material.[4]
Hasta Mi Final Partitura Pdf 114
The main section of this lively movement is built almost entirely on ascending and descending scales. There are two trios. Trio I, in G-flat major, is a lyrical canon for violin and viola. Trio II, added at the suggestion of Mendelssohn, is a heavily accented moto perpetuo whose 24 meter and restlessly modulating, mostly minor tonality are in sharp contrast to the 68 and relative stability of the rest. Since Mendelssohn mentioned that this section wasn't "lively" enough, Schumann rewrote it with a flurry of sixteenth notes making it very demanding for the strings, particularly the cello. After the third and final appearance of the scherzo, a brief coda based on the scales concludes the movement, slipping in a recall of Trio I in the final bars.
The finale begins in G minor, on a C-minor chord, rather than in the tonic. The movement as a whole is cast in an unusual form that partly reflects, but ultimately triumphs over Schumann's frequent difficulties with the conventional sonata form in his larger-scale instrumental movements. The original handling of both form and key contrasts sharply with the largely conventional formal organization of the previous three movements.
The main themes, A1, A2, B and C, are all introduced in the first 135 bars, making this opening roughly equivalent to a sonata exposition. The tonic key, however, is almost entirely absent, with the music mostly remaining in G minor/major until the introduction of the lyrical theme C in the remote key of E major at m. 114. The music modulates to G-sharp minor to begin what is essentially a recapitulation in m. 136, with B returning in E-flat to finally establish the true tonic in m. 178, very late in a lengthy movement.
More than 200 bars remain to unfold, however, almost entirely in the tonic. During their course, Schumann introduces yet another theme, the syncopated D, gets around to recapitulating the lyrical theme C in the tonic, and develops the music further via two fugato passages, the second unexpectedly and impressively incorporating the principal theme of the opening Allegro brillante and combining it with the opening theme A1, finally heard in the tonic.
This coup may have been inspired by a similar confluence of themes in Mendelssohn's E flat quartet op. 12.[10] It also, probably deliberately, evokes the climactic contrapuntal finales of works such as Mozart's Jupiter Symphony. The movement as a whole can be noted for the rondo-like reappearances of the opening theme A1, which consistently avoids the tonic key until the final fugato; for its innovative key scheme, which combines the restless modulations of a traditional sonata development with the idea of recapitulation in the tonic; and for its successful integration of counterpoint within a non-contrapuntal formal structure.
The most eminent development of the polyphonic school, and at the sametime the dawn of a better era in church music, took place in Rome,where the influence of the Netherlandish composer is noticeable.Claude Goudimel, whose name appears in the table of the Netherlandishschool in the preceding chapter, opened a music school in Rome in theearly part of the sixteenth century, and among his pupils was the nameof Palestrina. Goudimel's residence in Rome was not very long. Heafterward returned to Paris, and in some way was connected with Calvinin preparing psalm books for the[Pg 173] Calvinists. He was killed finally atLyons in the massacre of St. Bartholomew, August 24, 1572.
N justification of the name "apprentice period" for that part of thehistory of music ending with Palestrina as the representative of thefinished art of the Netherlands (helped out, we may well enough admit,with no small measure of the original insight and genius of his own),a general view of the condition of music in all European countries atthe beginning of the seventeenth century may well be taken. Thefullness with which the details have already been treated renders itunnecessary to repeat them here, but it will be enough to recapitulatethe principal features of the art thus far attained, adding thereto anumber of incidents omitted. Upon the side of musical phraseology,then, we find in the north the attainment of a simple and expressiveform of melody almost or quite up to the standard of modern taste. Inthe direction of the musically elaborative element we have the schoolsof the Netherlands and of Italy, in which absolutely everything ofthis kind was realized which modern art can show, saving perhaps thefugue, which involved questions of tonality belonging to a grade oftaste and harmonic perception more advanced and refined than that asyet attained. It took nearly[Pg 212] another century before theecclesiastical keys were thoroughly disenchanted in the estimation ofclassical musicians. It was Bach who finally made true tonality therule rather than the exception.
In England this school had a great currency, and the madrigals of theBritish writers of the seventeenth century are every whit as free andmelodious as the best of those of the Italian school. The number ofwriters of this class of works was innumerable, so much so that wemight well class it as the ruling art form of the century, just as thedramatic song was in the eighteenth century, the fugue in the lasthalf of it, and the sonata in the[Pg 217] beginning of the nineteenth.Everybody wrote madrigals who ever wrote music at all. According tothe dates of collections published, the English followed the Italiancomposers. The earliest Italian compositions of this class arecontained in three collections printed by Ottaviano di Petrucci, theinventor of the process of printing music from movable type. Thesecollections were published in Venice, 1501-1503, and copies are stillretained in the library at Bologna and at Vienna. The Englishcultivation of this form of composition became general toward the lastof this century, and in the first part of the next ensuing, and it isbut just to say that the English composers finally surpassed thecontinental in this school, and developed out of it a beautiful artgenre of their own, the glee. Toward the latter part of the sixteenthcentury certain attempts were made in Italy at something resemblingour opera, but in place of solo pieces by any of the performers therewere madrigals. When Juliet, for example, would soliloquize upon thebalcony, she did so in a madrigal, the remaining four parts beingcarried by chambermaids inside. When Romeo climbed the balcony andbreathed his sweet vows to Juliet, one or two of his friends aroundthe corner carried the missing melodies in which he sought toimprovise his warm affection. The absurdity of the proceeding wasmanifest, but it needed yet another point of emphasis. There was agrand wedding in Venice in 1595, at which the music consisted ofmadrigals, all in slow time and minor key. The contradiction betweenthe doleful music and the festive occasion was too plain to beignored, and led, presently, to the invention of a totally differentstyle of song of which later there is much to say.[Pg 218]
URING the last decade of the sixteenth century a company ofFlorentine gentlemen were in the habit of meeting at the house ofCount Bardi for the study of ancient literature. Their attention hadconcentrated itself upon the drama of the Greeks, and the one thingwhich they sought to discover was the music of ancient tragedy, thestately and measured intonation to which the great periods ofÆschylus, Euripides and Sophocles had been uttered. The allegedfragments of Pindar's music since discovered by Athanasius Kircher (p.69) were not yet known, and they had nothing whatever to guide theirresearches beyond the mathematical computations of Ptolemy and theother Greek writers. At length, one evening, Vincenzo Galilei, fatherof the astronomer Galileo, presented himself with a monody. Taking ascene from Dante's "Purgatorio" (the episode of Ugolini), he sang orchanted it to music of his own production, with the accompaniment ofthe viola played by himself. The assembly was in raptures. "Surely,"they said, "this must have been the style of the music of the famousdrama of Athens." Thereupon others set themselves to composingmonodies, which, as yet, were[Pg 222] not arias, but something between arecitative and an aria, having measure and a certain regularity oftune, but in general the freedom of the chant. Among the number atCount Bardi's was the poet Rinuccini, who prepared a drama called"Dafne." The music of this was composed in part by an amateur namedCaccini, and in part by Jacopo Peri, all being members of thisstudious circle meeting at the house of Count Bardi. "Dafne" wasperformed in 1597 at the house of Count Corsi, with great success, butthe music has been lost, and nothing more definite is known about it.This beginning of opera, for so it was, was also the beginning ofopera in Germany, as we shall presently see, for about twenty yearslater a copy of "Dafne" was carried to Dresden for production therebefore the court, but when the libretto had been translated intoGerman, it was found unsuited to the music of the Italian copy,whereupon the Dresden director, Heinrich Schütz, wrote new music forit, and thus became the composer of the first German opera everwritten. In 1600 the marriage of Catherine de Medici with Henry IV ofFrance was celebrated at Florence with great pomp, and Peri wascommissioned to undertake a new opera, for which Rinuccini composedthe text "Eurydice." The work was given with great éclat, and wasshortly after printed. Only one copy of the first edition is now knownto be in existence, and that, by a curious accident, is in theNewberry Library at Chicago. The British Museum has a copy of thesecond edition of 1608. The opera of "Eurydice" is short, the printedcopy containing only fifty-eight pages, and the music is almostentirely recitative. There are two or three short choruses; there isone orchestral interlude for three flutes, extending to about twentymeasures in all, but there is nothing like[Pg 223] a finale or ensemblepiece. Nevertheless, this is the beginning, out of which afterwardgrew the entire flower of Italian opera. On page 225 is an extract. 2ff7e9595c
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