Chapter 15
革命與變遷
Beethoven
時代-法國大革命
1. 第一階段 (1789-92) 尋求改革專制政府
 2. 第二階段 (1792-94), 奧國普魯士攻打
法國, 造成極端, 暴民專制, 處決國王貴族
與同情者.
 3. 第三階段(1794-99) 較溫和中庸的憲法
產生, 但經濟危艱

Napoleon
Bonaparte
拿破崙
(1769 – 1821)
Napoleon Bonaparte
1.
2.
3.
4.
5.
6.
7.
戰爭英雄, 1799, Napoleon成為共和第一執政
官.
1804, Napoleon 自立為皇帝.
透過軍事力量, 拓展政治版圖置整個歐洲.
Napoleon也進行政治改革使法國政府效率提
高.
1814, 對俄戰爭失敗導致Napoleon潰敗與遜位.
逃亡後, 重新掌權, 戰敗 Waterloo.
雖然失敗, Napoleon 散播了民主與民族主義
的種子到全歐洲.
工業革命
1.
2.
3.
4.
5.
技術改良, 使歐洲經濟從農業社會轉為
工業社會.
革命開始於英國紡織工業.
其他工業跟進, 也包括樂器製造.
Men, women, and children worked at
factories and coal mines, often in poor
working conditions.
中產階級崛起, 貴族沒落, 新貧窮階級更
辛苦.
出生1770-1827
問題家庭: 酗酒的祖母, 酗酒且虐待狂的父
親, 憂鬱的母親
三次藝術生命的重生
1789
1803
1819
貝多芬的三個時期
1802年之前 – 古典
 1803-1814 – 英雄時期, 交響曲時期
 1818-1826 – 晚期

第一時期(1770-1802)
Bonn (1770-1791)
1.
He studied music with his father and other
local musicians.
2.
He entered the service of Maximilian Franz,
elector of Cologne.
3.
He attracted attention as a virtuoso pianist and
improviser (see HWM Source Reading, page
574).
4.
Haydn praised Beethoven's music and urged
the elector to send him to Vienna.
第一時期(1770-1802)
Vienna (1792-1802)
1.
He studied with Haydn and took
counterpoint lessons with Johann Georg
Albrechtsberger.
2.
Beethoven established himself as a
pianist and composer.
3.
He played in public concerts and taught
wealthy students.
4.
Beethoven earned additional income
when he began to publish his
compositions.
第一時期(1770-1802)
The early pianos sonatas
1.
Most of Beethoven's earliest works are
for piano.
2.
The early sonatas were conceived for
amateurs, although the technical demands
were increasing.
3.
Like Mozart, Beethoven used strong
contrasts of style to delineate form and to
expand the expressive range.
Sonate pathétique, Op. 13 in C
Minor, 1799
1.
2.
a.
b.
c.
The title suggests suffering and a tragic
mode of expression.
The sonata has three movements.
The passionate first movement begins
with a dramatic slow introduction, which
returns twice during the movement.
The serene middle movement is in A-flat
major.
The finale returns to the stormy mood
and key of the first movement.
The third movement
The pervasive minor mode conveys the sense of
pathos.
a.
It is in a sonata-rondo form: ABACAB'A Coda.
b.
The refrain is a simple period.
c.
The refrain and first episode resemble a sonataform exposition.
d.
The central episode (C), in A-flat major, is
contrapuntal and serves as a development
section.
e.
The return of the B material in the third episode
is in the tonic, as it would in a sonata form.
f.
The refrain theme recalls the second theme of
the first movement.
Symphony No. 1 , 1800
1.
2.
a.
b.
c.
d.
e.
The work is similar to the late
symphonies of Haydn and Mozart.
Distinctive features
A slow introduction that avoids a clear
tonic cadence
Dynamic shadings
Prominent woodwinds
A scherzo-like third movement
Lengthy codas for the outer movements
中期 (1803-1814)
A.
1.
2.
3.
4.
Around 1803, Beethoven began to compose in
a new style, due in part to support by patrons
and publishers.
Several patrons joined together to keep
Beethoven in Vienna.
The Archduke Rudolph was Beethoven's
piano and composition student.
Publishers competed for Beethoven's music.
Beethoven often dodged deadlines, giving
him time to revise his works.
中期 (1803-1814)
1.
2.
3.
His output is significantly less than that
of Haydn and Mozart.
Beethoven jotted down ideas in
notebooks (see HWM Figure 23.3).
These notebooks allow us to follow the
progress of his ideas (see NAWM 109
commentary).
中期 (1803-1814)
1.
2.
3.
His output is significantly less than that
of Haydn and Mozart.
Beethoven jotted down ideas in
notebooks (see HWM Figure 23.3).
These notebooks allow us to follow the
progress of his ideas (see NAWM 109
commentary).
耳聾, 1802
1.
2.
He considered suicide, but resolved to
work for art, as described in his
Heiligenstadt Testament (see HWM
Source Reading, page 578).
Beethoven appeared less often in public,
but kept composing.
耳聾, 1802
1.
2.
He considered suicide, but resolved to
work for art, as described in his
Heiligenstadt Testament (see HWM
Source Reading, page 578).
Beethoven appeared less often in public,
but kept composing.
耳聾
Many of Beethoven's compositions seem to
reflect the struggle of his own life.
1.
The themes can be seen as characters in
a drama.
2.
Instrumental music was no longer just
an entertainment or diversion.
Haydn 與 Mozart模式.
The music of the middle period builds on the
Traditions can be seen in genres, forms,
melodic types, phrasing, and textures.
1.
Beethoven expanded the forms to
unprecedented lengths.
2.
Despite the expansions, Beethoven is
economical in his material.
Eroica Symphony, No. 3
in E-flat Major (1803-4)
1.
The Eroica is longer than any previous
symphony.
2.
The title suggests that the symphony is a
celebration of a hero.
3.
Beethoven originally named the
symphony "Bonaparte," but reportedly
tore up the title page when Napoleon
declared himself emperor
The first movement
1.
a.
b.
c.
can be seen as a story of challenge, struggle,
and final victory.
The main motive of the first theme serves as
the protagonist, is triadic, and has a surprising
C-sharp at the end (see HWM Example
23.2a).
This motive undergoes numerous
transformations during the movement (see
HWM Example 23.2b-e).
The principal antagonist theme, which also
recurs several times, creates a duple meter
with accents on weak beats
The first movement
d.
e.
f.
g.
h.
The antagonist theme leads to a terrifying
dissonant climax in the lengthy development
section.
Following this climax, a new theme is
introduced that is related to the protagonist
theme.
The resolution of conflict can be seen in the
recapitulation (see HWM Example 23.4).
The lengthy coda brings back material from
the development and reaffirms the resolution.
Beethoven's sketches provide valuable
information about the conception and
structure of his music.
Slow movement
A funeral march in C minor.
a.
The march is full of tragedy and pathos.
b.
A contrasting section in C major
contains fanfares and celebratory
lyricism.
c.
The return of the march is varied.
d.
The movement has links to
Revolutionary music in France,
including a striking parallel to a march
by François-Joseph Gossec
rd
3
1.
2.
3.
& 4th movements
The third movement is a quick scherzo
with prominent horn calls in the trio.
The finale mixes variations, fugues,
development, and marches using a
theme from Beethoven's ballet music in
The Creatures of Prometheus.
With this symphony, Beethoven
challenged listeners to engage in music
deeply and thoughtfully
英雄時期交響曲
貝多芬海里根遺書
Heiligenstadt Testament

1802年因耳疾痊癒無望, 於海里根寫下
遺書
貝多芬海里根遺書
Beethoven英雄交響曲Op. 53





1. 寫作背景 1802～1803
l 從自殺邊緣走出而以Stoic般的新人生觀面
對: 順其自然, 聽天由命。
l 第二號交響曲未有太大的革新, 是莫札特38
號Prague交響曲或海頓的London Symphonies
成功的承繼者。
革命性的改變，第三號（改變）十九世紀作
曲的方向。
l 與第九號同為Beethoven個人最鍾愛的交響
曲，也十分有趣的有類似的架構，從悲劇超脫
而進入快樂（Joy）。
戲劇與聲樂

a.
b.
c.
1.
2.
1. Beethoven's only opera, Fidelio, is based on a
rescue plot.
The opera glorifies heroism and the humanitarian
ideas of the Revolution.
Leonore, dressed as a man, rescues her husband
from prison.
Beethoven revised the opera several times.
Beethoven composed other dramatic music,
including incidental music for the play Egmont,
written by Goethe.
In Beethoven's Lieder, the music is as interesting
as the poetry.
室內樂
1.
a.
b.
c.
1.
2.
a.
Major works include:
Two violin sonatas, including Op. 47 (the
Kreutzer)
The Archduke Piano Trio Op. 97
Five string quartets
Beethoven continued to test the technical
abilities of amateurs.
The three quartets of Opus 59 were dedicated to
the Russian ambassador to Vienna, Count
Razumovsky.
Beethoven introduced Russian themes into two
of the movements.
協奏曲
1.
2.
3.
The concertos of the middle period are on
a grander scale than earlier works.
Beethoven expanded the dimensions and
expressive range in the Piano Concerto
No. 5 in E-flat Major (the Emperor) and in
the Violin Concerto in D Major.
The soloist opens the Piano Concerto No.
5 with a cadenza.
協奏曲
1.
2.
3.
The concertos of the middle period are on
a grander scale than earlier works.
Beethoven expanded the dimensions and
expressive range in the Piano Concerto
No. 5 in E-flat Major (the Emperor) and in
the Violin Concerto in D Major.
The soloist opens the Piano Concerto No.
5 with a cadenza.
其他的交響曲
1.
a.
b.
c.
d.
e.
f.
Symphony No. 5 (1807-8)
由C minor 轉至 C major,象徵掙扎中求勝.
四個音的動機主導整個第一樂章, 此一動機
在四樂章中都出現.
第三樂章 scherzo經由一過門直接進入終曲.
The transition begins softly with the timpani
playing the motive.
The entrance of the full orchestra at the
beginning of the final movement includes the
trombones on a C-major chord.
The finale also adds a piccolo and
contrabassoon.
第六號交響曲
a.
b.
c.
d.
This work was premiered on the same
program as Symphony No. 5.
Each of the movements has a title
describing life in the country.
An extra movement (Storm) precedes the
finale.
The woodwinds imitate birdcalls in the
coda of the second movement.
晚期
A.
1.
2.
3.
4.
5.
Beethoven 晚年過著更加與世隔離的生
活.
近乎全聾.
對朋友十分猜忌.
Beethoven also suffered from family
problems, ill health, and fear of poverty.
Vienna 大戰後的蕭條, 較難有大型樂曲
產生, Count Metternich 的高壓統治, 更
雪上加霜.
Beethoven abandoned the heroic style.
晚期風格特徵
1.
2.
3.
4.
5.
a.
b.
c.
Beethoven晚期四重奏以總譜出版, 有演奏與
研究雙重的功能.
樂曲愈發內省樂匯更加集中.
Classical forms維持, 但有更大的改變.
Variation structures focused on the substance of
a theme.
Beethoven emphasized continuity.
He blurred divisions between phrases.
Successive樂章相連往往無間斷.
The songs of An die ferne Geliebte (To the
Distant Beloved), which inaugurate the genre of
a song cycle, are sung without breaks
晚期風格特徵
1.
2.
3.
4.
5.
a.
b.
c.
Beethoven晚期四重奏以總譜出版, 有演奏與
研究雙重的功能.
樂曲愈發內省樂匯更加集中.
Classical forms維持, 但有更大的改變.
Variation structures focused on the substance of
a theme.
Beethoven emphasized continuity.
He blurred divisions between phrases.
Successive樂章相連往往無間斷.
The songs of An die ferne Geliebte (To the
Distant Beloved), which inaugurate the genre of
a song cycle, are sung without breaks
晚期風格特徵
Beethoven 探索更不尋常的音響效果.
2.
Beethoven建立了演奏者必須尋覓作者旨意
的傳統.
3.
模仿對位, 複格的使用為此時的特色.
a.
Fugal 終曲 包括:
1.
Piano Sonatas Opp. 106 and 110
2.
Symphony No. 9
3.
Grosse Fuge (Great Fugue).
a.
Beethoven 也以 fugue 作第一樂章 Op. 131
4. Beethoven常改變樂章的數目與安排
1.
晚期風格特徵
Beethoven 探索更不尋常的音響效果.
2.
Beethoven建立了演奏者必須尋覓作者旨意
的傳統.
3.
模仿對位, 複格的使用為此時的特色.
a.
Fugal 終曲 包括:
1.
Piano Sonatas Opp. 106 and 110
2.
Symphony No. 9
3.
Grosse Fuge (Great Fugue).
a.
Beethoven 也以 fugue 作第一樂章 Op. 131
4. Beethoven常改變樂章的數目與安排
1.
四重奏First movement
a.
b.
c.
d.
e.
f.
g.
h.
使用慢板與複格形式極少用於第一樂章.
The 以四音動機開始,ending with a 突強.
The exposition has four statements of the theme.
The answer form of the theme is on the subdominant.
Later statements of the themes are separated by
episodes.
The final entrances are in C-sharp minor and include
augmentation.
The movement is extremely emotional and uses
unusual harmonies.
The key areas include E major, G-sharp minor, B
major, A major, and D major, all of which are keys of
later movements.
其他晚期作品
1.
a.
b.
c.
Missa solemnis 莊嚴彌撒
Originally intended as a mass for the elevation
of Archduke Rudolph to archbishop, the work
became too long and elaborate for liturgical
use.
The influence of Handel can be seen in the
choral writing, but the five movements are
unified into a symphonic structure.
The work functions as a concert piece.
其他晚期作品交響曲No. 9
a.
b.
c.
d.
e.
May 1824 首演.
Beethoven did not hear the applause after the
scherzo movement.
The first three movements, lasting more than
an hour, are on a grand scale.
The most striking innovation of the symphony
is the use of voices in the finale, which uses
Schiller's poem Ode to Joy.
The final movement follows an unorthodox
format.
文化的英雄-Beethoven
A.
B.
C.
D.
E.
His life story defines the Romantic view of the
outcast artist.
Many of his works were immediately popular
and have remained so.
His late works are now viewed as achieving
greatness.
Beethoven's works are central to the
performing repertoires of soloists and
ensembles.
Beethoven greatly influenced later composers.
浪漫主義
A.
B.
C.
D.
個人情感與其表達.
主觀意向而非客觀.
幻想與遠方.
神秘, 大自然, 新感官
浪漫主義哲學背景
A.
B.
C.
D.
Immanuel Kant 先驗理想主義
Hegel
Schopenhauer
Karl Marx
浪漫主義
A.
B.
C.
D.
E.
器樂
超技
民族主義
Schopenhauer
Karl Marx
Conducts